The Buckinghams recorded five Top 40 singles that all charted in 1967. All five of those tunes are included in this collection. Their three biggest singles, "Don't You Care," "Mercy, Mercy, Mercy," and the number one hit "Kind of a Drag," are pure pop ear candy. Most of the tracks were ably produced by James William Guercio, who would later produce Blood, Sweat & Tears' classic self-titled second album and all of Chicago's earlier albums. Like a lot of '60s groups, the Buckinghams included a song to raise the social conscience of its audience. In this case, the song is "Foreign Policy," an almost unbearable "experimental" tune that includes a snippet of a JFK speech and clocks in at over four minutes! Of course, that's really not very long, but the other ten tracks are all less than three minutes a pop. "Foreign Policy" is truly "kind of a drag." However, the rest of the tracks are tolerable.

A real dig, discovered only recently. Keyboard-dominated, with Mellotron, flute, and English lyrics. Very good studio recordings. The Wuppertal group - basically a successor band of Cannabis India - existed only from 1974 until 1976. Back then in 1974 they recorded some songs for an LP but did not release it. Which was a shame as it would have been a real asset e. g. on the Brain label. Only in 2014, a man from Berlin came up against it almost by chance and released it as an LP on his Korusuro label. It was received very well by the listeners and was much praised. And now finally the CD edition, drawn from the master tapes. The 32-page booklet contains a detailed band history in German and English, photographs, lyrics, etc.

Complex re-release of the most remarkable and worldwide sought afterSeries The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with 5 CDs, incl. bonus material and new linernotes. The first box contains Vol. 1 to Vol. 4 and the Best Of-Album The Evolution Of The Dark Side Of The Moog. Their relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg, which was released as an edited version on 'Dark Side Of The Moog, Vol.8' (will be released in the second Boxset) - the interplay and chemistry between them is clearly evident, and it becomes even clearer on the un-edited version of the concert (which will be released as bonus CS on the third boxset).

Haydn wrote the six quartets of Opp 54 and 55 in 1788, by now a celebrated composer across Europe and still opera Kapellmeister at Esterházy. These period instrument players, whose very name declares their affinity for Haydn, excel in the latest in their Hyperion series. Ever spry in fast movements, faultless in dexterity and intonation, they find a special warmth of feeling in the slower moments: the songful Adagio Cantabile of Op 55 No 1, the puzzling, melancholy Andante of Op 55 No 2, the dark, hymn-like first bars of Op 54 No 2’s Adagio, out of which the violin soars in almost improvised, bluesy reverie. Too many pleasures to enumerate. Try for yourself.

The third studio long-player from the Grammy Award-winning hard rockers led by powerhouse vocalist Lzzy Hale, Into the Wild Life doubles down on the more radio-friendly elements that were introduced on 2012's Strange Case Of…, but it also plays fast and loose with the formula, pouring as many different stylistic elements as it can into each of its 12 (15 if you pick up the deluxe version) cuts. As per usual, Hale's tornadic vocals lead the charge, and she lays down some of her best work to date on stand-out cuts like "I Am the Fire," "Gonna Get Mine," the heartfelt ballad "Dear Daughter," and the blistering, aptly named "Mayhem," the latter of which eschews some of the more traditional hard rock Halestorm tropes (of which there are many) in favor of a nervy blast of pure punk-metal malevolence.

Sly and the Family Stone were an American rock, funk, and soul band from San Francisco, California. Active from 1966 to 1983, the band was pivotal in the development of soul, funk, and psychedelic music. During the late '60s and early '70s, Sly Stone and his family of funkateers were one of the most popular outfits in the U.S. and beyond. Their blend of classic Soul and future Funk created the blueprint that many other bands still follow over four decades later. This box includes great albums like A Whole New Thing (1967), Dance To The Music (1968), Life (1968), Stand! (1969) and There's A Riot Goin' On (1971).

This limited-edition CD, featuring Stan Getz, J. J. Johnson, John Lewis, and Gunther Schuller, presents one of the earliest examples of Third Stream jazz. Written especially for this release are new notes by Gunther Schuller. Recorded March 14, 1955 in NYC. Of the five compositions that were recorded for this album, three were specifically commissioned by Mr. Norman Granz for this date. The remaining two, "Django" and "The Queens Fancy", were older compositions of John Lewis that were specially orchestrated by Mr. Gunther Schuller for this session. The Modern Jazz Society Presents a Concert of Contemporary Music is an album of music composed by John Lewis and arranged and condducted by Gunther Schuller which was originally released on the Norgran label. Allmusic awarded the album 3 stars. The Penguin Guide to Jazz awarded the album a "Crown" of recommended jazz recordings.

Deafheaven announce a 6th album entitled 'Lonely People With Power', available March 28! As evidenced by the 1st single 'Magnolia', the American band returns to the unique style that made their 'Sunbather' album such a success, inviting Paul Banks from Interpol and Jae Matthews from Boy Harsher. Lonely People With Power' is Deafheaven's most ambitious album to date.

A la fin du règne de Louis XIV, le mystérieux Gaspard Le Roux compose pour le clavecin des suites d'une incroyable richesse qui peuvent être jouées à deux clavecins. C'est ce répertoire unique qui est aujourd'hui prétexte à une conversation musicale entre William Christie et Arthur Haas.

Antonin Reicha was a brilliant composer with a fascinating, inquiring mind. His wind quintets are well known, but his musical experiments included odd-numbered meters (there’s a delightful overture in 5/8 time on MDG), quarter tones, and massed timpani (a lesson not lost on one of his prize students, Hector Berlioz). The symphonies are more conservative in idiom, but brilliantly orchestrated, particularly for Reicha’s beloved woodwinds. Jan Caeyers and his Beethoven Academie play musically, and they are gorgeously recorded, but the overall effect is more correct than exciting.