For this album Ralf Knappe-Heinbockel heads for more darker territory. "Intruders" presents a more darker side of his Hemisphere's music, for which Ron Boots constructed some nice soundeffects and enviRONmentals to connect most of the tracks with eachother. An album which will do late at night.

Bennie Maupin's Cryptogramophone label follow-up CD to Penumbra both parallels and provides a departure from that excellent effort. What is similar is the softer tone Maupin is displaying in his far post-Headhunters days, refined by experience and cured though wisdom. The music Maupin plays on this beautiful effort is even more subdued, as he collaborates with an ensemble of relatively unknown musicians from Poland. If you've been hearing recent efforts from Polish trumpeter Tomasz Stanko and his ECM recordings with the teenage pianist Marcin Wasilewski and his trio, you hear stark similarities. But further, the recently reissued Maupin epic Jewel in the Lotus, which was also on ECM, is quite different than this ECM sounding project. Old may in fact be new again in some respects, but in this case, new is really new. Maupin offers so much appealing music within the undercurrent, starting with the delicate but paced "Black Ice" and the waltzing title track with Maupin on soprano sax. Separate flute and piano lines are woven into a more somber waltz "Tears," or the sparse, spacy, long "Spirits of the Tatras" with dynamics patiently rendered up and down with lots of piano from Michal Tokaj, who rivals the crystalline musings of Wasilewski on the entire album.

This album was recorded in Dallas, in the fall of '69 that also featured B.B. King, Sly & the Family Stone and Ten Years After.. By this time Johnny's popularity was such that he was no longer merely an opening act but a headliner and just a everyone expected, he stole the show. Not only that, we're lucky enough to have a really good quality recording surviving from that unforgettable show.

Turning away from the sweet pop of Out of Time, R.E.M. created a haunting, melancholy masterpiece with Automatic for the People. At its core, the album is a collection of folk songs about aging, death, and loss, but the music has a grand, epic sweep provided by layers of lush strings, interweaving acoustic instruments, and shimmering keyboards. Automatic for the People captures the group at a crossroads, as they moved from cult heroes to elder statesmen, and the album is a graceful transition into their new status. It is a reflective album, with frank discussions on mortality, but it is not a despairing record – "Nightswimming," "Everybody Hurts," and "Sweetness Follows" have a comforting melancholy, while "Find the River" provides a positive sense of closure. R.E.M. have never been as emotionally direct as they are on Automatic for the People, nor have they ever created music quite as rich and timeless, and while the record is not an easy listen, it is the most rewarding record in their oeuvre.

The talented guitarist Joe Diorio has mostly recorded for obscure record companies throughout his career including this set for the completely forgotten Zdenek label. The early-'80s LP features Diorio (who has always had his own sound) in a trio/quartet with other Los Angeles-based musicians: keyboardist Carl Schroeder, bassist Bob Magnusson and drummer Jim Plank. Diorio stretches out on five standards (including Jobim's "Bonita") plus one of his originals, playing some fine post-bop guitar that is often strikingly original.

Light Years, The Very Best of Electric Light Orchestra is a two CD compilation album by Electric Light Orchestra (ELO). The album celebrates the band's 25th Anniversary singles career starting in 1972 and contains all of ELO's 29 UK hit singles plus other single edits that either didn't chart or were hits in other countries. All the songs included are the edited 7" single versions. It is also the first ELO compilation to feature the song "Across the Border" which was scheduled to be released as an EP track in 1980 but was withdrawn. Although not in chronological order, it is however the most comprehensive assemblage of the band's hits of the many compilations available. The album reached 60 in the UK Album Charts. The album was also released in Europe with an identical track order under the titles, The Swedish Collection and The Danish Collection.

Ex Cockney Rebel / 10cc keyboard wizard Duncan Mackay's classic 1974 debut album Chimera is available for the first time. Re-mastered and approved by the artist with liner notes, rare photos and a bonus track, Chimera is essential for fans of keyboard driven prog rock in the vein of ELP and Rick Wakeman.

Even within the unpredictable Neil Young discography, this qualifies as one of his most unpredictable efforts. This soundtrack to the Jim Jarmusch film Dead Man is entirely instrumental, with the exception of some poetry read by Johnny Depp (who stars in the film) and a bit of dialogue. What's more, these untitled instrumental passages are dominated by subterranean guitar rumbles that manage to sound both grungy and subdued. Young also takes care to vary his approach a bit, switching occaionally to pump organ, detuned piano, and acoustic guitar. The results not only evoke the hostile, desolate landscapes of the film's Old West, but work on their own terms as ambient mood music for the non-new age crowd, creating an atmosphere of restless disturbance with subtlety and grace. It's not necessarily for the typical Neil Young fan (whoever that might be), but it's certainly one of his most successful experimental efforts.