Dreams was the second solo album from the Jefferson Airplane/Starship vocalist. With epic productions and arrangements by Ron Frangipane this album is something special and was nominated for a Grammy award. The album reached #32 on the Billboard charts. It also attained the number 28 position on the UK album chart.

Fans of guitar master Joe Bonamassa will be delighted that 2011 was such a prolific year in his career. First came the fine, rootsy Dust Bowl, then 2, the second chapter in his Black Country Communion project's catalog. Don't Explain, a collection of soul, blues, and jazz-oriented covers in collaboration with vocal firebrand Beth Hart marks his third entry in 2011. This set of blues and soul is a logical extension of her vocal contribution to "No Love on the Street" from Dust Bowl. Opening is a thoroughly raucous contemporary blues reading of Ray Charles' "Sinner's Prayer," followed by a quirky version of Tom Waits' "Chocolate Jesus," and an unusual cover of contemporary jazz-pop singer/songwriter Melody Gardot's "You Heart Is as Black as Night"…

Samba '68 is a vibrant set of Brazilian pop, indebted to bossa nova and samba but undeniably Americanized for a domestic audience. The result is a joyous album throughout that wears its dated sound quite well. Marcos Valle interprets eleven of his own songs, including Brazilian standards like "Chup Chup, I Got Away," "Batucada," and "So Nice (Summer Samba)," as well as new tracks like "Crickets Sing for Anamaria" and "The Answer." The vocal harmonies of his wife (the Anamaria of the song title) provide a beautiful counterpoint to Valle's voice on several tracks, making Samba '68 one of the best Brazilian crossovers of the 1960s.

Taï Phong released 2 sensational progressive rock albums in the mid 70's "Windows" and their debut release. Taï Phong blend the classic prog sounds of Yes with a touch of Pink Floyd. Lead singer Khanh has a higher vocal pitch than Jon Anderson and he is not afraid to let it rip! This band houses some amazing musicianship and song writing capabilities.
Windows (1976) contains many delicate and ethereal bits, although at a slightly lower level if you compare to the previous album. Some bits have excellent piano parts. Like on the first album, there are still many awesome, androgynous & catchy backing vocals; it seems there are more acoustic guitars than on the previous album. There is also an omnipresent densely floating combination of organ and more modern keyboards, which gives an overall ambient mood to this record. The rhythm is rather slow, so the tracks are often relaxing…

A pioneering work for countless styles connected to electronics, ambience, and Third World music, My Life in the Bush of Ghosts expands on the fourth-world concepts of Hassell/Eno work with a whirlwind 45 minutes of worldbeat/funk-rock (with the combined talents of several percussionists and bassists, including Bill Laswell, Tim Wright, David van Tieghem, and Talking Heads' Chris Frantz) that's also heavy on the samples - from radio talk-show hosts, Lebanese mountain singers, preachers, exorcism ceremonies, Muslim chanting, and Egyptian pop, among others. It's also light years away from the respectful, preservationist angles of previous generations' field recorders and folk song gatherers…

With 1971's Fragile having left Yes poised quivering on the brink of what friend and foe acknowledged was the peak of the band's achievement, Close to the Edge was never going to be an easy album to make. Drummer Bill Bruford was already shifting restlessly against Jon Anderson's increasingly mystic/mystifying lyricism, while contemporary reports of the recording sessions depicted bandmate Rick Wakeman, too, as little more than an observer to the vast tapestry that Anderson, Steve Howe, and Chris Squire were creating. For it was vast. Close to the Edge comprised just three tracks, the epic "And You and I" and "Siberian Khatru," plus a side-long title track that represented the musical, lyrical, and sonic culmination of all that Yes had worked toward over the past five years.

Fragile is the fourth studio album by the English progressive rock band Yes, released in November 1971 by Atlantic Records. After touring in support of their previous album, The Yes Album (1971), the band entered rehearsals in London in preparation for their next studio album. Early into the sessions, keyboardist Tony Kaye was fired over his reluctance to utilize more electronic synthesizers. He was quickly replaced with Rick Wakeman of the Strawbs, whose experience with various instruments helped expand the group's sound with the addition of the electric piano and harpsichord, Mellotron, and Minimoog synthesiser. Four tracks are group compositions; the remaining five are solo pieces written by each member. The cover is their first illustrated by Roger Dean, who would design many of their future logos, covers and stage sets.

The debut album from Ariana Grande, 2013's Yours Truly, is a surprisingly sophisticated and unique showcase for the Nickelodeon sitcom star's soulful R&B vocals. As the character Cat Valentine on several Nickelodeon television shows including I Carly, Victorious, and Sam & Cat, Grande developed a huge fan following and the expectations were high for her debut album. Three years in the making and held up by numerous delays, Yours Truly lives up to those expectations. Produced by Kenneth "Babyface" Edmonds, Yours Truly is an impeccably engineered affair. In fact, one would be hard-pressed to find a better platform for Grande's voice.

HellLight was formed in 1996 in São Paulo (Brazil) and is one of the pioneer bands in the Atmospheric Funeral Doom Metal scene. Their music is a unique and intellectual combination which penetrates deep into the mind and soul of the listener. It’s heavy, it’s slow, it’s oppressing.
The Brazilian giants of Atmospheric Funeral Doom hit us again with a new heartfelt piece of art. Full of deep emotions, a new work that transports us to the underworld of darkness, pain, misery, grief and death. After a long wait, HellLight finally presents the eighth album: "We, The Dead". Following the band's traditional style, these 7 new songs come to bring relief to the hearts of fans of one of the most desolate, dense and dark kinds of music.