Sacred Chants Of Shiva (From The Banks Of The Ganges) is a compilation of meditative music. It features four different artists, offering power to Hindi music and spirutality with hints of new age wonders. This was released in 1998 and reissued in 2004 by Times Music Spiritual.

This is the 1975 debut album by The New South. Upon reissue in 1986 by Rounder Records, J.D. Crowe's name stood out so it became released by J.D. Crowe & The New South.

Drip Mental is an amazing electronica album by Angel Marcloid, who goes by the nom de plume, the dom de plume known as Fire-Toolz. This is a bit of vaporwave electronics that go a bit of everywhere and more. This was released by Hausu Mountain.

This CD introduces some of the most fascinating music from the music books that once belonged to the musical lawyer, friend and heir of Erasmus of Rotterdam, Bonifacius Amerbach (1495-1562). A release primarily devoted to the music of little-known composers active during the first half of the sixteenth century in the Alsace and Baden-Württemberg regions.

Step outside the sanitised world of official releases and take a long hard analytical look at the rolling Stones legend. This hard hitting film critique pulls no punches and deals frankly with the thorny issue of Jones versus Taylor, re-opens the debate surrounding the removal of Jones from the band; did the Stones lose their way in the seventies? In order to ensure editorial freedom the film has not been censored, viewed or approved by past or present management or members of the Rolling Stones. This is the long awaited critical review of the music, featuring rare live performances alongside analysis from a leading team of rock journalists and critics…

Island Presents Roots collects 37 of the best-loved and most sought-after Roots sides of the mid-to-late seventies, all of which first saw issue outside Jamaica on Blackwell’s famed imprint…

Back in the late 1960s, Free was just one of hundreds of blues-based bands that grew up under the shadow of the Rolling Stones and, later, Cream. Like Fleetwood Mac, Free came together with a little help from those twin founders of the British blues boom–John Mayall and Alexis Korner–and like Led Zeppelin, they hit lucky–and big–early on…

The third and final Gamma kicks off with "What's Gone Is Gone," a grand bit of science friction awash in keys and vocoder. When axe-god Ronnie Montrose's solo finally kicks in, the guitar serves as embellishment rather than a foundation…

Anyone who thinks the steel drums are limited to calypso and other native West Indian styles has obviously never heard Andy Narell or his collaborators on this disc, the French band Calypsociation. Narell's compositions take the music headlong into jazz, and the richness of the steel pan sound ripples and sways throughout. For added flavor and texture, guests Michael Brecker, Paquito D'Rivera, and Hugh Masekela bring their horns, but they're the icing on a swinging cake (full praise to the percussionists who make the whole ensemble swing). The music is deliciously complex without ever sounding it. It works just as well on slower pieces like "Song for Mia," where the drums create a latticework of melody that remains gorgeously balanced. Granted, at times it veers perilously close to smooth jazz, but then it always steers faultlessly as far as melody is concerned.

Joseph Marx was one of the leading figures of Austrian musical culture during his lifetime, but his music was out of step with 20th-century Modernism and most of his music disappeared from concert programmes after his death. The Natur-Trilogie is a richly impressionistic work that brims with lyrical passion, portraying the moods of Marx s untouched native landscapes while displaying his magical feel for harmony and orchestration.

Locatelli’s set of Opus 1 Concerti grossi, although indebted to Corelli (with the Eighth of the set ending with a Christmas Pastorale), similarly has a style and personality all its own. The invention is vigorous, the expressive range appealing. The Capella Istropolitana play with crisp attack, plenty of sparkle and resilient rhythms, while slow movements reveal a keen identity with the lessons of period performance, even though modern instruments are used. The Naxos recording is admirable.

–Penguin Guide

Most music lovers have encountered George Frederick Handel through holiday-time renditions of the Messiah's "Hallelujah" chorus. And many of them know and love that oratorio on Christ's life, death, and resurrection, as well as a few other greatest hits like the orchestral Water Music and Royal Fireworks Music, and perhaps Judas Maccabeus or one of the other English oratorios. Yet his operas, for which he was widely known in his own time, are the province mainly of specialists in Baroque music, and the events of his life, even though they reflected some of the most important musical issues of the day, have never become as familiar as the careers of Bach or Mozart. Perhaps the single word that best describes his life and music is "cosmopolitan": he was a German composer, trained in Italy, who spent most of his life in England.

This Luxembourgish bassist based in Brussels, eternal sideman, finally decides to present his personal project, an acoustic jazz quartet. Rich of his international career, of the diversity of the musical experiences with great musicians such as Quentin Dujardin, Randy Brecker, Steve Houben, Philippe Jaroussky, Wolfgang Muthspiel, Gianluigi Trovesi, Avi Avital and Jacques Pirotton it leaves today its musical impression in a style melodic jazz with varied accents ranging from blues to classical and swing.

These are carefully considered and precisely executed interprations. Nicolet has a warm tone, his excellent breathing technique creates wonderful phrasing.

–Gramophone

After giving Clarke's fans a taste of some live tapes of the School Days band on I Wanna Play for You, Epic waited until 1991 to put another batch of them out, well after it would have been commercially feasible to do so. But no matter, for this CD captures one of Clarke's best electric bands – maybe his best band, period – in a number of gigs in the U.S. and U.K., mixing up the jazz, funk, and rock into a high-energy, musically literate brew. A lot of this album recycles then-existing material, but the live conditions add flashes of spontaneity and sometimes considerable interest to jazz fans.