Jade Warrior's first album following Tony Duhig and Jon Field's emergence out of the psychedelic July captures them abandoning the best of that band's whimsical moodiness in favor of a symphonic spirituality epitomized from the outset by the soaring guitars that ecstatically slice through the opening "Traveller." Reminiscent, in places, of a less-precious successor to Quintessence and the Incredible String Band in that moods and esotericism do sometimes get the better of the band's more conventional music impulses, Jade Warrior is nevertheless a remarkable album, all the more so since its makers could readily have given the likes of Jethro Tull and the Moody Blues some serious competition in the mellifluous prog stakes…

Downwind (1979). Eagerly awaited re-press for this classic album by Pierre Moerlen's Gong featuring Mike Oldfield, Steve Winwood & Mick Taylor. Booklet with restored artwork, photos & liner notes. By the late 1970s Percussionist Pierre Moerlen had taken over the leadership of Gong and had steered the band away from Psychedelic Space Rock and took the band into a Jazz Rock direction, one in which the band excelled. After recording several albums with Virgin, the band now featured Hansford Rowe on bass, Ross Record on guitar, Benoit Moerlen on vibes and Francois Causse on percussion. Moerlen signed with Arista Records in 1978 and recorded this excellent album partially in Mike Oldfield’s studio. Oldfield guested on the superb lengthy title track with fellow guest Steve Winwood, whilst Mick Taylor appeared on the track "What You Know"…

This is the definitive reissue of the first two albums from the rock act that ruled the Pacific Northwest in the early 60s. 2003 compilation includes the albums, "At the Castle" & "The Wailers & Co", along with six bonus tracks from rare singles, most of which have not previously been on CD.

Gilgamesh (1975). Esoteric's 2011 remastered reissue of Gilgamesh's 1975 eponymous debut recording provides a 21st century opportunity to investigate a fine group that emerged during the waning days of Britain's Canterbury scene. These Canterbury stylists were formed in 1972 with the core of the band built around Alan Gowen on keyboards and Mike Travis on drums. At various times, the line-up included former Caravan and Hatfield & The North member Richard Sinclair, Mont Campbell (formerly of Egg) and Neil Murray. Gilgamesh is a classic of the Canterbury style and is sure to be a much sought after release by all aficionados of the genre…

Keef Hartley came to prominence as a member of the british R&B group the artwoods before joining John Mayall's Bluesbreakers in 1967. He contributed to the album crusade before leaving in 1968 to form the first line-up of his own band. He recorded his first album, "Halfbreed" for Decca's Deram label in March 1969. Regarded as a classic of the fusion of rock, jazz and blues, Hartley went one better later in the year by changing the lineup of his band to include gifted guitarist, vocalist and writer Miller Anderson. This new band recorded the wonderful "The Battle Of North West Six" for decca later that year, around the same time they performed at the legendary Woodstock Festival. Unavailable for many years, Esoteric Recordings are pleased to reissue the album with liner notes by Keef Hartley.

This reissue of Overdog features the bonus single edits of Roundabout, one of their best loved and most powerful works. Along with a reissue of The Time is Near, this release sees the beginning of a reissue campaign by Esoteric Recordings of the classic Keef Hartley Band albums.
After the subtleties and suppleness of 1970's The Time Is Near…, the Keef Hartley Band's third full-length, the group returned the following year with Overdog, a set that kicks them into overdrive. Opening with a dramatic flourish of wah-wah guitar, the anthemic "You Can Choose" instantly wipes all memories of the intricate design of the preceding album off the board. Big and brash, "Choose" pounds rock into funk with savage delight…

Esoteric Recordings are pleased to issue the first ever Official UK CD edition of the self titled album by Fields. When the first line-up of Rare Bird folded in early 1971, keyboard player Graham Field formed this outfit with bass player, vocalist and guitarist Alan Barry and King Crimson drummer Andy Mcculloch. Although the band failed to emulate the commercial success of Field’s previous group, the sole album they recorded was a magnificent example of British Progressive Rock. Much sought after for many years, this official Esoteric CD edition has been re-mastered from the original master tapes, features two bonus tracks and an essay by Sid Smith and interview with Graham Field.

In some circles, Mickey Jupp is something of a minor legend, a roots rocker with excellent taste and a cutting wit, best heard on the songs "Switchboard Susan" and "You'll Never Get Me Up in One of Those," both covered by Nick Lowe. Basher's endorsement is a clear indication that Jupp is a pub rocker, a guy who specializes in laid-back good times, so it shouldn't come as a great surprise that his first band, Legend, was proto-pub, an unabashed celebration of old-time rock & roll, filled with three-chord Chuck Berry rockers and doo wop backing vocals. Nevertheless, listening to their 1971 LP is a bit of a shock, as it's completely disassociated with anything that was happening in 1971, even with Tony Visconti enlisted as their producer. Legend's sensibility is ahead of its time in its retro thinking, pointing the way to the rock & roll revival of the late '70s and not even that similar to the country-rock of Eggs Over Easy or Bees Make Honey…

After a scission of the avant-garde group "Kluster" due to the departure of Conrad Schnitzler, the two musicians Dieter Moebius and Hans Joachim Roedelius go to work in duet as "Cluster". The band's first years were clearly orientated to Krautrock and to experimental electronic music. Consequently, the production of the band started with massive, radical improvisations, constructed around electric organ works, electronic collages, guitar sound manipulations, feed back. The result is rather similar to Kluster's underground, conceptual music, very chaotic with lot of distortion and reverb. With its repetitive, hypnotic guitar patterns and embryonic electronic collages, the second album "II" can be seen as a classic in 70's German electronic underground. This high quality experimental electronic music will progressively lead the band to something far from the krautrock scene and extreme music…

"Zero Set" is three masterminds of Krautrock together on one album. Dieter Moebius (Cluster, Harmonia), Mani Neumeier (Guru Guru), and legendary sound engineer Conny Plank (too many projects to name them) recorded this dark electronic and "motorik" piece in 1982.

Death metal legends Deicide mark their devilish return with their new album, Banished by Sin, through Reigning Phoenix Music. Provacateurs by trade and dominant by nature, the Floridians, featuring founders Glen Benton (bass/lead vocals) and Steve Asheim (drums), as well as notables Kevin Quirion (guitars) and Taylor Nordberg (guitars), have yet again uncompromisingly splayed and slayed the genre's holy trinity of brutality, intensity, and aggression for the world to witness. Just as classic cuts like "Sacrificial Suicide" (Deicide), "Once Upon the Cross" (Once Upon the Cross), and "Homage for Satan" (The Stench of Redemption) elevated the firebrands to death's metal's apex, new songs "Bury The Cross…With Your Christ," "From Unknown Heights You Shall Fall," and "Sever the Tongue" usher in a new chapter in Deicide's storied, 35-year legacy.

In an era where it's not uncommon for a superstar act to wait three or four years between releases, it's astonishing to realize that Carole King wrote and recorded a strong follow-up to 1971's bazillion-selling "Tapestry" that was released before the year was up! "Music" was a big commercial success, but anything would pale next to the ecstatic commercial response to "Tapestry", which was still high in the charts when this follow-up was released. The generically-titled "Music" didn't spawn any hits as big as "It's Too Late" or "So Far Away," but with several decades' hindsight, it's clear that "Tapestry" was no fluke; in its more low-key way, "Music" is every bit as fine an album.
Highlights include two jazz-tinged tracks, "Brother Brother" and the waltz-time title track, which features a remarkable saxophone solo by Curtis Amy…

Given that 'Round About Midnight was Miles Davis' debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, and debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album's release, Davis had already broken up the band, which re-formed with Cannonball Adderley a year later as a sextet, but it was a tense year…

Eulenspygel 2 (1971). This album released in 1971 and called "2" because the same band had already released an album under the name Royal Servants. When they decided to write the lyrics in German instead of English they thought they better change their band name to a German one as well. Eulenspygel carried that certain underground German 70's vibe with homemade organ grinds, heavy bass and guitar overlays with heavier vocals. With careful mix of jazz, fusion, prog and rock this album were pretty cleverly arranged and mixed with great imagination, color and tempo shifts…

The Very Best of Otis Redding wasn't the first Otis Redding compilation but it is the best of the single-disc collections, distilling the high points across his career (up thru the posthumous hits "(Sitting' On) The Dock of the Bay" and the heartbreaking "I've Got Dreams to Remember") in 16 tracks, every one a musical milestone and a soul music high-point of one kind or another. Although aimed at the casual listener and the neophyte fan, there are some astonishing realizations to be had in listening to this disc and looking at the chart placements of the early sides, and realizing just how uniform his musical influence is - "These Arms of Mine" and, especially, "Pain In My Heart," from 1962 and 1963, respectively, sold only a fraction of what his later singles did, yet they've been covered by so many artists since, that they're as familiar as any of the other, bigger hits on this disc. The collection is hardly comprehensive, but all of the major bases are touched, right down to his 1967 hit duet "Tramp" with Carla Thomas.