Four CD set. Emerging from the ashes of Southend-based late '60s psych-pop crew Cardboard Orchestra, heavy rock band ZIOR were one of the first acts to attach themselves at the turn of the decade to the occult-themed heavy rock element of the British underground scene. Although ZIOR never really threatened to replicate the commercial success of brand leaders Black Sabbath, their live shows were hugely theatrical events involving mock-sacrifices, staged fights and diabolic costumes and masks that terrified their young audiences and apparently freaked out other bands as well! They also left behind three albums that have been wildly collectable for many years. Their self-titled debut set ZIOR was issued in 1971 by the Nepentha label in a highly atmospheric gatefold sleeve design by the legendary Keef. A year or so later, Nepentha boss Larry Page put out the German-only release Every Inch A Man, an equally thrilling collection. Sandwiched between those two albums, ZIOR also pseudonymously recorded the LP The First Monument, which was promoted as the work of members of a witches' coven in downtown Essex. All three albums, plus ZIOR's 2018 reunion album Spirit Of The Gods, are now collected for the first time on Before My Eyes Go Blind, a 4-CD set that's presented in a clamshell box with replica album sleeve wallets, a lengthy new essay on the band and a number of evocative, previously unpublished photos.

"Campari Sunset Chillout" is a compilation album released in 2010, featuring a curated selection of chillout and downtempo tracks designed to evoke a relaxed, sunset vibe. The album captures the essence of leisure and enjoyment, making it perfect for lounging by the pool or unwinding after a long day.

These are the last recordings in the Fats Waller legacy. The 22 tracks are drawn from sessions recorded in March and July of 1942 and January and September of 1943. Featuring the last recordings with his rhythm, a version of "That Ain't Right" with Ada Brown on vocals and V-disc recordings made for soldiers overseas during World War II. It is the V-disc material that proved Waller wasn't just a jovial clown, which he makes obvious on his version of "Sometimes I Feel Like a Motherless Child" performed on organ. Anyone only familiar with the Waller hits like "Ain't Misbehavin'" (included here in two separate versions) should hear this to gain perspective on his career.~Al Campbell

This deluxe reissue not only reintroduces the original EP in all its glory but also treats fans to a selection of bonus tracks, including vintage live performances and other rarities that showcase UFO’s dynamic live energy and musical evolution. The artwork has been revamped with an even sexier front cover image.
Recorded in the wake of the band’s electrifying 1987 tour in support of their ’85 album Misdemeanor, this EP marked the final collaboration between UFO frontman Phil Mogg and the virtuosic Japanese-born guitarist Atomik Tommy M. Much like its predecessor, Ain’t Misbehavin’ goes full throttle from beginning to end with Mogg matching his vocal prowess to the pyrotechnic playing of guitarist Tommy alongside superstar bassist Paul Gray (The Damned) and former Magnum drummer Jim Simpson. The brilliant lead off track, “Between A Rock And A Hard Place,” ranks up there with some of the band’s best rockers.

Nick Cave launched his solo career in style with From Her to Eternity, an accomplished album mixing the frenzy and power of his Birthday Party days with a dank, moody atmosphere that showed he was not interested in simply continuing what the older group had done. To be sure, Mick Harvey joined him from the Party days, as ever playing a variety of instruments, while one-time Party guest Blixa Bargeld now became a permanent Cave partner, splitting his time between the Bad Seeds and Einsturzende Neubaten ever since. The group took wing with a harrowing version of Leonard Cohen's "Avalanche," Cave's wracked, buried tones suiting the Canadian legend's words perfectly, and never looked back. From Her to Eternity is crammed with any number of doom-laden songs, with Cave the understandable center of attention, his commanding vocals turning the blues and rural music into theatrical exhibitionism unmatched since Jim Morrison stalked stages.

The Dutch cellist Harriet Krijgh and Russian pianist Magda Amara present a program of Rachmaninov pieces that sensitively reflect and capture his genius with this release. Along with well known Rachmaninov repertoire, the CD also includes Sonata for cello and piano op.19 which evolved after a lengthy period of depression and compositional despair catalyzed by the critical failure of his Symphony Nr. 1 and requiring therapeutic treatments to end. Some have said that after emerging from this creative black hole, Rachmaninovs humility and compassion produced works that were richer than was the case previously. This release makes a convincing argument that this was indeed the case.

Don't Give Me Names is the second studio album by the German band Guano Apes, released in 2000. It includes the hit single "Big in Japan" (a cover of the Alphaville song), which peaked at #9 on the German charts and remains one of Guano Apes' most popular songs. The album was certified gold in Germany and in Switzerland.
German alt-rock quartet Guano Apes feature vocalist Sandra Nasic, guitarist Henning Rümenapp, bassist Stefan Ude, and drummer Dennis Poschwatta. Ude, Rümenapp, and Poschwatta had been playing together for a while and added Nasic in time to win first place in the 1996 "Local Heroes" competition held by VIVA, Germany's music TV channel. Guano Apes' fusion of metal, pop, and rap beat out over 1,000 competitors, and their debut single, "Open Your Eyes," was a Top Ten hit in Germany that year and stayed in the Top 100 for 30 weeks…

Loveless is the second studio album by alternative rock band My Bloody Valentine. Released on 4 November 1991, Loveless was recorded over a two-year period between 1989 and 1991 in nineteen recording studios. My Bloody Valentine's relationship with Creation Records deteriorated during the album's recording, and the band was removed from the label after the record's release due to the difficulty and expense of working with Shields. While Loveless did not achieve great commercial success, the album was well received by critics. Widely regarded as a landmark work of the shoegazing genre, the record has been cited as an influence to several artists, and by critics as one of the best albums of the 1990s.

20 killer tracks from B.B. King's 1950s heyday, including quite a few alternate takes and a few tough-to-locate items ("Bye Bye Baby," "Dark Is the Night," "Jump with You Baby"). Many of the titles are familiar ones – "Woke Up This Morning," "Every Day (I Have the Blues)," "Please Love Me," "Whole Lotta Love" – but often as not, compiler Ray Topping unearthed contrasting versions from the same sessions that shed new, fascinating light on King's studio techniques.

New Orleans' favorite sons, the Neville Brothers, pool their talents again on this CD. Family Groove is a clever reference not only to the musical abilities of the four brothers, but to the shared interests and concerns of the brothers and their families. All the usual Neville elements are here: Charles Neville on the saxophone, Cyril Neville on the drums, Art Neville on piano, and the inimitable voice of Aaron Neville. Their message is the Neville gospel of social and political justice, as well as the importance of love and family. Hence, the family groove. In "Line of Fire," brother Art Neville speaks to the growing problem of drugs and guns claiming the lives of many young black men in the cities. Aaron's son, Jason Neville, makes an appearance with a rap tune lamenting the tragic plight of the homeless in the richest country in the world and the complacent America that looks the other way. The one-world outlook of the Nevilles is exemplified on the beautiful harmonies of "Let My People Go," as well as in their closing number, a traditional "Maori Chant."

The conventional view of Niccolò Paganini's 24 Caprices puts them among the encores and etudes violinists use to hone their skills and show off their prowess. But Julia Fischer regards them primarily as expressive works that are as rich in lyricism and emotional color as they are in advanced techniques, and her 2010 Decca album shows her considered approach to the music. There's no doubt about Fischer's impressive abilities, which are apparent from hearing the first Caprice, and all the trickiest double- and triple-stops, bowing styles, and various means of articulation that are included in this fantastic work reveal her phenomenal gifts. But as amazing as Fischer's performance is for sheer technique, it is highly pleasurable because of her polished musicality and firm control of every nuance that is either overt or suggested in the music. The notoriously difficult Caprice No. 6, which Fischer plays con sordino, has a special ghostly quality that makes it much more ethereal and Romantic in character than an exercise in playing trills. Even the ever-popular Caprice No. 9, and that favorite of composers of variations, the Caprice No. 24, have a freshness and vitality that come directly from Fischer's genuine feelings, not merely her dazzling skills. Decca's sound is crisp and clean, so the full range of the violin's timbres and dynamics come through without studio boosting. Highly recommended.

"St. Vincent's Court & Romance Dance" is a compilation album by Kim Carnes, released in 2004. This collection features tracks that highlight her signature sound, blending elements of pop, rock, and country. The album showcases Carnes' distinctive raspy voice and her talent for storytelling through music. It includes a mix of original songs and possibly some of her well-known hits, reflecting her successful career throughout the '80s and beyond. The tracks often revolve around themes of love, relationships, and personal experiences.

Campra’s famous Requiem emerged from a tradition that is still unjustly neglected. Sébastien Daucé and Ensemble Correspondances offer us an opportunity to discover these maîtres de musique of Notre-Dame who, though now overshadowed by their brilliant colleague, made no less of a contribution to the development of the ‘French style’ emblematic of the reign of Louis XIV.

White Lion was a Danish/American rock band that was formed in New York City in 1983 by Danish vocalist/rhythm guitarist Mike Tramp and American lead guitarist Vito Bratta. Mainly active in the 1980s and early 1990s, releasing their debut album Fight to Survive in 1985. The band achieved success with their No. 8 hit "Wait" and No. 3 hit "When the Children Cry" from their second album, the double platinum selling Pride. The band continued their success with their third album, Big Game which achieved Gold status and their fourth album Mane Attraction which included a supporting tour. White Lion disbanded in 1992 and not long after their first compilation album, The Best of White Lion was released. Mike Tramp reformed White Lion with all new musicians in 1999 and again following a failed attempt to reform the original line up and several legal issues in 2004. The new White Lion released a live album in 2005 and a brand new studio album Return of the Pride in 2008.

Seven and the Ragged Tiger - Originally released in 1983, Seven and the Ragged Tiger was the final Duran album with the original five members (until 2004). This third album was the first of Duran's to reach #1 in the UK charts. 'The Reflex' was remixed by Nile Rodgers and released as the third single on the album, it became the first US and second UK #1 single.