Tubular Bells III is a record quite similar to Mike Oldfield's second update of the original classic, recorded just six years prior. The production methods are a bit more polished and the tone is more serious, but the music remains dreamy, somewhat overevocative new age-with-a-beat music, quite similar to Enigma - thanks to the Eastern textures of vocalist Amar on three tracks. There are a few occasional moments of levity, however, including the raging guitar stormer "Outcast" and a remake of Oldfield's early-'80s hit "Man in the Rain."

Although it follows the same patterns and approach as Cycles, My Way is a stronger album, with a better, more varied selection of material and a more focused, gutsy performance from Frank Sinatra. Built around the hit single "My Way," the album again alternates between rock covers ("Yesterday," "Hallelujah, I Love Her So," "For Once in My Life," "Didn't We," "Mrs. Robinson"), a couple of adapted French songs, and a handful of standards. This time out, Don Costa has written more engaging charts than the previous Cycles. The Beatles' "Yesterday" is given an affecting, melancholy treatment that brings out the best in Sinatra, as does the new arrangement of "All My Tomorrows," which is lush and aching. If Sinatra doesn't quite pull off the R&B of "Hallelujah, I Love Her So," he does sing the light Latin stylings of "A Day in the Life of a Fool" beautifully, and he has fun with Paul Simon's "Mrs. Robinson"…

This album went straight to the top of the Finnish Top 40 album chart and stayed inside the Top 40 for 26 weeks. It was certified gold in Finland three weeks after being released and has sold platinum. On 17 December 2006 it was announced that the album is featured in Helsingin Sanomat's "Best albums of 2006" article.
Poets of the Fall are a rock band from Helsinki, Finland. Poets are quite unique in their delivery. Nothing they do could be considered groundbreaking by structure, but the way they deliver the music feels genuine and fresh. It is dirty at times and weeping the next. With vocals that grab you at the core, powerful guitars, and a driving and talented rhythm section, Carnival of Rust is a must listen.
The immediate thing that is noticed is that Marko's vocals take center stage from opener Fire thereon. His voice fills up the air around you with a stadium sized presence…

Playing in the traditional idiom of the lounge setting (Wright on alto sax and flute, Kenny Burrell on guitar, Gloria Coleman on organ, and Frankie Dunlap on drums) could be fairly boring and pat, not to mention little more than background for some prime rib and a bottle of Blue Nun. Wright steers his group away from that with balance, control and unmatched intuition from all his players. A key element of Soul Talk's success is restraint. Wright is a fantastic soloist with an expressively smooth and prolonged attack that jumps out and takes command without bowling over the other instruments. When his combo gets their moment to step up, they do it gracefully and with flair. Witness Coleman's organ vamps within their take on "Skylark," how she percolates in the background before jumping up for eight bars of wonderful before descending back into the track's natural warmth…

Following on from their debut album No Alternative and sophomore set Keeping Up, Jonesy released Growing in 1973, their third and final album for the Dawn label. Overseen by top-notch producer Rupert Hine, it was certainly the best sounding set of the batch, and arguably their most adventurous, but that wasn't necessarily a good thing. The almost-12-minute long set closer "Jonesy" was a case in point. What should have been an exciting epic instead disintegrates into overindulgent improvisation. It starts off strong enough with the instruments circling around the organ and Mellotron, the electric guitar then storms in, and the piece pushes into R&B laced with funk and wah wah guitar. But then it fragments into a series of disjointed solos, and never really comes back together, although at times it's intriguing how the various instruments can evoke a genre with just a few notes or chords…

Rob Gordon was a co-founder of the UK's Warp Records, onetime whizz-kid employee of Sheffield's Fon Studios and creator of Forgemasters'mighty underground “Track With No Name.” Recorded during his mid-90s freefall from an acrimonious split with Warp, Ozoona is one of the only surviving longform examples of Gordon's mercurial art, and therefore represents something of a coup for Fax. “She Ship” is an elegant, urbane update on ‘bleep'techno, while “Flat Pack”'s Moog input suggests this track is Namlook's main contribution to the CD. The 17-minute “Blackbird Suite” is a loose, swinging take on ‘intelligent'drum 'n'bass that sounds like a band of cybernetic jazz virtuosi. But “The Hunt” raises the bar entirely: a manic, monotonous grey slew of compressed Hardcore breaks that's rarely been outrun, even by the likes of Autechre in their more jackhammering moments.

I Robot is the second studio album by the English progressive rock band The Alan Parsons Project (Alan Parsons and Eric Woolfson), released by Arista Records in June 1977. It is an art rock album that draws conceptually on author Isaac Asimov's science fiction Robot trilogy, exploring philosophical themes regarding artificial intelligence.

A companion album to Northeast Corridor: Steely Dan Live, Donald Fagen's The Nightfly Live captures a 2019 performance of the 1982 album by Steely Dan (or the Steely Dan Band, as Fagen chooses to call them in the years following Walter Becker's 2017 death). Original producer Gary Katz is on board to capture all the sonic intricacies of this concert, helping the live album to sound remarkably similar to its studio predecessor. There are differences, to be sure: the digital punch of the 1982 record has been warmed, the beats swing a bit more, Fagen's voice is thin and wispy, the backup singers take the lead on "Maxine," and there's a bit more emphasis on R&B rhythms – all elements that make this feel like a concert despite the precision of the production and performances. It's enough to keep Donald Fagen's The Nightfly Live fleet on its feet, which is enough to keep this record fun.

Revelation is the ninth studio album by British new wave rock band Ultravox, released in 1993. The album was issued after the dissolution of the band in 1988 and the reformation of a new five-piece line-up in 1992, with Tony Fenelle as lead vocalist and keyboard player Billy Currie as the only original member left. Ingenuity is the tenth studio album by Ultravox, released in 1994 with Sam Blue as lead vocalist amongst a new five-piece line-up (with Billy Currie the only remaining original member).

The Return of the Fabulous Hofner Bluenotes is the twenty-second studio album by British singer-songwriter Chris Rea, released in 2008 by his own record label, Jazzee Blue. It comprises three CDs and double 10" Vinyl records in an 80-page hardback book. It is the second album of his project, the Hofner Blue Notes (2003). The project narrates the history of The Delmonts, an imaginary guitar instrumental band from the late 1950s, who in early 1960s evolved into blues band The Hofner Bluenotes. It also gives a brief history of the Hofner guitar, and its importance in the development of music in Britain. The music was recorded by Rea (guitars), Colin Hodgkinson (bass) and Martin Ditcham (drums), who feature in the book, together with Niel Drinkwater and Robert Ahwai.

Whilst not commonly known as an extraterrestrial hotspot, Leeds (United Kingdom) faced an encounter of another kind, as 2015 saw Xander Bradley (Vocals/Guitar) and Ryan Sheperson (Drums) set out to accomplish a project embodying their joint passion for the art of science fiction and heavy metal music. With Cryptic Shift taking form as a crossover between the worlds of Technical Thrash / Death Metal and all things Sci-Fi, the two set out to spread their influence across the UK, and soon venturing across the globe.