It's a little surprising that a cult band like Kaleidoscope would get honored with an all-out three-CD set, considering the limited market. But here it is, and it certainly leaves no stone unturned, including the entire recorded output of the band while they were on Epic. That essentially covers the entire period of interest to most fans, spanning the band's formation to their breakup in the early '70s (though they subsequently reunited for some albums that aren't represented here). In addition to everything from their albums Side Trips, A Beacon from Mars, Incredible, and Bernice, it has quite a few tracks that only showed up on non-LP singles or as outtakes on posthumous compilations. And some of those extras aren't even easily found on Kaleidoscope compilations, namely the old-timey psychedelia of the early B-side "Little Orphan Nannie" and the less impressive, heavily bluesy 1968 B-side "Just a Taste"…

Tom Waits grew steadily less prolific after redefining himself as a junkyard noise poet with Swordfishtrombones, but the five-year wait between The Black Rider and 1999's Mule Variations was the longest yet. Given the fact that Waits decided to abandon major labels for the California indie Epitaph, Mule Variations would seem like a golden opportunity to redefine himself and begin a new phase of his career. However, it plays like a revue of highlights from every album he's made since Swordfishtrombones. Of course, that's hardly a criticism; the album uses the ragged cacophony of Bone Machine as a starting point, and proceeds to bring in the songwriterly aspects of Rain Dogs, along with its affection for backstreet and backwoods blues, plus a hint of the beatnik qualities of Swordfish. So Mule Variations delivers what fans want, in terms of both songs and sonics…

Along with Gene Ammons and Stanley Turrentine, Dexter Gordon was one of the top ballad players of the '60s. Having already made his name in the bebop era and as an expatriate in Europe, Gordon returned to the States to record a series of fine Blue Note discs during the first half of the decade. This edition of the label's Ballads series features Gordon at his peak and in the company of some of hard bop's best players. Whether melding nicely with trumpeter Donald Byrd from a Paris date in 1964 ("Darn That Dream") or locking in with the stellar rhythm section of Sonny Clark, Butch Warren, and Billy Higgins ("Don't Explain"), Gordon delivers his almost sleepy and smoke-filled solos with regal grace. The same can also be said of the rest of this incredible program, including a latter-day live cut from 1978.

One of England's prime jazz-rock - or, more accurately, rock-jazz - outfits, most of the members of Colosseum had apprenticed in blues bands, and it shows very strongly on some of the material here. Both "The Kettle" and "Butty's Blues" are essentially tarted-up 12-bar blues, although they work well in a grander context; in the latter case much grander, as a brass ensemble enters for the last part, drowning out everything but the guitar, an indication that this recording is in dire need of remastering. "Elegy" is a fast-paced, minor-key blues that stretches guitarist James Litherland's vocal abilities. Things do get far more interesting with "The Machine Demands a Sacrifice," which offers solo opportunities to organist Dave Greenslade and sax player Dick Heckstall-Smith before re-emerging in what can only be called a proto-industrial style, all heavily treated clattering percussion…

This seminal new age pianist has sold zillions of recordings with songs that reflect the quieter moments of the human spirit. It's clear from his phenomenal tribute to Vince Guaraldi and this irresistible tribute to the Doors that it takes the music of others to truly tap into a deeper place that gives variety, spunk, and magical energy to his playing. What makes this project so intense is the variety of moods he creates – the imaginative way he modulates from dark and haunting, lower-register chord poundings and upper-register whimsy. The most dramatic example of this contrast comes in the first few minutes of "Riders on the Storm," which begins building with ominous horror movie-type tones, then adds a swirling wind of high-toned harmony on top of the dark melody…

Featuring a broader array of styles than any previous Linda Ronstadt record, Simple Dreams reconfirms her substantial talents as an interpretive singer. Ronstadt sings Dolly Parton ("I Never Will Marry") with the same conviction as the Rolling Stones ("Tumbling Dice"), and she manages to update Roy Orbison ("Blue Bayou") and direct attention to the caustic, fledgling singer/songwriter Warren Zevon ("Poor Poor Pitiful Me" and "Carmelita"). The consistently adventurous material and Ronstadt's powerful performance makes the record rival Heart Like a Wheel in sheer overall quality.

The album, originally released in 1977, was Dave Brock and Robert Calvert's masterpiece that perfectly embraced the influence of the musical New Wave to deliver one of the most effective albums released during Calvert s tenure with Hawkwind. This expanded edition features a bonus CD featuring studio session alternate takes and live recordings by The Sonic Assassins from 1977. Including such classic tracks as Spirit of the Age, Hassan I Sabbah and Damnation Alley , this reissue has been remastered from the original master tapes (a first for any CD issue of this album).

Anita O'Day recorded many rewarding albums in the 1950s when her voice was at its strongest, and this collaboration with the Oscar Peterson Quartet (comprised of pianist Peterson, guitarist Herb Ellis, bassist Ray Brown, and drummer John Poole) may very well be her best. Not only is the backup swinging, giving a Jazz at the Philharmonic feel to some of the songs, but O'Day proves that she could keep up with Peterson. "Them There Eyes" is taken successfully at a ridiculously fast tempo, yet the singer displays a great deal of warmth on such ballads as "We'll Be Together Again" and "Bewitched, Bothered and Bewildered." While Peterson and Ellis have some solos, O'Day is never overshadowed (which is saying a lot) and is clearly inspired by their presence. The very brief playing time (just 34 minutes) is unfortunate on this set, but the high quality definitely makes up for the lack of quantity. A gem.

Jean-Michel Jarre performed a handful of concerts in Peking and Shanghai in 1981, marking the first time that a modern Western musical artist had played in communist China. Sensing the historical importance of the event (and the career milestone it represented), a double album of live music from these concerts was released the following year as Les Concerts en Chine. The release is half musical travelogue (featuring new pieces presumably inspired by China) and half career retrospective, with faithful reproductions of excerpts from Equinoxe and Les Chants Magnetiques (Magnetic Fields) interspersed with new works and snippets of Chinese dialogue. There has always been a strong visual component to Jarre's live shows, which the listener is left out of on these recordings (small pockets of applause during some of the songs allude to the graphic goings-on), but even without the lights and lasers this is engaging stuff…

In the early 70's the young French Prog scenario was full of competent bands that were being listened in and outside their country, and while most of them ascribed to the "French Theatric Symphonic", early Pulsar decided to re-create the sound of Pink Floyd with that unique Gaulish sound with a lineup of competent musicians formed by Jacques Roman (organ, piano, synth), Victor Bosch (drums, percussion), Gilbert Gandil (guitar, vocals) and Philippe Roman (bass), but something was missing so they recruited the flutist and string musician Roland Richard.
Their 1975 debut "Pollen", was acclaimed by most critics (despite the economic failure in the UK), who saw them as a breeze of fresh air, because they didn't limit themselves to copy a style, but added some Symphonic touches that gave them a special flavor…

A master of the traditional and the progressive, the styles of the past and the bright, swinging future, Eddie Palmieri is one of the most influential Latino pianists of the 20th century. His extreme versatility and artistic vision are brilliantly displayed on The Sun of Latin Music. While most Latin jazz musicians fall into either staunch traditionalism or pursuing progressive ideas to the detriment of groove and accessibility; Palmieri marries both ideals effortlessly. With smooth, danceable rhythm, lush vocals, and a clear center to the song, combined with sophisticated arrangements, tunes like "Desea Salvaje" and "Nunca Contigo" both swing the dancer and captivate the discriminating listener. Palmieri's interest in stylistic variety, including styles like danzon, guaguanco, and cumbia, not common of '70s era salsa, enrich the album and show off his versatility…

Recorded in the midst of 1966, naturally after the spring release of their debut but before "Pushin' Too Hard" climbed into the national charts in the spring of 1967, A Web of Sound finds the Seeds pushing their sound into new dimensions, happily keeping pace with their Los Angeles contemporaries Love and the Doors. That the Seeds never received the respect accorded to their peers, either then or now, may be partially due to their lack of lyrical ambition, or it could be due to the Hollywood teenage sleaze that seeped out of this quartet led by garage rock icon Sky Saxon. Whatever the Seeds did, it sounded somewhat dirty, a maxim that applies to A Web of Sound even if it lacks singles as hard and filthy as "Pushin' Too Hard"…

Released at the tail end of the '60s, Hot Buttered Soul set the precedent for how soul would evolve in the early '70s, simultaneously establishing Isaac Hayes and the Bar-Kays as major forces within black music. Though not quite as definitive as Black Moses or as well-known as Shaft, Hot Buttered Soul remains an undeniably seminal record; it stretched its songs far beyond the traditional three-to-four-minute industry norm, featured long instrumental stretches where the Bar-Kays stole the spotlight, and it introduced a new, iconic persona for soul with Hayes' tough yet sensual image. With the release of this album, Motown suddenly seemed manufactured and James Brown a bit too theatrical. Surprising many, the album features only four songs…

The Crematory hit factory opens its doors for the 17th time with its new studio album “Destination” and reaches a new, even higher level than before! It's an album that literally combines all the strengths and phases of the gothic metal pioneers, going back to their melodic death metal roots in places, then diving deep into the gothic realm again and surprising with some electro dancefloor bangers. “Destination” is like a musical best-of album, a return to the past combined with the strengths of the present. One thing is clear: Crematory are highly motivated, are upping the ante and definitely still have a lot to say even after 34 years of successful band history! With “Destination” in the bag, anything is possible - the road to success points straight ahead.

Phaedra is one of the most important, artistic, and exciting works in the history of electronic music, a brilliant and compelling summation of Tangerine Dream's early avant-space direction balanced with the synthesizer/sequencer technology just beginning to gain a foothold in nonacademic circles. The result is best heard on the 15-minute title track, unparalleled before or since for its depth of sound and vision. Given focus by the arpeggiated trance that drifts in and out of the mix, the track progresses through several passages including a few surprisingly melodic keyboard lines and an assortment of eerie Moog and Mellotron effects, gaseous explosions, and windy sirens. Despite the impending chaos, the track sounds more like a carefully composed classical work than an unrestrained piece of noise…