Wisely, the Cure decided to start fresh upon signing with their new label in 2004 by cleaning house, remastering the old albums, and bringing their fans Join the Dots: B-Sides & Rarities, 1978-2001. Not only is it the ultimate companion to the official releases, but it is, in a way, the new-super-deluxe-updated version of that cassette release of Staring at the Sea. Every B-side is included, in order, with cleaned-up sound, liner notes, and explanations by the man who made it all happen. All tracks, from "10.15 Saturday Night" (the B-side to the debut single "Killing an Arab") to covers of "Hello, I Love You," "Purple Haze," and "World in My Eyes," to entries from the Bloodflowers singles, are an indication that while the Cure made both strong albums and singles, they were not afraid to experiment along the way, and more importantly, they didn't let pride keep them from not making them available to those who were willing to look for them…

Two Great Guitars (1964). Two Great Guitars is a studio album by Bo Diddley and Chuck Berry, released in August 1964. It was the first studio album issued by Berry after his release from prison. The two men were friends, and both recorded for Chess. The album consists of two lengthy spontaneous instrumental jams plus a couple of recently recorded instrumentals by the two guitarists. The album cover shows a Gibson ES-350T owned by Berry and a guitar created by Diddley.
The Super Super Blues Band (1968). This is easily a "super super blues bust." Power trios, of course, were hip in the late '60s - even at down-home Chess Studios, where ad hoc "supergroups" were assembled for 1967's Super Blues and its sequel, Super Super Blues Band. (No one ever accused Chess Records of being subtle.)…

This three-album retrospective of bassist Eberhard Weber’s group, Colours, recorded between 1975 and 1980, is striking musically, historically, culturally, and creatively. As American and British jazz musicians were employing electric instruments to create edgier, funkier, and more stridently knotty music, many Northern Europeans were exploring an entirely different sonic universe: creating another pathway in jazz. Weber's work would help to define the ECM imprint's sound. Weber founded Colours in 1974 with saxophonist and multi-instrumentalist Charlie Mariano, keyboardist Rainer Bruninghaus, and drummer Jon Christensen - to be replaced in by John Marshall in 1977. Its 1975 debut, Yellow Fields, put painterly touches into a sonic kaleidescope that explored tonal and harmonic realms with acute compositional and improvisational attention to the space that surrounded jazz…

Official reissue of this underground cult classic of early 70's British Progressive Rock.
Tone-setting opener "Blood Runs Deep" alternates between the bludgeoning Neanderthal riffing of Black Sabbath and the horn- and keyboard-sparked refinements of a Genesis or Atomic Rooster; "Mijo and the Laying of the Witch" moves from portentous King Crimson horn lines to a North African Bedouin camp luau before settling into an insistent heavy trudge marked by histrionic vocals à la Sir Lord Baltimore; the title track prefaces its own proto-metallic freakout with a pagan toast featuring wooden blocks and woodland flutes sounding like Jethro Tull at their most eerie, and these qualities are also shared with the pernicious bolero "Black Jewel of the Forest"…

Ian Boddy's first collaborative release with fellow UK synth musician Andy Pickford. A real powerhouse of an album it was premiered by the duo at the third EMMA festival, Sheffield in 1995. The typicall melodies of both musicians together with an atmosphere like Mealstrom and interesting sequences and rhythms of both artists!