Gov't Mule has been synonymous with the jam band scene since it began. Their sound is a meld of bluesy, hard rock riffing and songwriting, and virtuosic improvisation. Originally a power trio comprised of guitarist Warren Haynes, bassist Allen Woody (both formerly of the Allman Brothers Band), and drummer Matt Abts, the band recruited all-star guests for live performances after Woody's death in 2000. Keyboardist Danny Louis joined in 2002 and bassist Jorgen Carlson became permanent in 2009. The band has also released charting collaborative sets with jazz-funk guitarist John Scofield (Sco-Mule) and reggae legend Toots Hibbert (Dub Side of the Mule). Five of their albums have landed inside the Top 100, including 2017's Revolution Come… Revolution Go. 2021 saw the release of the Grammy-nominated Heavy Load Blues, a back-to-basics set that included six Haynes originals and seven covers of tunes by legends.

Fifty-three years since he delivered the bolt-from-the-blue of Roxy Music’s debut LP as his calling card, Ferry’s latest project is just as startlingly unexpected an arrival. On the one hand, Loose Talk is his first album of new music since 2014’s Avonmore. On the other, little here, from the sounds and shapes of that music, to the uses it gets put to, resembles any previous Bryan Ferry album. Then again – on the third hand – it’s also a piece that is deeply rooted in his past half-century of work. “A conversation between two artists,” is how Amelia Barratt, one of the artists involved, describes Loose Talk. “Something we’ve created together that neither could do on our own,” adds Bryans Ferry, her interlocutor in the creative exchange. “And, for me, it seems to have opened up a whole new chapter for my work.”

The Beatles So much has been said and written about the Beatles – and their story is so mythic in its sweep – that it's difficult to summarize their career without restating clichés that have already been digested by tens of millions of rock fans. To start with the obvious, they were the greatest and most influential act of the rock era, and they introduced more innovations into popular music than any other group of their time. Moreover, they were among the few artists of any discipline who were simultaneously the best at what they did and the most popular at what they did. Relentlessly imaginative and experimental, the Beatles grabbed hold of the international mass consciousness in 1964 and didn't let go for the next six years, always staying ahead of the pack in terms of creativity and never losing the ability to communicate their increasingly sophisticated ideas to a mass audience.

The Thunderfist Chronicles is the eighth studio album by Scottish heavy metal band Alestorm. It was released on 20 June 2025 via Napalm Records. The album is produced by the band's long-time producer Lasse Lammert. The eighth and final song on the album, "Mega-Supreme Treasure of the Eternal Thunderfist", is Alestorm's longest song to date, at over 17 minutes, featuring guest vocals by hurdy-gurdy musician Patty Gurdy and Symphony X vocalist Russell Allen.

Mighty Mo Rodgers (real name Maurice Rodgers) was born in Indiana where his father owned a club that featured blues performers. When Rodgers wasn't studying classical piano he was checking out the blues artists that played there. Growing up, Rodgers was deeply affected by the mid-'60s soul music from the Memphis-based Stax label. Using Stax as an influence, Rodgers started his first band while in high school called the Rocketeers. Upon entering Indiana State College, Rodgers fronted another band, the Maurice Rodgers Combo, playing Wurlitzer piano and incorporating originals with cover versions of popular songs from the era. He finally decided to quit college, move to L.A., and give music his full-time attention…

9 Cds of "The Beatles Collection" include 16 CDs of "The Beatles" British version.

Lyricist Richard Palmer-James’ tale of rock stars, chancers, city slickers and those who rest on their laurels is given full voice here by Jakko, whose vocal improvisation in the middle section quickly became one of the more cathartic moments in the KC setlist. Away from all the obvious drama, there’s some lovely keyboard work on Mellotron and electric piano from Bill Rieflin lurking in the background.

CD reissue of the debut album from the British Blues legends featuring 10 bonus tracks. Recorded live at the Marquee Club in 1964, the line-up of the band was their best-ever and featured Eric Clapton, Chris Dreja, Jim McCarty, Keith Relf and Paul Samwell-Smith.
Five Live Yardbirds was the first important - indeed, essential - live album to come out of the 1960s British rock & roll boom. In terms of the performance captured and the recording quality, it was also the best such live record of the entire middle of the decade. Five Live Yardbirds was a popular album, especially once Eric Clapton's fame began to spread after he left the band.

Piano is Philip Glass’ primary instrument (he also studied violin and flute); he composes at the keyboard. With its seemingly contradictory elements of lyricism and percussiveness, it is in some ways the ideal medium for Glass’ musical language. With its deep roots in tradition (spanning the Classical, Romantic and Modern eras), the instrument embodies the composer’s desire to merge new ideas with classic forms. It is perhaps via piano (and, by extension, keyboard) that performers and listeners can make the most direct and personal contact with Glass’ musical genius. Nicolas Horvath is an unusual artist with an unconventional résumé. He began his music studies at the Académie de Musique Prince Rainier III de Monaco, and at the age 16, he caught the attention of the American conductor Lawrence Foster who helped him to secure a three-year scholarship from the Princess Grace Foundation in order to further his studies. His mentors include a number of distinguished international pianists. Known for his boundary-less musical explorations, Horvath is an enthusiastic promoter of contemporary music. He has commissioned numerous works and collaborated with leading contemporary composers from around the world including Philip Glass.

A trawl through the wonderful career of the hugely underrated Harry Nilsson takes a chronological look at his back catalogue. Pretty much every classic you would ever need is here - Everybody's Talkin', Me and My Arrow, Without Her, Without You, One… the list goes on. Naturally there is a concentration on Harry's most successful work Nilsson Schmilsson with all but one track of the entire album included. There are some delightful hidden classics too with hard to find tracks included, but perhaps too little concentration on his later career. Nevertheless, this is a superb retrospective.

The Monteverdi Choir and English Baroque Soloists are renowned of their spectacular performances of Bach’s epic masterpiece, which they have toured extensively. During their last tour (in Munich, Frankfurt, Lucerne, Aix-en-Provence and Paris) there was a stampede for tickets and they performed every night in full houses, to spellbound audiences. This album is the culmination of the tour: it was recorded in an open session in London, and captures the special atmosphere of the concerts. It is presented in a 2-CD casebook and contains a booklet featuring original notes by John Eliot Gardiner translated in English, German and French.

This double-CD has 24 different groups of fusion musicians (including some from Europe) paying tribute to Weather Report. Despite the personnel and often the instrumentation changing from track to track, there is a unity to the project and many of the bands sound quite a bit like Weather Report, either purposely as part of the tribute or naturally. The programming is somewhat random and the bands bring back the sound, grooves, and spirits of Weather Report rather than necessarily always sticking to their compositions. All in all, this is a heartfelt and very well-played tribute that can also serve as an introduction to a cross-section of some of today's top fusion musicians, many of whom are not household names yet.

2001 compilation released to complete the New Age/Operatic diva's deal with EastWest overseas. It's packed with 16 outstanding tracks from her successful 10 years on the label, including all of her biggest and best singles, along with a previously unreleased version of 'The Last Words You Said' with Richard Marx guesting from her landmark 1998 crossover album Eden. From 'Time To Say Goodbye' to 'Captain Nemo' to 'A Whiter Shade Of Pale', you'll find all of the sultry soprano's greatest songs on this disc.

When you start listening to Folk Bitch Trio's debut album, the references come flooding in like memories, from Crosby, Stills & Nash, Fleet Foxes, to the idea of a heavenly choir. This music feels like it's played in the clouds, carried by vocal harmonies that stretch like a trailing sky. And yet, the band hails from Down Under, specifically Melbourne in southeastern Australia. Formed just a few years ago by three high school friends, they began crafting folk songs with more voices than instruments. After a few singles and rare gigs on this side of the equator, Folk Bitch Trio released their debut album on the esteemed American label Jagjaguwar, and it couldn’t make more sense.

Titling an album America's Child in 2018 can't help but feel like a political move and, sure enough, Shemekia Copeland doesn't shy away from a statement on this, her eighth album. Copeland isn't interested in taking sides, per se. Instead, Copeland uses America's Child as a salute to how weird, wild, and wondrous America is at its best. Fittingly for an album whose aesthetic sees no borders, America's Child casts its net wide sonically, finding room for a number of rootsy sounds and a host of cameos. Working with producer Will Kimbrough, Copeland invites Rhiannon Giddens to play banjo on "Smoked Ham and Peaches," duets with John Prine on a new version of his old tune "Great Rain," sings harmony with Emmylou Harris, and is supported by a band that occasionally features guitarist Steve Cropper and members of the Time. Despite all of these stars, America's Child remains focused on Shemekia Copeland herself, who provides a powerful yet nuanced center for the album. It's not just that her singing is soulful and supple; it's how she views blues as a living, breathing art form, not a static sound.