Both of Young Flowers' studio albums (1968's Blomsterpistolen and 1969's No. 2) are included in their entirety on this two-CD compilation, which also has a 1967 non-LP single and the three songs they contributed to the 1970 Quiet Days in Clichy soundtrack, as well as three live September 1969 recordings. With English-language liner notes, it's the definite collection of this Danish psychedelic group. As the back cover points out, they were "the first Danish hippy band, the first home-grown rock band to sing in Danish (though the majority of their recordings were in English), and the first to play the States." These are substantial achievements, so it makes a reviewer feel like a party pooper to point out that in many respects, they were a run-of-the-mill late-'60s act. Their debts to Jimi Hendrix and Cream, in both the song structures and the guitar distortion…

History has proven that when the world is in flames, it ignites the empathetic artists to siren their words, music, and rhythm, to blanket our society’s fury and nurse scorched souls. The seemingly endless years of pandemic lockdown and social distancing, coupled with the turbulent plague of civil unrest and racial injustice, called on Vintage Trouble to step into their battle wear. Like so often before, they have spun records to drop onto the fighting grounds, with the intent to freeze the frame long enough to momentarily halt the warring world. And while at ease, we can freely choose to think before we strike or decide to retreat, rather than thoughtlessly charge into repeating history. This collection of heavy hymns is from the heart, and it provides a necessary rise to our ever reckoning.

The Times They Are a-Changin' is the third studio album by the American singer-songwriter Bob Dylan. It was released on February 10, 1964, through Columbia Records. Whereas his previous albums, Bob Dylan (1962) and The Freewheelin' Bob Dylan (1963), combined original material and cover songs, this was the first to feature only original compositions. The album consists mostly of stark, sparsely arranged ballads concerning issues such as racism, poverty, and social change. The title track is one of Dylan's most famous; many feel that it captures the spirit of social and political upheaval that characterized the 1960s. Some critics and fans were not quite as taken with the album as a whole, relative to his previous work, for its lack of humor or musical diversity. Still, The Times They Are a-Changin' peaked at No. 20 on the US chart, eventually going gold, and belatedly reaching No. 4 in the UK in 1965.

Ian Gillan's final solo outing before his second comeback with Deep Purple is possibly the singer's most rocking solo collection. Originally a European release, Toolbox finally appeared in North American record stores in 1997. The disc is hampered by its '80s production (complete with faux-Van Halen guitar licks and big reverb drum sounds) but Gillan's personality and dynamic performances preserve Toolbox's sharp rock & roll edge. Tracks like "Candy Horizon" and "Don't Hold Me Back" have more than their share of questionable lyrics, but Gillan's trademark screams easily overshadow any poetic shortcomings. Nothing can compare to the classic recordings Gillan was involved with in the early '70s, but among his second-tier offerings, Toolbox is definitely one of the best.

This delightfully wide-ranging jazz quintet album from Kenny Barron opens with a delicate reading of Washington and Carmichael’s “The Nearness of You” and closes with a brisk sax and piano duet cover of Thelonious Monk’s “We See”. There is a nod to the Jazz Messengers with drummer Jonathan Blake’s composition “Blues on Stratford Road”, and drums and piano rampage through an unusually taut duet version of “Softly as in a Morning Sunrise”.
But the body of the album, and indeed its subtle emotional range, comes from the five Barron originals that span the breadth of the pianist’s 50-plus-year career. “Sunset”, released on Muse in 1973, was the first track on Barron’s debut solo album Sunset to Dawn. Back then it was interpreted through swirls of resonant Fender Rhodes, but here an acoustic band get to the essence of the tune’s prowling melody and sinuous left-hand groove…

2006 reissue with 4 previously unreleased bonus tracks.
High Tide's self-titled second album from 1970 continues the great jamming heavy prog rock tradition that they initiated with Sea Shanties from 1969.
"High Tide" grafts violin (courtesy of future Hawkwind and Third Ear Band member Simon House), alongside little touches of organ, piano and more acoustic guitar flavours this time around, and the LP offers fleeting moments of folk, raga-rock and acid elements woven to the relentless mud-thick sludgy guitars.

Recorded live on May 21, 1994 at the Breminale Blues Nights festival in Bremen, Germany, a treasure of an album from a man who spent over half a century in an urban hipster’s world of jump and jive. Floyd passed away in 1995 at the age of 80, but fortunately we have this live date to celebrate his long life in music. For Floyd that journey included playing the 1933 Chicago World’s Fair, pop success in the 1940s and ’50s with the Four Blazes, an extended run with the Ink Spots in the ’90s, and a blossoming solo career that includes his first album as a leader, Let Your Hair Down. His whiskey-smooth vocals and Charlie Christian/T-Bone Walker-influenced guitar work are in fine form here. This was Floyd’s last recording, but through it his music goes on.

Another leap in musical sophistication made Yello's second album another high point in the development of synth pop. The future of Euro-disco and dance-pop are easily audible from the opening "Daily Disco" and other tracks like "Pinball Cha Cha," "The Evening's Young," and "Cuad el Habib." Though Claro Que Si is slightly more pop-oriented than the group's debut, with Boris Blank's electronics just as innovative and obtuse as before, that's hardly a step backward.

Though most new age music has rightfully been associated with the cynical postmodern business of sonic backdrop music of the 1980s, '90s, and early 21st century – it was originally an outgrowth of the spiritual adventurousness of the 20th, particularly during the late '60s and '70s. Light in the Attic presents the first overview of the genre from the private-press side; in other words, its most authentic expression, since the vast majority of the records surveyed here were released by artists who had no regard for economic remuneration.

Published by Documents (Membrane) in 2017. Featuring, Elvis Presley, Paul Anka, Pat Boone, Johnny Cash, Fats Domino,Cliff Richard, The Shadows and many more!

For Gustav Mahler's 150th birthday, EMI has assembled a 16-disc box set of his complete works, including not only the ten symphonies, Das Lied von der Erde, and the song cycles, but also the early cantata, Das klagende Lied, and the extant movement from the Piano Quartet in A minor, two works which arguably can be called Mahler rarities. Having all these pieces together in one large collection is undeniably a great convenience, and many will consider buying this set not only for that reason, but also for the historic nature of the recordings. The roster of conductors features such legends as Sir John Barbirolli, Otto Klemperer, Wilhelm Furtwängler, Bruno Walter, George Szell, and Jascha Horenstein, along with later Mahlerians, Klaus Tennstedt, Sir Simon Rattle, and Carlo Maria Giulini, all of whom left remarkable recordings that still are essential listening.

666 (subtitled The Apocalypse of John, 13/18) is the third and final studio album and only double album by Greek progressive rock band Aphrodite's Child, released in June 1972 by Vertigo Records. An ambitious double-LP concept album, ostensibly an adaptation of Biblical passages from the Book of Revelation, 666 was composed by keyboardist Vangelis and lyricist Costas Ferris. Conflict within the band and with their record company over the album's uncommercial style led to its release being delayed for more than a year. Though it was eventually released to a lukewarm critical and commercial reception, it later attracted a cult following among fans and musicians and became the group's most acclaimed project. It has appeared on various lists of the greatest progressive rock albums of all time.

Japanese edition with bonus track.
In the new somber group, Cemetery Skyline, Markus Vanhala (Insomnium, Omnium Gatherum) is joined by keyboardist Santeri Kallio (Amorphis), drummer Vesa Ranta (Sentenced, The Abbey), bassist Victor Brandt (Dimmu Borgir and many more) and singer Mikael Stanne (Dark Tranquillity, The Halo Effect).
"We all share a deep love for goth rock from the 80s and 90s - whether it's more synth-driven or heavier guitar-dominated stuff. You know the deal with the best bands from The Sisters of Mercy to Type O Negative", says Santeri Kallio, who shares songwriting duties with Vanhala…

Danger Money is the second and final studio album by the progressive rock supergroup U.K., featuring John Wetton , Eddie Jobson and Terry Bozzio. It was released by E.G. Records / Polydor in March 1979. "The Only Thing She Needs", "Caesar's Palace Blues" and "Carrying No Cross" had been performed on tour throughout 1978 (and an early version of "Carrying No Cross" included what became the intro to the title track) by the band's original line-up with Bill Bruford and Allan Holdsworth. "Rendezvous 6:02" and "Nothing to Lose" were both edited for single release.

THE BRITISH INVASION: The British Invasion was the signalling event of a gigantic social change that progressed through the decade, a decade in which each year seemed to contain ten years' worth of changes. it was an effect of historical and technological changes outside the purview of a CD review. It may be seen partially as a sub-generation of youth wanting something new of their own rather than inheriting their older sibling's teen scene. In the U.S. some feel the assassination of J.F.K. is often seen as a catalyst. Though Beatlemania was an international phenomenon, it can't be completely discounted as a factor. When it happened it was sudden and it almost totally obliterated the previous pop scene. The few who survived (Gene Pitney, Lesley Gore, Jan & Dean, Beach Boys, Four Seasons, Elvis) mostly had a final big hit or two in '64 then remained in a diminished way never having a Top 10 hit again. Only the Beach Boys and Four Seasons got through relatively unscathed. Another part of the big change in 1964 was the rise of Motown which obliterated most older R&B acts as much as the British Invasion did pop, a fact that is often ignored.