Celebrating a quarter century of Blackmore’s Night with the 25th Anniversary Re-Mixed Edition of the milestone debut album “Shadow Of The Moon” (1997). This album was not only Blackmore’s deliberate radical cut from his previous life as celebrated rockstar in Deep Purple and Rainbow; it was a ground-breaking statement of his artistic ideals: mainly acoustic music, influenced by the songs of the Middle Ages and the Renaissance with a touch of genius that made them sound contemporary. “Shadow Of The Moon” was a milestone album. It encompasses everything that Blackmore’s Night stand for to this day: beautiful melodies and warm atmospheres that are able to reach the soul as well as joyful songs to dance to and celebrate.

Another of Chet Atkins' attempts to break into the jazz world during his Columbia period, this recording veers well across the line into new age wallowing of the most innocuous kind. At this point in time, when a record opened with soothing ocean waves, followed by a gentle wash of synths, you could pretty much expect the new age to be lapping at your feet throughout. As he has with so many other genres, Atkins displays an instinctive grasp of this feel-good idiom, though he has to hold back his powers of invention to conform to its clichés and repetitions.

As everybody knows, Paris Hilton is famous simply for existing. Even before she was a household name the heiress to the Hilton hotel fortune was famous in certain circles, partially because of her pedigree, partially because she was at every exclusive party, partially because of her very name, an instantly memorable and malleable moniker that spawned T-shirts ("Paris Hilton Is Burning") and gossip websites alike. All this hipster activity was bound to spill over into the mainstream and it did in a spectacular fashion in 2003 when she and Nicole Richie – her best friend for life circa 2003 – starred in the reality series The Simple Life, which saw the two pampered socialites attempting to fit into the real world of Wal-Marts and roadhouse saloons.

In light of the 1990s post-rock scene and the often clear links back to Krautrock of all stripes, Ash Ra Tempel's monster debut album stands as being both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms. Featuring the original trio of Hartmut Enke, Manuel Gottsching and Klaus Schulze, Ash Ra Tempel consists of only two side-long tracks, both of which are gripping examples of technical ability mixed with rock power. If more progressive music was like it, there wouldn't be as many continuing complaints about that genre as a whole. "Amboss" contains the more upfront explosions of sound, though it mixes in restraint as much as crunch. Starting with Manuel Gottsching's extended guitar notes and Klaus Schulze's cymbals, it begins with a slow, ominous build that is equally haunting, as mysterious as the cryptic artwork of temples and figures found on the inside…

It's no wonder that mandolinist David Grisman came up with the name "Dawg Music" to describe his style of playing, which draws from bluegrass, jazz, and many other forms of music. This 1978 recording has long been a favorite of Grisman's fans, as all of the compositions and performances have stood the test of time. Grisman's lively "Dawg's Bull" and guitarist Tony Rice's upbeat "Devlin'" set a high standard at the opening of the album, yet the remaining tracks continue to meet the high watermark of the first two songs. In addition to Rice's presence throughout the recording, Grisman utilizes five different bassists (only one song, "Dawgology," features two of them together), violinist Darol Anger, mandolinist Mike Marshall, and on two selections, the jazz violin master Stéphane Grappelli.

Here You Are: The Best Of Billy Ocean is a new 2CD unique collection from original King Of Soul, packaged with a career spanning celebration of one of Britain’s biggest stars. Billy is a Grammy award winner with worldwide sales of over 30 million. He hit the number one spot across three continents in the 70s and 80s, counting no fewer than six UK top 10 singles. ‘Caribbean Queen’ stormed to number one on both the US singles chart and US R&B chart, and is amongst Billy’s six US top 10 singles. With top 10 albums the world over, Billy has notched up an impressive three Platinum albums (including two which are certified 2x Platinum).

Piet Blank and Jaspa Jones - the producers known worldwide. For two they have let out already many albums and tens magnificent singles, reliably having fixed in world history of dancing music. Their hits more than once appeared at tops of charts, and each new album stably got to number 50 of the best to Germany. The first release which has left in 2003 of an album "Relax: Edition One" to a descent has occupied 22 place in charts of Germany, and a chill-miss the version of track Pet Shop Boys "Love Comes Quickly" from this album became the present hit.

The story of Wishbone Ash is a long and winding one, covering some four and a bit decades. Currently there are two versions of The Ash treading the boards, what with the band's original bassist/singer Martin Turner also going out under the WA banner since 2004. Elegant Stealth however is album number 23 from the version of the band who can rightly trace their history back to 1970, being led by the band's only constant - guitarist and vocalist Andy Powell. Yes, that does make him the only long term member of this band, however guitarist Muddy Maninnen, bassist Bob Skeat and drummer Joseph Crabtree along with Powell have produced in Elegant Stealth, an album not only worthy of the Wishbone Ash heritage, but of their future as well.

There was a generation or two of trumpeters who picked up ideas from the meteoric musical trajectory of Miles Davis and developed them after Miles himself had moved on. Palle Mikkelborg and Enrico Rava are good examples, but the Swiss-born Frenchman Érik Truffaz is one of the most consistently creative. He just can’t help sounding beautiful and lyrical, whatever the setting. A good example here is his work on the slightly grungy sound of vocalist Anna Aaron’s song Blue Movie, which has a delightful, whimsical trumpet solo with Harmon mute that could have sprung out of any Davis recording from the 50s or 60s. As on many recent Truffaz discs, regular partners join the trumpeter: namely Marcello Giuliani on bass and drummer Marc Erbetta. They understand perfectly his desire to connect to the worlds of hip hop and dance music, and leave him free to weave his Miles-ean patterns with plenty of space…

Robert Wyatt has been quoted as declaring that this record was "a conscious attempt to make un-misusable music," i.e., music that couldn't be appropriated by the right or broadcast on Voice of America. VOA doesn't broadcast uncommercial music such as this in any case, but Wyatt did succeed in stating some of his political concerns - imperialism, the carnage in East Timor, the flaws of rigid political ideology – in an understated manner. He went back to writing his own material for this album, after having focused on eclectic "covers" in the early '80s, with fair success. It's perhaps an even moodier outing than usual for Wyatt, his melancholia amplified by the foggy, spooky keyboards.