The second of James Carter's pair of 2000 releases shifts wildly, and perhaps trendily, toward electric funk, as the title cut proclaims within seconds. It's really a loose, collective electric jam session with all of the risks, occasional hot streaks, and passages of torpor that the term implies. Oddly enough, the tracks that really make it are those that are credited to only one composer: guitarist Jef Lee Johnson's stimulating Prime Time-like melee, "Terminal 8," that gathers momentum like a freight train; Carter's cooking "There's a Puddle" that explodes into a freeform burst on cue at the end; and Carter's "GP." The collectively credited pieces are the ones that tend to go nowhere, often desperately in need of editing or clear direction…

A very humble beginning for this excellent progressive band. Only a couple years removed from high school, they were strictly a metal band at this point, and "Damnation" is the only song that has remained in their catalog from this session. Early recordings such as this one are the reason their name conjures up the image of a metal band. This re-release contains a 1984 demo version of "Last Call," a live rendition of "Kiss of Death," and rehearsal recordings of "The Calling" and Iron Maiden's "Flight of Icarus."

Five CD set containing a quintet of albums from the groundbreaking British Art Rock band: Siren, Viva, Manifesto, Flesh + Blood and Heart Still Beating.

The debut album by the heavy metal band Killers, led by Iron Maiden's ex-vocalist - Paul Di'Anno. Coming together in 1991, Killers was one of the first metal super groups to exist. Featuring members from bands including Iron Maiden, Tank, Raven and Battlezone, they were hailed by the press as the 'Natural successor to Judas Priest'. With their album "Menace to Society" awarded Metal Hammer's best new album of 1994 and a world tour which included headlining the famous Wacken Festival in Germany, Killers represent all that is British Metal at it's very best. "Murder One", recorded in USA in the line-up: Paul Di'Anno - vocal, Steve Hopgood - drums, Cliff Evans - guitar, Gavin Cooper - bass guitar, Nick Burr - guitar, was officially released in 1992. Acclaimed by the press worldwide, the album became a classic for lovers of British metal. The album includes two cover tracks: "Children of the Revolution" ( T. Rex) and "Remember Tomorrow" (Iron Maiden).

The Maggini Quartet, even more responsive than on their previous discs of British music, give revelatory performances of works that too often have been underestimated, regarded as mere diversions from the composer’s regular path. The Magginis find a rare clarity and warmth in both quartets. The First was written soon after Vaughan William’s studies with Ravel in Paris, with obvious echoes not just of Ravel but of the Debussy Quartet. The Second Quartet dates from 1942 to 1943, written in the crucial gap between the lyrical Symphony No. 5 and the abrasive No. 6. Most revelatory of all is the Maggini performance of the Phantasy Quintet of 1912, a masterpiece long neglected, weighty and compressed.

A spotty but basically worthwhile three-disc set, Collectables' 1966-1967 Unreleased Masters Collection scours the International Artists vault for previously unreleased songs, alternate takes, rehearsals, and demos of songs that appeared on The Psychedelic Sounds of the 13th Floor Elevators and Easter Everywhere, and a couple of live cuts for good measure…

Friedrich Wilhelm Rust composed until 1796, the year of his death, but his works remained unedited until the rediscovery and printing of a portion of them curated by his grandson. A complete analysis of Friedrich Wilhelm Rust’s works turns out to be a complex endeavor even today, as only a small part of his work has been researched and performed. Nevertheless, his keyboard works are slowly making their way into the concertizing repertoire and it is here that Friedrich Wilhelm Rust undoubtedly distinguishes himself with an innovative and wholly personal style.

Charlotte Saluste-Bridoux explores some of the most technically challenging and virtuoso solo violin repertoire for her stunning debut recording. her programme embraces a mix of the rational and intuitive, of head and heart, in five diverse solo sonatas, each strikingly different in style and substance.

Larry is the compete package - a great guitarist, a soulful blues singer and a creative songwriter. Larry's resumé reads like a who's who of the blues. He has played in support of Albert King, Albert Collins, John Lee Hooker, Taj Mahal, Johnny Winter, Koko Taylor, Little Milton , Son Seals, Otis Rush, Jimmy Johnson, Lonnie Brooks, Jimmy Witherspoon, Sugar Blue, Kim Wilson and Champion Jack Dupree, just to name a few. He has played on five albums that were nominated for Grammy Awards.
Naturally, all the other blues artist would have been happy if Larry had continued to back them up with his outstanding rhythm work - he plays full, precise chords that are fingered so cleanly and played so tenderly, you can hear every note - and his fully developed, fiery solos…

Violinist Stephane Grappelli, although a veteran of the swing era, has always kept an open mind toward newer styles even while he has retained his own sound and veteran repertoire. This duet set with pianist McCoy Tyner might seem unlikely at first glance but it works quite well. The duo sticks to standards (including two that are associated with John Coltrane) and find plenty of common ground. The mutual respect they have for each other is obvious and they both sound a bit inspired.