Anyone familiar with the industrial metal band's dark sense of irony should take one look at the title of Rammstein's 2009 album Liebe Ist Für Alle Da ("Love Is There for Everyone") and conclude that this one is a mean monster. Combining the tightness and punch of their 1997 album, Sehnsucht, with the musicianship and elaborate textures of their later work, Liebe Ist Für Alle Da is a grand achievement, skillfully dividing its time between razor sharp metal rockers like "B********," or the opening theme song "Rammlied" and nostalgic cabaret pieces that conjure the spirits of Weil and Brecht at a goth club. The best of the latter is the naked and haunting closer "Roter Sand," but little touches of a sinister yesteryear are everywhere, like the fake vaudeville music in "Haifisch," or the soundtrack strings of "Wiener Blut," which are eventually overcome by a guitar-crunching juggernaut…

EXTRAORDINARY COLLECTION OF VAN HALEN’S FINEST NUMBERS RECORDED LIVE IN CONCERT Formed in Pasadena, California in 1974, Van Halen remained among the very elite of American rock actors right across their history, only disbanding after the tragic, early death of Eddie Van Halen, from cancer, in 2020. Throughout their chequered career, Van Halen produces a number of the finest rock anthems and out and out classics ever composed and recorded by a contemporary music group, and this new CD contains live and broadcast versions of 14 such numbers, all housed together on this unique new Halen release. Featuring the most popular hits such as ‘Jump’,’ Dance The Night Away’ and ‘Runnin’ With the Devil’, alongside lesser known and more obscure classics like ‘Ice Cream Man’ and ‘Fools’, this compilation of live recordings is certain to become a must have release for Van Halen fans everywhere.

Pianist Oscar Peterson and violinist Stephane Grappelli meet up for this Scandinavian concert. The "backup" crew (guitarist Joe Pass, bassist Niels Pedersen, and drummer Mickey Roker) isn't too bad either. In addition to a closing blues (which is highlighted by tradeoffs from Peterson and Grappelli), the quintet performs five veteran standards with creativity and swing.

This Barcelona-based spanish band made their debut in 1972 with their eponymous album. This record is a mostly instrumental one (a few scatting one the opening track), but this does not hamper the enjoyment of the music: they have a fairly unique sound and the music has some very subtle Spanish overtones but not in the Flamenco realm. Their sound oscillates between Isotope, Wigwam (the Gustavson and Pohjola compositions), Focus or Finch, Sloche (or fellow Quebecois Maneige) and countrymen Iceberg. If the jazz colours are the main characteristics of the album, the classical influences peak here and there, most notably in Negra Sombra (Dark Black).
Their second slbum 'Fusioon 2' (1974) comprises a stunning combination of delightful melodies and counterpoints, clever interplaying, delicate dissonances…

In early 1991 an album by an '80s artist was welcomed like a Bryan Ferry album in the time of punk. Brucken is one of those enigmas who records sporadically. Love is her only solo effort. Due to Pascal Gabriel's modern dance production, the album holds up well even years after its release and is a much lighter listen than the Edgar Allan Poe- inspired Propaganda. Nine tracks are anticipated by the sensual shade of the "State of Independence" shadow, "Kiss Like Ether." At times Gabriel's programmed beats border on overbearing, so Steve Nye adds a touch of liveliness on three pieces, culminating in the memorable "Always." The upbeat disco "Suicide" and the dramatic "Surprise" are also notable.
Cherry Red's expanded reissue includes the original album plus 10 bonus tracks covering all the singles, B-sides and remixes of the era.

2009 three CD collection. How do you like your Funk, y'all? Streetwise, southern fried or paaarty? You'll find them all here as this collection of original rare grooves brings you Curtis Mayfield, The Meters, Funkadelic, Bobby Womack, Mavis Staples and many other true funky legends. Sure to satisfy, this is funky perfection on plastic! Includes informative notes on all songs featured. 60 tracks.

Lowlives isn’t so much about carefully stoking the embers as pouri,ng on gasoline with merry impetuosity. With vocalist Lee Downer and drummer Luke Johnson soon joined by guitarist Jaxon Moore and bassist Steve Lucarelli, the nascent band was founded on a shared love of ‘90s alternative and grunge, and a shared desire to make music once more for little more than the love of doing so.

CHRISTIE shot to fame in the early 70′s with a number 1 Hit single in no less than 26 countries (it also made Billboard Top 30 in USA) “Yellow River”. Written by band leader JEFF CHRISTIE who was awarded the prestigious IVOR NOVELLO and CARL ALLAN awards for this classic song. Jeff has had his songs recorded by REM to LEAPY LEE to QUICKSILVER. Further Hit singles followed around the world “San Bernadino” and “Iron Horse”. The bands debut album spent 10 weeks in the US charts. The band became known as England’s answer to Creedence Clearwater Revival. Jeff has been back in the studio reviewing his masters and all the tracks on this 2CD set were recorded in the 1970′s by Christie during a particularly prolific period in their career. Christie continues today to perform all over the world and has a particular strong fan base in Europe and South America where the band performs sold out concerts each year. THIS much-anticipated set was released in 2012 and contains 40 of Jeff's unreleased songs from the 70s. While most of them feature Jeff alone in the studio, there are several which were recorded by the band as demos and possible single or album releases.

This new recording from Elizabeth Jordan and the Northern Chamber Orchestra showcases the clarinet's remarkable versatility, featuring music from the 18th, 20th, and 21st centuries. From Johann Melchior Molter's concertos-written for the D clarinet-to Jean Francaix's playful Concerto and Stephen Barlow's evocative Nocturne, the album highlights the instrument's diverse character and expressive range. Francaix's 1967-68 clarinet concerto, initially considered nearly unplayable, is a dazzling display of virtuosity. Described by the composer as an "aerobatics display for the ear," it features bright, tonal movements with intricate cadenzas and playful flourishes.

From Yuval Zorn, “I recorded this album during a period of intense turbulence, juxtaposing a selection of theatrical, almost ritualistic works. In putting them together, they pay homage to one another, creating reflections and images of both decay and vitality, embodying a sense of decadence as well as a surging life force.”

The Smoker You Drink, the Player You Get, Joe Walsh's second solo studio album, continues the heavy and light rock mix of tracks found on his previous release, Barnstorm. Indeed, the opening two tracks bear this out. The first, perhaps Walsh's most recognized track, "Rocky Mountain Way," comes replete with overly distorted guitars and the obligatory solo. The next song, "Book Ends," is a tuneful ode to happy memories. Walsh's ability to swing wildly from one end of the rock scale to the other is unparalleled and makes for an album to suit many tastes. Joe Vitale (drums, flute, backing vocals, keyboards, and synthesizers - a talented man) and Kenny Passarelli (bass and backing vocals) are once again employed, and once again prove themselves adept at handling Walsh's various styles. The album sees an addition to the backing band in the form of Rocke Grace on keyboards and vocals…

In the history of the blues, there has never been anyone quite like the Howlin' Wolf. Six foot three and close to 300 pounds in his salad days, the Wolf was the primal force of the music spun out to its ultimate conclusion. A Robert Johnson may have possessed more lyrical insight, a Muddy Waters more dignity, and a B.B. King certainly more technical expertise, but no one could match him for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.

A sprawling masterpiece, akin to the Beatles' White Album, the Stones' Exile on Main St., or Wilco's Being There in its makeup, if not its sound. Rock, folk, blues, country, Latin, and bluegrass have all been styles touched on in Stephen Stills' career, and the skilled, energetic musicians he had gathered in Manassas played them all on this album. What could have been a disorganized mess in other hands, though, here all gelled together and formed a cohesive musical statement.

The symphonies of Arvo Pärt will surprise anyone familiar with his contemplative, mature style. Pärt began life as a member of the Eastern European modern school, not so far removed from contemporaries such as Penderecki and Górecki. His three symphonies show his gradual renunciation of the more radical aspects of his musical syntax, a return to emotional directness, and the beginnings of that otherworldly quality that has become the outstanding feature of his later work. Not all listeners have traveled the path with him, some finding his recent music tedious and pretentious rather than spiritual, and these three relatively early symphonies really do add a welcome depth and roundness of profile to a composer who can all too easily seem one-dimensional. It's important to keep in mind that, unlike so many members of today's pseudospiritual school of composers (England's John Tavener being the prime example), Pärt is a real composer operating even in the most mystical musings. Järvi deserves real credit for calling attention to this fact in such a powerful way.

This album consists of eight songs Anita O'Day performed in Tokyo on January 12, 1964. This is a completely new discovery, different from the performance taped on December 30, 1963 for a TV broadcast. The latter recording was released on videotape and LP formats in 1985 by Polydor Records of Japan. The five additional tracks are from the American Stars of Jazz TV program hosted by Bobby Troup. The songs are taken from two sessions broadcast in 1956 and 1957.