Mud (now Mud II) are an English glam rock band, formed in February 1966. Their earlier success came in a pop and then glam rock style, while later hits were influenced by 1950s rock and roll, and are best remembered for their hit singles "Tiger Feet", which was the UK's best-selling single of 1974, and "Lonely This Christmas" which reached Christmas number 1 in December 1974. After signing to Rak Records and teaming up with songwriters/producers Nicky Chinn and Mike Chapman, the band had fourteen UK Top 20 hits between 1973 and 1976, including three number ones.

True to the cute, winking title of her Heads Up debut, the glamorous and funky Dutch sax superstar offers a tasty little bagful of everything to please the funky, smooth, and exotic taste buds of jazz and R&B fans around the world. There's feisty, blistering jamming with multiple horn textures and jangling guitars (the sizzling opening track "Candy"), easy grooving, melodic old-school soul ("L.A. Citylights"), raw and thumping, brassy party singalongs ("Music = Love," the buoyant and breezy "Summertime"), and even a scorching Latin/Caribbean island dance-along ("La Cabana") and a jaunt to Jamaica (the jumpy, lilting "Smokin' Gun").

Tony Joe White, the original swamp rocker, continues to garner critical acclaim; his songwriting skills have only sharpened over the years and he remains a potent force. It was by combining country, rock and funky blue-eyed soul for his 1969 Top 10 Hit 'Polk Salad Annie' that White established his credentials. His album Dangerous was released Columbia Records in 1983, which featured the country hits 'The Lady in My Life' and 'We Belong Together'.

This DVD of the recently issued Britten/Pears mini series recorded by the BBC for television way back in the 1960's and the 70's is for all intents and purposes another resounding success. All four priceless documents were thought lost, but this Idomeneo seems to have had a charmed life more than others. Indeed, three days before the Aldeburgh première, the hall was left in cinders and it is something of a miracle that the television production could actually go ahead.

Having enjoyed such fruitful collaboration with the Spanish musician Rafael Pacha (both in The Guildmaster project and albums under Kimmo's own PA artist page, plus within The Samurai Of Prog), Kimmo Pörsti insisted they should make a CD consisting of revisited material from Pacha's solo output. As Rafael says in his liner notes, there have been two major paths he has followed and combined as a musician, those of Folk (e.g. the Celtic tradition) and of progressive rock. The source albums are mentioned - without their release years though - but the liner notes concern his thoughts of the individual tracks and their recordings then and now, with a fondness for various occasional collaborations. You really can feel the labour of love attitude of this gifted multi- instrumental musician and composer.

Dedicated to Tsar Alexander I and his family, this album of chamber music by Western European musicians presents the musical activities of the Russian court at the beginning of the 19th century. The Pleyel Trio, made up of Russia's best period instrument players, dynamically captures the various aspects of classical musicians, from composers active in Russia such as Hessler to Hummel, who made an enthusiastic tour of Russia, and Beethoven, who dedicated works in Vienna.

With this disc Demidenko completes his cycle of the Prokofiev Concertos with the London Philharmonic and Alexander Lazarev. The First Concerto launched the youthful composer's career—he wrote it for his graduation concert (his playing of it won him first prize) and its youthful high spirits and virtuosity make it an instant crowd-pleaser. The Fourth and Fifth Concertos are less well known though with the Fifth it is hard to see why. The Fourth was written for the one-armed pianist Paul Wittgenstein who didn't like it (he didn't like Ravel's left-hand Concerto either!) and refused to perform it; hence it is only recently that the work has been taken up.

The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone. This didn't just mean that they were rednecks, but that they brought it all together - the blues, country, garage rock, Southern poetry - in a way that sounded more like the South than even the Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, Pronounced Leh-Nerd Skin-Nerd. Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands…

Following a rock/metal album recorded with his band ORBI [BIS-2297], Bram van Sambeek returns with his own idea of a dance album. For it he has selected four works by Johann Sebastian Bach that consist mainly of typical baroque dances - but just as van Sambeek's metal album wasn't made for headbanging, Bach's dances weren't meant for dancing, but rather to be listened to. The album opens with van Sambeek's own arrangement of the celebrated Partita in C minor for keyboard which he describes in his liner notes as one of his favorite works to listen to.

The High End of Low is the seventh studio album by Marilyn Manson. Manson first began work on the album with guitarist Tim Sköld. However, Sköld left the band when the vocalist reunited with former bassist Twiggy Ramirez. The album was produced by Manson and Twiggy (who dropped the Ramirez moniker) along with former Nine Inch Nails co-producer and keyboardist Chris Vrenna, as well as Antichrist Superstar (1996) and Mechanical Animals (1998) co-producer Sean Beavan. It was the last album to feature the band's long-time drummer Ginger Fish. The record received mixed reviews from music critics, with several publications praising it as their best album since Mechanical Animals; although others were critical of both its length and more personal lyrical themes…

Rare work from the RCA years of Sonny Rollins - all recorded during the time of his groundbreaking albums for the label in the early 60s, but never issued until this much later Japanese package! The title is quite apt - as the whole set really shows the development that Rollins brought to his music in the years after his classic album The Bridge - that open, freely expressive sound that took his already-great approach to tenor and really pushed it into something new - a bold, fresh style for the 60s that was full of power and freedom, but which took a very different direction than the music of John Coltrane or Archie Shepp. Music runs from bop standards to more thoughtful compositions - and even in the mellow moments, Rollins is really mindblowing - working in small group settings with players who include Herbie Hancock on piano, Jim Hall on guitar, Thad Jones on cornet, and either Ron Carter or David Izenzon on bass.

U.S. basement psych-prog monster released in 1979 as an ultra-rare private pressing of 200 copies. MacArthur were formed when a young guitar player and songwriter named Ben MacArthur met a 17-year old prodigy musician called Bill Heffelfinger in Saginaw, Michigan, in 1978. Bill was not only a gifted guitar player but also a genius arranger and keyboard wizard. When Ben showed him some of the stuff he had written, Bill took the songs and transformed them into classic pieces of music. They soon recruited Jeff Bauer on bass and Scott Stockford on drums. The chemistry of MacArthur was born. The first MacArthur album, known in collector's circles as The Black Forest due to the vinyl bootleg of the same title released in the '80s, was recorded in 1979 using a four-track machine…

Limitless is the twelveth studio album (36th overall) by American singer/songwriter and record producer/arranger Richard Marx, released on February 7, 2020. It his first studio album since 2014. It was the first time Marx had recorded an album without the conscious thought of making an album. Marx usually produces his albums by himself but this time, he worked with several different producers, all of whom also co-wrote a majority of the songs on the album as well. His son Lucas was one of the producers who also co-wrote two of the tracks, including the single "Another One Down". "I wasn't really sure what making a new album meant for an artist like me," Marx said of the creative process behind Limitless. "All I knew was that I still write songs all the time and I realised I had a collection of songs I really liked. In my past, my only criteria were to write and record songs that pleased me, and hopefully other people would like them, too. So I returned to that ideology and dismissed any concerns of stylistic consistency and the next thing I knew, I had recorded a diverse album I really liked." The album was dedicated to his wife Daisy Fuentes.