Dressed in a white jumpsuit, legs crossed, sandy blond hair perfectly coiffed, and sitting in a comfy tan chair with her trusty alto sax, Candy Dulfer looks perfectly angelic on the cover of her third album, For the Love of You. Some of the goofy shots on the inside sleeve cast her in the more mischievous light of her almost lookalike Jenny McCarthy, but the overall packaging – and that dazzling smile – caresses the eyes with femininity. But her deeper musical dimensions are decidedly masculine.

A sketchy and underfocused debut, Rocka Rolla nonetheless begins to delineate the musical territory Judas Priest would explore over the remainder of the decade: frighteningly dark in its effect, tight in its grooves, and capable of expanding to epic song lengths. On the other hand, Rocka Rolla is also murkier, less precise and powerful in its riff attack, and more blues-based; the stylistic debts to Black Sabbath and Deep Purple are obvious at this juncture, although they would become much less apparent on subsequent releases. The compositions alternate between short songs and extended suites; some are decent, but overall they don't establish a real direction and tend to plod aimlessly in many of the longer pieces. Mostly a curiosity for hardcore fans, Rocka Rolla definitely hints at Judas Priest's potential and originality, but doesn't always suggest the quantum leap in vision that would occur with their very next record.

Osibisa's second album 'Woyaya' would see the Afro-prog pioneers expand their sound to include more overtly jazzy overtones whilst also turning down the party atmosphere in favour of a more sedate and psychedelic feel. Again, guitarist Wendell Richardson and group leader, founder and saxophonist Teddy Osei are the dominant forces, but this time around the group's uplifting pallette of sounds features a more complex lilt that places 'Woyaya' much closer to the sounds of progressive rock. More thoughtful than their self-titled debut, 'Woyaya' is a complex and impressive album filled with dazzling instrumentation and a rich tapestry of African, Carribean and Western sounds and ideas that shows a band developing rapidly over a very short space of time. Fans of the group claim that this is their best album and it is hard to disagree.

Delightful new project, assembled by Tunisian oud master Brahem with producer Manfred Eicher. Combination of bass clarinet with oud suggests a link to Anouar’s “Thimar” trio, but this East/West line-up often feels closer to the more traditionally-inclined sounds of “Barzakh” or “Conte de l’Incroyable Amour”. Klaus Gesing, from Norma Winstone’s Trio, and Björn Meyer, from Nik Bärtsch’s Ronin, are both players with an affinity for musical sources beyond jazz, and they interact persuasively inside Brahem’s music. A dance of dark, warm sounds, urged onward by the darbouka and frame drum of Lebanaese percussionist Khaled Yassine.

The master of the tape loop returns with "Lamentations", yet another collection of eroded drone for low-light dreamers, captured and constructed from tape loops and studies from Basinski’s archives – dating back to 1979 – Lamentations is over forty years of mournful sighs meticulously crafted into songs. They are shaped by the inevitable passage of time and the indisputable collapsing of space – and their collective resonance is infinite and eternal.

The Dream Syndicate are at the foundation of contemporary alternative music because back in 1981 at a time when most bands were experimenting with new technology, they choose to bring back the guitar. Their seminal album The Days of Wine and Roses (1984) has been cited as influential by artists from Nirvana to the Black Crowes. Known for their incredible live performances, the band toured with everyone from REM to U2, before splitting up in 1988. In 2012 after years apart in solo projects, frontman Steve Wynn reunited The Dream Syndicate to perform at a charity festival in Spain. The reunited band took everything in baby steps. A few shows here and there - including a still talked-about set at Wilco's Solid Sound Festival. The shows were exciting - for both the band and the eagerly awaiting fans, many of whom weren't even alive when the band were around the first time. The next step was to see if the excitement and newfound chemistry would extend to the studio.

The Crazy World of Arthur Brown are an English psychedelic rock band formed by singer Arthur Brown in 1967. The original band included Vincent Crane (Hammond organ and piano), Drachen Theaker (drums), and Nick Greenwood (bass). This early incarnation were noted for Crane's organ and brass arrangements and Brown's voice and the burning helmet he used to wear during live shows.

From A Live FM Broadcast Recorded At The Montreux Jazz Festival, Switzerland, 9th July 1990.

Fronted as ever by David Thomas, Pere Ubu have unveiled their new album, 20 Years In A Montana Missile Silo, which opens the doors of the avant-garage to reveal the hardworking mechanics hammering away at the fundamentals of blue-collar rock.

An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community’s musical belief emerges in its simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki.

Trumpeter Ambrose Akinmusire has proven himself an artist of rare ability and wide-ranging aesthetic interests. Now with his bold new double-album A Rift in Decorum: Live at the Village Vanguard, Akinmusire reached a new pinnacle as he and his quartet - Sam Harris (piano), Harish Raghavan (bass) & Justin Brown (drums) - join a distinguished strata of jazz artists who've made live recordings in the hallowed New York City venue.

Gila (1971). Often referred by the title Free Electric Sound, Gila's debut is an amazing work, full of acid guitar freakouts, spacy organ and mellotron, exotic rhythm structures, and loads of electronic effects to fully realize the psychedelic visions. From the Floydian space rock of the first two tracks the record moves into even stranger realms on the four segued pieces that make up the second side of the original vinyl. "Kollaps" starts off with ritualistic drumming, a creepy organ riff, a crying baby, and guitar licks that threaten to explode at any moment. After some electronic effects "Kontakt" goes in an entirely different direction with airy acoustic guitar and keyboards and no rhythm section, like suddenly emerging into sunlight after the darkness of "Kollaps." As the track progresses seamlessly into "Kollektivivtat" and then "Individualitat" it again picks up momentum…

2014 five CD box set containing a quintet of releases from this New Wave act and their original frontman. Includes Kajagoogoo's first three albums: White Feathers, Islands and Crazy People's Right To Speak; plus Limahl's first two solo albums: Don't Suppose and Colour All My Days.
Kajagoogoo's light synth pop and pretty, photogenic look made the group an instant sensation in the early days of MTV. Led by vocalist Limahl (born Chris Hamill), the group also featured Steve Askew (guitar), Nick Beggs (vocals, bass), and Stuart Crawford (vocals, synthesizer). Produced by Duran Duran's Nick Rhodes, Kajagoogoo's debut single "Too Shy" hit number one in the U.K. in early 1983; it peaked at number five in the U.S. "Too Shy" and the following album White Feathers proved the band may have shared some similarities with Duran Duran and Naked Eyes…

Onetime rivals for R&B supremacy, the two blues greats hit the road together in the Seventies, where they soon discovered how well their styles complemented one another while bantering with expert comic timing. "Nothing is planned tonight," King announces early in this hour-long set, and whether or not that was true there's a spontaneous but never sloppy spark. It's instructive and exciting to hear King's guitar supporting another vocalist, particularly a master such as Bland.