Complex re-release of the most remarkable and worldwide sought afterSeries The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with 5 CDs, incl. bonus material and new linernotes. The second box contains Vol. 5 to Vol. 8 and the Bonus CD. Their relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg , which was released as an edited version on 'Dark Side Of The Moog, Vol.8' (will be released in the second Boxset) - the interplay and chemistry between them is clearly evident, and it becomes even clearer on the un-edited version of the concert (which will be released as bonus CS on the third boxset).

Rhino's The Best of Foghat is an excellent 16-track collection featuring every one of the hard-rocking boogie band's best-known songs, from "Slow Ride" and "I Just Want to Make Love to You" to "Fool for the City," "Drivin' Wheel," and "Ride, Ride, Ride." In short, it's all the Foghat most fans will ever need.

Hollywood badboys L.A. Guns are BACK with the most primal and explosive studio album of their modern era! The Gunners bring back the authentic sounds and style of Hollywood's heyday with a set of all-original material that rocks hard with incredibly hooky songs and memorable riffs! Leopard Skin marks L.A. Guns' fifth studio album since 2017, when guitarist Tracii Guns and singer Phil Lewis reunited and released The Missing Peace. "There's the saying, 'a leopard never changes its spots,'" Guns said in a statement. "But even so, they have a million different spots. And they're all unique. It's the same with L.A. Guns. We can't shed our leopard skin, but there's a lot of different spots in this band."

Philip Glass' soundtrack to Martin Scorsese's Dalai Lama epic Kundun captures the grace, beauty, joy and melancholy within the film. Glass uses familiar minimalist structures, but works with traditional Tibetan instrumentation and monks, giving the music an alluringly otherworldly feel. It's an entirely original, evocative score, and one of Glass' high-water marks in the field.

This CD reissue (put out in 1990) may be hard to find, now that Savoy has been sold to the Japanese Denon label. Originally issued under flugelhornist Wilbur Harden's name, the 1958 quartet (which also includes pianist Tommy Flanagan, bassist George Duvivier and drummer Granville T. Hogan) performs nine Rodgers & Hammerstein songs mostly taken from The King and I, plus a reprise and an alternate take of "Hello Young Lovers." The interpretations are tasteful yet swinging, and include such familiar tunes as "Getting to Know You" and "We Kiss In a Shadow," along with some obscurities. Enjoyable music.

The first two of the three string quartets of Mendelssohn's Op. 44 were recorded by the Cherubini Quartett in 1990. With its transparent textures, elegant phrasing, and refined execution, the ensemble is temperamentally suited to this music, which seems to require those qualities above others. While Mendelssohn acquired many advanced compositional techniques from studying Beethoven's quartets, he never presumed to plumb the master's spiritual depths, and preferred instead to emulate the Classical gentility and poise of Haydn and Mozart. The String Quartet No. 3 in D major, Op. 44/1, is predominantly exuberant and optimistic, and the Cherubini Quartett delivers it in a light, effervescent style, and only occasionally touches on the deeper passions that Mendelssohn prized in this work. More serious and fervid in expression, the String Quartet No. 4 in E minor, Op. 44/2, evokes the tense emotions of eighteenth century Sturm und Drang. The Cherubini Quartett renders the work with a darker coloration and richer tone, but these shadings neither interfere with the clarity of the parts nor weigh down Mendelssohn's fleet lines.

A posthumous collection produced by Rita Marley, based on work left behind by Bob upon his death. Some of his best post-Wailers work is here, with songs like "Buffalo Soldier," "Chant Down Babylon," and "Blackman Redemption." Given that he wasn't alive to do the production that he usually helped in, this album seems remarkably true to the general vision of Bob Marley's albums. Other somewhat lesser-known tracks also help to fill in all of the cracks with some remarkable material. Case in point: "Jump Nyabinghi," a nice danceable groove with perhaps less of the usual politics mixed in, but with just as much musicality. Overall, any Bob Marley fan ought to own this album. For the uninitiated, Legend is always the starting point, but, after that, this may not be such a bad choice for additions to the collection.

The title of the Alvin brothers’ follow-up to their Grammy-nominated 2014 Common Ground reunion project that found them working together for the first time in 30 years is multi-faceted and bittersweet. Clearly they are trying to make up for that lost time after not working together since Dave amicably left the Blasters in 1987. But more than that, these dozen covers are predominantly tunes that were also lost to time. Phil and Dave dig deep to reveal these hidden blues and R&B gems, then polish, rearrange and unleash them with pent up energy, providing the tracks with new leases on life. Dave’s short yet informative liner notes explain the disc is also a tribute to ’50s blues shouter and Alvin brothers friend Big Joe Turner, whose photo adorns the back cover. Four tracks are Turner covers and it’s no secret that much of Phil’s distinctive singing style dates back to that of Big Joe. But from the opening guitar and walking bass lick of Oscar Brown, Jr.’s demonic “Mr. Kicks” to the closing acoustic gospel of “If You See My Savior” (one of the few times both guys sing on the same tune), it’s clear the brothers are having a blast reviving songs they obviously love and have influenced them for decades.

Basil Poledouris has always thrived amidst the carnage of the action film. Known primarily for his excellent work on Conan the Barbarian, Starship Troopers, The Hunt for Red October, and the television miniseries Lonesome Dove – for which he won an Emmy – some of the composer's best work can be found on the soundtrack to Paul Verhoeven's 1987 sci-fi revenge romp, Robocop. Capitalizing on the film's anti-corporate undercurrent, Poledouris weaves a larger than life score for an unlikely hero, offering a heroic theme that paints Peter Weller's tragic, disfigured Detroit cop in a savior's light. Like Danny Elfman's score for Batman, the tone is dark, oozing metropolitan seediness awash in midnight rain. When the theme is reduced to a quiet lament, like on the masterful "Betrayal," the composer's love for his protagonist is evident, an element that's sadly missing from many of the genre's original scores. Varese Sarabande's 2004 reissue includes four bonus tracks.