Mom's Apple Pie was an American ten-member rock band from Warren, Ohio. They were best known for their album cover and for the voice of lead singer Bob Fiorino. The band released two albums, Mom's Apple Pie in 1972 and Mom's Apple Pie II in 1973. A third album was recorded but was not released until 2011. Their manager was Larry Patterson, and they recorded on a record label owned by Terry Knight, Brown Bag Records. The band enjoyed a successful career nationally and toured extensively across the United States. Venues included a wide array of college campuses, clubs, concert halls, the Whiskey A-Go-Go in Los Angeles and Madison Square Garden. They performed with such artists as The Doobie Brothers and David Bowie…

Struttin' Our Stuff, Bill Wyman's first album in nearly 15 years, is a surprisingly successful collection of blues and rock & roll. These performances are surprisingly energetic, even if they're a little too polished to accurately capture the gritty, roadside vibe they're trying to achieve. Nevertheless, there are a number of fine moments here, from covers of "Green River," "Tobacco Road" and "Mystery Train" to guest appearences from Eric Clapton, Albert Lee, Peter Frampton and Georgie Fame.

Blues bassist Willie Kent has strong, supple bottom lines that have supported all the best groups, but he's led his own band as well. This is his fourth Delmark date, and Kent heartily asserts himself as a singer, with a tone like Johnny Adams with a rougher edge. His equally excellent band features lead guitarists Bill Flynn and Jake Dawson alternating tracks, with rhythm guitarist Willie Davis, pianist Kenny Barker, and drummer James Carter. Baritone saxophonist/arranger Willie Henderson from the old Tyrone Davis band leads a three-piece horn section on three tracks. This 13-song program - ten written by Kent - comprises mostly classic 12-bar, IV-V-I blues changes. A hard-swinging "3-6-9," with Dawson's swift guitar and Baker's boogie piano, supports a bitch session for Kent. He is fairly believable on the B.B. King-styled "Address in the Street"…

Twilight is the third album of tenor Ian Bostridge and pianist Saskia Giorgini, dedicated to Robert Schumann song cycles, all written in the miraculously productive year of 1840.The album title and cover photography were inspired by the song Zwielicht, which together with Mondnacht from the same Op. 39 cycle is often considered to be theepitome of German nineteenth-century Romanticism.

Somewhere along the line, Tangerine Dream figured out a way to produce motion picture scores without paying too much attention - as happened with this score for a minor film. There are some nice moments, but it's mainly Tangerine Dream following the formula. It was the first of six movies directed by Bobby Roth that Tangerine Dream supplied the music for.

To mark the 400th anniversary of Orlando Gibbons's death, organist and harpsichordist Stephen Farr presents a stunning tribute to one of England's greatest composers of the early seventeenth century. Gibbons, who served at the Chapel Royal and Westminster Abbey, was celebrated for his virtuosity and innovation, bridging the Renaissance and Baroque eras. This album explores the full breadth of his keyboard oeuvre, from intricate fantasias and evocative pavans to lively dances and variation sets. The album includes the Fantasia for Double Organ, showcasing Gibbons's mastery of contrapuntal invention, and the poignant Pavan and Galliard Lord Salisbury, composed in honour of the composer's noble patron. Farr's insightful interpretations reveal the expressive depth and technical brilliance of Gibbons's music. A compelling homage, this recording underscores Gibbons's lasting influence on English keyboard music.

Fresh off their 2nd consecutive win for 'Jazz Group of the Year' in the DownBeat Readers Poll, Artemis returns with their third Blue Note album 'Arboresque'. Featuring a quintet line-up helmed by pianist and musical director Renee Rosnes, the band has been deemed 'a femme fatale supergroup' by NPR Music with a stellar line-up of pre-eminent jazz musicians: trumpeter Ingrid Jensen, saxophonist Nicole Glover, bassist Noriko Ueda, and drummer Allison Miller. Arboresque is a vibrant 8-song set that presents original compositions by each of the band members as well as arrangements of pieces by Wayne Shorter, Burt Bacharach, and Donald Brown.

Dirigé par l’excellent Tung-Chieh Chuang à la tête des Bochumer Symphoniker, le pianiste allemand Herbert Schuch s’immerge avec une autorité souveraine dans les deux Concertos pour piano de Brahms (composé en 1854-1858 pour le premier, et en 1878-1881 pour le deuxième). Des magnifiques interprétations d’où se dégagent une fébrilité heureuse, et une palette de couleurs incroyablement riche.

Blues at Sunset is a Blues album by Albert King, recorded live at Wattstax (August 20, 1972) and at the Montreux Jazz Festival (July 1, 1973), and released in 1973. Additional material recorded at the 1973 Montreux festival would be released in his later albums Montreux Festival and Blues At Sunrise.

This album is certain to be placed in the MJQ section of any shop that carries it. In reality though, only four of the cuts here feature the permanent, stand-alone, 1952-vintage Modern Jazz Quartet; the other eight having been done in the summer and fall of 1951, when they were still known as the Milt Jackson Quartet, with Jackson providing all of the original material. The differences are so subtle as to be indistinguishable – Milt Jackson and John Lewis are on every cut, while Al Johns subs for Kenny Clarke on drums, and Ray Brown precedes Percy Heath on four of the tracks. Clarke's drumming is more impressive in its quiet way, but Ray Brown's bass work is simpler and more forceful.

~ Recorded at the Paris Theatre on October 29th, 1970 for BBC Radio 1's 'In Concert' series hosted by John Peel.

Seawater, the long-awaited new album from Mostly Autumn.“Seawater is an instinct driven album with a charismatic energy that will pierce the heart yet illuminate it , but in the end totally overwhelm it, a massive sound no doubt” Bryan Josh. Award winning Mostly Autumn’s musical palette is diverse, they draw on influences from the golden age of rock, but have developed their own unique sound that both captures the essence of that era and yet looks forward into the future.

In retrospect, Opiate seems a little haphazard, but it's possible to hear the seeds of Tool's oppressively bleak, cerebral metal in such cuts as "Sweat" and "Opiate." The two live tracks, "Cold and Ugly" and "Jerk-Off," don't sound out of place, since they share the same churning riffs, black noise, and doom that characterize Tool's sound. This is not as developed as either Undertow or Ænima, but it's possible to hear the roots of those albums all over this EP.

It would probably have been more fitting to credit 2005's The Atlanta Years solely to Steve Marriott, as he's the only recognizable name from Humble Pie here. The story goes something like this – circa 1982 and 1983 (immediately after a briefly reunited Humble Pie called it quits once again), Marriott regularly gigged and recorded in the Atlanta area. And despite the fact that Marriott did play other places during this time, it's referred to as his "Atlanta Years," which this 17-track release focuses on. With countless veteran rockers trading in their blues-rock and blue jeans for synths and headbands during this era, Marriott admirably sticks to his stylistic guns here, as evidenced by such bluesy, funky, and soulful tracks as "Heartbreaker," "Trouble You Don't Fool Me," and "I Need More." Also rounding out the set are live renditions of several Humble Pie classics, including elongated versions of "Thirty Days in the Hole" and "I Don't Need No Doctor," as well as a 20-minute phone interview with one of Marriott's former wives. While The Atlanta Years is certainly not a wise starting point to discover the great Humble Pie (search out one of their many comps of early-'70s material), it does serve as a taster of what one of rock's most underrated vocalists was up to during the early '80s.

lf you're curious enough about the Five Americans to want more than a greatest hits collection, this 1966 album is a worthwhile supplement. Ten of the 12 cuts are group originals, and they lean toward the gutsier side of what this sometimes pop-oriented act could offer, with occasional influences of Beau Brummels-like folk-rock. Most of the songs are not on their CD best-of (Western Union), and this disc adds previously unreleased alternate takes of "The Train" and "Good Times."