This is a big step forward for Carnie and Wendy Wilson and Chynna Phillips. Their first album, which was a phenomenal success, was shiny and happy and upbeat for the most part; this follow-up is murkier, with denser arrangements and hooks that aren't quite as obvious on first listen. This works both for and against the group. With their soaring harmonies, they bring a joyful brassiness to the hopeful "It's Only Life," which is this album's "Hold On" – though it is far from being a blueprint. The affirmation of love on track nine, "All the Way From New York," juxtaposed with track ten, the sexy rocker "Fueled for Houston," works, and it is the brightest spot on the album.

The Deep Purple spin-off project Paice Ashton Lord were formed by ex-Deep Purplers Ian Paice (drums) and Jon Lord (organ) with Tony Ashton, who had been in the Remo Four during the British Invasion era and then in Ashton, Gardner & Dyke (famous for "Resurrection Shuffle"). When they got together in mid-1976, Deep Purple had just broken up; for the sole Paice Ashton Lord album, the sound was filled out by guitarist Bernie Marsden and bassist Paul Martinez. That LP, Malice in Wonderland, was not nearly as heavy as Deep Purple had been, though it still owed much to mainstream British hard rock. However, there was a fair amount of jazz influence in the arrangements (which sometimes included brass) and some soul ingredients to the songwriting.

Anyone who thinks of Humble Pie solely in terms of their latter-day boogie rock will be greatly surprised with this, the band's second release, for it is almost entirely acoustic. There is a gently rocking cover of Buddy Holly's "Heartbeat," and a couple of electrified Steve Marriott numbers, but the overall feel is definitely more of the country than the town or city. "The Sad Bag of Shaky Jake" is a typical Marriott country ditty, similar to those he would include almost as a token on each of the subsequent studio albums, and "Every Mother's Son" is structured as a folk tale. On "The Light of Love," Marriott even plays sitar. Peter Frampton's contributions here foreshadow the acoustic-based music he would make as a solo artist a few years later. As a whole, this is a crisp, cleanly recorded, attractive-sounding album, totally atypical of the Humble Pie catalog, but well worth a listen.

With their recording of Dmitri Shostakovich’s complete string quartets, the Quatuor Danel has crafted an impressive opus that delves into the composer’s life with deep musical understanding and establishes unparalleled standards in interpreting his chamber music. These new live recordings, stemming from their 2022 residency at the Mendelssohn Hall of the Gewandhaus Leipzig, capture the full spectrum of emotions embedded in Shostakovich’s quartet cycle, from the ethereal to the profound, from the whimsical to the contemplative.

Founded by Anje Duhalde and Mixel Ducau in 1973, Errobi was one of the several bands from the Basque region of Spain that mix folk with prog. To their blend of symphonic rock and jazz, popular at the time, they added a nationalistic touch and the language of the proletariat. Though there are no keyboards, the sound is very full and layered, the long title track and "Andere" especially display the striking group synergy well. Having disbanded in 1979 they reformed for a short period in 1985.

Though Opeth have officially signed with Roadrunner, this double-live disc was released by former label Peaceville. This is welcome, because the band's first live offering, the DVD-only Lamentations: Live at Shepherd's Bush, was not able to focus on the first four recordings due to contractual problems. Apparently, this is worked out here, because all of the band's recordings are represented. That said, The Roundhouse Tapes, recorded at Camden Roundhouse, London, U.K., on November 9, 2006, is a double-disc set that captures this mighty band at their very best. The tour that Opeth undertook in support of Ghost Reveries was 18 months long; it began in June of 2005, and ended December 2006. They played 210 shows during that time. Given that this gig was near the end of the tour, it showcases the band at the zenith of their live powers…

Ubiquity (1971). Roy Ayers' leap to the Polydor label inaugurates his music's evolution away from the more traditional jazz of his earlier Atlantic LPs toward the infectious, funk-inspired fusion that still divides critics and fans even decades after the fact. Although Ubiquity maintains one foot in Ayers' hard bop origins, the record favors soulful grooves and sun-kissed textures that flirt openly and unapologetically with commercial tastes. Several cuts feature the male/female vocals that would become a hallmark of subsequent Ubiquity efforts, while mid-tempo instrumentals like "Pretty Brown Skin" and "The Painted Desert" feature evocatively cinematic arrangements and intriguing solos that unfurl like psychedelic freak flags…

A three-disc, 30-year retrospective of live Guru Guru, as it was entering into its fourth decade as a going concern. Drummer and spiritual leader Mani Neumeier is teamed with the "classic" Guru Guru lineup of Roland Schaeffer, bassist Peter Kuhmstedt, and guitarist Luigi Archetti at the 1998 Finkenbach Festival, looking over the band's then-30-year career and celebrating it with the familiar fractured funk and disco, playfully pretentious psychedelic insanity, and absurdist live skit show. Disc one presents the band jamming live on a set of songs (mostly from all vintages) - "Ooga Booga Special," "Jet Lag," and "Moshi Moshi" are all included on the nine-cut set - along with bonus track "Rastafari in Bayuwari." Disc two, called "Supersession," has Neumeier inviting up Damo Suzuki and the late Michael Karoli (Can), Ingo Bischof (Kraan), and Ax Genrich, Butze Fischer, Hans Reffert (former Guru Guru), and Japanese guitarist Uchihashi Kazuhisa…

One of a series of remastered and sonically enhanced editions of the Vangelis albums recorded for the RCA and Arista labels. All of which come in deluxe digipack designs, with masters personally supervised by Vangelis in 2013.
The ground-breaking experimental work ‘Beaubourg’ was Vangelis’ fourth and final album for RCA Records. Released in 1978, the album was recorded at Nemo, his personal studio in London and was a defining experimental electronic album of the era.
This Esoteric Recordings release (undertaken with the full approval and supervision of Vangelis himself) features a booklet that restores the original album artwork.

Rickie Lee Jones "unplugged" – in fact, solo with an acoustic guitar or piano on all but a couple of tunes – Naked Songs is otherwise a retrospective concert album on which Jones cherry-picks songs from her five studio albums, including the hits "Chuck E.'s in Love" and "Young Blood," and others from her breakthrough debut record. The studio album arrangements always tried to support and augment Jones' idiosyncratic writing and playing style, which sounds less unusual when she is simply accompanying herself, and in many ways more effective. "Altar Boy," a previously unreleased song, strays into Leonard Cohen territory, mixing religion with eroticism.

Thanks in part to Robert Palmer's hand in the process of compiling Addictions, Vol. 1, this early best-of is a fine peek into the musical passions that made Palmer tick. The 13 songs that make up the collection are mostly first-rate, and at the very least they present to a newcomer the eclecticism and style that made Palmer so consistently interesting. Since its genesis was 1989, the highlighted albums are Palmer's Island releases from 1978 to 1988: Double Fun, Secrets, Clues, Maybe It's Live, Pride, Riptide, Heavy Nova, and the soundtrack to Sweet Lies. Appropriately, the thundering, menacing "Some Like It Hot" from the Power Station's debut is included, though it's somewhat of a mystery as to why the band's T. Rex cover, "Get It On (Bang a Gong)," doesn't make an appearance. Only that song and "I Didn't Mean to Turn You On" seem like obvious omissions. The latter would appear on the remix-heavy Addictions, Vol. 2, but the former wouldn't appear on a career sampler until 1997's The Very Best of Robert Palmer. Otherwise, the collection is nearly perfect.