Crimson Gold presents Europe 'Gold', the only Europe compilation you'll ever need. The Swedish band fronted by Joey Tempest, represent 1980s rock. With big guitar solos, playing stadium rock anthems, the band achieved 5 top 40 chart hits in the UK. The most famous being 'the final Countdown'. This definitive 3CD set features 45 tracks spanning the band's most popular career. 'The final Countdown' Reaching UK number 1 in 1986 alongside; 'rock the night' Uk 12, 'carrie' Uk 22, 'SUPERSTITIOUS' Uk 34 and 'I'll Cry for you' Uk 28. CD1 opens with his biggest hits 'the final Countdown', followed by the bands two big singles ' 'rock the night' And 'carrie'. Cd 2 features big rock songs 'Ninja' And 'heart of stone'. CD3 rounds off the set with a selection of other classics such as 'girl from lebanon', 'seven door hotel' And 'final Countdown 2000'.

Released in the summer of 1968 – a year after the summer of love, but still in the thick of the Age of Aquarius - Creedence Clearwater Revival's self-titled debut album was gloriously out-of-step with the times, teeming with John Fogerty's Americana fascinations. While many of Fogerty's obsessions and CCR's signatures are in place – weird blues ("I Put a Spell on You"), Stax R&B (Wilson Pickett's "Ninety-Nine and a Half"), rockabilly ("Susie Q"), winding instrumental interplay, the swamp sound, and songs for "The Working Man" – the band was still finding their way.

In 2019 Children of Bodom played their last concert in Helsinki called "A Chapter Called Children of Bodom" before the band disbanded. Alexi Laiho (lead guitar, lead vocals) and Daniel Freyberg (rhythm guitar) continued their collaboration as Bodom After Midnight in 2020. Laiho, who was one of the founding members of Children of Bodom, passed away on December 29, 2020.

Pianist, educator, improviser, and composer Ran Blake has made 39 albums since 1961. He has recorded in many settings from solo to big band, and like any true jazz musician worth his salt, he has embraced the entire historical lineage of the music from New Orleans through bebop to the avant-garde and beyond, creating a very personal signature in his playing and in his recordings. Blake has recorded for over a dozen labels in his long career, and his most recent tenure with New York's tiny Tompkins Square imprint - better known for its recordings of acoustic guitarists and obscure folk and country musicians - has yielded astonishing results, as evidenced by 2006's All That Is Tied. Driftwoods is his second offering for the label, and stands both in sharp contrast to the previous offering and as a logical extension of it…

For a short time in the late '50s trumpeter Dizzy Reece was an up-and-coming jazz artist. However, success eluded him and he quietly faded into obscurity, only occasionally releasing material after the early '60s. As a matter of fact, the sessions that became Comin' On! languished in the Blue Note vaults for almost four decades. Rediscovered in 1999, these dates feature six well-rounded hard bop compositions by Reece along with three standards. The tracks from April 3, 1960, not only document the Blue Note debut of tenor saxophonist Stanley Turrentine but also employ the talents of the Jazz Messengers' rhythm section of the time, pianist Bobby Timmons, bassist Jymie Merritt, and drummer Art Blakey. By July 17, 1960, the only musician remaining from the previous date was Turrentine, sharing tenor duties with Musa Kaleem, who is also heard on flute. (The later session's rhythm section had changed to pianist Duke Jordan, bassist Sam Jones, and drummer Al Harewood.) Neglected, although spirited, sessions from an underrated trumpeter and composer.

Just as the title implies, Raw is Bobby Rush at his most elemental: a man, his acoustic guitar, and his foot stamping out a beat on an amplified board. A little harmonica now and then, and a Dobro played with a bottleneck slide on the rollicking "Glad to Get You Back," but that's it for ornamentation. Although most of 13 songs are Rush originals, he also essays three standards, Larry Williams' early rock classic "Boney Maroney," Muddy Waters' "Good Morning Little Schoolgirl," and – fearlessly – "Howlin' Wolf" itself, which he slows down into a funereal dirge. Rush calls his music "folk funk," but in reality, Rush is the modern equivalent of the first country bluesmen, before the moves to Memphis and Chicago added full-band arrangements and electricity. But Rush isn't a hidebound traditionalist attempting to resurrect a past form for its own sake; Raw crackles with the energy of a musician who knows that he's working in the style that best suits his own personal gifts. This is a hundred times more listenable than yet another blues band plodding through a set of tenth-generation rewrites of "Sweet Home Chicago," and could well be the blues recording of 2007.