Decameron produced four albums between 1973 and 1976 (Some discographies listed a recording called "Beyond the Light" but this never saw release). This long CD contains all of the third disk and a most of the worthiest pieces on the fourth. Considering their short recording career, Decameron exhibited a fairly wide range of musical styles and talent as they flitted from label to label. But it was all loosely in the British folk rock realm with more than a casual nod to the lighter elements of progressive rock in vogue at the time. The enigmatic style of that genre is displayed in the stunning "All the Best Wishes", the reverent "The Ungodly", the intensely melodic "Journey's End" bathed in mellotron, and "The Deal". The lighter pieces are equally engaging, such as "Saturday" about rolling down the windows and blasting the stereo and shouting obscenities at the market crowd, "Road to the Sea" with its rollicking rhythms and musical and lyrical allusions to the nautical, "Fallen Over", and "Tomorrow's pantomime".

The music written by Angelo Badalamenti, Jerry Goldsmith, Phil Collins, Kate Bush, The Doors and many others.

Real Love is the eighth studio album by German recording artist Sarah Connor, released by Epic on October 22, 2010 in German-speaking Europe. Connor's first album in two years, it involves production by Alexander Geringas, Robin Grubert, Michelle Leonard, and Erik Lewander as well as her frequent contributors Kay Denar and Rob Tyger. Released to a lukewarm reception by critics, the album debuted at number eight on the German Albums Chart and reached number fifteen and twenty-two in Austria and Switzerland respectively. Altogether, Real Love produced two singles, including "Cold as Ice," which reached the top twenty on the German Singles Chart, and its title track.

Before Depeche Mode inherited the techno-pop crown, Ultravox reigned over the electronic landscape. Pseudo Echo were one of Ultravox's most loyal fans, and their affection for the pioneering new romantics gushes from every synthethic groove on Love an Adventure. Thankfully, being a facsimile wasn't enough for Pseudo Echo. The cover of Lipps Inc.'s disco classic "Funkytown" was their only U.S. hit from Love an Adventure, and it was sadly misrepresentative of the album's stylish, hook-loaded dance rock. On "A Beat for You," driving hard rock riffs puncture Pierre Gigliotti and James Leigh's wall of synthesizers. Vocalist Brian Canham has a darkly erotic voice that only new wave groups seem to breed – imagine a cross between Jim Kerr of Simple Minds and Midge Ure of, no surprise, Ultravox. Pseudo Echo want people to move their feet, and this album is stocked with dancefloor scorchers such as "Living in a Dream", "Listening", and the funky "Try". "Funkytown" may have given Pseudo Echo a glimpse of commercial success, but the rest of Love an Adventure proved that they were capable of more.

The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music from Big Pink, here including "Whispering Pines" and "When You Awake"…

This well-rounded set (released posthumously) features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as "We Will Meet Again," Jimmy Rowles's classic "The Peacocks" and the "Theme from M*A*S*H." It's a solid example of the great pianist's artistry.

Early heavy Italian progressive rock with enough great hammond, electric guitar and drum courtship to ensure you never sleep well again. J.E.T. were known as a four piece ensemble who performed heavy yet classically influenced guitar and keyboard dominated prog rock. Their music exudes a clever and truly emotional listen never getting to loud or crazy for the listener. Although no shortage of harder rock driven moments, J.E.T. wind out into some simply gorgeous calm and spiritually uplifting melodies throughout. In many ways this is a very complete album reaching a vast range of moods and tempo changes. Vocals are well done with lots of compelling emotion.

The Blues Don’t Lie is the amazing new album from Buddy Guy, and is the legend’s 34th studio album, and the follow up to 2018’s Grammy winning album The Blues Is Alive and Well. Produced by songwriter/drummer Tom Hambridge, The Blues Don’t Lie features guests including Mavis Staples, Elvis Costello, James Taylor, Jason Isbell, and more. The album will be released exactly 65 years to the day that Buddy Guy arrive in Chicago on a train from Baton Rouge, Louisiana in September of 1957, with just the clothes on his back an his guitar. His life would never be the same, and he was born again in the blues. The Blues Don’t Lie tells the story of his lifelong journey. Reflecting on this body of work, Buddy says “I promised them all: B.B., Muddy, Sonny Boy as long as I’m alive I’m going to keep the blues alive.” He has indeed proven that again, and proclaims, “I can’t wait for world to hear my new album cause The Blues Don’t Lie.”