For the first time ever, Michael Schenker returns to his classic years with UFO, revisiting the era that catapulted both him and the British hard rock band to international stardom. Produced by Michael Schenker and Michael Voss, the new album marks the 50th anniversary of Schenker's tenure with UFO, spanning from 1972 to 1978. Touring the globe as a teenager, Schenker became a driving force behind some of UFO's most beloved tracks, such as “Doctor Doctor”, “Rock Bottom”, and “Only You Can Rock Me”. During these meteoric years, the UFO albums 'Phenomenon,' 'Force It,' 'No Heavy Petting,' 'Lights Out,' 'Obsession,' and the seminal live album 'Strangers in the Night' were released, each contributing significantly to the genre. Now, Michael Schenker is set to celebrate those glory days with his new album, 'My Years with UFO,' alongside today’s rock elite.

On his last couple of Warner Brothers albums, Gorilla and In the Pocket, James Taylor seemed to be converting himself from the shrinking violet, too-sensitive-to-live "rainy day man" of his early records into a mainstream, easy-listening crooner with a sunny outlook. JT, his debut album for Columbia Records, was something of a defense of this conversion. Returning to the autobiographical, Taylor declared his love for Carly Simon ("There We Are"), but expressed some surprise at his domestic bliss… "Isn't it amazing a man like me can feel this way?" he sang in the opening song, "Your Smiling Face" (a Top 40 hit). At the same time, domesticity could have its temporary depressions ("Another Grey Morning"). The key track was "Secret O' Life," which Taylor revealed as "enjoying the passage of time"…

Georg Muffat’s “Missa in labore requies” alongside church sonatas of his contemporaries make up audite’s latest offering in the series of polychoral baroque music recorded by renowned Early Music performers.
With its octagonal layout and four galleries, the Abbey Church at Muri provides an ideal acoustic for performing polychoral music. The galleries surround the main body of the church, placing the audience in the midst of the musical event. This sound experience is unique, both in concert and in recordings. The considerable distance between the galleries creates challenges in the musical interaction of the different groups.

In its original form, Crown's Howlin' Wolf Sings the Blues LP was a patchwork compilation of sides cut for the Modern label in 1951-1952, including three songs that had previously showed up on RPM singles, a bunch of outtakes not released on 45, and a couple instrumentals that weren't even the work of Howlin' Wolf himself. The material hails from that confusing junction in his discography where his first Memphis recordings were being leased to both Modern and Chess, which is why material from that era has tended to get released on different labels. Certainly the Wolf's Modern sessions could have been better represented than they were by this 1962 album, but it's still groundbreaking early electric blues, though not quite up to the peaks he'd scale with his best Chess sessions of the mid-'50s to the mid-'60s…

The title of this set by alto saxophonist Paul Desmond refers to his having placed first once again in the alto chair in the Downbeat poll. Released in 1960, First Place Again is the result of an unexpected gathering of the rhythm section of the Modern Jazz Quartet: Percy Heath and Connie Kay, and Jimmy Giuffre 3 guitarist Jim Hall. The four musicians were all unexpectedly at home in New York and took full advantage of cheap, after-hours recording studio time to play out this set of standards and a pair of newer tunes, John Lewis' great blues, "Two Degrees East, Three Degrees West," and "East of the Sun (and West Of The Moon)," from a Princeton University theater work…

"Alice In Wonderland" is a 40 minutes-long piece of work, obviously based on the famous book by Lewis Carroll. It confirms Neuschwanstein's significant importance in German rock history: the band succeeded, from the beginning, in creating a fluid and refined music, intense and suggestive, typical of the creative enthusiasm of the early Seventies. Usually structured around the keyboards parts, the music often underlines vivid and very refined piano pieces. With its strong melodies, its airy and dynamic flute soli, its dreamlike atmospheres, and the subtlety of the guitar effects, influenced by Steve Hackett's style, "Alice In Wonderland" easily takes its place among the best contemporary works of Camel or Focus.

The title Horse Rotorvator is explained in the liner notes as a device large enough to "plough up the waiting world," created from the bones of the horses of the Four Horsemen of the Apocalypse. The Bay City Rollers this isn't. On the group's second full album, Coil continue the refinement of brute noise and creepily serene arrangements into a truly modern psychedelia, from tribal drumming and death march guitars to disturbing samples and marching band samples and back. Balance shares the same haggard, mystic vocal delivery common to fellow explorers of the edge like David Tibet and Edward Ka-Spel, but he has his own blasted and burnt touch to it all. His lyrical subjects range from emotional extremism of many kinds to blunt, often homoerotic imagery (matched at points in the artwork and packaging) and meditations on death…