Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. Engineered by Conny Plank, it was recorded in March 1971 and released in June 1971 on Ohr.

Schwingungen is the second album by the Krautrock band Ash Ra Tempel. It was released in 1972 on Ohr. It has been re-released four times, most recently in 2011 on MG Art Records. The first song on the album contains a reminiscence to the blues - Peter Green's playing on Fleetwood Mac's Albatross.

Vocalist Catherine Russell's third album for World Village is a wonder, pure and simple. On this collection of 13 songs, titled Inside This Heart of Mine, the thread that ties it all together, is the special place these songs hold inside the heart of the singer. Let's describe that heart. It's warm and effusive, bluesy and erudite, bold yet vulnerable, passionate yet ethereal. Starting to get the drift? If not, then listen to Catherine's masterful reading of 'Troubled Waters,' a seldom heard tune scored by the Duke Ellington Orchestra, performed here as a sultry meditation, reaching deep into the cockles of one's being. This decades spanning collection, originally performed by the likes of Louis Armstrong, Duke Ellington, Peggy Lee, Maxine Sullivan, Howlin' Wolf, Wynonie Harris, Fats Waller, and Catherine's father, Luis Russell, draws from Vaudeville wit, Tin Pan Alley tune craft, New Orleans swagger, Swing Era sock, the European Cafe, Jump Blues jive, modal Delta Blues, and Django-esque swing, with an immediacy and a timeless quality that's refreshingly oblivious to current 'trends.' Catherine's third album represents a deepening of a well-established, tried and true, approach.

Supernatural Fairy Tales: The Progressive Rock Era is a 5-CD compilation of progressive rock from around the world. It was curated by Archie Patterson of Eurock, and released by Rhino Records in 1996. The cover art is by Roger Dean, longtime cover artist for the genre. Reviews of the set generally note the difficulty of summarizing such a broad and far-reaching genre, as well as the obvious omission of several big-name bands whose music could not be licensed for inclusion. However, several lesser-known tracks from a broad variety of bands make the set an interesting listen.

Encased in a classy sleeve painted by Scottish playwright John "Patrick" Byrne, the first LP from the tumultuous Stealers Wheel is a debonair affair comprised of the kind of accomplished and polished pub pop for which impetus Gerry Rafferty would become known as he subsequently rode out the decade on the sublime radio single "Baker Street ." Rafferty released his first solo slab, Can I Have My Money Back? (the title already showing signs of unrest) in 1971, and brought amigo Joe Egan from those sessions to the princely proceeding here. Worthy musical moments abound, all forever overshadowed by the clever corporate-snub "Stuck in the Middle With You" which branded the duo a one-hit wonder when the track took on a life of its own…

In his 1919 essay “The Uncanny,” Sigmund Freud defines the term as follows: “the ‘uncanny’ is that class of the terrifying which leads back to something long known to us, once very familiar.” To this end, a feeling of uncanniness distinguishes itself from just being afraid because of its relation to what we already know, a disturbing variation of what we expect to see when we look in the mirror or the kind of horror that comes from inside the house. The uncanny valley, for instance, describes the creepiness that seeps in when we encounter an almost but not quite perfect replica of a human being (robots, computer animations, the list goes on).

INFINITE MOMENTS is an hour of ambient electronic music from veteran Norwegian composer Erik Wøllo. Across nearly four decades, 40 albums encompass Erik’s unique mix of layered synthesizers, melodic guitars and expansive percussion. This time he takes a different approach — there are no synthesizers! The album is performed entirely on electric guitars processed with the diffused sustain of the EBow and layered note structures of harmonizers. No rhythms, only long, vast and engaging soundscapes. Minimal, extended and infinite in its essence, the album is a meditative inward journey of stillness and reflection — an emotional mapping of the mind, beautifully weightless and contemplative.

Born 25th August, 1925 in Montreal, Canada, Oscar Emmanuel Peterson grew up in Little Burgundy, a predominantly black neighbourhood in greater Quebec. He took up piano and trumpet at age five, quickly becoming adept on both instruments. At seven he was diagnosed with tuberculosis which prevented him from playing the trumpet, he thus concentrated on the piano during this time, practising four to six hours a day. Studying under the Hungarian-born player Paul de Marky - himself a student of virtuoso Istvan Thoman - the young Oscar began learning classical piano but later switched to jazz styles, most notably 'boogie-woogie'. By 1961, with the piano-bass-drums line up now firmly established, the OPT performed a week's residency at The London House, a renowned jazz spot in Chicago. These performances were among the finest the new line-up ever gave, and were released on Verve as four separate albums; The Trio, Something Warm, The Sound Of The Trio and Put On A Happy Face, in '61 and early '62. The following year, Peterson's most commercially successful record Night Train (Verve, 1963), was released, another Trio masterpiece that due to its shorter track times, received considerable radio play.

This four CD collection however represents the first phase of Ellis's solo career when he acted as leader or co-leader through an era which is generally considered the great man's glory years. Featuring eight stunning and extraordinary albums released originally between the mid-1950s and mid 1960s, this compilation provides both a perfect starting point for newcomers and a welcome reminder of Herb Ellis's musical prowess and creative flow for everyone else.

Def Leppard celebrated the release of their "Drastic Symphonies" album (released the day of this show) by revisiting their club days and playing an intimate show in front of just under 900 die-hard fans at The Leadmill in their hometown of Sheffield, in support of the Music Venue Trust. Those lucky enough to score a ticket to one of the group's most unique shows in years, along with the global audience tuning into the livestream, were treated to a set filled with hits and rarities spanning their entire catalog from "On Through The Night" to the band's most recent album "Diamond Star Halos."

Limited Edition of 500 numbered copies. The Complete Soundboard Collection With Bon Scott. Bon Scott, the charismatic and now legendary front man for AC/DC who died on the eve of superstardom and who left a incredible musical legacy, the man who gave us such memorable quotes as “people ask me if i’m AC or DC, neither I’m the lightning in the middle” is the subject, or catalyst, for this exciting new release. Without alot of hoopla along comes this box set that presents all of the soundboard live recordings that feature Bon Scott on vocals. Since the band was in their formative years and were a touring band they used radio as a means to get their music out to people to be heard, the majority of this set is culled from these radio broadcasts. They are not only among the best in quality but also performance.

After Le Chat Bleu, this Mink DeVille record foretold the depth and dimension of Willy DeVille's talent and the lengths he would go to as a vocalist and songwriter to get the right mix of emotion, drama, and rock & roll attitude. Featuring the core band from Coup de Grace – Louis Cortelezzi on sax; Kenny Margolis on keyboards, including accordion; DeVille and Rick Borgia on guitars; and Tommy Price on drums – the seam in the album comes on the second track, "River of Tears," with its stunning soprano saxophone lines, marimbas, accordions, and howling, raw, Gato Barbieri-like tenor lines in the choruses. When DeVille sings, "Every night lonely, empty dreams/Here comes that tide washing over me/Not again/Oh no/Not again/I don't want to cry/But there's tears in my eyes/I don't want to cry/That river of tears," the horns and accordion swirl around him until the final 16 measures, when the guitars and marimbas envelop all his loss in their warmth. His voice is the grain of every rock & roll lothario's Waterloo. DeVille follows this with a scorching Cuban son called "Demisado Corazon," featuring full salsa horn and percussion sections.

This is a fine CD of Blues Brothers material, featuring the original Blues Brothers Band and frontman Larry Thurston, performing at Montreux Jazz Festival on July 12, 1989. From the late '80s through the early 90's, the Blues Brothers Band was a popular touring act throughout Europe, with Mr. Thurston doing a fine job on lead vocals. None of the other 90's Blues Brothers frontmen (Dan Ackroyd, John Goodman, Jim Belushi) appear on this CD or in this Line-Up. Not exactly "essential", but a good performance of the tour band during this period of the band's history.

Sacrifice is the twelfth solo studio album by English musician Gary Numan, released in October 1994 by Numa Records. Its release followed a self-acknowledged career low point, Machine + Soul (1992), and is often cited as marking the start of a critical and artistic rejuvenation for the one-time pop star. The album was released in the US in 1997 with a different cover by Joseph Michael Linsner, and a new title, Dawn, based on the comic book character of the same name, but the track listing was identical. On Sacrifice, paraphernalia which Numan had previously, by his own admission, relied upon in a bid to make his music more 'radio-friendly', such as saxophone solos, dance rhythms and female backing vocals, were dropped in favour of a back-to-basics approach that saw him playing practically all instruments himself. The result was a dirty industrial sound with darkwave undertones; a departure from preceding albums that was seen by many critics and fans as a return to the best features of his classic early work: brooding synthesizers, distorted guitars and a highly personal lyrical perspective.

The Book of Genesis tells us that in the beginning was the Word and that the Word was sound. But what if it was music? What if God, in contemplating the creation of Creation, sang being into being? If so, it might have sounded something like the Sacred Songs of Valentin Silvestrov. In this seventh ECM album devoted to the Ukrainian composer’s music, we thusly encounter a sense of space unique to the Russian liturgy: the more the voices unify in movement, the more they lift from one another like temporary tattoos, leaving behind mirror images that wash away with baptism into infinite oneness with the Holy Spirit. Sin as sun. Firmament as fundament.