A legend whose roar shook the world and whose soul gave rock its edge. Ozzy wasn't just the Prince of Darkness - he was the heartbeat of heavy metal, a fearless icon who turned chaos into art and lived unapologetically loud. His music, his madness, and his magic will echo forever!

Here's Some That Got Away is the second compilation album by The Style Council, released in 1993. As the album cover states, the album contains rarities such as demos and B-sides, many of them previously unreleased. It follows 1992's Extras, featuring rarities by Paul Weller's previous band The Jam. The album is something of a sister album to The Singular Adventures of The Style Council, the band's 1989 singles compilation.

Tractor's self-titled album was originally released in 1972 on BBC Radio One DJ John Peel's Dandelion Records label. Previously, this duo - guitarist/vocalist Jim Milne and drummer/percussionist Steve Clayton - were known as the Way We Live, and under that name they recorded A Candle for Judith for Dandelion in late 1970 (it was released in January 1971). One of the more remarkable things about this album is the fact that it's completely multi-tracked by Milne and Clayton. In fact, when Peel and his partner/manager, Clive Selwood, signed the Way We Live on the strength of their home-produced demo, Peel is said to have thought they were a group, despite being told that everything on the album had been created by just the two musicians. For Tractor's sessions, the duo spent time in both Dandelion's attic studios (located near where Milne and Clayton lived together, communal-style, in Rochdale, England)…

When Creed Taylor left Verve/MGM for his own label under the auspices of A&M, he quickly signed Antonio Carlos Jobim and they picked up right where they left off with this stunningly seductive record, possibly Jobim's best. Jobim contributes his sparely rhythmic acoustic guitar, simple melodic piano style, a guest turn at the harpsichord, and even a vocal on "Lamento," while Claus Ogerman lends a romantically brooding hand with the charts. A pair of instant standards are introduced ("Wave," "Triste"), but this album is to be cherished for its absolutely first-rate tunes - actually miniature tone poems - that escaped overexposure and thus sound fresh today. The most beautiful sleeper is "Batidinha," where the intuitive Jobim/Ogerman collaboration reaches its peak. One only wishes that this album were longer; 31:45 is not enough.

Jazz singer/songwriter Michael Franks is an artist most jazz fans feel strongly about one way or another. His unique, romantic poet-cum-laid-back hipster approach to jazz signing is breezy, light, and languid. It's also uniquely his own, though deeply influenced by Brazilian jazz, bossa, and samba. Time Together, his first recording of new material in five years – and his debut for Shanachie – is unlikely to change anyone's opinion of him, but that doesn't mean this is a rote recording. Time Together is an airy, groove-ridden summer travelog that ranges from St. Tropez and New York to Paris, France, and Egypt; it journeys through the nostalgic past and finds space in the present moment, with cleverly notated, languorous, ironic observations about life. Franks split the production and arranging duties between Charles Blenzig, Gil Goldstein, Chuck Loeb, Scott Petito, and Mark Egan. The rest of the international cast on this polished 11-song set includes old friends and new faces David Spinozza, Mike Mainieri, David Mann, Eric Marienthal, Till Brönner, Alex Spiagin, Jerry Marotta, Billy Kilson, Romero Lubambo, and backing vocalist Veronica Nunn.

When the now titled Dark Album was released in late 1977, Wigwam had ceased to exist. This was a pity, as the album in itself was a great improvement from Lucky Golden Stripes And Starpose and, more important to the fans, featured Jukka Gustavson as a guest musician. Unfortunately, Love Records were facing bankruptcy by 1978, and had no means of supporting Wigwam, which also meant that the band dissolved. An (un)official Wigwam Farewell Show took place at Punkarock festival in the summer of 1978.

Tech-metal outfit Fallujah expand horizons and solidify their position as one of America's most exciting artists on their new album, Xenotaph, through Nuclear Blast. The Bay Area-based quintet's confidence in the lineup that made their previous album, Empyrean (2022), such a resounding success-earning high marks from Metal Injection, New Noise, and Guitar World-has been reconfigured slightly, with guitarist Sam Mooradian (Inhale Existence, Sam Mooradian) and drummer Kevin Alexander (Disembodied Tyrant, Brought by Pain) bringing their jaw-dropping musical proficiency to the fold, as vocalist Kyle Schaefer, guitarist Scott Carstairs, and bassist Evan Brewer enter a new chapter with Fallujah.

Impishly impossible to pin down, Cory Hanson's music changes shape with almost every new thing he creates. As the central creative presence in Wand, Hanson has led the group through various styles of wild and ragged psychedelia, but his solo albums have been a different story every time. Happening in parallel with Wand's output, Hanson's solo work has taken the form of tense Americana, narrative indie rock, and with 2023's Western Cum, a merging of Wand's layered conceptual psych and rootsier workingman rock influences. His fourth solo album I Love People takes yet another dramatic and disorienting turn, eschewing overt psychedelia and embracing the influence of bright, highly polished 1970s singer/songwriter and soft rock fare.

A remastered version of the Manchester band’s LP released on May 19, include rare and unreleased recordings. The reissue is the first in the new Chasing The Sun series from Big Brother Recordings, with Oasis‘s follow-up albums ‘What’s The Story (Morning Glory)?’ and ‘Be Here Now’ to also be reissued later this year.
The 20th anniversary edition of ‘Definitely Maybe‘ will be available as a standard CD, a three-disc Special Edition version including the rare recordings and demos, a 12″ vinyl LP featuring all the bonus CD content as a free download, and a Deluxe Box Set which features the LP and the CDs. Among the bonus content included in the reissue is a disc featuring the band’s stand-alone single ‘Whatever’, unheard acoustic versions of the tracks ‘Live Forever’ and ‘Shakermaker’ recorded in Paris, an early demo of ‘Half The World Away’ recorded in Noel Gallagher’s Tokyo hotel room, a demo of the extremely rare song ‘Strange Thing’ and a live recording of ‘Sad Song’ show at Manchester Academy

Rick Wakeman One of the premier rock keyboardists of the progressive era, Rick Wakeman cut his teeth as a London session musician at the tail-end of the 1960s before earning star status as a member of prog rock superstars Yes in 1971. He left the band in 1973 to concentrate on his burgeoning solo career and within a few years had released a trio of ambitious, classical rock albums that proved highly successful: The Six Wives of Henry VIII, Journey to the Centre of the Earth, and The Myths and Legends of King Arthur and the Knights of the Round Table. Wakeman briefly rejoined Yes in the late '70s, and during the next decade produced the film score for Ken Russell's Lisztomania; he also co-wrote a musical version of George Orwell's 1984 with lyricist Tim Rice. He subsequently recorded a series of acclaimed new age albums, recorded and toured intermittently with Yes, and maintained a prodigious recording and touring schedule, balancing his rock, new age, religious, and solo piano work. In the 21st century, albums like 2000's Preludes to a Century and 2017's Piano Portraits earned Wakeman critical acclaim and even a return to chart success, especially on his prog-heavy 2020 outing The Red Planet.

David Bowie One of the greatest stars of the rock & roll era, David Bowie evaded easy categorization throughout his career, operating as the artiest rocker within the mainstream and the most accessible musician on the fringe. Bowie may have trafficked in ideas cultivated in the underground, but he was never quite an outsider as far as rock & roll was concerned. From the outset of his career in the 1960s, he attempted to break into the Top 40, playing British blues, mod rock & roll, and ornate pop before finally hitting paydirt as a hippie singer/songwriter. "Space Oddity" gave Bowie his breakthrough in the U.K., reaching the Top Ten in the summer of 1969 – the summer of Apollo 11 – and it belatedly performed a similar feat in America, giving him his first Top 20 hit early in 1973. By that point, Bowie had traded his folkie persona for the glam-rock alien Ziggy Stardust, one of the many shifts of sound and image that came to define his career.

Contemporary Mississippi blues musician Eddie Cotton, Jr. has combined university training with service in his father’s church and a love of the blues to produce commanding music of fiery intensity and power. Following his spectacular 2000 debut Live at the Alamo Theater and Extra in 2002, Here I Come shows the triple threat singer, songwriter and guitarist breaking out and up to establish serious credibility as a major new star demanding and deserving to be heard. Cotton performs 10 uniquely original tracks backed by Myron Bennett (bass), Samuel Scott, Jr. (drums) and guest artists Grady Champion (harmonica), Carlos Russell (harmonica) and Sam Brady (organ).

Pink Floyd was an English rock band from London. Founded in late 1965, the group achieved worldwide acclaim, initially with innovative psychedelic music, and later in a genre that came to be termed progressive rock.Distinguished by philosophical lyrics, musical experimentation, frequent use of sound effects and elaborate live shows, Pink Floyd remains one of the most commercially successful and influential groups in the history of popular music.

The Joker is the eighth album by Steve Miller Band, released in 1973. The album marked a period of significant change for the group as the band abandoned their psychedelic oriented music for a more melodic, smooth rock/blues sound. Perhaps not coincidentally, it was also their first solid commercial success due to the strong radio-play of the title track. The title track took 19 days to record. The album reached #2 on the Billboard 200 and has been certified Platinum in the United States.

After being kept in relative obscurity the music of Alessandro Scarlatti is making a glorious come back, and is recognised as at least as innovative, brilliant and profound as the music of his son, the famous Domenico Scarlatti. These “12 sinfonie di concerto grosso” are concertante works, either for a variety of solo instruments (concerto grosso) or for solo recorder and strings. These are delightful baroque concertos, brimming with energy, Italian charm and gusto. Played by Early Music group Capella Tiberina on historical instruments, Corina Marti is the recorder soloist, who already excelled in her recording of the Mancini recorder concertos on Brilliant Classics (BC 94324).