Remember when, in the 1980s, the hard rock landscape was littered heavily with Led Zeppelin impostors? The apex of this so-called movement was probably 1987 through 1989, when metalheads were treated to such popular Zep-like releases as Whitesnake's self-titled commercial breakthrough and Bonham's The Disregard of Timekeeping. But possibly tops on the "Zep disciple" list were Kingdom Come, with their debut album Kingdom Come and single "Get It On," which were big hits. Their subsequent albums failed to perform as well (guess fans realized that one Zep was enough), but Kingdom Come singer Lenny Wolf has persevered and stuck to his guns throughout the years by fronting various lineups of the band.

Born and raised in Toronto, Garnett Ford formed his first band, Pinball, during the mid '70s. They played the local area circuit, venturing occasionally out west and into the US, when Frederick Starchuck took an interest. He signed Ford to a management deal, and within a year a contract with Warner Brothers. They wanted him as a solo act, so Pinball folded and Ford went into Phase One Studios with Ian Thomas and Gary Muth. UNDER THE INFLUENCE was released in February, 1978. A slick blend of pop and adult rock, it was all originals, mostly written by Ford with Doug Templeton, sent in for the job by Starchuck.

Combining the Vocal talents Of David Raitt (Bonnie's brother) with the explosive guitar of Jimmy Thackery, this is modern Blues/R&B at it's finest. Having know each other since they were kids David Raitt and Jimmy Thackery decided it was time to join forces and see what they could do in the sudio together. These recordings not only feature David's wonderful vocal skills and Jimmy's explosive guitar work but also some fine song writing by both. As a special bonus there is the guest appearance of David's sister Bonnie Raitt helping with vocals on two tracks. Add powerful rhythm and horn sections and, well, "That's it!"

Like most British pop, Lily Allen's debut album, Alright, Still, overflows with impeccably shiny, creative productions. However, Allen attempts to set herself apart from the likes of Rachel Stevens, Natasha Bedingfield, and Girls Aloud with a cheeky, (mostly) amusing vindictive streak in her lyrics that belies the sugarcoated sounds around them. You know exactly what she means when she says her ex is "not big whatsoever" on "Not Big"; later, she revels in being the one that got away on "Shame for You." However, this nice-then-naughty approach is at its best on Alright, Still's singles, which open the album in a one-two-three punch.

There are compositions whose title sounds purposely reductive, and these certainly include Symphonic Dances, Rachmaninov's last composition, so the name of symphony would not seem usurped even if the form does not correspond to the classical one.

Over 2 hours of the smoothest soul from the 60s, 70s and 80s on 2 CDs featuring tracks by classic soul artists such as Luther Vandross, The Isley Brothers, Isaac Hayes, Fat Larry’s Band, The Chi-lites, Jackie Wilson and many more.
Soul Sessions takes us on a journey through the deepest soul cuts of the last 30 years. From the loved-up sixties stomp of Jackie Wilson’s ‘Sweetest Feeling’ through the blissed-out harmonies of The Chi-lites ‘Have You Seen Her’ to the smooth sensuality of eighties heart throb Luther Vandross. Soul Sessions offers enough soul food to satisfy the hungriest of lovers. So whatcha waiting for…get it on!

Summer 1988 and as Acid House raged across the UK pockets of resistance began springing up delicated to a very different beat. Inspired by Hip-Hop, Jazz and a wealth of Soul and Funk recordings stretching back to the 60's America, young musicians breathed life into old sounds, recorded new ones and set about spreading their message worldwide. Soul Jazz Sessions celebrates those bands, producers, and DJ's who took the next step into the studio and produced some dancefloor magic in the process.

Heron's self-titled debut LP was mild, drummerless British folk-rock with the rural/pastoral feel common to many early-'70s records in the style. That pastoral feel, in this particular case, might have been in part deliberate; the record was actually recorded in a field by the River Thames, and though the sound quality is very good, you can occasionally hear some birds and faint ambient outdoor noises. The music is very friendly, acoustic guitar-based stuff that, as improbable as such a blend may seem, is a little like a combination of Simon & Garfunkel with the Incredible String Band, though there aren't many of the weirder elements of the latter. You might also cite the most acoustic and folky Paul McCartney ballads of the late '60s and early '70s (à la "Blackbird") and the harmonies of Crosby, Stills and Nash as less prominent influences. Some organ, piano, and accordion add a little depth to what's essentially an acoustic folk base.

Luther Allison seemed to be on a roll when he died in 1998. He was back home after many years in Europe, and was winning awards and making a good living. This, his debut album, was cut in 1969 when he was 30 years old. He sang as if barely able to keep a lid on his emotion, and the elegance and precision of his guitar playing belied the fact that he had only been playing the instrument for a few years. If this debut can be faulted it's only in that it relies too heavily on overfamiliar standards like "Little Red Rooster," "Five Long Years," "Dust My Broom," "Sky Is Crying," and "Every Night About This Time." The CD reissue has been expanded with alternate takes and bonus cuts.

Meant to Be features guitarist John Scofield's 1990 pianoless quartet on 11 of his compositions. During the best selections (such as "Big Fan" and "Mr. Coleman to You") one can hear the influence of not just the original Ornette Coleman Quartet but the Keith Jarrett/Dewey Redman Quintet. Joe Lovano's increasingly original tenor sound (mixing together John Coltrane, Dewey Redman, and even Eddie Harris on this set) works well with Scofield and the tight but loose rhythm section (bassist Marc Johnson and drummer Bill Stewart). "Eisenhower" (a slightly tongue-in-cheek, boppish romp) and "Some Nerve" (which uses New Orleans parade rhythms) are also memorable performances. The colorful and enjoyable set is modern mainstream music of the 1990s, stretching ahead while holding on to the roots of hard bop, funk, and fusion.

In 'Schubert & Schumann: Loss & Love', cellist Adolfo Gutierrez Arenas and pianist Josu De Solaun touch on two perennial themes that pervade all human lives. The album is a very personal one: both artists have recently lost their parents, and during a pandemic we all turn to music more than ever to find solace and a reflection of our own feelings as those experiences of loss and love are intensified.

Through Romany Songland, soprano Isabel Bayrakdarian takes the listener on a journey through lieder by Brahms, Bizet and Dvorak, operetta by Lehar, Kalman and Herbert, and spicy Spanish songs.

With their new album "Manu Scriptum" (from Latin: written by hand), Spanish hornist Adrián Díaz Martínez - professor of horn at the Musikhochschule Lübeck since 2021 - and his Japanese piano partner Ikuko Odai once again present an exciting concept album.