This album stands as something of a minor landmark, musically - as far back as the late '70s, its presence in used record bins attracted a great deal of attention from historically minded collectors, as a genuine live recording of its era, and of a hard rock, heavy metal band, at that. Not too many concert recordings were attempted in hard rock in those days, and even a lot of what was issued in the way of live albums - John Lennon's Live Peace in Toronto and the Rolling Stones' Get Yer Ya-Ya's Out! come to mind - were done under duress, as an attempt to undermine bootlegs that had shown up. And when one considers that Atlantic Records never even got around to recording the Rascals in concert, the very existence of Iron Butterfly Live can only be regarded something of a gift (though one that a lot of us would gladly trade for a period concert recording of Felix Cavaliere, et. al)…

Vanden Plas, the German progressive metal powerhouse, has been a stalwart presence in the music scene since their formation in the mid-1980s. With a name derived from a prestigious Belgian luxury car manufacturer, the band has consistently delivered a luxurious sonic experience to their dedicated fanbase.
After a hiatus of four years since their last album, the band makes a triumphant return with an enthralling assortment of tracks, showcasing their unmatched musical skill and narrative artistry.
Vanden Plas remains faithful to their signature style: progressive rock infused with elements of elegy, melody, and metallic and epic influences. Furthermore, it's evident that Vanden Plas is embracing a "back to the roots" direction…

Nearly forgotten by all but serious soul fans, Back Up Train is Al Green's debut. Released in 1967, when he was still billed as "Al Greene" and before he worked with producer Willie Mitchell, the record is a perfectly serviceable slice of slightly sweet period soul - perhaps a little generic, but never less than pleasant. Much of the record was either written or co-written by the album's producers, Palmer E. James and Curtis Rodgers, who were not just part of Hot Line Records, but in the Creations, Green's previous backing band. Though they're fine as producers, they didn't have strong material as songwriters, never producing something as limber and memorable as Green's lone songwriting credit, "Stop and Check Myself." Musically, this number, along with a few other cuts, suggest the tight, sexy sound of his seminal Hi albums, but they're nowhere near as seductive as those slow grooves, nor are they as effortless…

Respected musician and producer Rupert Hine has sold many millions of records, particularly for his work on several Tina Turner titles and with 80's band The Fixx. Quantum Jump was an attempt to mix jazz rock influences (Weather Report, Miles Davis) and early 70's funk (Kool And The Gang, Tower Of Power) with an English song writing sensibility. Originally released on the Electric label in 1976, it contains all 11 of the cuts that first appeared on it, plus five bonus tracks.

A legend of Brazilian guitar, emerging on the cusp of the bossa nova boom of the 1960s. Baden Powell is a Brazilian musician with a solid international reputation. A gifted instrumentalist and composer, he bridges the gap between classical artistry and popular warmth and was a key figure in the bossa nova movement.

Lumpy Gravy, Frank Zappa's first solo album, was released months before the Mothers of Invention's third LP (even though its back cover asked the question: "Is this phase two of We're Only in It for the Money?") and both were conceptualized and recorded at the same time. We're Only in It for the Money became a song-oriented anti-flower power album with one contemporary/musique concrète/sound collage hybrid piece by way of conclusion. Lumpy Gravy collaged bits of orchestral music, sonic manipulations, spoken words, and occasional pop ditties into two lumps of 16 minutes each. This album presents Zappa's first recordings with a decent orchestra, the 50-piece Abnuceals Emuukha Electric Symphony Orchestra. His symphonic writing was very much influenced by Stravinsky and Varèse…

All four of Janet Jackson's albums released during the 2000s debuted near or at the top of the Billboard 200, as ensured by a legion of devotees. They lacked the staying power of the Control-to-Velvet Rope run, however, and quickly slipped out of view. Jackson left two labels during the decade and dealt with personal matters that included the death of brother Michael. Seven years after Discipline, Jackson returns recharged, and on a BMG-supported label she established, with Jimmy Jam and Terry Lewis – the demigods central to her best work – as well as a small crew of additional associates, as her collaborators. The three singles that immediately preceded Unbreakable were clearly chosen for their range.