Hard Time Killin' Floor isn't the first Skip James collection, and one could bet it will not be the last. But Hard Time Killin' Floor makes a pretty good argument for itself: the hour-and-six-minute album holds all of James' early work, and it's been remastered. James' soulful vocal style, like Robert Johnson's, has often been noted, but his quick picking style is also distinctive. "I'm So Glad" is performed at an up-tempo, breakneck pace, and the finger work will leave the listener dizzy. The title cut, on the other hand, has a slow, lazy quality, with the blue notes of the guitar matching the singer's mournful cry. James was somewhat unique among blues guitarists in that he also played piano. His spunky gospel style is on full display on songs like "How Long Buck" and the bizarrely titled "Little Cow and Calf Is Gonna Die Blues"…

Shortly after Wes Montgomery's shockingly early death, Verve rummaged around in the vaults and came up with some additional tapes from the live Smokin' at the Half Note sessions with the Kind of Blue rhythm section, Wynton Kelly, Paul Chambers, and Jimmy Cobb. And then after-the-fact producer Esmond Edwards did a controversial thing - he commissioned Claus Ogerman, the arranger on Tequila, to overdub wind and brass arrangements on four tracks: the title tune, "Portrait of Jennie," "Oh! You Crazy Moon," and "Misty." The critics promptly pounced on Verve, NARAS responded by giving the album a Grammy, and the whole issue became moot when subsequent reissues of the four tracks erased the new backing charts. Yet on the whole, Ogerman did a good job; his arrangements are subtle and, in the case of the title track, swinging, with the flutes adding effective responses within Montgomery's statements of the theme…

Invisible are from Argentina and they released 3 albums in the seventies before calling it quits. Luis Spinetta was the leader and an incredible talent. He played lead guitar and sang on the first two albums, but on this the final record they brought in this virtuoso to play lead guitar while Luis sang while still adding some guitar.
With respect to the players they are all excellent with the guitarist being a true virtuoso. Tomas Gubitsch uses clean tones on his guitar and emphasizes an almost jazzy approach to his playing, which can get very fast, especially on the instrumental piece. The eight tracks on the album range in length from 3'24" to 7'08" and more or less consist of extremely interesting and thoughtfully arranged songs with "proggy" interludes scattered throughout. All in all, this is yet another fantastic and creative album from the Argentinian progressive scene.

Esoteric Recordings are pleased to announce the release of a newly re-mastered edition of Tangerine Dream’s classic soundtrack to the legendary film Sorcerer, directed by William Friedkin in 1976. Tangerine Dream members Edgar Froese, Christopher Franke and Peter Baumann composed a stunning electronic score which perfectly accompanied Ffriedkin’s imagary and was the band s first commission for a Hollywood movie. This Esoteric Reactive edition is newly re-mastered, restores the original album artwork and includes a lavishly illustrated booklet with new essay.

2013 release, the first studio album to bear the name 'Iggy & The Stooges' since Raw Power was released in 1973! Ready To Die finds Iggy Pop, guitarist James Williamson and drummer Scott "Rock Action" Asheton reunited for a full album of all-new material with Mike Watt filling in for the late Ron Asheton on bass. The results are the closest thing to a time capsule to 1973 - or at least to Iggy's subsequent efforts with Williamson, including 1977's Kill City and 1979's New Values - that rock 'n' roll is likely to proffer in this millennium. The new album's opening one-two of 'Burn' and 'Sex & Money' pair sublimely blunt and self-explanatory subject matter with back alley razor-blade guitars and a troglodytic rhythmic stomp as intensely single-minded as Iggy's lyrical statements of intent. Elsewhere on the album, anthems abound in the form of the most dead-on rallying cry for the lower-working-class dispossessed to date–the succinctly and aptly titled 'Job' - as well as a title track that mixes a signature Iggy Pop mission statement of angry desperation with guitar pyrotechnics that recall those halcyon opening salvos of 'Search & Destroy'.

This release presents two albums by Johnny Hodges, recorded outside of the Ellington setting and both appearing here on CD for the first time ever. The first, which was originally released as PREVIOUSLY UNRELEASED RECORDINGS, is in quintet format and marks Hodges only recorded encounter ever with Argentinean pianist and composer Lalo Schifrin, who contributes two compositions. While the second album, THE ELEVENTH HOUR, showcases the saxophonist soloing on standard tunes with a big band of winds & strings, conducted & arranged by Oliver Nelson.

Season of Lights is the first live album by New York singer, songwriter, and pianist Laura Nyro. Columbia Records issued the album in the summer of 1977, taking the songs from various locations on Nyro's 1976 tour in support of her most recent studio album, Smile.

Primitive Dance is a 1987 album by Irish singer/songwriter Paul Brady. The song "The Awakening" features the vocals of Irish singer Moya Brennan. Mark Knopfler guests on guitar on one track.

The Beauty Process: Triple Platinum is the fifth studio album by American rock band L7, released on February 25, 1997 by Slash Records in collaboration with Reprise Records. The band recorded most of the album as a trio formed by founding members Donita Sparks and Suzi Gardner, and longtime drummer Demetra Plakas, following the departure of bassist Jennifer Finch. The album marks a departure from the tough rock style of its predecessors to a slower and more adventorous style. The album received generally favorable reviews from critics, who praised its attitude-filled lyrics and more liberating style compared to previous L7 albums.

Let It Loose/Anything for You is the 10th studio album by Gloria Estefan and Miami Sound Machine, released in 1987. It is the first studio album credited to Estefan as a solo artist, but is her 10th album overall including her work with Miami Sound Machine. The album was re-released under a new title Anything for You and new cover art in Europe, South Africa, Australia and New Zealand, starting in October 1988 through early 1989. To date the album has sold more than 8 million copies worldwide.