This work by Hemisphere is a beautiful space odyssey based on the use of synthesizers, ideal to let imagination soar through unearthly worlds. A general trait of the album is the fact that the music happens to be very intense, vital, as if reflecting strong emotions. The 11 pieces included in this release have a melodic cosmic style with some Atmospheric Pop touches. The latter are basically in the rhythms. The melodies present a certain romantic character, with slight symphonic traits. Perhaps the most remarkable theme is "Night of the Living Machine", in which the melodic grandeur of Hemisphere is strongly present.

1976 must have been a tough year for a British folk-rock group to get respect. Just ask Steeleye Span, whose Rocket Cottage was roundly blasted by the music press, and Fairport Convention, whose Gottle o' Geer was essentially ignored. Albion Country Band's Battle of the Field was belatedly released to an indifferent press who improperly regarded them as a grade-B rendition of Steeleye and Fairport. The growing buzz concerning the onslaught of punk rock didn't bode well even for the established folk-rock acts, much less those just getting started. So despite Spriguns' unfortunate timing (who released Jack With a Feather in 1975 as Spriguns of Tolgus) they held true to the style popularized by their more successful predecessors, particularly Steeleye Span, as songs like "Outlandish Knight" and "Sir Colvin" will reveal…

Eric Clapton was already an acknowledged master of the electric guitar in January 1992 when he traded his signature Stratocaster for an acoustic Martin to record Unplugged. The live album captured the legendary guitarist, backed by a small band, performing acoustic versions of his own songs and several blues standards. Released later that same year, the album was an unqualified blockbuster, selling more than 19 million copies worldwide and earning six Grammy Awards, sweeping the top honors, including Record of the Year, Album of the Year and Song of the Year. Reprise Records celebrates Clapton's electrifying acoustic performances with a new 2-CD/DVD collection that includes a remastered version of the original album along with six unreleased outtakes on two CDs. The DVD features a newly restored version of the concert, as well as more than an hour of previously unseen footage from the rehearsal.

This set features two sizzling horns mingling in a decidedly frenetic dance contest. These songs hop and bounce with enduring vitality. A definite coolness exists within the searing solos of the two trumpet kings as they empty their lungs, executing mind-spinning, scale-like passages and high notes, and there's a palpable sense of competition as they take turns performing their acrobatic brass-work. They can both propel notes from their horns like nobody's business, yet their tonal and stylistic differences create two distinct elements within the music. Bassist Ray Brown's tempos provide a cool structure for the flurries of notes the trumpets cast forth. Some of the most poetic moments from these 1954 recordings are when their collaboration intertwines them within the passages, but their supercharged blowing naturally finds a subtler ground and tact when they come together in a musical braid work that's no less affecting than their solos.

This is a good collection of piano-accompanied vocals sporting bluesmen who worked the lumber camps and oil fields of rural Texas, as well as the red-light districts of cities like Galveston and Houston. Big Boy Knox shows a strong city influence in his decorative right-hand work, as does Robert Cooper, whose playing points to the influence of Fats Waller. Joe Pullem is on board with his hit, "Black Gal," which is perhaps overstated by three takes and a variation. The vocals are good, however, and the piano playing is uniformly excellent. Stylistically, this music falls somewhere between ragtime, blues, and vaudeville.