In August 1994, MCA Records released Jimi Hendrix: Woodstock, a single-disc collection of highlights from Hendrix's legendary closing set at Woodstock. Less than a year later, Al Hendrix won the rights to his son's recordings, and his company, Experience Hendrix, began reissuing definitive masters of Jimi's catalog. In the summer of 1999, Experience Hendrix rolled out Live at Woodstock, which features the entire set over the course of two discs. Hearing Hendrix's complete concert isn't as revelatory as you'd think, since it just emphasizes that he overcompensated for his under-rehearsed band by jamming. And does he ever jam - almost everything clocks in at over five minutes, with a couple weighing in at over ten minutes. Naturally, this will hardly be seen as a detriment by legions of Hendrix fans, and that's who this set is for…

Sly Stewart is one of pop and rock's great enigmas. A charismatic performer, full of a boundless, good energy, a wonderful songwriter and, at least when he was in his prime, a man with a sure vision, Sly still somehow managed to throw it all away by the mid-'70s. The classic work he did with Sly & the Family Stone, though, is worth its weight in gold. This 20-track set has all the essential hits, including "Stand," "Everyday People," "Everybody Is a Star," "Family Affair," "Dance to the Music," and "I Want to Take You Higher," among others, and for most casual listeners, it has everything they'll really need.

An unique and very interesting musical project, probably the first musical encounter between flamenco and rock music! In those days Joe Beck was a respected composer and rock guitarist, he had played in symphonic orchestras and performed with the top names in rock and jazz (from Tim Hardin to Steve Gadd). After making the album Middle Eastern Rock with Oud player John Berberian, Joe's producer Harvey Cowen suggested Joe to do the same with flamenco and rock. He succeeded to recruit flamenco guitar legend Sabicas (1912-1990), thanks to Sabicas' brother Diego because he wanted Sabicas to scout the musical boundaries. Now Joe decided to assemble the best New York musicians: drummer Donald McDonald (in The Satyrs he had jammed with Frank Zappa, Ritchie Havens and Jimi Hendrix), 20 year old bass player Tony Levin (introduced to jazz and rock by Steve Gadd, later he joined Peter Gabriel his band and King Crimson…

While Pollini's Schumann is not to everyone's taste – some find his virtuoso playing too cool and his bracing interpretations too intellectual – for those who revere Pollini, his Schumann is a tonic after nearly two centuries of sloppy and sentimental performance practice. Pollini's Davidsbündlertänze may not be as poetic as Arrau's and his Kreisleriana may not be as fantastic as Argerich's, but he finds meanings and significances in the works that no one ever has before. Pollini's Concert sans orchestre and Allegro in B minor are second to none in technical panache and interpretive aplomb. DG's piano sound is as real as playing the piano.

ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet – saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams – gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. Outwardly, this music doesn't take as many risks as Coltrane or Ornette Coleman's recordings of the mid-'60s, but by borrowing some of the same theories – a de-emphasis of composition in favor of sheer improvisation, elastic definitions of tonality – they created a unique sound that came to define the very sound of modern jazz. Certainly, many musicians have returned to this group for inspiration, but their recordings remain fresh, because they exist at this fine dividing line between standard bop and avant.

Paul Ellis' Into The Liquid Unknown is as close to classic Berlin-school electronic music (i.e., Tangerine Dream and Klaus Schulze) as one can get without actually being from the Berlin school. The mechanical sounds of classic analog synthesizers and sequences pulsates on this recording from the beginning until the end. Fans of Steve Roach's early rhythmic- and sequencer-based work, such as Empetus and Now/Traveler, will verily enjoy Ellis' Into The Liquid Unknown. Ellis has crafted this recording into a long-running and cohesive work that drips of electronic music nostalgia, while at the same time creating a work that is truly representative of his own voice. This is a fine recording, and certainly a time-worthy disc for those who have a thirst for German electronic music that longs to be quenched.

View from the House is the eleventh studio album by American singer-songwriter Kim Carnes. It was released on July 25, 1988 by MCA Records. The album marked a return to her early country music roots. Carnes recorded the album in Nashville, Tennessee, and co-produced the album with Jimmy Bowen. View from the House received positive reviews, with music critics praising Carnes's cover songs. The album reached number 39 on the Billboard Top Country Albums chart, and contained two hit singles. "Crazy in Love" and "Speed of the Sound of Loneliness" both charted on the Billboard Hot Country Singles & Tracks at number 68 and number 70 respectively. "Crazy in Love" also reached number 13 on the Adult Contemporary chart.

Joanna Connor is an American Chicago-based blues singer, songwriter, and virtuosa guitarist. What sets Joanna Connor apart from the rest of the pack of guitar-playing female blues singers is her skill on the instrument. Even though Connor has become an accomplished singer over time, her first love was guitar playing, and it shows in her live shows and on her recordings. She covers the range of modern blues, slide guitar and blues rock with her own compositions very much influenced by funk, rock, jazz and world music as well as delta blues. Her sense of melody, phrasing and dynamics along with a very modern technique make her a very funky, soulful and compelling guitarist. As for vocal abilities, if Joanna wasn't a guitarist, she could easily be a lead singer in any band.