Influences is the debut solo album by the British musician, Mark King, who is the singer and bass player with Level 42. It was released by Polydor Records in July 1984. The album features a cover of the song "I Feel Free" by Cream, which was released as a single. King played most of the instruments on the album. Guest musicians include Level 42 keyboardist Mike Lindup and Drummie Zeb from Aswad, who played drums on "Clocks Go Forward".

Obsession,the 1978 album from UFO and the last to feature Michael Schenker, until his return to the band in the '90s. This is the band's seventh record and one of their most interesting musically. With the writing partnership of Mogg / Schenker in fine form, these recordings feel more atmospheric and darker than previous outings. Obsession has been newly remastered from the original production tapes transfers at AIR Mastering.

UK two CD set featuring 41 tracks from such artists as Queen, Rainbow, Deep Purple, Status Quo, The Kinks, The Yardbirds, Joe Walsh, The Allman Brothers Band, Thin Lizzy, Gary Moore, Santana and many others.
This is a brilliant, eclectic mix of guitar based songs. OK they are not all legends and OK there are some standards not included but that is the beauty of it. Don't read the track list and just play it and you will be continually suprised and delighted at what you hear. Robert Cray followed by Johnny Kidd & the Pirates. Howlin' Wolf followed by Steppenwolf, Bonnie Raitt by Mayall.

100 Greatest 70s packs the biggest and best of a thrilling decade of floor-fillers and head-bangers into 5CDs. This comprehensive collection spans all genres from the Classic Rock of Bad Company, the Disco grooves of Chic, the theatrical, stunning sound of Kate Bush, the electrifying Chaka Khan to one of the pioneers of the punk movement – Ramones.

R.E.M. marked the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon. Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Though there were no overt innovations in their music, R.E.M. had an identity and sense of purpose that transformed the American underground. Throughout the '80s, they worked relentlessly, releasing records every year and touring constantly, playing both theaters and backwoods dives. Along the way, they inspired countless bands, from the legions of jangle pop groups in the mid-'80s to scores of alternative pop groups in the '90s, who admired their slow climb to stardom.

Released in 1978, Di Terra is a transitional album between the end of Banco's creative progressive rock phase (ending with the 1976 LP Come in Un'Ultima Cena) and the beginning of the group's more commercial phase (the 1979 LP Canto di Primavera). The Italian band's second all-instrumental album (Garofano Rosso was a film soundtrack), Di Terra is a symphonic suite in seven parts co-written by Gianni and Vittorio Nocenzi. Putting together an orchestra and a rock band was not new in 1978 (Deep Purple had done it years before), but rarely have the two been so nicely integrated. Of course, the project sounds a bit pompous, but the Nocenzi brothers' writing eschews the Star Wars effects to concentrate on textures and melodies…

On déifie le premier album à la banane, encense le très expérimental White Light White Heat et vénère le troisième éponyme. Mais le quatrième et dernier opus studio du Velvet Underground est souvent négligé pour ne pas dire carrément oublié… Loaded est pourtant un véritable chef d’œuvre même si sa réalisation comme son casting furent on ne peut plus chaotiques. Déjà, l’œuvre renferme un bon nombre de chansons magistrales (c’est bien ici que les tubesques Sweet Jane et Rock’n’Roll apparaissent pour la première fois) à l’image de Who Loves The Sun qui ouvre le disque de manière solaire (logique vu le titre…) et très pop. On est bien loin de la décadence et de la noirceur de la Factory d’Andy Warhol des débuts… Sur un titre comme I Found A Reason, la jovialité aux airs Beach Boys est même de mise. Lou Reed claquera pourtant la porte avant la sortie du disque que terminera Doug Yule qui chante d’ailleurs sur certains morceaux. Même Moe Tucker ne pilote la batterie que sur quelques titres. Qu’importe, Loaded est une merveille qui ressuscite en habits de lumière pour ses 45 ans, remastérisé, avec en prime des prises alternative et des démos.

Famed for their perennial "All Right Now," Free helped lay the foundations for the rise of hard rock, stripping the earthy sound of British blues down to its raw, minimalist core to pioneer a brand of proto-metal later popularized by 1970s superstars like Foreigner, Foghat and Bad Company. Free formed in London in 1968 when guitarist Paul Kossoff, then a member of the blues unit Black Cat Bones, was taken to see vocalist Paul Rodgers' group Brown Sugar by a friend, drummer Tom Mautner. After deciding to form their own band, Kossoff and Rodgers recruited drummer Simon Kirke (since Mautner was at university) and 16-year-old bass phenom Andy Fraser from the ranks of John Mayall's Bluesbreakers; with the aid of Alexis Korner, who also suggested the name Free, the fledgling band signed to the Island label, issuing their bluesy debut Tons of Sobs in 1968.

I Beat Loneliness is the upcoming tenth studio album by the British rock band Bush, set to be released on 18 July 2025 through earMusic. The first single, titled "60 Ways to Forget People", came out on 17 April and was followed by "The Land of Milk and Honey", on 5 June.

Vocalist Phil Mogg, guitarist Mick Bolton, bassist Pete Way, and drummer Andy Parker formed the British space metal outfit UFO in 1969. Originally known as Hocus Pocus, the group, which took the name UFO in honor of a London club, debuted in 1971 with UFO 1. Both the album and its follow-up, the same year's Flying, found great success in Japan, France, and Germany, but was barely noticed in the band's native country; as a result, their third effort, 1972's Live, was released only in Japan. In 1974, Bolton left the group; after brief trial runs with ex-Pink Fairies guitarist Larry Wallis and future Whitesnake member Bernie Marsden, former Scorpion Michael Schenker stepped in as a permanent replacement in time to record 1974's Phenomenon, which sported a harder-edged guitar sound. After 1975's Force It and 1976's No Heavy Petting brought UFO increased visibility with American audiences, keyboardist Paul Raymond joined for 1977's Lights Out.

The Doobie Brothers’ illustrious career is marked by a string of hits, two of which, “Sweet Maxine” and “Take Me In Your Arms (Rock Me),” are included here. But Stampede offers much more. In terms of musical dexterity, the 1975 set stands as the group’s peak studio moment.
With ex-Steely Dan guitarist Jeff “Skunk” Baxter finally a full-time member of the band, the California quintet steps up everything from the arrangements to the songwriting. The group also invited several distinguished guests along for the ride: Vocalist Maria Muldaur, soul legend Curtis Mayfield, slide guitarist Ry Cooder, and jazz hand Victor Feldman among them. The results are as good on record as they appear on paper…

Rhino’s seventh installment of 50th Anniversary Studio Releases for Grateful Dead. FROM THE MARS HOTEL is the 7th album and 2nd released on Dead’s own label, Grateful Dead Records. The Deluxe Edition will feature the same remastered and Plangentized audio from the 50th Remaster PLUS the previously unreleased live performance from the University of Nevada-Reno on May 12, 1974. This was the first road show for the infamous “Wall Of Sound,” which debuted mere weeks earlier at home on March 23, 1974 at the Cow Palace. remastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes tape restoration and speed correction and Produced for Release by David Lemieux.

The Golden Age of rock'n'roll and pop music is obviously not limited to the standoff between the Beatles and The Rolling Stones. With Pink Floyd, the options are quite different. Formed in 1965 in London, the band will slalom between progressive rock and psychedelic rock, offering soaring and experimental music, engaged and satirical texts, concept albums and bigger than life concerts, as the Anglo-saxons say … the saga will have three major chapters : the Syd Barrett era, the David Gilmour/Roger Waters era, the Waters era and the Gilmour era.

"Cantafabule" was published 1975 as double vinyl album and marks the undisputed high point in the career of this Romanian act. Phoenix blend Romanian folk vibes with classic and prog rock themes and deliver a cool mix of tunes. “Cantafabule” contains some great vocal harmonies and memorable songs full of originality and musical depth. Some great keyboard work here by Guenter Reininger with the rest of band adding nice musicianship (Nicolae Covaci (Voice, Guitar), Josef Kappl (Voice, Bass, Violin), Ovidiu Lipan and Mircea Baniciu (Voice, Guitar).

Bruce Springsteen once said he intended to make an album with words like Bob Dylan that sounded like Phil Spector where he sang like Roy Orbison, a nifty summary of many, but not all, of his artistic ambitions and a key to his appeal. Unlike any other singer/songwriters saddled with the appellation of "the new Dylan" in the early '70s, Springsteen never hid how he was raised on '60s AM radio.