Follow-up to the successful first D-Day album, released in September 2019, to mark the 75th Anniversary of Operation Market Garden. Where that album focussed on the hardship of D-Day and consecutive battles, D-Day II puts the emphasis on the psychological strain the war had on the soldiers upon returning home after the end of World War II. Musically the album continues in the somewhat heavier vein of the previous one featuring new singer Jan Willem Ketelaers (Ayreon). The song 'Peace of Mind' is the second track of the new Knight Area album 'D-Day II - The Final Chapter'. Our intention with D-DAY II - The Final Chapter is to highlight multiple sides of the war and liberation from then until now. We want to emphasize less the war itself with this album, but more the man behind the soldier.

Brief Encounters is a studio album by French singer Amanda Lear, released in 2009 by independent label Just Good Music for Your Ears. A two-CD set, Brief Encounters consists of downtempo pop songs and ballads on disc 1 ('For the Heart'), and uptempo dance tracks and remixes on disc 2 ('For the Feet'). The album included a number of cover versions of tracks like Amy Winehouse's "Back to Black", Lenny Kravitz's "I Belong to You" and Lou Reed's "Perfect Day" alongside new songs, written mainly by Enrico Petrelli and Amanda Lear.

Shake Down is the debut studio album by the British blues rock band Savoy Brown. It was released in 1967 (on Decca SKL 4883) under the name of Savoy Brown Blues Band and is mainly an album of covers, featuring three songs penned by blues singer Willie Dixon. In addition to Dixon, the band covers John Lee Hooker and B.B. King. Savoy Brown (Originally, Savoy Brown Blues Band) are an English blues rock band formed by guitarist Kim Simmonds and harmonica player John O'Leary, in Battersea, south west London in 1965. Part of the late 1960s blues rock movement, Savoy Brown primarily achieved success in the United States, where they promoted their albums with non-stop touring. After leaving Savoy Brown, musicians became members of groups such as Yes, Fleetwood Mac, UFO and Foghat.

Although the music of this two-LP set was recording at a concert in the Soviet Union, it is a fairly typical recital by pianist Oscar Peterson with no obvious reference to the exotic location. Peterson takes five selections unaccompanied, performs four others as duets with bassist Niels-Henning Ørsted Pedersen, and adds drummer Jake Hanna to the nine remaining numbers. Other than three originals, all of the music is comprised of veteran standards and, although no real surprises occur, the results are what one would expect from the great Oscar Peterson, who alternates hard swingers with sensitive ballad renditions.

Caught in the Game had Survivor focusing on a harder rock & roll sound, with greater emphasis stemming from the guitar and percussion, but this new formula didn't fare well commercially and the band failed to put any of the album's songs onto the charts. With Frankie Sullivan finally expressing himself with his guitar playing, the album does manage to establish a vibrant and dominant punch through most of the cuts, but because of this, there's a shortage of musical flow and melodic consistency that becomes apparent after the first few tracks. Efforts such as "What Do You Really Think" and "I Never Stopped Loving You" are Survivor's best examples of their straight-ahead rock fair, but they're canceled out by non-abrasive fillers like "Slander" and "Santa Ana Winds," which have the band playing well below their capacity.

Various Artists compliaction featurning artists culled from the Universal / Hip-O group of labels. Features Marvin Gaye, Rick James, Barry White, Chakka Khan & others.

The Man-Machine is closer to the sound and style that would define early new wave electro-pop – less minimalistic in its arrangements and more complex and danceable in its underlying rhythms…

The most immediately noticeable aspect of …And Justice for All isn't Metallica's still-growing compositional sophistication or the apocalyptic lyrical portrait of a society in decay. It's the weird, bone-dry production. The guitars buzz thinly, the drums click more than pound, and Jason Newsted's bass is nearly inaudible. It's a shame that the cold, flat sound obscures some of the sonic details, because …And Justice for All is Metallica's most complex, ambitious work; every song is an expanded suite, with only two of the nine tracks clocking in at under six minutes…

The Overload is a record of great dexterity and curation, the output of a band who were raised on a 00s digital-revolution buffet of wide musical influences. Growing up on US MTV Hip-Hop, minimal 70s No-Wave and sharp-witted British indie, Yard Act benefit from this rich tapestry of musical near-history, using it to create something that feels like more than a trendy pastiche.

The first two albums from reggae roots combo, The Mighty Maytones, collected on one CD. Madness from 1976 and Boat to Zion from 1978 are included for the first time on CD!

This volume of the Classics Chronological series places Billie Holiday's music in historical context to an unusual degree, as her recordings for the Columbia and Commodore labels have until now been reissued separately because of copyright and catalog ownership. The songs parceled together here were recorded at a crossroads in Holiday's career. The setting for the first - in what would constitute great changes in her life and music - was Barney Josephson's Café Society Downtown. Located at 2 Sheridan Square, this was Manhattan's first fully integrated nightclub. Its clientele included a number of politically progressive intellectuals and social activists. When she first appeared at the club on December 30, 1938, Billie Holiday was known as a spunky vocalist who presented lively renditions of pop and jazz standards in what was considered an unusual yet accessible style…

Tony Joe White, aka the Swamp Fox, has been on a roll these past few years, issuing album after self-released album of quality original material full of deep, dark, blues-flavored Florida vintage roots music.Heroines is no exception, but it is a record with a twist. First, it's on the Sanctuary label. Secondly, five of the record's 12 tracks are recorded with female vocalists in duet. They include the great Jessi Colter, Shelby Lynne, Emmylou Harris, Lucinda Williams, and Michelle White. The set opens with "Gabriella," a brief, jazzy flamenco-kissed instrumental, played on a pair of acoustic guitars. "Can't Go Back Home" stars Lynne. A true laid-back Tony Joe nocturnal swamp blues, it nonetheless carries within it that slightly menacing tension. Lynne's voice, which is well known for its power, showcases its other side here, one that is expressive, soulful and sensual even on slow burn. White's vocal whispers its edgy truth, underscored by his signature guitar sound.

With an exciting stage show and hard driving rock, the extensive use of funky organ, a strong guitar front line and powerhouse drumming, the Santana-influenced Titanic became one of the most popular touring bands of the early 70s with success in Germany, England and France. They also made a strong impression in America. The original lineup was formed by Kenny Aas playing the organ and bass, Janne Loseth in charge of the guitar and vocals, John Lorck as drummer and Kjell Asperud who added percussion and vocals. Their first real hit single, the Santana oriented "Sultana" almost peaked the UK charts reaching a surprising (for a foreign band not coming from USA) fifth position. But their recording career had started a year before with the self titled debut…

Obliterating the concept of guilty musical pleasures, I Get Wet turns hair metal hedonism, punk energy, and pop melodies into an instant, insistent blast of fun with all the power of a beer commercial. From the opening anthem, "It's Time to Party," to the excellently named finale, "Don't Stop Living in the Red," the album is all climax – the blasting guitars, blaring keyboards, and Andrew W.K. himself are all turned up to 11 throughout. W.K. is a one-man manifesto, dedicated to spreading the way of the party with songs like "Party Hard" ("We do what we like and we like what we do!" could be "Dirty deeds done dirt cheap" several generations down the road), "Party Til You Puke," and "I Get Wet," and the fact that he looks like the stoner bully from high school only adds to his cred. Guessing whether or not Andrew W.K. is a big joke or not is almost beside the point; he comes on so strong that he either really means it, maaan, or he's got his tongue stuck firmly in his bloodied cheek.