Although the Greatest Show on Earth (GSOE) were not the first bunch of rockers to incorporate a powerful brass and woodwind section, they are among the best and heaviest-sounding British bands to have emerged from the post-psychedelia of the late '60s and early '70s. GSOE were, in essence, the invention of EMI Records subsidiary Harvest, who were focusing in on new and progressive artists such as Pink Floyd and Deep Purple. When the group was initially signed in 1968, they were an R&B/soul revue whose forte was more along the lines of Stax or Motown, instead of trippy acid rock. After ditching their original vocalist, Ozzie Lane, they eventually settled on Colin Horton Jennings, a multi-faceted performer who would begin to compose originals that would allow the octet to incrementally abandon their Yankee soul leanings.

This CD was recorded live in 1993 in Bremen, Germany. Live in Europe is Earl's tribute to his major influences, and Ronnie plays his favorite guitar throughout: a 1962 red Strat. The fast, driving "San-Ho-Zay" and "Blues for the West Side" go out to Magic Sam; "The Stumble" to Freddie King; "Thank You Mr. T-Bone" to T-Bone Walker and Duke Robillard (who inspired Earl to learn T-Bone). "Thank You Mr. T-Bone" features some cool call-and-response between Earl and Bruce Katz on the Hammond B-3. It segues nicely into "Akos," where you'll find more great B-3 (check out the improvised "Summertime" riff). An all-instrumental offering, Live in Europe includes a handful of tunes found on its predecessor, Still River, including "Szeren," "Rego Park Blues," and the aforementioned "Blues for the West Side." "Contrition," a slow, soulful tune penned by Katz, has some jaw-dropping runs by Earl. One can only imagine what it must have been like to be one of the lucky souls at this show.

The great Australian countertenor, Graham Pushee with the Australian Brandenburg Orchestra directed by Paul Dyer, stuns us all in this program of favorite arias by Handel.

Digitally remastered edition of this 1994 album by the veteran Rock guitarist who has played alongside the biggest names in Rock. Highway To The Sun is packed with sultry Blues performances, as well as poignant numbers. Snowy tells his story and talks about the dozen tracks on this excellent album in a new interview with Chris Welch for the extensive CD liner notes. Snowy's old pal Dave Gilmour makes a guest appearance.

As the title implies, this is very much a swing set. Pianist Dick Hyman (a master of all pre-bop styles) has little difficulty emulating Teddy Wilson, Art Tatum and Count Basie (among others) plus his own style in an octet also featuring trumpeter Joe Wilder, trombonist Urbie Green, altoist-clarinetist Phil Bodner, baritonist Joe Temperley, rhythm guitarist Bucky Pizzarelli, bassist Milt Hinton, drummer Butch Miles and (on three tunes) altoist Frank Wess. The opening and closing numbers are ad-lib blues both titled "From the Age of Swing"; sandwiched in between are ten swing-era standards plus a couple of obscure Duke Ellington items. Among the highlights are "Topsy," "Them There Eyes," "Rose Room" and "Mean to Me." No real surprises occur, but mainstream fans should like this swinging set.

Though a quick perusal of the score to his F-minor Piano Quintet (op. 95) immediately whets the appetite for more, Wilhelm Berger (1861–1911) is completely unknown today, even among musicologists. Almost an exact contemporary of Gustav Mahler, he does not even appear on the periphery of the standard music histories of fin de siècle Germany. Berger is a truly forgotten figure who is at best occasionally mentioned in the statistics of the period’s art music.

At 71, Louie Bellson on this CD displays more energy than most drummers half his age. Bellson not only takes solos on more than half the selections (including a lengthy workout on "Santos"), but he composed all seven originals; the only surprise is that Bellson decided to let some of his musical friends (including Matt Catingub, Tommy Newsom, and Bob Florence) arrange the charts instead of writing them himself. With concise solos from such sidemen as trumpeters Marvin Stamm and Glenn Drewes, tenorman Ted Nash, altoists Joe Roccisano and Steve Wilson, and trombonist Keith O'Quinn, Bellson's music is given perfectly suitable interpretations. But just in case, the equally ageless flügelhornist Clark Terry (at 75) stars on two songs, including the exquisite ballad "Blow Your Horn." With Louie Bellson constantly driving the ensembles, this is a big band disc well worth acquiring.

Swedish band Änglagård is part of a whole breed of young progressive rockers who have cut their teeth on King Crimson's Red. Like the other Crimson Swedes, Anekdoten, Änglagård crams angular hooks and start/stop tempos into every moment they can spare. Writing lengthy symphonic pieces, the band sound like many big '70s acts but always play with a very tough sound. Meaty bass and scorched guitar tones duel it out with organ, mellotron, and hyperactive drumming, while folky Swedish singing and flute occasionally break the tension.

Guitarist Rudy Linka covers a lot of ground on his Enja CD, ranging from straightahead standards and a boppish blues to some dry originals worthy of John Scofield, a bossa nova and "Old & New (Orleans)" which combines parade rhythms with a funky blues. Linka's interplay on this trio set with bassist George Mraz and drummer Marvin "Smitty" Smith is impressive as is the leader's low-volume yet high-intensity solos.

More than any other genre, jazz seems best suited for the live environment. An artist can improvise in the studio, certainly, but in concert a musician can ignore time limits and stretch creative possibilities. This is especially true of all-star collaborations; they can seem contrived or forced, but when chemistry exists between the players, the result is jazz in its purest, most exciting form. Such is the case on this disc, which features five contemporary giants: Clarke, Larry Carlton, Najee, Deron Johnson, and Billy Cobham. Seventy minutes for seven songs allows the players to interact and solo at length, stretching originals and Miles and Mingus covers to their limit.

Eric Clapton Young Man Blues (1994 Japanese-only 16-track CD album featuring the 1960s rhythm and blues works of young "Slow Hand", including Bluesbreakers, Yardbirds & immediate sessions with Jimmy Page).
At his peak, Eric Clapton was nicknamed "God" by his fans, an indication of how highly regarded the guitarist was during his glory days. This phrase, immortalized in graffiti that spread across London in 1967, originated a few years earlier when Clapton was playing with John Mayall's Bluesbreakers just after leaving the Yardbirds in 1965. Clapton never was comfortable with the nickname - he embraced "Slowhand," titling his 1977 album after it - but "Clapton Is God" is a pivotal part of his story and an instrumental moment in the rise of the guitar hero, a rock & roll cliché that didn't exist prior to EC…

Amidst a new album bursting with hope, joy, romance and inspiration, including eleven songs penned or co-penned by the artist, it’s the Johnny Nash cover “I Can See Clearly Now” that Jonathan Butler elected to record on the So Strong album, his 15th solo collection, that speaks volumes about his outlook after a tumultuous year wrought with immense personal loss, pain and suffering.

Martinu's alternately bustlingly neo-classical and genially lyrical Sinfonietta La jolla (named after the Californian town whose Music Society commissioned it) is otherwise absent from the CD catalogue at present, and this lively account is welcome. It is one of his most relaxed works, approaching light music at times, especially in the circus-like exuberance of the finale, but the lyrical element continually returns and before the coda a string chorale is heard that more than hints at the luminous simplicity of the finest late Martinu. Valta's is a very good performance, marred only by the rather forward placing and somewhat atmosphere-less sound of the concertante piano and by a certain lack of warmth (La Jolla is distanced from the Pacific by a degree or two of latitude) in the violins.

Albion recorded their first song, "Scarecrow," in 1993 and it was a big hit on Radio Krakow. In 1995, the CD Survival Games was released by Mellow Records (Italy) and consists of neo-progressive rock songs with English lyrics, female vocals, and guitar parts very comparable to Steve Rothery's Marillion work. Later, the band re-recorded the CD plus three new tracks with Polish vocals. The female vocals gave the band their own style but their music sometimes also sounds like Marillion and Jadis.

The Eagles are an American rock band formed in Los Angeles in 1971 by Glenn Frey, Don Henley, Bernie Leadon, and Randy Meisner. With five number-one singles, six Grammy Awards, five American Music Awards, and six number one albums, the Eagles were one of the most successful musical acts of the 1970s. At the end of the 20th century, two of their albums, Their Greatest Hits (1971–1975) and Hotel California, were ranked among the 20 best-selling albums in the United States. Hotel California is ranked 37th in Rolling Stone's list of "The 500 Greatest Albums of All Time" and the band was ranked number 75 on the magazine's 2004 list of the 100 Greatest Artists of All Time.