Museo Rosenbach was formed in the early '70s in Italy. In 1973 they released "Zarathustra" (about Nietzsche's superman), this album is still considered as one of the masterpieces in the world of progrock. Unfortunately, the group broke up the following year. The group re-formed in the 1990s and released the album "Exit" in 2000.
"Zarathustra" (1973) was more or less regarded as an album created by fascists due to its extreme cover and lyrics and Museo Rosenbach disbanded after some concerts during the summer of 73' with Giancarlo Golzi continuing as a member of the Pop Rock act Matia Bazar.Fast forward some 25 years Golzi along with Alberto Moreno re-established the group with new members Andrea Biancheri on vocals, Marco Balbo on guitars, Marioluca Bariona and Sergio Cossu both on keyboards…

One of the great nu jazz album of year 2010. Album includes three quite different kind of compositions,very professionally (and successfully) mixed in one release. Opener composition is great slightly dreamy melodic and a bit melancholic song with soling trumpet,strongly influenced by Niels Petter Molvaer. There will be some more compositions in similar key on this album, and they are all big positive value of this release. Not too much original, they still really have their own signature ( let say Molvaer without Nordic clear cool air around and with warmer sound).
Second song "Let Me Go!" is quite different - it contains female vocals (Sophie Hunger) and sound more pop-oriented. There is one more song with same vocalist ("Dirge"), with leading piano sound and openly pop-song structure…

Decameron produced four albums between 1973 and 1976 (Some discographies listed a recording called "Beyond the Light" but this never saw release). This long CD contains all of the third disk and a most of the worthiest pieces on the fourth. Considering their short recording career, Decameron exhibited a fairly wide range of musical styles and talent as they flitted from label to label. But it was all loosely in the British folk rock realm with more than a casual nod to the lighter elements of progressive rock in vogue at the time. The enigmatic style of that genre is displayed in the stunning "All the Best Wishes", the reverent "The Ungodly", the intensely melodic "Journey's End" bathed in mellotron, and "The Deal". The lighter pieces are equally engaging, such as "Saturday" about rolling down the windows and blasting the stereo and shouting obscenities at the market crowd, "Road to the Sea" with its rollicking rhythms and musical and lyrical allusions to the nautical, "Fallen Over", and "Tomorrow's pantomime".

The music written by Angelo Badalamenti, Jerry Goldsmith, Phil Collins, Kate Bush, The Doors and many others.

Real Love is the eighth studio album by German recording artist Sarah Connor, released by Epic on October 22, 2010 in German-speaking Europe. Connor's first album in two years, it involves production by Alexander Geringas, Robin Grubert, Michelle Leonard, and Erik Lewander as well as her frequent contributors Kay Denar and Rob Tyger. Released to a lukewarm reception by critics, the album debuted at number eight on the German Albums Chart and reached number fifteen and twenty-two in Austria and Switzerland respectively. Altogether, Real Love produced two singles, including "Cold as Ice," which reached the top twenty on the German Singles Chart, and its title track.

Before Depeche Mode inherited the techno-pop crown, Ultravox reigned over the electronic landscape. Pseudo Echo were one of Ultravox's most loyal fans, and their affection for the pioneering new romantics gushes from every synthethic groove on Love an Adventure. Thankfully, being a facsimile wasn't enough for Pseudo Echo. The cover of Lipps Inc.'s disco classic "Funkytown" was their only U.S. hit from Love an Adventure, and it was sadly misrepresentative of the album's stylish, hook-loaded dance rock. On "A Beat for You," driving hard rock riffs puncture Pierre Gigliotti and James Leigh's wall of synthesizers. Vocalist Brian Canham has a darkly erotic voice that only new wave groups seem to breed – imagine a cross between Jim Kerr of Simple Minds and Midge Ure of, no surprise, Ultravox. Pseudo Echo want people to move their feet, and this album is stocked with dancefloor scorchers such as "Living in a Dream", "Listening", and the funky "Try". "Funkytown" may have given Pseudo Echo a glimpse of commercial success, but the rest of Love an Adventure proved that they were capable of more.

The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music from Big Pink, here including "Whispering Pines" and "When You Awake"…

This well-rounded set (released posthumously) features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as "We Will Meet Again," Jimmy Rowles's classic "The Peacocks" and the "Theme from M*A*S*H." It's a solid example of the great pianist's artistry.