One of the long-standing collaborations of the British folk revival, Bert Jansch and John Renbourn's Bert and John sees the masterful Pentangle guitarists sparing together through their trademark steel-string guitar styles. Their respective solo careers established them both as leading troubadours of British Isles folk, with little debate and few peers, besides maybe Wizz Jones and Ralph McTell. On this album the duo finds good company in each other's techniques, which are quite indistinguishable in both guitar playing and singing through traditional adaptations, blues, and originals in the Anglo-folk style. The duo plays beautifully together in a candid setting.

Released four years after the Talking Heads called it a day with 1988's Naked, Popular Favorites provides a thorough overview of one of the most important American bands of the '80s. From tightly wound early efforts such as "Psycho Killer" and "Don't Worry About the Government" to the seriously funky likes of "I Zimbra" and "Burning Down the House," David Byrne, Jerry Harrison, Tina Weymouth, and Chris Franz grew as musicians as they stretched the original concepts of the unit to the breaking point. Over the course of two discs and 32 selections, the anthology chronicles the Heads' development from Bowery art punks (albeit of the most civil stripe) to unlikely arena stars. A smattering of unreleased tracks and notes from the original quartet nicely flesh out the retrospective.

No one except psychedelic Renaissance man Alexander "Skip" Spence could have created an album such as Oar. Alternately heralded as a "soundtrack to schizophrenia" and a "visionary solo effort," Oar became delegated to cut-out and bargain bins shortly after its release in the spring of 1969. However, those who did hear it were instantly drawn into Spence's inimitable sonic surrealism. As his illustrious past in the Jefferson Airplane, Quicksilver Messenger Service, and Moby Grape would suggest, this album is a warped blend of acid folk and far-out psychedelic rock. While these original compositions do draw heavily from those genres, each song has the individuality of a fingerprint, and Spence performed and produced every sound on the album himself at Columbia studios in Nashville in the space of less than two weeks…

Bursting onto the scene during the global Power Metal explosion of the late 90’s Vhaldemar have risen to be one of Spain’s biggest and best Power Metal bands. After a long four year gap the band are back with their seventh effort called Sanctuary Of Death. Vhaldemar fall among a certain elite breed of (second-generation, post 1999) bands, such as LoneWolf, Paragon, Wizard, and StormWarrior that have a Metal purity that is almost unrivalled. In fact, on this album Vhaldemar have a song simply called ‘Heavy Metal’, and no it is not a Sammy Hagar or Judas Priest cover! The band is firing on all cylinders with all guns blazing as they deliver 45 minutes of molten metal mania om your head from a mile up. Raging double-kick, ripping solos, and more than enough crunch to satisfy, every song on Sanctuary Of Death is a display of sonic Metal purity.

Using his touring band, which included keyboard player Mike Finnigan and guitarist Jim Krueger, Dave Mason turned in a strong pop/rock collection on his second, self-titled Columbia album. "Show Me Some Affection" was one of those songs that should have been a hit single, Mason recut a fuller version of "Every Woman," originally heard on It's Like You Never Left, and the album also included Mason's version of Bob Dylan's "All Along the Watchtower," in an arrangement patterned after the one by Jimi Hendrix, on which Mason had played six years earlier. Originally released by Columbia Records as Columbia 33096, Dave Mason was reissued on CD by One Way Records as One Way 26080 on October 31, 1995.

J.E.T.’s name is not only known to progressive Italian rock fans, but also to a wider audience, given that from their ashes, already in the mid-’70s, the soon-to-be-famous Matia Bazar were born: this new incarnation was able to rework J.E.T.’s last phase most ‘commercial’ hints, leading to a long successful career that still goes on today. Contrarily to what these words might suggest, J.E.T.’s only LP, originally published in 1972, is so far from the term ‘commercial’ as close to the Italian prog of the golden age: four long and complex tracks – plus the short ending “Sfogo” – with religion-themed lyrics, strong hard rock influences, a solid rhythmic section, keyboards always in evidence and beautiful vocal harmonies, sometimes reminiscent of the typical New Trolls’ falsetto. A timeless album, which still today leaves the listener astonished for its beauty and magniloquence, but also a bit disappointed by the fact that the band didn’t manage to release a follow-up to this masterpiece.

The aptly titled The Warm Sound reunites Frances Wayne with husband and arranger Neal Hefti, adding to the equation a wonderful support unit including tenorist Al Cohn, guitarist Billy Mure, pianist Hank Jones, and flautist Jerome Richardson to yield one of the singer's most delightful and consistent sessions. Hefti keeps his more extravagant impulses in check here, creating a series of sophisticated but appealingly simple arrangements that underscore the breathy appeal of Wayne's vocals. Likewise, warhorses including "'Round Midnight" and "Prelude to a Kiss" prove particularly well-matched to her sexy but sweet persona.

There is no need for guest musicians when Smokin' Joe Kubek is around, for the explosive guitarist completely fills up the ensembles with distortions worthy of acid rock. Kubek is a fairly well-rounded player who occasionally leaves space and during at least two songs ("All the Love There Is" and "She's It") on this CD creates some surprising tones on his instrument (sounding like a keyboard on the former and playing 1970s-style wah-wah notes during the latter). With B'nois King contributing smooth but emotional vocals and bassist Paul Jenkins and drummer Mark Hays supporting Kubek, this is a tight group that probably puts on a killer live show.

Bananamour is ripe with Kevin Ayers' most mature and accessible compositions to date. Ayers grounded himself in a newly formed trio for his follow-up to Whatevershebringswesing. With bassist Archie Leggett and drummer Eddie Sparrow at the hub, Ayers selected guest artists for a handful of the tracks: Whole World colleague Dave Bedford ("Beware of the Dog"), Gong's new guitarist Steve Hillage ("Shouting in a Bucket Blues"), and former Soft Machine mates Robert Wyatt ("Hymn") and Mike Ratledge ("Interview"). "Interview" is easily one of the album's strongest, most original tunes, charged with a rugged, positively electrifying guitar sound courtesy of Ayers and psychedelic organ flourishes by Ratledge. And "Shouting in a Bucket Blues" is Ayers' inspired pop/blues groove…

The musician Andreas Zink received some help by Brainwork and Projekt Gamma, to release his first CD. So this might be the reason, why the melodic tunes sound like thoose two groups. Finest equippment is used to develop thees catchy tracks.

Love Moves is the seventh studio album by Kim Wilde, released in May 1990. The album contained six tracks written by Ricki and Kim Wilde and four tracks written by Kim Wilde and Tony Swain. It was produced by Ricki Wilde. Promotion began in the spring of 1990 with the release of the single "It's Here", a track with Spanish guitars. The album attempted to capitalize on the success of Close, but although a Top 10 in Scandinavian countries, it failed to sell as strongly as its predecessor.

This very appealing disc of post-minimal solo piano music, played by Bruce Brubaker, includes two multi-movements works by William Duckworth and Philip Glass. Composer and music critic Kyle Gann describes Duckworth's The Time Curve Preludes (1977-1978), which use repetitive structures, an essentially tonal harmonic language, and a limited amount of musical material, as the first examples of post-minimal music, because of their brevity, which runs counter to the element of minimalism in which musical changes unfold very slowly over a long time span. The preludes are in two books of 12 movements each, and Brubaker plays the first book. Although they rarely involve exact repetition, each prelude takes a musical idea and examines it from a variety of subtly shifting perspectives. The preludes generally have limited harmonic movement and are frequently built on drones, so they tend to create a sense of stasis and equilibrium, sometimes quietly meditative and sometimes busy. Duckworth's quirky hallmark mixture of major and minor modes is evident in many of the preludes. The harmonic movement and gestures of Glass' Six Etudes for Piano, from 1994, make the pieces immediately recognizable as his work.