Nicolas Folmer is of those rare artists who are unanimous as to the public, the criticism of its most prestigious peers. His project Horny Tonky reveals a new facet of the prolific composer who succeeds in this new directory today a very personal synthesis at the intersection of influences funk, rock, R & B, soul and improvised music.

It's unfair to say that Fleetwood Mac had no pop pretensions prior to the addition of Lindsey Buckingham and Stevie Nicks to the lineup in 1975. When they were led by Bob Welch they often flirted with pop, even recording the first version of the unabashedly smooth and sappy "Sentimental Lady," which would later be one of the defining soft rock hits of the late '70s…

A gently propulsive track from Wild!, Blue Savannah makes for a pleasant if not a completely stunning single for Erasure; the band itself once amusingly claimed it was "Erasure meets the Eagles!" The pleasure in this single lies in the various remixes and extra tracks that come scattered throughout. The title track itself benefits from two complementary remixes, "Der Deutsche Mix I and II", the latter of which adds a reasonable enough breakbeat and some fun synth soloing to create a low-key, Manchester-tinged dancefloor filler. There's one further remix from Mark Saunders that combines his usual fun beats and upbeat feeling to the original, not to mention adding a bit of twangy country guitar. Also on the disc is an okay enough original B-side, "Runaround in the Underground"…

Four CD round up of everything released between 1977-1999 by Manchester punk legends The Drones. Disc One is their debut 13 track album Further Temptations. This was voted by Q magazine into their 100 Most Important Punk Albums Of All Time in 2002. Disc Two is a 20-track round up of non LP singles, B-sides and demos plus a previously unreleased four track session for John Peel. The third disc is the band's 1999 studio comeback album Sorted (originally released as Dirty Bastards). The final disc is a 14 track In Concert album recorded in Japan in 1998. Detailed liner notes have been overseen by the band's long-time manager Dave Bentley.

TCP is an American project based around the collective artistry of Henry Tarnecky (vocals), Blake Tobias (keyboards, bass), and Jack Wright (guitars, drums). This progressive release includes guests Tom Shiben (bass), Nicole Tarnecky (backup vocals), and features Glenn Arpino (keys) along with his epic piece, Vision. Deftly blending elements of classic-era and modern progressive rock, the nine tracks that make up Fantastic Dreamer showcase a haunting and emotive blend of vocals with layers of soaring guitar and keyboard passages which often ride a shifting and complex rhythm section.

Agents Are Forever is performed by the Danish National Symphony Orchestra under the baton of film music expert Hans Ek, with spectacular spy and detective film soundtracks and the very best of James Bond film music.

"Where words fail, music speaks." Jana Herzen, head of Motema Music, shared this Hans Christian Anderson quote with David Weiss after the trumpeter had already titled his new record; the sentiment of that statement just happens to perfectly connect with this album.

George Jinda must have forgotten he was doing his latest Special EFX project, because his use of an all-star cast on Here to Stay might be better suited to one of those Fantasy Band discs he was involved in before his debilitating stroke. Not that there's anything sonically wrong with the mainly mellow fare on this disc – Mark Whitfield, Chuck Loeb, and Gerald Veasley do stellar jobs conveying the melodic thoughts over Jinda's gentle percussion.

Sleepwalking is the ninth studio album by the English rock band Magnum, released in 1992. Following the decision to leave Polydor, Sleepwalking was recorded within six months, and is the first self-produced album by Magnum since The Eleventh Hour. Tony Clarkin was much happier acting as producer, following his working relationship with Keith Olsen on Goodnight L.A.. Learning from Olsen, Clarkin had enough experience to produce Magnum's records on his own, this also being the best option to cut production costs for future albums.

Nightwing is the fifth studio album by Swedish black metal band Marduk. It was recorded and mixed at The Abyss between October and November 1997 and released in April 1998 by Osmose Productions. Divided into two chapters; songs 1-4 is Chapter One: "Dictionnaire Infernal", songs 6-10 are Chapter Two: "The Warlord of Wallachia".The track "Nightwing" is not in the tracklist and part of neither chapter. This marks the first part of a conceptual trilogy for what Marduk claims is the basis of black metal: "Blood, War and Death." This album symbolizes "Blood."

One of the biggest and best albums ever for Hamilton Bohannon – filled with quirky rhythms and really unusual grooves! Bohannon was one of the key forces in setting the scene for disco in the early 70s – and by the time the rest of the country was hitting the dancefloor in the middle part of decade, he was still moving forward, into a whole new realm of groove! The tracks on this set have some really mad rhythms – skittish and scattered, still with a dancefloor approach, but with lots of odd touches that set them apart from the rest of the pack. A key example of this is the great tune "Me & The Gang", which has this off-key piano loping out over chunky beats – but the whole thing's great, with a lot more of a sly edge than you'd expect from the cover. Titles include "Summertime Groove", "The Street Dance", "Let's Start The Dance", "Listen To The Children Play", and "I Wonder Why". (Cover has some wear and creasing.)

The plight of Northern Ireland throughout the 1970s and 1980s is well documented. Less widely acknowledged, though, is the unifying impact that punk rock and everything that came in it's wake had on the country's youth. Whilst violence, disenchantment and danger became everyday obstacles, punk provided an outlet, a means of expression and something beyond the political landscape in a way few other cities on earth could have understood. The Shellshock Rock film first captured this in 1978, and we proudly extend that account with three discs of tracks recorded during a period that breathed new life into the country's musical culture. The bands of Belfast and beyond created a scene entirely of their own, without the aid of an existent network of venues and publications. Punk forged alliances that reached across sectarian boundaries, and pushed back against a culture of traditions and establishment which seemed to offer very little to the country's youth. Featuring in-depth sleeve-notes, essays by both Stuart Bailie and John T. Davis, unseen imagery and, for the first time outside of Japan, the seminal Shellshock Rock film, this latest addition to our series of deep, geographically focussed sets promises to be the most vital of them all. Nowhere was punk as necessary and as life-changing as it was in Northern Ireland.

Led by the songwriting and vocals of Jay Farrar, Son Volt was one of the most instrumental and influential bands in launching the alt.country movement of the 1990's. A movement that was the precursor to what is now widely referred to as Americana. The 10 songs on 'Notes Of Blue' are inspired by the spirit of the blues, but not the standard blues as most know it. The unique and haunting tunings of Mississippi Fred McDowell, Skip James and Nick Drake were all points of exploration for Farrar for the new collection. Farrar possesses one of the most distinctive voices in roots, rock, country or any genre. He exudes a soulful longing combined with a wise-beyond-his-years command that is as arresting and compelling as ever. As a songwriter, Farrar's depth and poetic penchant has been the foundation of a thoughtful, deep and intelligent body of work. Both attributes are on full display on Notes Of Blue, as he touches on themes of redemption and the common struggle, both of which are at the core of the blues.

2CD compilation of live performances by Deep Purple at Paris Theatre, London, February 22th 1972 and at Concerthouse - Stockholm, November 12th 1970, released in 1993 by Italian label Nota Blu Musica.

Following a two year hiatus, and by fair means or foul, The Stooges reunited in 1972 for what would become their final album. 1973’s “Raw Power”, arguably their greatest statement, was the result, and the band hit the road in support of the record, resulting in a number of legendary shows. Collected here for the first time, “You Think You’re Bad, Man?” brings together highlights from a year on the road, capturing the band on blistering form and Iggy at his most erratic, confrontational best as he heckles, goads and incites well lubricated audiences across the US.