When it comes to good time R&B played by top class musicians, you can’t beat the sound of Bill Wyman’s Rhythm Kings. After Bill quit the Rolling Stones in 1993, the bass player set about forming his own all-star band. As well as touring the world, the Rhythm Kings released a succession of fine albums, beginning with ‘Struttin’ Our Stuff’ in 1998. We have selected the hottest tracks from this debut album, as well as songs from subsequent albums ‘Anyway The Wind Blows’, ‘Double Bill’, ‘Groovin’ and ‘Just For A Thrill’.

Though not nearly as celebrated as Led Zeppelin, Black Sabbath, Uriah Heep, or Deep Purple, Budgie was one of the finest heavy metal bands of the early to mid-'70s. The British power trio, formed in 1968, was influenced by Cream in the beginning, but by the time this self-titled debut album was released in 1971, Budgie was obviously paying close attention to Sabbath and Zep. In fact, it's hard to miss the impact that Robert Plant had on Budgie lead singer/bassist Burke Shelley. For those seriously interested in metal's development, bombastic treasures like "Homicidal Suicidal,"and "Nude Disintegrating Parachutist Woman" are essential listening.

Of all the post-Fathers & Sons attempts at updating Muddy's sound in collaboration with younger white musicians, this album worked best because they let Muddy be himself, producing music that compared favorably to his concerts of the period, which were wonderful. His final album for Chess (recorded at Levon Helm's Woodstock studio, not in Chicago), with Helm and fellow Band-member Garth Hudson teaming up with Muddy's touring band, it was a rocking (in the bluesy sense) soulful swansong to the label where he got his start. Muddy covers some songs he knew back when (including Louis Jordan's "Caldonia" and "Let The Good Times Roll"), plays some slide, and generally has a great time on this Grammy-winning album. This record got lost in the shuffle between the collapse of Chess Records and the revival of Muddy's career under the auspices of Johnny Winter, and was forgotten until 1995. The CD contains one previously unreleased number, "Fox Squirrel".

Initially conceived as a moral and artistic response to human suffering, violinist Edna Michell's Compassion also became a touching tribute to her mentor and source of inspiration, Yehudi Menuhin, on his death in 1999. The 15 compositions commissioned by Michell for the project revolve around the themes of suffering and charity in fairly abstract or suggestive ways, with few programmatic, religious, or political points made beyond the allusive titles. As a practical matter for curious listeners, this CD is a comprehensive sampler of contemporary musical trends, and the leading lights of two generations of composers are generously represented in the CD's 80 minutes. Established figures such as Karel Husa, Lukas Foss, György Kurtág, Hans Werner Henze, Wolfgang Rihm, Philip Glass, John Tavener, Steve Reich, and Iannis Xenakis share the program with rising composers Shulamit Ran, Chen Yi, Yinam Leef, Betty Olivero, Poul Ruders, and Somei Satoh.

John Mellencamp has been in need of a thorough, career-spanning compilation for a while, and Island/UTV's 2004 release Words & Music: John Mellencamp's Greatest Hits finally fills that gap. His previous hits collection, 1997's The Best That I Could Do, was too short, since he had more hits than could fit on a brief 14-track disc. Words & Music doesn't have the problem of brevity. Spanning 37 songs over two discs, this has nearly all of his charting hits. Radio hits like "Justice and Independence '85" and "Rooty Toot Toot" may be absent, but they're not missed, since all the big hits are here, including "Pink Houses," "Lonely Ol' Night," "Paper in Fire," "Authority Song," "Crumblin' Down," "Small Town," "Hurts So Good," and "Jack & Diane," among many others (including two solid new songs).

Miles Davis' concert of February 12, 1964, was divided into two LPs, with all of the ballads put on My Funny Valentine. These five lengthy tracks (specifically, "All of You," "Stella by Starlight," "All Blues," "I Thought About You," and the title cut) put the emphasis on the lyricism of Davis, along with some strong statements from tenor saxophonist George Coleman and freer moments from the young rhythm section of pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. This hour-long LP complements the up-tempo romps of Four & More.

Sakamoto's all-star blend of Western and Eastern music styles is a triumphant success for the composer, and a consistently good listen. On the title track he takes a traditional Japanese folk song and blends it into a funk groove provided by Bootsy Collins, Bill Laswell, and Sly Dunbar. Unlike Byrne and Eno's My Life in the Bush of Ghosts, this blend of cultures is coming from the opposing angle and stays truer to the source material. But that track is only one of Sakamoto's approaches, and on several other tracks he joins with Laswell to create a crisp, techno-cultural hybrid that sounds like nothing except like pure Sakamoto. On "Risky," a subdued Iggy Pop lends vocals and lyrics, and doesn't come across as an interloper. And on "Okinawa Song," Sakamoto seamlessly integrates the southern island culture into his grand scheme.

The best Summer anthology from a dance perspective. This gives the full view of Summer's best tunes the way they were played in the clubs; all the added loops, orchestrations, and extra production, plus her voice mixed to its fullest and even boosted. It covers 73 minutes, which is more than anyone except the disco junkies would ever need, and even has an extra cut on the cassette, rather than on the CD.

Recorded Live At Kosei- Nennkinn Kaikann, Tokyo, 1979-01-23 and 1980-01-27.

“Whoosh!” sees Deep Purple for the third time joining forces with producer Bob Ezrin, who invited the band to Nashville to write and record new songs. Together they created the most versatile album in their collaboration. Deep Purple “stretched out in all directions” without any limitation, letting their creativity go. “Deep Purple is putting the Deep back into Purple” was the half-joking motto in the studio after the first songs made it clear that Ezrin and Purple were on their path to creating an album pushing the boundaries of time, while voicing their resentment about the current situation of the world and addressing all generations. In recent years, Deep Purple has progressively moved into new areas, piquing the interest of fans who were not born when the mighty Purple machine ruled the music world.

Kilroy Was Here is the eleventh studio album by the rock band Styx, released on February 22, 1983. The album is named after a famous World War II graffito, 'Kilroy was here'. It was the final album of original material to be released by the "classic" lineup of Dennis DeYoung, Tommy Shaw, James "J.Y." Young, John Panozzo, and Chuck Panozzo. The album is certified platinum. As of 2018, it is the last studio album by the band to be certified platinum.