Flesh and Blood (stylized as Flesh + Blood) is the seventh studio album by the English rock band Roxy Music. Released in late May 1980, it was an immediate commercial success peaking at No. 1 in the UK for one week in June and then returned to the summit in August for another three weeks, in total spending 60 weeks on the albums chart in the United Kingdom. The album also peaked at No. 35 in the United States and No. 10 in Australia. The album was made after their drummer Paul Thompson had left the band, essentially making Roxy Music a three-piece band consisting of Bryan Ferry, Andy Mackay and Phil Manzanera.

2018 remaster from the original master tapes. Pumping 1980 live album from the Irish blues-rocker, recorded on his "Top Priority" world tour. Rory and his band are in high gear all the way through this blistering 1980 LP (his third live album). They dig deep into his originals Moonchild; Bad Penny; Follow Me; Bought and Sold; The Last of the Independents; Brute Force and Ignorance; Shadow Play , and more!

Just Testing is the tenth studio album by the British rock band Wishbone Ash, released on 18 January 1980 by MCA Records. Recorded primarily at Surrey Sound Studios in England, it was the last to feature the original lead vocalist and bass guitarist Martin Turner until the release of Nouveau Calls (1987). The track "Helpless" is only the second cover version released by the band on a studio album, the previous one being "Vas Dis" on Pilgrimage.

Neo was the name of a French quintet that performed instrumental Progressive rock, and was led by bassist André Paul and saxophone player Didier Erard (French Kiss). This line-up issued their unique eponymous album in 1980. Their compositions are based on melodies with occasional breaks, rhythms changes, accelerations, colours as well as changing and sophisticated atmospheres. The themes are very elaborated, complex and not quite straight and easy. The instrumental dialogues are numerous: a rageous or cutting edge guitar answers to inventive keyboards or to a whirling saxophone line. The band can successively remind of Bo Hansson, Camel (Mel Collins's period) or Caravan, and sometimes King Crimson ("Islands" days).

This two-fer from the Australian Raven label is a part of a series of Delbert McClinton reissues. All of them come with new liner notes, session photos, and bonus tracks. These two albums, from 1980 and 1981, respectively, represent a renaissance for McClinton of sorts. While he never had a fallow period creatively, The Jealous Kind allowed him a renewed commercial viability even if it was short-lived. Both records were issued by the Muscle Shoals Sound imprint of Capitol Records and were produced by Barry Beckett with the Muscle Shoals rhythm section and horns. While the first disc is centered around diversity in its song choices – by everyone from Larry Henley to Bobby Charles to Van Morrison to Al Green to Jerry Williams – and took radical approaches to reinterpreting the material through soul, blues, funk, rock, and country, the latter chose hard-driving Southern-fried funk and R&B and a relatively close-to-the-vest approach in terms of material – most notably covers of "In the Midnight Hour" and Naomi Neville's "Lipstick Traces (On a Cigarette)".

Bireli Lagrene's debut on record is extraordinary in a couple of ways. He sounds like an exact duplicate of Django Reinhardt (no easy feat), an accomplishment that is more shocking when one realizes that he was 13 at the time. Already a virtuoso with complete control of his guitar, Lagrene (who like Reinhardt came from a gypsy family) romps through the swing-oriented set with a variety of lesser-known European musicians, including two rhythm guitars, bass, occasional piano, vibes, trumpet, and violin. Performances of such tunes as "All of Me," "I've Found a New Baby," and "My Melancholy Baby" are guaranteed to fool even experts on blindfold tests.

George Winston’s "Autumn" has served as an emotional backdrop to the change of season. A beautiful recording for solo piano, Autumn finds Winston developing simple melodic motifs with studied left-hand underpinning, on hypnotic pieces like “Woods,”, which moves from a brisk rhythmic figure to rubato minor-key runs. Leaving pauses and breaths in all the right places, Winston suggests the play of color and light, the comfortable melancholy, and the encroaching slow-down that characterizes the fall season. Full of memorable themes and moods, Autumn is a timeless album, and serves as a good introduction for someone who has not heard George Winston.

Heartattack and Vine is Tom Waits' seventh and final album for Asylum. As such, it's transitional. As demonstrated by its immediate predecessors, 1978's excellent Blue Valentine and 1977's Foreign Affairs, he was already messing with off-kilter rhythms even in the most conventionally structured blues and jazz songs, with nastier-sounding guitars - he plays a particularly gnarly style of rhythm on this entire album. Five of these nine tracks are rooted in gutbucket blues with rock edges and primal R&B beats. By this time, his singing voice had deteriorated to a gasping-for-breath whiskey-and-cigarettes growl that could make words indecipherable from one another, but his jazzman-inspired phrasing more than compensated. Check the opening title track with its razored electric guitars (Roland Bautista guested on lead over several cuts), Greg Cohen's walking upright bass and natural sound…