Formed in 1967 by former Motions guitarist Robbie van Leeuwen, the Dutch quartet Shocking Blue originally had a lineup of VanLeeuwen on guitar, lead vocalist Fred DeWilde, bass player Klaasje Van der Wal, and drummer Cornelius Van der Beek, and the initial configuration of the band had a minor homeland hit with “Lucy Brown Is Back in Town” a year later in 1968. Things really got moving, though, when DeWilde was replaced by sultry singer Mariska Veres, whose sexy presence and solid singing brought the band a second Netherlands hit, “Send Me a Postcard,” and then a huge international smash with “Venus” in 1970 after the group had signed to Jerry Ross' Colossus Records imprint.

West Coast vocalist, guitarist, and songwriter Robert Lucas forged a path for himself in the blues world after the release of his much-hailed 1990 self-produced debut cassette, Across the River. Based in Long Beach, CA, as a solo artist Lucas recorded for the Audioquest label out of San Clemente. He was also a member of the legendary boogie blues band Canned Heat, singing and playing bottleneck guitar and harmonica with the group off and on starting in 1994. Lucas paid homage to traditional blues but also carefully crafted his own singing and slide guitar style. These talents are on ample display on his Audioquest albums, including Luke and the Locomotives, Usin' Man Blues, Built for Comfort, Layaway, and Completely Blue, all released during the '90s, as well as latter-day Canned Heat albums on the Ruf and Fuel 2000 labels.

The magnificent ‘Spiral’ was Vangelis’ third album for RCA Records. Released in 1977, the album was recorded at Nemo, his personal studio in London and was a defining electronic album of the era, with Vangelis demonstrating his total mastery of the synthesizer technology of the period. Pieces such as the majestic ‘To The Unknown Man’ brought electronic music to new dimensions.

One of a series of remastered and sonically enhanced editions of the Vangelis albums recorded for the RCA and Arista labels. All of which come in deluxe digi-pack designs, with masters personally supervised by Vangelis in 2013. The magnificent “Heaven And Hell’ was the first album by Vangelis to be released by RCA Records in 1975 and was also the first album to be recorded at Nemo, his personal studio in London. This epic work in two parts featured the English Chamber Choir (conducted by Guy Protheroe) and Vangelis’ first collaboration with Jon Anderson of Yes on ‘So Long Ago, So Clear’. This Esoteric Recordings release (undertaken with the full approval and supervision of Vangelis himself) features a booklet that restores the original album artwork.

Blu-Spec CD2 reissue; 2022 Remaster. Issued in mini-LP style replica sleeve, with OBI, a color booklet with photos and the original 1988 liner notes in English, and a black-and-white booklet with new liner notes in Japanese. The CD release of Direct includes bonus material – which fits the flow of this intense and dramatic offering – not included on the cassette or vinyl releases. Like most Vangelis, this defies categorization. It has strong elements of rock & roll, symphonic synth ambience, and new age instrumental aspects. At the same time, the bold synthesizer strokes and washes fit the Berlin school of electronica. Given Vangelis' proclivity for soundtrack work, it is no surprise that this disc sounds like great film music. It is a great CD that will appeal to many different audiences. Fans of Kitaro, Deuter, and Constance Demby will like this disc.

Former Asia front man John Wetton has released more than his share of live albums in recent years. The performance, recorded in Poland on the Arkangel tour, is strong and nearly perfect.

A collection of musical gems by great contemporary composers of the minimalist and postminimalist trend. Music of Steve Reich (Vermont Counterpoint, New York Counterpoint - first recording of the saxophone version), Arvo Pärt (Pari Intervallo), Hans Otte (Eins), Ludovico Einaudi (Quattro Passi), Henryk Mikołaj Górecki (For you Ann Lill, Op.58), skilfully interpreted by Andrea Ceccomori and Goffredo Degli Esposti on the flutes, Paul Wehage on the saxophones, Cecilia Chailly on harp and Fabrizio Ottaviucci on piano.

Blue Note's So Blue, So Funky, Vol. 1 is a 12-track compilation that highlights the funkiest soul-jazz organists that recorded for the label, whether it was a leader or as a sideman. Although there's a handful of cuts from the early '60s, such as "Face to Face" by the terrific, underrated Baby Face Willette, the compilation leans toward the funky fusions of the late '60s, such as Big John Patton's "Fat Judy," Lou Donaldson's "Everything I Do Is Gon' Be Funky (From Now On)," Jack McDuff's "Butter for Yo' Popcorn" and Grant Green's "Ain't It Funky Now." The best thing about this comp is that even though it has familiar names, not all of the material is readily available on CD, which makes it of interest to casual groove fans and serious collectors alike.

There’s something special about this version of Different Trains. It’s the one commissioned by Wolfgang Sawallisch and David Robertson and their respective orchestras (Philadelphia and Lyon) in 2001 for string orchestra, and it impresses immediately by the richness of its vastly expanded sound palette. Though it may be heresy to say so, I never found the original string quartet version entirely convincing. This recording shows why: inside that frenetic chamber work was a much larger piece trying to get out, and here it is, fully realised, as it were, in glorious technicolor.

Starkly printed in black and white with washed-out, grainy photographs, this is one heavy slab of blues by a player who is not as well-known as he should be. Guitarist Jimmy Rogers was usually overshadowed by the leaders he worked for, Muddy Waters particularly. He was also sometimes confused with the hillbilly singer Jimmie Rodgers, and although they might have sounded good together, they don't have anything in common. This reissue collection grabs 14 tracks done at various times in the mostly early '50s which involve practically a who's who of performers associated with the most intense and driving Chicago blues. This includes the aforementioned Waters, leaving behind his role as leader for a few numbers to add some stinging guitar parts. There is also a pair of harmonica players, each of whom could melt vinyl siding with their playing. These are the Walters, big and little, as in Big Walter Horton and Little Walter. Pianist Otis Spann, bassist Willie Dixon, and drummer Fred Belew are also on hand, meaning the rhythm section action is first class.