This was Ammons' final recording before "being made an example of" and getting a lengthy jail sentence for possession of heroin; his next record would be cut over seven years later. The music is surprisingly upbeat, with Ammons joined by two guitars (Bucky Pizzarelli and Kenny Burrell), a fine rhythm section (pianist Hank Jones, bassist Norman Edge, and drummer Oliver Jackson), and the bongos of Al Hayes for a set of Latin-flavored jazz that was masquerading as bossa nova. The music is offbeat if not all that memorable, a decent effort but not essential.

The album that essentially kick-started the U.K. glam rock craze, Electric Warrior completes T. Rex's transformation from hippie folk-rockers into flamboyant avatars of trashy rock & roll. There are a few vestiges of those early days remaining in the acoustic-driven ballads, but Electric Warrior spends most of its time in a swinging, hip-shaking groove powered by Marc Bolan's warm electric guitar. The music recalls not just the catchy simplicity of early rock & roll, but also the implicit sexuality - except that here, Bolan gleefully hauls it to the surface, singing out loud what was once only communicated through the shimmying beat. He takes obvious delight in turning teenage bubblegum rock into campy sleaze, not to mention filling it with pseudo-psychedelic hippie poetry…

This exciting album was recorded on October 4 & 5th, 1965 in Los Angeles. Much of its success must be attributed to a sensitive and imaginative producer, David Hubert. The morning of the 25th found Lightnin' in an excellent mood; as a matter of fact, a number of the bands required only one "take" at the session, most unusual under any conditions. Years ago, Lightnin' recorded with rhythm sections, but never any like the one on this album. Jimmy Bond on bass, and Earl Palmer on drums, laid down a quiet, but bluesy beat that "turned Lightnin' on". Lightnin' himself plays and sings with the vitality of any young artist today. Anyone who digs the blues will be emotionally moved by this album.

Served with a refreshing twist, these remixed favorites create the perfect late-night chillout vibe.
Classic tracks from Dinah Washington, Sarah Vaughan, Billie Holiday, Nina Simone, Ella Fitzgerald, remixed by MJ Cole, Koop, Bent, Thievery Corporation, De-Phazz, Gotan Project and more.

This is an extraordinary compilation of the progressive and psychedelic music sub-genre known as "Krautrock". On six CDs, consisting of nearly 480 minutes of music, you will find an overview of some of the most creative styles of music from the "Deutschrock"-phase. This is the first time that such a huge spectrum of bands and artists of so many varying styles within this genre is found on one compilation. Accordingly, it is an absolute highlight for veteran fans as well as newcomers. Embryo, Scorpions, Grobschnitt, Guru Guru, Eloy, Kraan, Novalis and many more.

Neither the Škampa Quartet, who have established a firm position among the world’s finest chamber ensembles, nor the phenomenal musician Iva Bittová needs any introduction. Both names relate to several groundbreaking projects (including a singular conception of Janáček’s Moravian Folk Poetry in Songs, Supraphon SU37942). The genre-genre-bending Škampa Quartet invited Iva Bittová to participate as a composer in their new project. Yet the majority of the pieces have been written by Pavel Fischer, formerly the ensemble’s first violin, whose Moravian musical roots and years with the Škampa Quartet have resulted in remarkable accomplishments.

Francesco Corti and il pomo d’oro continue their acclaimed series of Bach harpsichord concertos with a recording of the concertos BWV 1044, 1054, 1056 and 1057. This completes the cycle of seven “official” harpsichord concertos that Bach composed. Many of them are masterful reworkings of existing material, either own compositions or works by contemporaries, showing Bach’s exceptional skill to present musical ideas in a different light. For their second Bach recording, Corti and il pomo d’oro have chosen to work with a relatively small ensemble, in order to bring out the individuality of each melodic line.

For the 300th anniversary of C. P. E. Bach’s birth, Alpha proposes discovering the work of one of the Cantor’s sons from an original angle: that of the Alexis Kossenko’s flute.
In this boxed set, Alpha has brought together the complete Flute Concertos as well as the marvellous Trio Sonatas, masterpieces that allow for discovering Carl Philipp Emanuel’s close connection with the traverso, and also perceiving Alexis Kossenko’s strong ties with this brilliant composer.

On this recording, the Britten Sinfonia's Associate Leader Thomas Gould directs the ensemble in Dmitry Sitkovetsky's beautifully realized and heartfelt arrangement for strings of Bach's great keyboard work, the Goldberg Variations. Sitkovetsky penned the transcription in 1985 to celebrate the 300th anniversary of Bach's birth. It was inspired by Glenn Gould's remarkable 1981 recording of the work, and the transcription is dedicated to Gould's memory.

In the 1970s, the teenaged Dennis Brown was one of the most popular singers in Jamaica, a reggae artist generally referred to in the same breath as Gregory Isaacs (with whom, in fact, he collaborated from time to time) and Bob Marley. Dubbed the "Crown Prince of Reggae," Brown seems to be ageless; although his voice has mellowed somewhat with time, his more recent work has the same emotive power as his vintage recordings from reggae's golden age, and he continues to effortlessly combine cultural and religious themes with romantic pleas. Tribulation finds him teamed up with some of the top reggae session players around (notably the redoubtable Roots Radics, who sound at the top of their form here) on 16 new songs, all of them presented in the rootsy but contemporary style that has typified Brown's work since the 1980s. Highlights include the aching "Go On Now Girl," which is supported by a very fine computer bassline; the old-school throb of "Rougher Yet," and the more electronic "This Love of Mine." Alvin Ranglin's production is top-notch throughout.

There was a time when Gregory Isaacs and Dennis Brown were the two most popular reggae singers in Jamaica. That and the fact that all of these songs were produced by Gussie Clarke at the legendary Channel One studio appear to be the two reasons for the configuration of this strange but attractive set, on which the two singers alternate songs (except for "Let Off Sup'm," which features both of them). Actually, the most significant unifying feature of this album is the constant presence of Sly Dunbar and Robbie Shakespeare's Revolutionaries band, who play on all tracks, and of the vocal group Tetrack, who sing backup and whose leader wrote most of the songs. The songs are uniformly great – apart from their duet, Brown delivers the excellent "Crazy List," "Judge Not," "Deceiving Girl" and "To the Foundation" (note Sly Dunbar's brilliant drumming on that last track), while Gregory turns in "Live & Love," "Street Walker" and "Innercity Lady." The program may appear skimpy at first glance, but each song is presented in "showcase" format (i.e., with dub version appended), so most tracks last over seven minutes. Highly recommended.

Entrails are back with their 8th album and the 90's soul is brought back for the massive HM-2 sound and their passion for classic old school Death Metal!
Swedish Death Metal attack Entrails are back with their new album "Grip of Ancient Evil"! No trends. No polish. Just the purest form of old school Death Metal: HM-2 buzzsaw guitars, bludgeoning rhythms and horror drenched lyrics!

While the collaboration between soul singer supreme Ron Isley and composer and arranger Burt Bacharach does not have the adventurous scope of Bacharach's collaboration with Elvis Costello – in that the tunes featured here are mostly Bacharach classics – it is every bit as satisfying. At 62, Isley's voice is sweeter and more resonant than ever. Bacharach's new charts for these songs take into consideration the singer of "Harvest for the World," "Fight the Power," and "For the Love of You." Inside these towering, lush harmonic architectures shimmers Isley's golden throat, adding just that sultry hint of deep soul to the proceedings.