Klaus Schulze, one of the most illustrious exponents of the kraut-electronic musical current, was born on the 4th of August 1947, right in Berlin, the heart of the entire action. He has also used the alias Richard Wahnfried. He was briefly a member of the electronic band Tangerine Dream as well as cofounding Ash Ra Tempel before a pioneering and prolific solo career of 40+ albums (totalling 110+ CDs) in 30+ years.
In 1969, Klaus Schulze was the drummer of one of the early incarnations of Tangerine Dream for their debut album Electronic Meditation. In 1970 he left this group to form Ash Ra Tempel with Manuel Göttsching. In 1971, he chose again to leave a newly-formed group after only one album, this time to mount a solo career…

Above the album worked the 'NOW That's What I Call Gold ', and his release took place on 2021. The album has got songs with a total duration of more than an hour. A compilation is a compilation of original music.

Proper, the famous British reissue label, has given the world a series of four-CD "Proper boxes" that contain essential recordings by legendary musicians. Proper's The Lester Young Story is an excellent introduction to this man's phenomenal artistry. Beginning with two instrumentals from his very first recording session on November 9, 1936, Proper skims along the surface of the first 13 years of Lester Young's career, touching upon his adventures with Count Basie, Teddy Wilson, Billie Holiday, Una Mae Carlisle, Sammy Price, the Kansas City Six and Seven, pianist Nat King Cole, and numerous others who collaborated with Pres on records issued under his name. This musical odyssey is a colorful mosaic of historical recordings that originally appeared on the Vocalion, Columbia, Victor, Signature, Keynote, Savoy, Aladdin, and Mercury/Norgran/Verve labels. The survey closes with two extended jams from a Jazz at the Philharmonic concert held at Carnegie Hall on September 17, 1949. Although it stops short of dipping into the best of his later works, Proper's The Lester Young Story may serve both as a superb introduction and a tasty addition to already well-stocked jazz libraries.

Car Songs The Anthems contains 4CDs Packed Full of Huge Anthems for Your Car Journey! Featuring: Meat Loaf, Bonnie Tyler, Kenny Loggins, Survivor, Europe, Wheatus, The Calling, Train, The Script, The Fray, The Only Ones, Anastacia, Avril Lavigne + many more

Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium. The bill included Neil Finn (Crowded House), Noel Gallagher (Oasis), Billy Gibbons (ZZ Top), David Gilmour (Pink Floyd), Kirk Hammett (Metallica), John Mayall (Blues Breakers), Christine McVie (Fleetwood Mac), Jeremy Spencer (Fleetwood Mac), Pete Townshend (The Who), Steven Tyler (Aerosmith) and Bill Wyman (Rolling Stones). Legendary producer Glyn Johns (Small Faces & The Beatles) joined as the executive sound producer and the house band featured Mick Fleetwood himself along with Andy Fairweather Low, Dave Bronze, Rick Vito, Zak Starkey, Jonny Lang and Ricky Peterson.

Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader.

Ray is a talent that cannot be put into words; his voice, his music is, of course, classic. This is a very good collection of his songs. Also, the 3 CD's look like the 45's you may or may not remember. Some artists can take any song and make it wonderful, Ray is an example of that talent.

Missing song aside, the ‘Ultimate Mix’ of New York City is a massive improvement. The up-tempo tracks – ‘New York City’, ‘Attica State’, ‘Sunday Bloody Sunday’ – thunder out of the speakers compared to the disappointingly thin originals. Elsewhere, Yoko’s call for female empowerment ‘Sisters, O Sisters’ no longer sounds as if it’s playing on a flexi-disc, ‘The Luck Of The Irish’ benefits hugely from losing its chintzy flute, and removing a few layers of noise from ‘We’re All Water’ reveals the dynamic rocker at its core. Lennon’s voice is pushed to the fore throughout, often at the expense of saxophone – clearly Sean has a similar view on them to his father.

In keeping with previous Lennon box sets, the ‘Evolution’ mixes of New York City track the development of each of its nine songs using demos, rehearsals, snatches of dialogue, and early takes. It’s a thrill to hear these songs take shape and to hear an unguarded and uncompromising Lennon lead the sessions. “I know we’re gonna end up with that clean, clean recorded sound which I hate,” he frets before tearing into a ferocious version of the title track. We hear ‘Sunday Bloody Sunday’ transform from an eerie home demo to a rollicking boogie, with some choice Lennon witticisms along the way – “Of course, anyone daft enough to decide to play saxophone deserves torturing” and, when attempting to chivy things on, “C’mon, I want to get on to that female lib song before McCartney gets on to that!”. Meanwhile, the studio sessions for ‘Luck Of The Irish’ show Lennon’s softer side as he coaches Ono through her vocal.

Taken from Lars’ personal collection of soundboard tapes, this unreleased concert recording finds us in Dublin about halfway through the European run of the Poor Touring Me tour. (Recording note: there is static after Enter Sandman and during the “Post-Accident Jam.” This is because of the stage destruction portion of the show.)

JUDY GARLAND: LIVE AT THE CURRAN THEATRE, SAN FRANCISCO, CLOSING NIGHT, JUNE 22, 1952 This release of the final night of the 1952 Curran Theatre run of shows (May 26-June 22, 1952) is based on a new high-resolution restoration of a set of transcription discs fortuitously found in pristine condition, digitized with the best choice of stylus and carefully pitch-corrected. This show was undoubtedly originally recorded on tape, from which several sets of discs were then cut, including the source discs used here. Added to it is a selection of radio recordings from 1942-46, inclusive, from disc sources in fine condition, and as a bonus, a brief live recording of Garland’s spoof of Marlene Dietrich’s singing. Garland’s portion of this vaudeville show is presented complete, including all dialogue and audience interaction between musical selections.

Rock music's first two-LP box set, A Gift from a Flower to a Garden overcomes its original shortcomings and stands out as a prime artifact of the flower-power era that produced it. The music still seems a bit fey, and overall more spacy than the average Moody Blues album of this era, but the sheer range of subjects and influences make this a surprisingly rewarding work. Essentially two albums recorded simultaneously in the summer of 1967, the electric tracks include Jack Bruce among the session players. The acoustic tracks represent an attempt by Donovan to get back to his old sound and depart from the heavily electric singles ("Sunshine Superman," etc.) and albums he'd been doing - it is folkier and bluesier (in an English folk sense) than much of his recent work.

Originally released back in 1980, at a time when traditional country artists seemed to be struggling to understand where their sound would fit in with the newly polished production of the time, his eight-song collection The Real Thang was only released on vinyl and met with mixed reviews when it came out. Listening to it now, it's odd to think that the album's blend of White's signature swamp rock sound and smooth late 70s disco was so cruelly overlooked, because it feels totally in step with a lot of other things that were happening in country in the early 1980s.

SFJAZZ proudly releases "Collective Imagery", by the 2024-25 edition of SF Jazz Collective, the distinguished organization’s flagship group since it launched in 2004 with a mandate that, annually, each band member create a fresh arrangement of works by a modern master and a newly commissioned piece. On Collective Imagery, for the first time, SFJC eschews arrangements and presents a program of entirely original music, upholding a remark by its first putative leader and musical director, Joshua Redman, that it is “a true composer’s collective.”

Esa-Pekka Salonen and the San Francisco Symphony deliver a commanding new interpretation of Stravinsky’s Symphony in Three Movements, released on SFS Media. With precision, power, and crystalline clarity, Salonen illuminates the rhythmic vitality and architectural brilliance of Stravinsky’s post-war masterpiece. The orchestra’s dynamic range and refined textures bring fresh urgency to the work’s angular energy and cinematic scope, capturing both its modernist bite and emotional depth. Stravinsky: Symphony in Three Movements stands as a testament to Salonen’s deep affinity for 20th-century repertoire and the San Francisco Symphony’s world-class artistry.