The third new studio album of Paul Simon's post-Simon & Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin' Simon. Where Simon had taken an eclectic approach before, delving into a variety of musical styles and recording all over the world, Still Crazy found him working for the most part with a group of jazz-pop New York session players, though he did do a couple of tracks ("My Little Town" and "Still Crazy After All These Years") with the Muscle Shoals rhythm section that had appeared on Rhymin' Simon and another ("Gone at Last") returned to the gospel style of earlier songs like "Loves Me Like a Rock." Of course, "My Little Town" also marked a return to working with Art Garfunkel, and another Top Ten entry for S&G. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns…

Classic first mini album Completely re mastered for the first time. Comes with nine bonus tracks. Originally released on Midnight in 1984, this live album (recorded during their Midwest tour) is the legendary debut that spearheaded the rough 'n' ready garage rock revival scene joined by other great combos such as the Cynics, the Chesterfield Kings, et al. Formed in 1981 by NYC beat guru Rudi Protrudi, the Fuzztones got immediate attention for their authentic sonic replication of the 1960s garage punk style and grotesque b-movie artwork (read: The Cramps). Their sonic attack is well documented in the grooves of this faithful re-release of the 'Tones deadly debut.

The original version of the album In Heat as it was intended to sound. The Fuzztones have been around for over 30 years as a garage rock revival band. Though originally from New York City, they work mainly in Europe where their brand of retro 60 trash rock burns up radios from Hungary to Poland to Italy. The original In Heat was released in 1989 at the peak of the garage revival, when bands like the Chesterfield Kings, Lyres, and Cynics were all the rage. Unsurprising, the music industry turned a blind eye, yet miraculously The Fuzztones signed a major label deal with RCA. Label politics had the band in a "real" studio with a "name" producer who watered down their unharnessed energy and snotty attitude. In the end the original disc was a second rate affair with most of the grit rubbed out only to die a sad, quick death at the hands of critics who never appreciated the band’s live act anyway. Raw Heat therefore turns the clock back in time when garage rock rivaled punk as the most exciting musical scene to come along in decades.

Slovenian prog/jazz-rock band Predmestje (Eng. "Suburbs") was formed in Ljubljana (Slovenia, ex-Yugoslavia) in 1975, with the following founding members: Peter Gruden-guitar, vocal; Andrej Pompe-keyboards; Aleksander Malahovsky-saxophone; Janez Hvale-drums and Gabriel Lah-bass. They released the debut album in 1977 which immediately established them as an important jazz rock/fusion ensemble in the former Yugoslavia. First three are all excellent albums, with wonderful jazz-rock performance, mostly instrumental, resembling varied influences - from a standard Return To Forever and Billy Cobham-style fusion, to a more percussion-oriented Latin rhythms of Santana. This rather unknown band is recommended to all prog and jazz fans.

Soundtrack from Twin Peaks (also known as Music from Twin Peaks) is a soundtrack album by the American composer Angelo Badalamenti. It was released on September 11, 1990 on Warner Bros. Records and is the official soundtrack to the television series Twin Peaks (1990–91). The series' co-creator David Lynch produced the album alongside Badalamenti and wrote lyrics for several tracks, including the series theme song "Falling". Upon its release, Soundtrack from Twin Peaks placed in several international charts—including the top 10 in Norway, Sweden, Australia and the Netherlands—and "Twin Peaks Theme" received the award for Best Pop Instrumental Performance at 33rd Annual Grammy Awards.

The performances by the Emerson, Fitzwilliam and Brodsky are quite different while equally valid. The Fitzwilliam version is richly romantic and emotionally charged, sort of the "Leopold Stokowski" performance. The Emerson quartet version is at times fast, tense, highly energetic, sort of like an "Arturo Toscanini" version. The Brodsky version is carefully crafted, balanced, slightly understated, like a version by "Sir Adrian Boult." Why on earth would anyone want to understate things? Not because, as some people seem to feel, Sir Adrian and the British are afraid of expressing feelings, but because by understating the emotionalism in the music other aspects of the music are more clearly appreciated, and the overall musical experience is richer. Therefore one could easily find the Brodsky version to be the best version by a British quartet.

Originally released in 1974, Hawk's "Live & Well" is the band’s third and final release rounding off a trilogy of phenomenal Afro rock albums. This officially sanctioned reissue includes all the original songs plus 4 bonus tracks taken from the SA vinyl version of "Africa, she too can cry" and a rare live song from 1971. With updated liner notes, including the final days of Hawk as told by singer Dave Ornellas, plus never-before-seen photos and poster artwork, “Live and Well” is a must for fans of '70s progressive rock.

Guitarist Herb Ellis considers this is his favorite personal album and it is easy to see why. With trumpeter Roy Eldridge and tenor saxophonist Stan Getz contributing contrasting but equally rewarding solos and lots of inspired riffing while bassist Ray Brown and drummer Stan Levey join Ellis in the pianoless rhythm section, these performances have plenty of color and drive. Ellis does indeed stick to the blues during the original eight selections yet there is also a surprising amount of variety.

Lorna Shore’s album, “Immortal”, is nothing short of a shock of blackened, symphonic ambitions and epic intents. It is a milestone for Lorna Shore, who have built a sizable reputation touring the world alongside the likes of The Black Dahlia Murder, Carnifex and Chelsea Grin.
Formed in 2010, Lorna Shore were quick to surpass “local band” expectations with 2012’s “Bone Kingdom”-EP and it’s follow-up, 2013’s “Malificium”-EP. Through each release, Lorna Shore continues to prove themselves to be an increasingly formidable force and a ferocious live proposition. 2017’s sophomore LP, “Flesh Coffin” showed a band that had moved beyond mere “deathcore” trappings and had evolved into a modern metal band, as uncompromising and accomplished as any of their contemporaries or influences.

Venja brings together the extremes of musical tradition. The computer technology of the high-tech era together with the soft timbre of classically trained female singers. The two are finely balanced. When anyone accuses the creators of electronic music that their sounds are subdued and bizarre, Venja can teach them the error of their ways. Even though this musician considers himself to be a synthesizer purist. Venja lives in the eastern part of Belgium and has an education into digital technologies and so he build his first instruments himself. The millions of sounds which he can entice out of these instruments fascinate him and fill him with enthusiasm. This is the raw material for his “sound painting” much simular to the paint which painters place on their palettes. “Combining sounds in the right way, i.e. using them in the right context and breathing live into them, this is what puts the harmony into my music”, he says.