Present is the ninth studio album by British progressive rock band Van der Graaf Generator, released in 2005. It was the band's first studio album since The Quiet Zone/The Pleasure Dome in 1977, and the first with the 'classic' line-up since World Record in 1976. The Charisma Records label was reactivated for its release, as well as a reissue series of Van der Graaf Generator's back catalog and Peter Hammill's solo releases from 1972-80. For many years the band's lead singer and principal songwriter Peter Hammill had rejected the idea of a VdGG reunion, but in 2004 (following two one-off, unannounced reunions at Hammill concerts), work began on an official reunion album. Present was the result.

Itoiz was the name of a Basque music band from the coastal towns of Mutriku and Ondarroa, started off in 1978 and disbanded in 1988. Born in times of turmoil for the Basque Country (Spain), Itoiz stems from a dancing music band (i.e. playing other groups' songs) called Indar Trabes (1974), which performed mainly in evening festivities of towns. Throughout their existence spanning ten years, Itoiz dealt with several styles ranging from folk to progressive rock to pop. Collection includes first three albums: 'Itoiz' (1978), 'Ezekiel' (1980), and 'Alkolea' (1982).

Do Not Disturb is the thirteenth studio album by British progressive rock band Van der Graaf Generator. It was released, on Esoteric Recordings, on 30 September 2016. Reviewing the album for TeamRock, Kris Needs reported that vocalist Peter Hammill had sent organist Hugh Banton and drummer Guy Evans a CD of the new songs, which they spent a week rehearsing, another week recording backing tracks, then six months overdubbing and tweaking at their home studios. Of the album, Needs said: If, as Peter Hammill has indicated, this is the last Van der Graaf album, these winners of Prog’s Lifetime Achievement award this year are going out with the kind of mind-joltingly gorgeous roller coaster that made them one of the greatest genuinely progressive bands of all time. But there’s also a noticeably reflective aura and sense of closure around their 13th album…

The Rolling Stones By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock. With his preening machismo and latent maliciousness, Mick Jagger became the prototypical rock frontman, tempering his macho showmanship with a detached, campy irony while Keith Richards and Brian Jones wrote the blueprint for sinewy, interlocking rhythm guitars. Backed by the strong yet subtly swinging rhythm section of bassist Bill Wyman and drummer Charlie Watts, the Stones became the breakout band of the British blues scene, eclipsing such contemporaries as the Animals and Them.

The Ramones may or may not have invented punk rock, but they were inarguably the most important band in punk history, creating the stylistic prototype that would be followed by countless bands who emerged in their wake. They were informed by the thunder and flash of the Who and the MC5, the speed and primitivism of Iggy and the Stooges, and the alternately sullen and goofy musings of '60s garage rock, but the Ramones synthesized their influences into something raw and revolutionary, a fury of pounding rhythms and downstroked guitars married to rudimentary melodies and comically absurd lyrics that both mocked and celebrated popular culture and teenage life. The Ramones were tuneful, aggressive, and challenging in their embrace of minimalist fury, and while bands from the Clash and the Sex Pistols to Rancid and Green Day would build on their formula, it's essentially impossible to imagine any of those bands, or punk as we know it, without the Ramones' guiding example.

Live broadcasts from 1979 and 1972. When Peter Frampton finally made his breakthrough as a solo act, it was with a live album. While his earlier records had been well-regarded critically, the praise had failed to translate to record sales, but the release of Frampton Comes Alive! in 1976 finally changed all that. A new studio album, I m In You, the following year consolidated the success, rising to number 2 on the US billboard chart and featuring a constellation of the biggest stars in rock Ringo Starr, Mick Jagger, Stevie Wonder and Richie Hayward all of whom had lined up to be a part of the project. In 1978, however, the wheels came off literally.

A Grounding in Numbers is the eleventh studio album by the British rock group Van der Graaf Generator. It was released on 14 March 2011. This date, if written as 3,14, comprises the first three digits of the number π. The second track, "Mathematics", refers to Euler's identity, sometimes known as the mathematical poem. The album's release signals a continuation in the direction set by the current trio lineup, but it is released on a new label, Esoteric Recordings, a departure from previous releases on Virgin/Charisma. Hugh Padgham is the mixer of the album.

It would probably have been more fitting to credit 2005's The Atlanta Years solely to Steve Marriott, as he's the only recognizable name from Humble Pie here. The story goes something like this – circa 1982 and 1983 (immediately after a briefly reunited Humble Pie called it quits once again), Marriott regularly gigged and recorded in the Atlanta area. And despite the fact that Marriott did play other places during this time, it's referred to as his "Atlanta Years," which this 17-track release focuses on. With countless veteran rockers trading in their blues-rock and blue jeans for synths and headbands during this era, Marriott admirably sticks to his stylistic guns here, as evidenced by such bluesy, funky, and soulful tracks as "Heartbreaker," "Trouble You Don't Fool Me," and "I Need More." Also rounding out the set are live renditions of several Humble Pie classics, including elongated versions of "Thirty Days in the Hole" and "I Don't Need No Doctor," as well as a 20-minute phone interview with one of Marriott's former wives. While The Atlanta Years is certainly not a wise starting point to discover the great Humble Pie (search out one of their many comps of early-'70s material), it does serve as a taster of what one of rock's most underrated vocalists was up to during the early '80s.

No popular music group from the 60s, 70s, 80s or 90s has experienced more ups and downs in terms of popularity, or attracted such a diverse audience as The Bee Gees. They made their debut in the mid-60s in an ensemble reminiscent of The Beatles, then quickly began to write their own lyrics and develop a more personal style, perfecting along the way a completely singular progressive pop sound. After an empty stint in the early 70s, the band reinvented themselves during the disco era thanks to the soundtrack of the film Saturday Night Fever, which made them the most famous white soul band of all time.

Rhino released a new David Lee Roth box-set, The Warner Recordings 1985-1994, which features newly remastered versions of the former Van Halen lead singer’s first five solo releases. Roth released his debut EP, Crazy From The Heat while still a member of Van Halen. Consisting of cover versions, it was a hit, reaching number 15 on the Billboard 200. Following on from this success, David Lee Roth departed Van Halen in the summer of 1985 and his first solo album, Eat ‘Em and Smile, would follow in the July of 1986. More straightforwardly ‘rock’ than his EP, it still retained some of the wide-ranging tastes explored previously, including a cover of Frank Sinatra’s ‘That’s Life’.

Lux (stylised in all caps) is the upcoming fourth studio album by Spanish singer Rosalía, scheduled for release on 7 November 2025 through Columbia Records. It is her next full-length album after Motomami (2022). Its physical editions contain eighteen tracks; digital editions omit three. Lux was recorded with the London Symphony Orchestra under the conduction of Daníel Bjarnason, with multiple arrangements by Caroline Shaw and Rosalía as its executive producer. The album includes guest appearances by Björk, Carminho, Estrella Morente, Sílvia Pérez Cruz, Yahritza y su Esencia, and Yves Tumor.

On April 15, 2023, Gary Numan marked a monumental milestone in a lengthy career with his 1,000th live performance at the Electric Ballroom in London’s Camden Town. The show, the last of 3 sold-out gigs at the iconic venue, was a testament to his enduring influence and unwavering devotion to his fans. The setlist was a carefully curated journey through Numan’s extensive catalog, balancing classic anthems (“Down in the Park,” “Cars,” “Are ‘Friends’ Electric?”) with selections from his more recent albums: Songs From a Broken World (2017) and Intruder (2021), including “The Gift,” and “My Name Is Ruin.” The 1,000th show was more than just a concert; it was a celebration of Gary Numan’s remarkable career and his profound impact on electronic music. As the final notes of “Are ‘Friends’ Electric?” faded into the night, it was clear that Gary Numan’s unique sonic language will continue to evolve and captivate for years to come.

After the resounding success of Volume 1 (Gramophone Editor’s Choice, Preis der Deutschen Schallplattenkritik, Diapason d’Or, Choc de Classica, FFFF Télérama), the project to record the complete Sibelius symphonies continues with the Gothenburg Symphony Orchestra and Santtu-Matias Rouvali, whose career as a conductor is entering top gear: he has just been appointed Principal Conductor of the Philharmonia Orchestra in London. At the turn of the twentieth century, as Finland struggled to free itself from Russian rule, Sibelius and his wife faced several domestic dramas, including the loss of one of their daughters, Kirsti, to typhoid fever.

The 18th century was the golden age of the mandolin. The ensemble Artemandoline presents world premiere recordings of forgotten masterpieces written in Florence and Rome for mandolin and basso continuo. A music full of energy, beauty and virtuosity.

Catherine Gayer makes a spirited, fresh sounding Adonis and Brigitte Fassbaender as Venus is superb throughout; Venus's ''Augelletti, si cantate'' has an almost irresistible allure and her radiant duet with Adonis at the conclusion of the work is something to treasure. The instrumental accompaniment is excellent of its kind and of its vintage, with a notable contribution from Hans-Martin Linde on the sopranino recorder. This is, in a word, enlightened music-making which brings a ravishing score to life affectionately and convincingly. Excellent recorded sound and a considerable adornment to Archiv Galleria's otherwise arbitrary and mainly disappointing selection of reissues.