King Crimson If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but it made their albums some of the most enduring and respectable of the prog rock era.

Jamie Saft Inspired keyboardist Jamie Saft started appearing on an increasing number of N.Y.C.-oriented jazz recordings during the '90s and well into the new millennium. Born in Queens, New York, Saft studied at the New England Conservatory of Music and Tufts University. At these schools, he studied with Paul Bley, Geri Allen, Cecil McBee, and Joe Maneri, in addition to having composer and "piano technical guru" (as Saft described him) Burton Hatheway as a mentor. In 1993, Saft returned to New York and has since been performing a wide variety of music styles, from opera to folk to heavy metal to jazz in a self-described bar band. In 1995, he was the piano soloist in the New York and Paris premieres (at Lincoln Center and MC93 Bobigny, respectively) of John Adams' opera I Was Looking at the Ceiling and Then I Saw the Sky.

The Original Motion Picture Soundtrack from the movie Maria, directed by Pablo Larraín, written by Steven Knight, which delves into the tumultuous final days of the iconic opera singer in 1970s Paris, interpreted by Angelina Jolie.

So much more than just the archetypal jam band, the Grateful Dead grew to become an artistic and cultural institution that existed entirely on their own terms. While the band initially came out of a psychedelic revolution in the Bay Area's musically and chemically exploratory mid-'60s, they quickly evolved from their acid rock beginnings, incorporating elements of Americana and Bakersfield country into gently majestic albums like 1970's American Beauty. Their live shows were completely separate from their studio output, based on freeform improvisation borrowed from jazz and made up of extended performances and set list variations that ensured no two shows were exactly like. Though the band recorded only 13 studio albums between 1967 and 1989, an entire counterculture formed around their endless touring, and they even broke through to the mainstream with an unlikely radio hit in the MTV era. The Grateful Dead effectively ended with bandleader Jerry Garcia's death in 1995, but their presence never faded. Spin-off projects continued decades later, and regularly released archival recordings of the group's more than 2,000 concerts help new generations of Deadheads discover the band's sound, spectacle, and community perennially.

The British folk singer Robin Williamson collaborates with the Swedish folk musician Ale Moller and two U.S. jazz musicians, the violinist Mat Maneri and the bassist Barre Phillips, in this set, which features improvisations on the works of poets as varied as Walt Whitman, Sir Walter Raleigh, and William Blake. Also included are reworkings of folk tunes such as "Sir Patrick Spens" and Williamson's own "The Iron Stone," as well as abstract musical meditations such as "There Is a Music" and "To God in God's Absence."

Déjà Vu is the 17th overall studio album by Giorgio Moroder, and his first album in 30 years, released on 12 June 2015. It features collaborations with Britney Spears, Kylie Minogue, Kelis, Sia, Charli XCX, Mikky Ekko, Foxes and Matthew Koma, among others.

DOWNEY TO LUBBOCK was born by immaculate inspiration from live shows Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore performed together in 2017. Just the two of them were swapping songs and cutting up, each with a guitar and a heart full of soul, musicians who ve been on the road their entire adult lives. The result is an album of blues, rock and folk inspired tunes that both of their fans will enjoy. The album contains 12 songs - 10 covers and two originals - and is destined to be a classic Americana album from two Americana legends.

Whatever one may think about the films of director Cameron Crowe, the former music journalist for Rolling Stone always manages to amass amazing soundtrack albums by calling on the connections he made as one of the most artist-friendly writers in music business history. This "music from" various-artists collection is certainly no exception. Vanilla Sky, Crowe's American remake of Spanish director Alejandro Amenábar's film Open Your Eyes, a psychological thriller with a science fiction element starring Tom Cruise, drew mixed notices from critics and filmgoers. But not many movies have theme songs specially written by Paul McCartney (a typically melodic folk-rock ballad) or feature an artist list including tracks by R.E.M., Radiohead, Peter Gabriel, Jeff Buckley, and Bob Dylan (a live acoustic take of "Fourth Time Around" from Blonde on Blonde). Lesser-known artists such as Julianna Gianna, Red House Painters, and Josh Rouse also contribute good songs. The result is an excellent mixtape, irrespective of the virtues of the cinematic complement to the music.

The Jungle Book' was the last animated feature personally produced by Walt Disney. Initially released in 1967 the film received an Oscar nomination for the song 'The Bare Necessities'. This CD contains for the first time the entire original soundtrack plus an interview with Academy-award winning songwriters Robert and Richard Sherman. The interview segment features demo material and 2 rare songs; 'Baloo's Blues' and 'It's A Kick'. Original score composed by George Bruns. Original songs composed by Richard M. Sherman Robert B. Sherman and Terry Gilkyson.Originally recorded between February 1964 and June 1967. Includes liner notes by Randy Thornton and Ted Kryczko. Digitally remastered by Bruce Botnick (Digital Magnetics Hollywood California) and John Polito (Audio Mechanics Los Angeles California).Digitally remastered by Bruce Botnick (Digital Magnetics Hollywood California); John Polito (Audio Mechanics Los Angeles California).

Working Girl (Original Soundtrack Album) is the soundtrack album to the 1988 Mike Nichols film Working Girl, released by Arista Records, on August 29, 1989. The film's main theme, "Let the River Run", was composed, written, and performed by American singer-songwriter Carly Simon. The film's additional soundtrack was scored by Simon and Rob Mounsey. The album peaked at No. 45 on the Billboard 200. As a single, "Let the River Run" reached peak positions of No. 49 on the Billboard Hot 100, and No. 11 on the Billboard Adult Contemporary chart in early 1989.

Contains: Moondog, Sun Ra, Micho Miyagi, Martin Denny, Ken Nordine, Yma Sumac, María Sabina.

Contains: Sun Ra, Dean Elliott And His Orchestra, Esquivel His Piano And His Orchestra, Frank Comstock, Attilio Mineo, Babatunde Olatunji.

The musical language of Bernd Stegmann (*1952) moves in seemingly very different stylistic spheres: Elements of old a cappella culture stand next to hammered recitativo passages, big band effects next to minimal music sections, medieval-sounding drone fifths next to su ‘ffy Latin jazz harmonies. These heterogeneous building blocks are held together by an all-embracing motoric structure.

Rhino's 2001 retrospective The Very Best of Miki Howard is a generous, near-definitive overview of Howard's biggest R&B hits from the '80s. She didn't have many crossover hits, but she did have numerous entries on the R&B charts, all of which are here, including a duet with Gerald Levert, "That's What Love Is." Although this is a little lengthy for listeners with abbreviated attention spans, it does summarize Howard's peak very well, and is as comprehensive a Howard retrospective as could be hoped for.

This collection is called BEST because it’s my best. I didn’t want to do the obvious thing and simply put out a “Greatest Hits” record as anyone can do that. I always felt I could “do” them better and bring something to them that I’d missed, update the production and make them more vital. And besides, a retrospective was a nice way of looking at my work. I wanted to connect the dots as much for myself as for anyone who might hear it. It’s been a long career and this is the story–BEST yet actually. The story is far from over. - John Waite