Gallagher's second album for Chrysalis – and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) – was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut – a perennial concert favorite – found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever. Even "Do You Read Me," the muscular opening track, is a remarkably stripped-down affair that adds subtle synths to the rugged blues rock that was Gallagher's claim to fame. While "Moonchild," "Country Mile," and "Secret Agent" displayed catchy hooks, engaging riffs, and raging guitar work (the latter adds a touch of Deep Purple's Jon Lord-styled organ to the proceedings), it's the elegant ballad "I'll Admit You're Gone" that shifts the guitarist into calmer waters and proves his melodic talent was just as cutting on quieter tunes.

Long before the raw power of punk icon Iggy Pop became legend, his first incarnation as Iggy Stooge of proto-punk trailblazers The Stooges roared into being. The essence of punk years before the genre existed, The Stooges' furious music was a howling, visceral, fuzztone-drenched, and unprecedented vortex of sound, as evidenced on their revolutionary self-titled, John Cale-produced 1969 debut album. Their bracing follow-up, Fun House portrayed their evolution into a fiercer, stronger band with Iggy's primal vocals and mad brilliance more potent than ever. Each immortal album is now remastered and twice as amazing with a second disc of rarities and previously unreleased tracks.

Night Out is the 1979 debut studio album by Ellen Foley, a long-time backup vocalist for Meat Loaf. Seven of the nine tracks were cover versions of Foley's favorite songs, while two were co-written by Foley, one of which was "We Belong to the Night", which hit #1 in the Netherlands and #31 in Australia around Christmas of 1979. The musicians were mostly from Ian Hunter's touring band for his 1979 album You're Never Alone with a Schizophrenic, with the addition of Australian musician Kerryn Tolhurst on slide guitar. Hunter and ex-Spiders From Mars guitarist Mick Ronson produced the album. Ronson suggested the two Philip Rambow songs and the piano backing for the final track "Don't Let Go", written by Hunter.

T-Square is a Japanese jazz fusion band that was formed in 1978. They became famous in the late 70s and early 80s along with other Japanese fusion bands. Its most successful lineup included guitarist Masahiro Andoh, bassist Mitsuru Sutoh, saxophonist, flutist and EWI player Takeshi Itoh, keyboardist Hirotaka Izumi, and drummer Hiroyuki Noritake. They are known for songs such as "Truth", "Japanese Soul Brothers", "Takarajima", and "Omens of Love" among others. "Truth" was used as the theme for Japan's Formula One (F1) racing events from 1989 to 2000. An Arrangement of said tune, "Truth 21c" was used as the theme for Japan's F1 2001 and 2002, respectively, and other remixes of "Truth" were used from 2003 to 2006.

1994 compilation on Repertoire featuring 32 tracks from 1968-1993, plus an extensive booklet, detailed tracknotes by Colin Cooper, full discography & rare photos. Packaged as two standard jewelcases within a slipcase, featured tracks include their #3 1977 smash 'Couldn't Get ItRight', the top 20 hit 'I Love You' and a live version of'Don't Start Me Talking'.

For most intents and purposes, Sugarloaf was finished after their 1973 album I Got a Song failed to generate any attention, but the band continued to push ahead, channeling their frustrations into the bubblegum sarcasm of “Don’t Call Us, We’ll Call You.” The song became a fluke hit in 1975, prompting a re-release of I Got a Song under a new title borrowed from the hit, which also was prominently featured on the new release. Of course, the fizzy pop of “Don’t Call Us” sounded very little like the rest of the earlier record, which itself wasn’t all that reminiscent of their percolating 1970 hit “Green Eyed Lady,” either. It was a curious mix of pompous neo-prog – best heard on the charging instrumental “Myra, Myra” – light hippie funk, and coolly trippy soft rock, all sounds redolent of the early ‘70s, but certainly not the epitome of it. Which isn’t to say that lead singer/songwriter Jerry Corbetta couldn’t write – in addition to the hits, he knocked off Billy Joel/Elton John’s Western fantasia quite well on “Colorado Jones” – but this album tends to drift in and out of focus, making it a period piece but not much more. [Fuel 2000’s 2010 reissue added a host of worthwhile bonus tracks, including a live version of “Green Eyed Lady.”]

The talented, if underrated bebop pianist Kenny Drew spent his last few decades living in Scandinavia after emigrating from the U.S. in 1961. This 1996 CD has previously unreleased material recorded by the Danish Broadcast Corporation featuring Drew at three different periods in time. There are four tunes apiece of Drew in duets with bassist Niels Pedersen in 1966, playing unaccompanied solos in 1978, and duets with bassist Bo Stief in 1983. All dozen numbers (seven jazz standards, a Scandinavian folk song, an obscurity and two Drew originals, including two versions of "Blues for Nils") are quite rewarding. The music is straight-ahead, often harmonically sophisticated, swinging and occasionally unpredictable. An excellent sampling of Kenny Drew's talents.

The result of the meeting of Michael McCartney (brother of Beatle Paul), who would work as Mike McGear to avoid accusations of coat-tailing, and Post Office engineer John Gorman, the Scaffold took a blend of absurd humor and catchy songs to chart-topping glory throughout the 1960s. Their lineup filled out with Roger McGough and Adrian Henri, the group was briefly known as the Liverpool One Fat Lady All Electric Show, to the horror of everyone around them. Henri soon departed. A change of name later, they were gaining a reputation as one of the most amusing outfits on the scene, with a residency at Peter Cook's Establishment Club (where the Bonzo Dog Doo-Dah Band also held court). The Scaffold's biggest successes were their cheerfully silly singles, starting with "Thank U Very Much" and continuing with "Lily the Pink" (a sterilized adaptation of an old rugby song, featuring Jack Bruce on bass) and the somewhat incomprehensible "Gin Gan Goolie," all of which had a knack for sticking in the mind on endless repeat without causing undue annoyance. These three songs, in particular, are well remembered even as the 1990s draw to a close.

In 2001, Philip Glass composed the music for the film Naqoyqatsi: Life as War. It was the last film in a trilogy by director Godfrey Reggio that featured only images and music. When the Cincinnati Symphony Orchestra invited Glass to be a creative director for its Boundless Series during the 2011-12 season, Glass thought of his cello concerto and its possible life beyond film. The CSO commissioned the Cello Concerto No.2 - Naqoyqatsi and gave the composer the opportunity to have it reborn as a proper concerto. The resulting recording is drawn from the live performances. This dynamic seven-movement work is conducted here by long-time Glass champion Dennis Russell Davies with soloist Matt Haimovitz.

The third of three Concord albums by this version of the Quartet (with Jerry Bergonzi on tenor, Chris Brubeck on bass and bass trombone and drummer Randy Jones) is the most rewarding of the trio although each one is recommended. Brubeck and the Coltrane-influenced tenor Bergonzi take consistently exciting solos on seven standards which are highlighted by "Music, Maestro, Please," "I Hear a Rhapsody" and "It's Only a Paper Moon"; Brubeck's solo version of "St. Louis Blues" is also noteworthy.

In an odd bit of programming, Columbia placed the ballads from Miles Davis' February 12, 1964, concert on My Funny Valentine and the uptempo romps on this LP. Davis, probably a bit bored by some of his repertoire and energized by the teenage Tony Williams' drumming, performed many of his standards at an increasingly faster pace as time went on. These versions of "So What," "Walkin'," "Four," "Joshua," "Seven Steps to Heaven," and even "There Is No Greater Love" are remarkably rapid, with the themes quickly thrown out before Davis, George Coleman, and Herbie Hancock take their solos. Highly recommended and rather exciting music, it's one of the last times Davis would be documented playing a full set of standards.

With 1970's Workingman's Dead, the Grateful Dead went through an overnight metamorphosis, turning abruptly from tripped-out free-form rock toward sublime acoustic folk and Americana. Taking notes on vocal harmonies from friends Crosby, Stills, Nash & Young, the Dead used the softer statements of their fourth studio album as a subtle but moving reflection on the turmoil, heaviness, and hope America's youth was facing as the idealistic '60s ended. American Beauty was recorded just a few months after its predecessor, both expanding and improving on the bluegrass, folk, and psychedelic country explorations of Workingman's Dead with some of the band's most brilliant compositions. The songs here have a noticeably more relaxed and joyous feel.

Pianist Vanessa Benelli Mosell and cellist Henri Demarquette find common ground between Philip Glass and Rachmaninov in this release that revels in both composers passion for sonic storytelling. Presenting a program of personal, dramatic and spiritual music, Mosell and Demarquette perform these selections with intimate ardor.

Woody's classic, mid-'40s recordings, sounding like you've never heard them before! These 54 tracks, including such classics as This Land Is Your Land; Pretty Boy Floyd; Hard Travelin'; Jesus Christ; Grand Coulee Dam , and Going down the Road (I Ain't Gonna Be Treated This Way) , have been taken from newly discovered, original metal masters for the clearest sounding Guthrie recordings from any period, let alone the '40s. And those tracks also include six unreleased tunes, which will no doubt set folk historians and musicians the world over a-scurrying. It all comes packaged inside a replica of a vintage suitcase from the 1930s, with a 68-page, full-color book featuring extensive liner notes, rare photos, Woody's own lyric sheets and even facsimiles of his business card, a postcard to his wife and a booking card from the '40s. This set was made for you and me!

This set features the great Sarah Vaughan in a typically spontaneous Norman Granz production for Pablo with pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Louie Bellson. Sassy sounds wonderful stretching out on such songs as "Midnight Sun," "More Than You Know," "Teach Me Tonight," and "Body and Soul," among others. All ten of the melodies are veteran standards that she knew backwards but still greeted with enthusiasm. A very good example of late-period Sarah Vaughan.