Compilation of covers of The Beatles' classics by wide array of pop & rock stars, including Billy Preston, Fats Domino, Joe Cocker, Deep Purple, Bryan Ferry, Emmylou Harris, Vanilla Fudge, and many more!

Whether or not this album's title refers to bluesman Robert Johnson's classic song of the same name, Katatonia is still singing the blues in their own way here, even if their style has nothing else to do with the blues as a genre. Continuing in the vein of their previous release, Tonight's Decision, this is depressing, heavy alternative rock with a notable Cure influence - Katatonia is not really playing metal anymore here. The production has been sharpened on this album compared to its predecessor, accentuating the quiet verse/loud chorus dynamics the band so often uses, making the loud parts hit harder and the softer parts come through with more detail. Meanwhile, frontman Jonas Renske has continued to grow as a vocalist, showing greater range while also maintaining that worried, defeated delivery…

The notes for this CD ask, "What issue is more topical than the Brazilian rain forest? So what reissue would be more topical than Walter Wanderley's Rain Forest?" Politically, this may be true, but musically, this collection is anything but topical. From the first tune - the monster hit "Summer Samba," the listener is catapulted straight back to the '60s when bossa nova was new in the U.S. and everyone wanted a piece of it. Organist Wanderley made a big splash with this CD, which went platinum in two years - and it does evoke strong water images, like "poolside" and "ice skating rink." The jazzmen are underutilized, since most of the tracks are less than three minutes long and leave little room to stretch out. One exception is the pretty Ferreira/Marconi ballad "Rain," the only track where Wanderley plays piano rather than organ and which features a fine solo by Urbie Green on trombone…

One of the strangest records you'll ever buy! Consequences was originally a 3LP box set - kind of a sound play of words, songs, noises, and lots of odd effects - an effort of classic rock proportions, but the brainchild of Lol Creme and Kevin Godley after their departure from pop group 10CC. It's nearly impossible to believe how a record like this got made - especially in the year that punk was taking over the British record industry - but the fact that it became an instant cutout may say a lot about its ill-chosen release. Whatever that history, though, the album's a near-legendary one now - some where between Ivor Cutler-esque sound poetry and some of the weirder pop of British mid 70s groups. Peter Cook wrote and performed all the spoken bits on the record, and Sarah Vaughan even makes a guest appearance!

Frankie Goes to Hollywood hyped their debut album Welcome to the Pleasuredome so much that when their second record, Liverpool, failed to live up to expectations, their career was effectively over. That didn't stop them from releasing greatest-hits albums, however, nor did it stop the inevitable wave of '80s nostalgia that surged forth in the '90s. To cash in on whatever meager Frankie nostalgia that may have existed, Bang!… Greatest Hits of Frankie Goes to Hollywood appeared in 1993. Bang! is as good a compilation of Frankie's material as could be assembled, featuring no less than eight songs from Pleasuredome (including, of course, "Relax," "Two Tribes," "The World Is My Oyster," and "Bang") and five songs from Liverpool. There were a couple of good songs stranded on the second album ("Ferry Cross the Mersey," "Rage Hard") and certain casual fans may enjoy having those singles on the same disc with the hits…

The album DUO by Joachim Kühn and Michael Wollny marks the start of a collaboration between two extraordinary partners: the label ACT and Château Palmer, one of the most important Grand Cru wineries in Bordeaux. And it unites the worlds of music, wine and modern art in a unique way. The first, exclusive release brings together two icons of European jazz piano who are also close friends and mutual sources of inspiration. Two ever-alert and enormously creative minds, which possess the virtue of being able to listen, and also the confidence to do the right thing at the right moment.

KUU!’s songs are so well honed, they have a way of emotionally hitting the spot, and also staying lodged in the mind. The reason why this band has been making such waves in Germany is the special chemistry between the artists, combined with a sixth sense and an urgency about the way they communicate. The band members – Kalle Kalima, Frank Möbus (both on guitars) with drummer Christian Lillinger – are never short of creative ideas, and they form a strong yet supple understructure for the phenomenally expressive singer Jelena Kuljić.

The widespread positive response to “Lampedusa Lullaby”, KUU!’s 2018 label debut on ACT also gave rise to enthusiastic, imaginative and telling descriptions of the band’s music: “An alchemically complex jazz punk alloy. […] Really rather wonderful.”( PROG magazine). “A raw, thorny mixture of punk attitude, electro- dance elements, eccentric fusion, and free jazz outbursts.” (All About Jazz).

You can already hear the first notes of 'Speaking Sound': With German piano great Joachim Kühn and Mateusz Smoczyński, the violinist of the highly acclaimed Polish "Atom String Quartet", two musicians have come together who, without many words, click in a real magical way and inspire each other to explore the full range of their musical possibilities - from rich and beautiful melodies, to free outbursts of energy. Chamber jazz without borders.

Pianist Jan Lundgren from Ystad in Sweden and guitarist Yamandu Costa, from Brazil’s southernmost province Rio Grande del Sur might seem an unlikely pairing, and the combination of guitar and piano is well known to be fraught with difficulty. But the collaborative affinity of this duo, the chemistry which they have found through playing together, first in a handful of concerts, and now on this fine album, are something truly exceptional.

Sung by Janis Joplin (All is loneliness) and hailed by Philip Glass and Steve Reich as a pioneer of minimalism, Moondog merges the medieval canon (Music for little hands), like Satie , fugue and passacaille according to Bach, and the asymmetrical rhythms of popular dance: Santa Fe, Elfe Dance, Sea Horse, Rue Lette and Für Fritz. Among the young generation who more or less (!) Appropriates their music, pianist François Mardirossian is an exception. Sensitive to the different facets of this character resolutely timeless - until his own transcription of the famous Bird’s Lament (taken as the credits of several TV and radio shows), he preserves its medieval hieratism and jazzy ardor!