Fur Ein 3/4 Stundchen (1974). Long Hair proudly presents one of the most sought after German albums of the early seventies, now for the first time officially re-released on CD: Tortilla Flat's 'Für Ein 3/4 Stündchen', originally recorded in winter 1974 and released as a private pressing. The instrumental album is very flute and electric piano driven, with very exciting guitar playing accompanied by rocking drumming with slightly jazzy influences and nimble bass lines, very tight! Many mention Supersister as a comparison, Kraan's first album, Brainstorm or Mel Collins' Circus (Crack In The Cosmic Egg), but all this is not really true. In fact the music is very unique, not typical Krautrock, but psychedelic, complex but very tuneful, with slight jazzrock influences and a little bit of British Canterbury sound…

Kim Skovbye is a composer, songwriter and poet. Born in copenhagen in 1955, he grew up in a home frequented by artists. The Celtic harp is his main instrument, but as a true multiinstrumentalist he also knows how to handle the guitar, violin, bouzouki, mandoline, flutes, cello, dulcimer and keyboards. During the eighties, Kim made numerous trips to Ireland, Wales and Bretagne, the old Celtic countries. His meeting with the Celtic music has become a lasting inspiration for him. But he does not play Celtic music, 'the Celts are better at that'. His music is born out of Scandinavian tradition, incorporating the light and the landscapes to give form and color to the music.
In 1997 Kim released the album 'There and back again', and as Tolkien lovers will know, this title is the subtitle of Tolkiens 'The Hobbit'…

Relish can be a sharp, bittersweet condiment; it can also suggest a determined gusto to live to the fullest. Combined, these two images provide a good taste of Joan Osborne's major-label debut (the live Soul Show was self-released in 1992). Grounded in blues, soul, and gospel, the Kentucky native wields her gritty voice with personality and forceful presence, kind of Melissa Etheridge meets Sophie B. Hawkins with a splash of Jann Arden. Osborne's passion for life oozes from the grooves. There's an uplifting fervor to her material and delivery, as if every second, every note, was being individually savored.

Two classic easy-listening albums by Paul Mauriat and His Orchestra, originally released in 1965 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound. French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit "Chariot." In 1963, the song was given English lyrics, renamed "I Will Follow Him," and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash "Love Is Blue."

One of the series that provides a relaxing sound space, this work directs a comfortable afternoon with The Beatles songs in Bossa Nova style.

Following their massive 1986 European stadium tour for the A Kind of Magic album, Queen took an extended break. Rumors swirled about an impending breakup, but it turned out the break was brought on by a painful marital divorce for guitarist Brian May (who subsequently battled depression and contemplated suicide), and Freddie Mercury being diagnosed with AIDS. Instead of sinking further into misery, the band regrouped, worked on each other's mental state, and recorded one of their most inspired albums, 1989's The Miracle.

What I Did on My Vacation is an official compilation album from Ian Gillan, released in 1986 in UK by 10 Records. The album covers Gillan's recordings between 1977 and 1982 and was released in three formats (2LP, CD, MC). All songs from the album had been previously released. Although not credited on the cover, "Scarabus" is preceded by an instrumental piece by Colin Towns, which was used as the intro to "On The Rocks" (from the Glory Road album).

Atomic Opera were one such outfit playing music that, in a way, was out of this world, fusing the progressive elements of days gone by while charting a contemporary path to future glory. Led by talented frontman and guitarist Frank Hart, this enigmatic quartet were very much part of the spiritually inclined Houston cabal assembled by mogul, manager and producer Sam Taylor; a man who had discovered and nurtured Kings X to worldwide attention. Atomic Opera were, it must be said, cut from the very same musical cloth as Kings X, laying down a sound that was thick and boisterous but embedded with subtlety and intelligent arrangements. It was also a sound that fused the popular grunge movement with traditional hard rock styling.

This is a criminally underrated album that seemed to disappear without trace at the time. I think this is mainly due to RCA not believing in them because hard rock albums were hard to come by in the late nineties and it’s amazing that their second album actually saw the light of day. Formed by Scott Gorham in ’90 after the death of Phil Lynott in ’86 it was obvious Scott still had a lot of music in him and needed a vehicle to do it. For me, this is the better of the two albums they put out and if it was released today it would be hailed as a classic.