The self-referential title of Fogerty's first album in three years is no mere play on words; this is as close as he's gotten in a long while to duplicating the loose swamp blues, country, folk, soul and rock that he so memorably created a template for in Creedence Clearwater Revival. Thankfully the advertisement for downloaded ringtones in the disc's booklet is the only contemporary influence creeping into this stripped-down set of rootsy rockers and ballads. Fogerty's voice sounds great throughout; passionate, more committed and comfortable with these songs than he has seemed in years.

This three-CD, 63-track set is the last word on Status Quo's early years, gathering not only every track the band did for Pye in the late '60s and early '70s, but also adding seven songs by the Spectres and two by Traffic Jam (the group's pre-Status Quo incarnations). As Status Quo were a psychedelic pop band in the late '60s before shifting to hard boogie rock at the turn of the decade, it might be a disappointment to much of their fan base, as prior to 1970 they sounded like an almost entirely different act. Conversely, though, to British Invasion and psychedelic fans who have little use for the band's long run as hard rock journeymen, this might be the most useful Status Quo collection of all. For it's psychedelic pop – of a resolutely trendy brand that's actually more "pop" than "psychedelic" – that dominates the first two discs, including of course their big hit "Pictures of Matchstick Men," as well as their follow-up U.K.

"Ligament" is the sixth full-length studio album by Swedish progressive rock act Paatos. The album was released through Timeloss Records in April 2025. It's the successor to "V" from 2012, so it's been 13 long years since we've last heard to Paatos. The band's propensity to deliver creative, highly-nuanced and unusual music with lots of unique sound and structural experimentation is as pronounced as ever! It's as if each and every one of the band members has been working super hard each and every day since their last album/tour to improve their skills, to nurture their creativity, to develop and let mature their ideas.
To springle a bit of stardust on your album isn´t a bad idea either and Mikael Åkerfeldt from Opeth guests on the darkly atmospheric/almost cinematic and slightly progressive/neo-folky "Beyond The Forest" singing a duet with Nettermalm.

The brilliance of this collection is that it combines the standard Brit-punk anthems by the Sex Pistols, the Damned, the Buzzcocks, and Stiff Little Fingers with other great songs that typify the variety and range of punk-era independent music from both sides of the Atlantic. The songs are so well chosen that the punk aesthetic is further revealed by the inclusion of songs that characterize pub rock, new wave, and other related genres. The usual punk suspects ("New Rose," "Anarchy in the UK") are all here, along with many other treasures: Dr. Feelgood's "Milk and Alcohol", Devo's "Mongoloid," Jonathan Richman's "Roadrunner," Talking Heads' "Psycho Killer," and Television's "Marquee Moon." The less commonly anthologized punk selections are inspired, too: the Ruts' "Babylon Is Burning," Generation X's "Ready Steady Go," and X-Ray Spex's "Identity," along with the seminal "Sheena is a Punk Rocker." The conception of the genre is expanded further to include Elvis Costello, Iggy Pop, XTC, Joe Jackson, the Pretenders, the Tubes, and Blondie, and their presence overcomes the tendency for boring repetition on a very long collection.

After a long break, the Tampere Philharmonic Orchestra, which celebrates its 95th anniversary this year, is releasing a new album featuring the world premiere of works by the orchestra's late principal composer Jouni Kaipainen. The album SOUTH BY NORTHEAST features conductor Hannu Lintu and Juhani Lagerspetz as soloist in the piano concerto. The album continues Tampere Philharmonia's collaboration with Alba Records.

This, the Chambers Brothers' coming-of-age record, was a well-timed and even better executed exercise in modern record-making. The brothers had recorded several excellent gospel-folk sides on a few labels (including CBS) in the mid-'60s. They were darlings of the folk set, and even sang backup on a few unreleased Bob Dylan sessions in 1965. By 1967, they were at loose ends. Having demoed a slightly demented song that year called "Time Has Come Today," the group entered the studio with producer David Rubinson, who was fresh from some critical acclaim after recording Moby Grape. The resulting album and subsequent title track hit were huge successes, especially on FM radio. The rest of the album shows the brothers not just embracing the psychedelic trends, but also redefining their R&B leanings…

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a door for all to see. Bold, personal, and openly biographical, Anticipation announces the arrival of an artist that won’t back down for anything. While Simon clearly stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-selling record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal, reflecting on the difficulties of retaining your own identity while also giving yourself to a partner. Musically, Simon’s connection to her folk roots would never be stronger. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expanded dynamic range. The rhythmic framework supplied by session pro Andy Newmark’s drumming is also vastly improved, with songs showcasing a better-defined midrange and low-end. And just as Simon’s vocals sound more transparent and direct, so, too, do the supporting choral arrangements.

On Dr. John's first major-label effort, and first vocal studio album in ten years, he performs a set of pop standards including Cole Porter's "Love for Sale" and Johnny Mercer's "Accentuate the Positive." After starting out with a wild stage act and unusual costumes, Dr. John has evolved into a vocal stylist and piano virtuoso, which makes the idea of doing this sort of material appealing. And he does it well, turning out a leisurely duet with Rickie Lee Jones on "Makin' Whoopee" that won a Grammy (Best Jazz Vocal Performance, Duo or Group), and giving sad feeling to "My Buddy." Maybe he has changed since the Gris Gris days, but even a mellowed Dr. John is a tasty one.

24bit digitally remastered Japanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork. According to his biographer, Charles Sawyer, this is King's personal favorite among his recordings. Unlike most of his albums from this period (which are mostly collections of singles), this was recorded in one session and takes him out of his usual big-band setting, using only bass, drums, and piano for accompaniment. The result is a masterpiece: a sparse, uncluttered sound with nothing to mask King's beautiful guitar and voice. "You Done Lost Your Good Thing Now" (its unaccompanied guitar intro is a pure distillation of his style), "Mr. Pawn Broker," "Someday Baby" (R&B Top Ten, 1961), "Walkin' Dr. Bill," and a great version of "Drivin' Wheel" are highlights.

Forty years after his classic quartet's first triumphant tour of the U.K. in 1958, Dave Brubeck took his then current group back for an anniversary visit, playing a mixed bag of old and new songs for fans both old and new. This time out, Brubeck's working quartet included two British natives, drummer Randy Jones and bassist Alec Dankworth (the son of British jazz superstars Cleo Laine and John Dankworth). Brubeck himself was the obvious draw for the crowds, but it's saxman Bobby Militello who is truly the musical star of the show. The highly regarded Militello shows he can roam across the entire spectrum of alto saxophone tonality, employing a light, delicate tone à la Paul Desmond one minute, then bearing down for some gritty, deep-throated improvisations the next. Brubeck's unmistakable pianism remains as identifiable as ever, comping and soloing with the same energy he undoubtedly had 40 years earlier…

Hard on the heels of King Crimson, the debut of Gracious! begins with the blandly but accurately titled "Introduction." One of the album's strongest tracks, it's a Nice-like combination of menacing Moog breaks and shimmering harpsichords, and it foreshadows the band's use of both heavy prog music and ghostly lyrics tinged with Catholic dread. "Heaven" is a gorgeous minor-key ballad of stately Mellotron and chiming guitar tones, with harmonies reminiscent of late-model Zombies. "Hell," not surprisingly, is another thing altogether: a descent into drunken declamations, clinking bottles, rowdy bar sounds, loopy piano riffs, and creepy phasing effects. From here, the album settles down a bit: "Fugue in D Minor" is a straightforward chamber orchestra piece, and the "Dream" ends the album with meandering jamming and overblown monologues. Still, it's a fine debut, and it presaged the superb second effort that was to follow.

When the Bureau B label contacted Karl Bartos and showed interest in releasing any archival material he might have laying around the lab, the former Kraftwerk member (that is, "classic lineup" member, joining for the Autobahn tour and leaving somewhere between Electric Cafe and The Mix) wasn't interested. After all, he's a never-look-back futurist, but as the liner notes to Off the Record explain, he's an open-minded futurist as well and allowed this initially rejected idea to morph into something new. Kicking off with "Atomium" - a grand bit of robot techno and possible sequel to Kraftwerk's "Radioactivity" - Off the Record uses Bartos' archival tapes, zip drives, or computer files from 1975 to 1993 as its foundation, then mashes these off-hours audio sketches (recorded "off the record" from his usual band) with new ideas, overdubs, and vocoder vocals…

Kévin Amiel, the rising voice of French opera, confirms his talent with a first album of the highest calibre. Nominated for a ‘Révélations’ award at the Victoires de la musique classique awards in 2020 and an Adami artist, the tenor explores the great arias of the 19th century, a period when opera celebrated extraordinary destinies, from the stage to backstage, with Verdi, Gounod, Puccini and Delibes.Combining a luminous timbre, virtuosity and dramatic talent, Kévin Amiel embodies this demanding art, forged by passion, patience and hard work. With a nod to Pavarotti, arguably the greatest and most popular of opera singers, he slips a few traditional Neapolitan arias into this programme, as if to remind us that the joy of singing must always come first.

Two CD collection. Numerous tracks new to CD. Includes numerous major hits, including Janet Kay's 'Silly Games'. Dennis Bovell will be actively supporting the release. Dennis Bovell's musical talents are manifold. An exceptional singer, producer, songwriter, multi-instrumentalist, arranger and DJ, he has created a truly outstanding body of work since making his recording debut in the early 70s with the popular British reggae band Matumbi. Particularly revered by reggae fans are his recordings from the late 70s and early 80s, which include many of the finest roots, dub and lovers rock tracks yet to see issue. This 2CD set focuses on that period, with the collection bringing together the cream of Dennis's work that saw release on 7" and 12" vinyl from 1977 to 1981 - a truly golden age for classic reggae. Among the many highlights are Errol Dunkley's best-selling title track and similarly popular recordings by Marie Pierre, Delroy Wilson, Dennis himself, and Janet Kay, whose 'Silly Games' almost topped the UK charts in 1979. As with the acclaimed companion Doctor Bird volume, 'The 4th Street Orchestra Collection', this long overdue anthology is an absolute must-have for fans of top quality reggae and the unique talent of Dennis Bovell.

R.E.M. verscheen ten tonele toen post-punk overging in alternatieve rock. Hun eerste single, "Radio Free Europe," uit 1981, veroorzaakte een terug-naar-de-garage beweging in de Amerikaanse underground. Door de combinatie van gitaarsolo's, gemompelde, cryptische teksten en een D.H.Z. esthetiek die was overgenomen van de post-punk, klonk de band zowel traditioneel als modern. Gedurende de jaren '80 werkten ze onafgebroken; ze brachten elk jaar platen uit en waren voortdurend op tournee. Tegen het eind van de jaren '80, was hun fanbase groot genoeg om goede verkopen te garanderen, maar het top tien succes van Document en "The One I Love" in 1987 was toch onverwachts. Na Document groeide R.E.M. langzaam uit tot een van 's werelds populairste bands.