This Argentinian band featured Gustavo Montesano (bass/vocals), Anibel Kerpel (keyboards), Pino Marrone (guitar/vocals) and a drummer from Uruguay named Gonzalo Farrugia (from the known progrock band Psiglo). They existed from '74 until '77 and made two records: "Crusis" from and "Los Delirios Del Mariscal". The music has a typcial Seventies sound with echoes from The Nice and Focus.
Both LP's were released as separate CD's but finally re-released on a 1-CD. The music is half instrumental/half with strong Spanish vocals and the emphasis is on the keybaords (organ, string-ensemble, synthesizers, Steinway - and Fender Rhodes piano), the rhythm-section sounds powerful and adventurous. The compositions are strong and dynamic with surprising breaks and the interplay between the electric guitar (often spectacular wah-wah) and keyboards is captivating…

S.H.A.D.O (1997). S.H.A.D.O is a formidable collaboration between Higher Intelligence Agency's Bobby Bird and Pete Namlook.
Delving into electro, ambient, and trance, this album maps a galactic and melodic journey. The first and most aggressive track, "Intruder Detector", is an 11 minute electro soundtrack to a sci-fi scene where robot guards are patrolling a futuristic star base. Huge environmental drifting synth chords, a resonating bass, and precise, regimented percussion build the song's fantastic aural landscape.
Through the middle three songs of the album, the ambient and trance effects prevail, providing a gentle but stimulating space cruise which climaxes with the 21-minute epic "Skydiver"…

The Vivaldi Edition is up to its astounding 54th volume with Concerti per Fagotto IV, and this collection introduces a selection of the finest Baroque works for bassoon. In a magical performance, the bassoonist Sergio Azzolini along with the L'Onda Armonica ensemble creates an indispensable recording that entices us into the pieces and compels us through each as if on a journey.

La musique d’Orgue de Nicolas de Grigny constitue un sommet dans la musique pour clavier de la fin du XVIIe siècle. Le texte musical du présent enregistrement est fondé sur la première édition de 1699. Les conventions de l’époque, telles que nous les avons comprises grâce aux recherches des musicologues, ont été prises en considération, notamment en ce qui concerne la pratique de la musica ficta des altérations rétroactives. On mentionne toujours l’influence de de Grigny sur le jeune Bach. L’anecdote de la copie de Bach est bien connue.

Dieterich Buxtehude is one of the key figures of the baroque period. Other musicians and composers like the young Johann Sebastian Bach came from all over Europe to listen to and to learn from him, since his virtuosi abilities on the organ and his knowledge of compositions were legendary. When he was quite old Buxtehude published two collections of instrumental chamber music. Apart from a few occasional works, these are the only examples of his art that were printed during his lifetime. Opus 1, containing seven sonatas for violin and viola da gamba with harpsichord continuo, is undated but probably appeared in 1694.

In many ways Etta James resembled a female Ray Charles in her unerring ability to tackle (and sometimes combine) all of the strands of American popular music, from rock & roll to R&B, blues, country, gospel, jazz, and pure pop and soul, while still maintaining a distinct feel and sound that was all her own, and she did this throughout a five-decade career that is impressive for its consistency. This 25-track set (mostly drawn from her time with Chess Records) is hardly definitive (it doesn't have classic James' tracks like "Anything to Say You're Mine," "Don't Cry Baby," "Something's Got a Hold on Me," or the girl group pop of "Two Sides (To Every Story)," for instance, or any of her late-career blues tracks), but it does do a good job of spotlighting James' range and versatility by collecting sides like her signature "At Last," the soul-pop masterpieces "Tell Mama" and "I'd Rather Go Blind," and saucy versions of Willie Dixon's "Spoonful" and Randy Newman's "You Can Leave Your Hat On," all of which offer ample proof that James was one of the best singers of her generation – in any style.