The Dream Roots Collection is a five-disc retrospective of Tangerine Dream's career, including one disc of previously unreleased material. All of the material on the collection has been remixed and reworked by Edgar Froese and his son Jerome, and while these remixes might not be historically accurate, they nevertheless retain the essence of the original versions, making the box an intriguing journey through the group's past. While the set is too extensive for casual listeners, hardcore fans will find the new mixes and rarities fascinating, making the set a worthwhile addition to their collection.

A lot has happened in Kenny Brown’s life since this record, his first solo release, was issued in 1996. Almost two decades later, he’s traveled the world, most notably as a sideman with R.L. Burnside, until R.L.’s passing in 2005, but many times since as a well-respected solo performer in his own right. This first solo release showcases not only the origins of his musical education, tracks learned from his neighbor and mentor, Joe Callicott, growing up in Nesbit, Mississippi, but also others he’s apprenticed with and learned more from over the years, such as R.L. and the late Junior Kimbrough.
This CD represents a very important trend that needs to grow within the blues community. That is the involvement of the listener by time-tested methods mixed with personal conviction and powerful control over the material, the arrangements and the instrumentation…

AirSculpture are a UK based electronic music group. Its members - Adrian Beasley, John Christian and Peter Ruczynski - established it in the mid-1990s as a reaction to a music scene that no longer reflected their tastes. The energy and edge of '70s EM had become diluted into a melange of clinical digital sounds played over safe pre-recorded backing. Most of AirSculpture's music is created live on stage, improvised with little or no pre-planning. Over time it has evolved to a unique sound melding driving Berlin School rhythms with engaging, flowing melodies; or sometimes moving into darker ambient realms; or shifting gear with danceable beats. "Attrition System" derived from three sessions during late '95/early '96, here we are presented with AirSculpture in their "raw" form…

Emy Jackson (エミー・ジャクソン) was born in Essex, England as Emy Eaton. As a teenager in Yokohama she still couldn’t read Japanese well, but her ability to speak both English and Japanese fluently landed her a job as a youth DJ for the Good Hit Parade on Radio Kanto. In her notes to the excellent compilation Nippon Girls: Japanese Pop, Beat & Bossa Nova 1966-1970 Sheila Burgel writes: Her DJ career was cut short when her colleague Reiko Yukawa found Jackson singing “You Are My Sunshine” whilst strumming the guitar and sent word to A&R man Akira Izumi at Columbia Records. Akira insisted that Jackson break with the cover-pops tradition and tackle original songs written by Japanese songwriters in her native language of English.

Guitarist Bill Frisell has become well-known for his eccentric and highly versatile style. Able to sound like Jim Hall, a heavy metal player, or a Nashville studio guitarist at a moment's notice, Frisell has created sounds on the guitar that have never been heard before. This CD uses a rather unusual instrumentation, a quartet comprised of Frisell, trumpeter Ron Miles, trombonist Curtis Fowlkes and Eyvind Kang, who doubles on violin and tuba. Ten of the 13 Frisell originals on the release were originally written for films (including one for Gary Larson, "Tales from the Far Side," and one for a Buster Keaton movie "Convict 13"), and the resulting music is tightly arranged yet spontaneous, episodic, and sometimes a bit nutty, but also strangely logical…

Here is a natural and effective coupling of spiritual-minimalist pieces from the Baltic and the Balkans; and how good it is to see this music at last on a major label with a top-flight international orchestra.
The benefits are clear in Kancheli’s Third Symphony, with its extreme contrasts of solo vocal keening and tutti Stravinskian outbursts. Here the spaciousness of EMI’s recording, made in Watford Town Hall, and the refinement of the LPO’s playing are clear gains over the rival Georgian performance (which comes with the added drawback of having been transferred a whole tone too high by the original Melodiya team). The mesmeric folk-derived lament which punctuates the structure was sung on the earlier recording by Rustavi choir-member Gamlet Gonashvili, for whose unearthly tenor Kancheli conceived it.

Originally released in 1973 on MCA, Budgie's third record, Never Turn Your Back on a Friend, was another slab of the band's signature plodding metal sound. Although they were never more than a cult band in the U.S., Budgie's popularity flourished in their native England, yet their influence was eventually felt by many notable American bands (Metallica, Soundgarden, Alice in Chains, etc.)…

These are from the first and only recordings that brought the entire, legendary, Bell family together into the recording studio. Carey Bell is justly renowned today as the best blues harmonica man around and is of course father of all the other bells here. Not just genetically though, musically too because his style of bard, "50s" blues has been brought down to one more generation. Lurrie Bell is a stunning blues guitarist who would be a star if it was a fair world. Steve Bell is a maturing but definitely inventive blues harp player and Carey’s younger sons, Tyson and James, are a supremely powerful and well oiled rhythm section. The music on this CD defines the best of recent Chicago Blues.

Jordi Soler i Galí, known by the stage name Toti Soler, is a Spanish guitarist, singer and composer, one of the most important figures of contemporary music in Catalonia. His recording career started with a "nova canço" band named Els Xerracs, and later founded a pop group, Pic-Nic in 1967. He also began recording solo singles in the late '60s under his given name, Jordi Soler. After Pic-Nic broke up he co-founded the psychedelic rock group OM in 1969. In 1971 Soler met Taj Mahal and the two performed a number of concerts together. Soler's first solo album, Liebeslied, was released by Edigsa in 1972. Since then Soler has released a long string of solo albums and collaborations. Influences in Soler's music include world music (particularly Arab and Asian influences), traditional Flamenco guitar, classical and contemporary jazz.

Following the bleak But Seriously and Both Sides, Phil Collins delivered the considerably lighter Dance into the Light, his first upbeat pop album since 1985's No Jacket Required. Not only was it a return to the musical style that brought him to the top of the charts during the '80s, but Dance into the Light was the first record Collins released since leaving Genesis, which made it all the more crucial to his career…

As Queen's second live album, Live Magic might appear to be a bit unnecessary, but a closer look reveals that it's a better record than the previous Live Killers. Culled from a variety of dates from the 1986 Kind of Magic tour but concentrating on the final show at Knebworth, Live Magic captures Queen, and Freddie Mercury in particular, at the height of their powers. While the set list might rely a bit too heavily on mediocre mid-'80s material for some tastes, the band is tight and professional, and Mercury has an undeniable hold over the crowd. It's to Queen's credit that the energy rarely dips over the course of the record. Live Magic may be designed for hardcore fans, but for those listeners, it will provide a number of highlights, proving that the band's remarkable performance at Live Aid was no fluke.

Eddie Higgins is a quiet musician. His playing is never flamboyant and never exceeds the boundaries of good taste. The music coming out of his piano is reflective, exuding a feeling of relaxation, contemplation, and intimate beauty…

When this two-LP set was initially released in January 1971, Canned Heat was back to its R&B roots, sporting slightly revised personnel. In the spring of the previous year, Larry "The Mole" Taylor (bass) and Harvey Mandel (guitar) simultaneously accepted invitations to join John Mayall's concurrent incarnation of the Bluesbreakers…

Chet Baker's West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker's first – in a four album deal – with the Big Apple-based Riverside Records. The bicoastal artist incorporates his decidedly undernourished sound and laid-back phrasing into the styling of Al Haig (piano), Johnny Griffin (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums)…