Marc Jordan, an icon of the West Coast sound, fuses jazzy, grooving rhythms onto his cool and upbeat songwriting style. Perfect for lovers of smooth rock-pop, 1979's Blue Desert features such gems as the power ballad 'Twilight.'

Battlement is a legendary record featuring unfamous German musicians, working and playing with a sense of perfection in the wake of Genesis. The vocals, sung by Frenchman Frédéric Joos turn out to be (Very) close to Peter Gabriel's. Neuschwanstein creates music with the same complexity, intensity and power as their famous elders used to do. The songs are totally original and innovative though, with some King Crimson-esque skid. A pure jewel!

When first approaching The Great Rock 'n' Roll Swindle, it's best not to think of it as a Sex Pistols album; rather, keep in mind that it's the soundtrack to a movie that was mostly about Malcolm McLaren and only tangentially concerned the great band he managed. Only eight of the twenty-four songs on The Great Rock 'n' Roll Swindle feature the same band as on Never Mind the Bollocks, and most of those capture them stomping through covers in the studio, sometimes to impressive effect (Johnny Rotten sounds positively feral on the Who's "Substitute" and the whole band tears into "(I'm Not Your) Stepping Stone" with malicious glee) and sometimes not (Rotten reveals he doesn't know the words to either Chuck Berry's "Johnny B. Goode" or Jonathan Richman's "Roadrunner," and the band's familiarity isn't much greater).

Unlike many bands whose careers had begun in the early 1970s, Camel still continued to enjoy much success at the close of the decade. I Can See Your House From Here was a revitalized work that included many fine songs such as Ice (featuring Phil Collins on Percussion), Hymn To Her and Your Love is Stranger Than Mine. Produced by Rupert Hine, the album was a chart success and spawned an extensive World tour. This Esoteric Recordings edition has been re-mastered from the original tapes and features two Bonus Tracks, including a live version of Ice recorded by the BBC in 1981. The accompanying CD booklet includes copious photographs and memorabilia and a new essay.

Pee Wee Bluesgang (Peewees) is a five-member band, that plays Blues Rock. Founded in 1977 in Iserlohn, PeeWees were playing primarily own compositions. Its members were the singer and frontman Richard Hail, guitarist Thomas Hesse, bass player Heribert Grothe, drummer Siehoff Martin and saxophonist Karlos Boes. Two years after its inception they released their first LP. By participating in open-air concerts abroad, the band became well known far beyond the borders of Germany. There were tours with Chicken Shack, Canned Heat, Jack Bruce and the Stray Cats, among others. In 1980 they performed in Poland. In 1981 the Pee Wee Blue Gang played at WDR's Rockpalast in Cologne. The band released 17 albums so far. In 2010 PeeWee Bluesgang celebrated their comeback. Since then there is a different line-up.

Originally released in 1979 on the Orion label 'Music For Complete Jazz Dance Class With Lea Darwin' is an absolute double vinyl treasure vault of tracks composed by percussionist and multi-instrumentalist Rick Panzer. Re-discovered by Klinkhamer Record shop boss Michel Veenstra, it is now being reissued on BBE Music as part of the Klinkhamer series.Michel Veenstra first heard the album in the early 2000s and spent years trawling through German phone directories to find the correct Rick Panzer to get his blessings to once again release the album to a music loving public. The album itself heralded the track 'Pre-Stretch Warm-up' which featured on the Klinkhamer Volume 2' compilation to great acclaim and airplay from broadcasters and DJs.

One of the most legendary and controversial albums in the entire discography of folk legend Melanie! Recorded at various studios in the late '70s while Melanie searched for a new label, this terrific release boasts beloved originals such as "Leftover Emotion" and "The Champagne Song!" Completely remastered and packaged with all new artwork and liner notes from manager and music journalist Dave Thompason!

Anyone's Daughter was a late-'70s, early-'80s symphonic prog rock band heavily influenced by Genesis as well as by German bands such as Elroy and Grobschnitt. After breaking up in the mid-'80s, the group reformed in 2000. Consisting of Uwe Karpa (guitars), Matthias Ulmer (keyboards, vocals), Harald Bareth (bass, lead vocals), and Kono Konopik (drums), Anyone's Daughter was formed in 1978. Their first record, Adonis (1979), featured English vocals, epic tracks with reflective and aggressive moments, and a prominent keyboard sound with heavy use of Moogs in particular. Anyone's Daughter (1980) found the band moving towards shorter material, but 1981's Piktors Verwandlungen, on which the band first sang in German, was their most experimental work…

Link Wray plays Bob Dylan here, backed up by guys who used to back up Bob Dylan, or maybe it is just a rhythm section that sounds like a Dylan rhythm section during an era when listeners complained about his rhythm sections. For Wray to play "It's All Over Now, Baby Blue" is a guitar dream, in a way, elaborately sketched over more than five minutes but marred by overdone production touches. The track combines nicely with a selection of terse Wray originals – "Snag," "Wild Party" – and a "Switchblade" that was apparently pulled out of the group's collective pocket. If this album lacks in any way, it is not as if everyone involved wasn't trying hard to make a great Link Wray record, most of all the wonderful guitarist himself. It's just that other configurations, a more raw approach, and definitely no background vocalists would make for a more enjoyable outing.

MAGNIFICENT BROADCAST FROM THE CURE’S FIRST EUROPEAN TOUR • Formed in Crawley, West Sussex, in 1978, from the ashes of their forerunner Easy Cure, by Robert Smith, Michael Dempsey and Lol Tolhurst, the Cure’s debut album, Three Imaginary Boys was issued in May 1979. It was this along with several early singles that placed the band in the post-punk movement which had sprung up in the United Kingdom that same year. An early demo-tape found its way to Polydor Records scout Chris Parry, who signed the Cure to his newly-formed Fiction label - distributed by Polydor - in September 1978. ‘Killing An Arab’ the Cure’s first single came out in December ’78. • 1979 found the band touring the UK frantically, and they put in the odd European festival date during the summer months too. On December 10th The Cure travelled across to continental Europe to play their first show there in Utrecht that night, followed by a gig in Eindhoven on the 11th. • The following evening, they took the stage at Amsterdam’s magnificent Melkweg venue for a concert that remains a firm favourite among fans. Recorded for live FM radio broadcast across the Netherlands, the show has nevertheless never been issued on CD previously. That all changes however with this new release which captures the entire set the band played that cold winter evening more than 40 years ago

Presenting radio with one of the best rock ballads ever, Cornerstone gave Chicago's Styx their big break with the number one single "Babe," which held that spot for two weeks in October of 1979. "Babe" is a smooth, keyboard-pampered love song that finally credited Dennis De Young's textured vocals. While this single helped the album climb all the way to the number two spot on the charts, the rest of the tracks from Cornerstone weren't nearly half as strong. "Why Me" made it to number 26, and both "Lights" and "Boat on the River" implement silky harmonies and welcoming choruses, yet failed to get off the ground. De Young's keyboards are effective without overly dominating the music, and the band's gritty rock & roll acerbity has been slightly sanded down to compliment the commercial market.

The Jam's Setting Sons was originally planned as a concept album about three childhood friends who, upon meeting after some time apart, discover the different directions in which they've grown apart. Only about half of the songs ended up following the concept due to a rushed recording schedule, but where they do, Paul Weller vividly depicts British life, male relationships, and coming to terms with entry into adulthood. Weller's observations of society are more pointed and pessimistic than ever, but at the same time, he's employed stronger melodies with a slicker production and comparatively fuller arrangements, even using heavy orchestration for a reworked version of Bruce Foxton's "Smithers-Jones." Setting Sons often reaches brilliance and stands among the Jam's best albums.

Founded in Toronto, Canada in 1976 - Disbanded in 1989 - Reformed in 1994-1996, 2006 and again since 2011.
This trio came from Toronto around the end of the 70's but got slightly over-shadowed by the profusion of bands exploding all over the album charts, with Rush, Triumph, Saga, Max Webster etc.. It is no wonder some could not get their share of sunlight, among which Goddo, Moxy, Zon, Santers and most certainly FM. Their first LP full of a weird sort of hard rock with strange studio tampering alerted most potential fans that this was a very particular band with their lead violinist Nash The Slash playing as a mummy and Martin Deller at the drum seat as well as Cameron Hawkins on bass…

After bassist/composer Charles Mingus' death on January 5, 1979, a reunion band featuring some of his former sidemen called Mingus Dynasty was formed. Cut just six months after the bassist's demise, this album was the first Mingus Dynasty recording, and it has its moments. Such alumni as altoist John Handy, trombonist Jimmy Knepper, trumpeter Jimmy Owens, and tenorman Joe Farrell meet up with two members of Mingus' last major band (pianist Don Pullen and drummer Dannie Richmond), plus bassist Charlie Haden, who ably fills in for the late bandleader. In addition to "Goodbye Pork Pie Hat" (which was becoming popular at the time), the septet performs three numbers from Mingus' collaboration with Joni Mitchell, plus "Boogie Stop Shuffle" and "My Jelly Roll Soul." Handy and Pullen, in particular, fare well in this spirited setting, although one does miss the innovative bassist.

Arachnoid is a French major progressive band whose music was combined the strengths of other French symphonic groups and dark progressive rock that recalled King Crimson. The dark sound, almost like Univers Zero, is accomplished mostly by melodic structures in the vein of King Crimson's "Larks' Tongues In Apic" and dramatical vocals similar to that of Christian Decamps from Ange. Arachnoid's music express a continuous tension with flashing guitar's parts and tormented keyboards interventions. A unique band with nods to King Crimson, Pulsar, Shylock & Pink Floyd.