Flying the flag for British rock throughout the Seventies and well into the next decade, Climax Blues Band were at the forefront of high quality, entertaining music, performed with equal success ‘live’ and on record. This ten track selection was first released in 1980, a time of change and conflicting influences. But whatever the moods affecting the musicians, they always played with maximum passion and expertise, as is revealed on ‘Flying The Flag’. The opening number ‘Gotta Have More Love’ is closer to disco pop than the blues that first inspired the group, but whatever style they espoused, Climax always delivered songs with cool expertise. And the core feeling for the rockin’ blues can always be found in performances like Peter Haycock’s outstanding ‘So Good After Midnight’ and the aggressive ‘Blackjack And Me’, that are among the highlights of a vibrant high flying album.

Two years after 2013's The Beast in Its Tracks, the good news is Josh Ritter is feeling better about things. While The Beast in Its Tracks documented Ritter's often unsettled state of mind after the collapse of his marriage, 2015's Sermon on the Rocks is the sound of a man on the rebound, and while the album is hardly sunshine and cold beer throughout, these songs clearly reflect Ritter's tenacity and spirit rather than the damaged emotions that were front and center two years earlier. "Getting Ready to Get Down" finds Ritter offering a small-town girl some advice to forget Bible college and see a bit of the big bad world, and the tale is told with the swagger of a guy who wouldn't mind showing her a few things himself.

First complete anthology of late 60s recordings by highly-regarded Irish singer/ songwriter. Includes his best-known song, the huge European hit 'Days Of Pearly Spencer', as well as more than a dozen tracks making their CD debut. At the height of the protest singer boom that spawned the likes of Dylan and Donovan, Irish-born music industry heavyweight Phil Solomon received a demo tape from a young Ballymena-based singer/songwriter by the name of David McWilliams. Sensing the possibilities, the entrepreneur added McWilliams to his Irish-based roster of acts (The Bachelors, The Dubliners, Van Morrison's Them, etc) and placed the youngster on his fledgling record label Major Minor. Launched in a blaze of publicity in mid-1967, McWilliams coupled voguish songs about social deprivation with lighter, more romantic material, with producer and occasional Beatles/ Rolling Stones associate Mike Leander providing the striking string arrangements.

The minor San Francisco group Lamb tend to be remembered only for their appearance on the Fillmore: The Last Days concert album, where they were one of several non-star artists on a set dominated by bigger names like the Grateful Dead, Santana, and Boz Scaggs. The band did actually put out three albums in the early '70s, however, and were quite an interesting group. Not only were they not readily comparable to other acts on the San Francisco rock circuit, but it's debatable whether they could be fairly categorized as a rock band at all. Their music blended jazz, folk, singer/songwriter pop, gospel, and even some classical and avant-garde influences. Certainly the dominant figure was singer Barbara Mauritz, whose bluesy and earthy vocals had considerable resonance, but which could also traverse the band's frequently mystical, poetic lyrics with much delicacy and nuance…

Artificial Paradise is the tenth studio album by the Canadian rock band The Guess Who. It was released by RCA Records in 1973. This was the first album by the group to feature bassist Bill Wallace. Musically, Artificial Paradise finds The Guess Who showcasing a variety of styles: rockers ("Orly", "All Hashed Out," "Rock and Roller Steam"), ballads ("Samantha's Living Room," "Lost and Found Town"), and even world music ("Hamba Gahle-Usalang Gahle"). The album is likely best remembered for its record jacket and inner sleeve, which is an extensive lampoon of direct mail advertising. The cover mentions The Guess Who only in passing.

Sonny Boy Williamson was, in many ways, the ultimate blues legend. By the time of his death in 1965, he had been around long enough to have played with Robert Johnson at the start of his career and Eric Clapton, Jimmy Page, and Robbie Robertson at the end of it. In between, he drank a lot of whiskey, hobo'ed around the country, had a successful radio show for 15 years, toured Europe to great acclaim, and simply wrote, played, and sang some of the greatest blues ever etched into Black phonograph records. His delivery was sly, evil and world-weary, while his harp-playing was full of short, rhythmic bursts one minute and powerful, impassioned blowing the next. His songs were chock-full of mordant wit, with largely autobiographical lyrics that hold up to the scrutiny of the printed page. Though he took his name from another well-known harmonica player, no one really sounded like him.

Jarrett’s solo concert tradition continues with two highly creative performances of recent vintage - from Paris’s Salle Pleyel on November 26, 2008, followed by London’s Royal Festival Hall on December 1. The English date was Jarrett’s first London solo concert in many years and, in the words of one reviewer, “triggered the sort of ecstasy that might greet a returning prophet”. As with “Radiance” and “The Carnegie Hall Concert”, the music covers a wide arc of expression, as “that old Jarrett magic forges majestically on” (The Guardian).

Four-hour, 3CD, 91 track anthology of late 60s American bubblegum pop. Hit singles, cult collectables and obscure album tracks. Featuring The Archies, The Monkees, Ohio Express, 1910 Fruitgum Co., The Lemon Pipers and Crazy Elephant. In the late summer of 1966, manufactured pop quartet The Monkees – a Beatles-inspired concept inevitably nicknamed the Prefab Four – made their TV and vinyl debut. Overseen by industry veteran Don Kirshner, whose Brill Building-honed team supplied most of the songs, The Monkees were aimed at the pre-teen market effectively disenfranchised by the increasingly sophisticated nature of mid-60s pop.

The Greatest Show on Earth - Horizons (1970). The Greatest Show on Earth were one of the more stylistically original signings to EMI’s legendary Progressive label Harvest. The band was formed in 1968 and featured brothers Garth and Norman Watt-Roy (who played guitar and bass respectively), along with American vocalist Ozzie Lane, Mick Deacon on Organ, a horn section of Dick Hanson, Tex Philpotts and Ian Aitcheson and drummer Ron Prudence. Initially beginning life as a Soul outfit, the band’s musical direction changed when vocalist Lane returned home to New Orleans in early 1969. Replaced by Colin Horton-Jennings (who also played guitar and flute), the band began to take on board more "progressive” influences, incorporating rock, jazz and acoustic music into their sound…

Handel's stay in Italy between the years 1706 and 1710 resulted in a time of intense creative activity, and he quite naturally gravitated towards the cantata.

"Astounding" doesn't even come close to describing these '60s recordings of Bach's organ works played by Karl Richter on the Jaegerborg-Kirche organ in Copenhagen. Richter's technique is more than astounding; it is stunning in its virtuosity. While there are a handful of organists that equal Richter, there are none who surpass him. From his incredibly independent hands to his unbelievably dexterous pedals, Richter is a marvel.

The most comprehensive edition devoted to Gioacchino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. Big in Japan is the double CD plus DVD release by Klaus Schulze - drawn from his performances in Tokyo on the 20th and 21st of March 2010. This multi-disc set provides all the "playing in the moment" excitement listeners love in their live albums, yet also delivers the powerful and lasting listening experience one would expect from a musical legend.

Vaya Con Dios was a Belgian music act that stood out for its mixing of styles, as well as the distinctive voice of its lead singer Dani Klein. It was one of the most successful Belgian music acts ever, having sold more than 10 million albums and more than 3 million singles. It was founded in 1986, but after 1991 Vaya Con Dios was for the most part a one woman band, centered on singer, lyricist, band leader and producer Dani Klein, reinforced by an ever-changing selection of musicians. In 2014, Dani Klein performed her last international tour under the Vaya Con Dios formula. Vaya Con Dios officially disbanded with their last concert on 25 October 2014, in Forest National.

Two CD set. First-ever complete anthology of highly regarded early 70s American proto-power pop band Crabby Appleton. After the demise of Curt Boettcher's late 60s project The Millennium, gifted singer and songwriter Michael Fennelly joined forces with LA club band Stonehenge to form Crabby Appleton. Signed to Elektra, they made their debut with the glorious 'Go Back', a hit single that married a mid-60s pop sensibility with early 70s studio advances to stand as a proto-power pop classic. A slightly different mix of the track featured on their self-titled debut album, which attracted rave reviews from the underground press and sold reasonably well. But the band were unable to follow 'Go Back' with another hit single, and after second album 'Rotten To The Core!' made little impact, they disintegrated. The first-ever complete compilation of the band's work, 'Go Back: The Crabby Appleton Anthology' includes both albums and a raft of singles (including rare mono mixes and non- LP tracks) as well as two miniature tracks that were only included on the first album's 8- track release and are therefore making their first digital appearance. Featuring a new 5000 word essay on the band, and housed in a stylish digipak, 'Go Back' is the definite document of a fine group that deserve to be remembered as far more than one-hit wonders.