Georg Deuter is a German New Age composer known for his innovative blend of acoustic and electronic instruments, ethnic influences, and nature sounds.
Like many artists in the contemporary instrumental realm, Deuter mixes acoustic and electronic instruments, ethnic influences, and sounds from nature - only he's been doing it since the early '70s. His style is characterized by gentle melodies and joyful rhythms that render his music accessible even as he presents an intriguing blend of Eastern and Western styles.
His first recording, D, was released on Kuckuck in 1971. Over the years, Deuter's spiritual search has taken him around the world, most notably to India, where he lived on an ashram, studied Indian music…

Weather Report's biggest-selling album is that ideal thing, a popular and artistic success – and for the same reasons. For one thing, Joe Zawinul revealed an unexpectedly potent commercial streak for the first time since his Cannonball Adderley days, contributing what has become a perennial hit, "Birdland." Indeed, "Birdland" is a remarkable bit of record-making, a unified, ever-developing piece of music that evokes, without in any way imitating, a joyous evening on 52nd St. with a big band. The other factor is the full emergence of Jaco Pastorius as a co-leader; his dancing, staccato bass lifting itself out of the bass range as a third melodic voice, completely dominating his own ingenious "Teen Town" (where he also plays drums!). By now, Zawinul has become WR's de facto commander in the studio; his colorful synthesizers dictate the textures, his conceptions are carefully planned, with little of the freewheeling improvisation of only five years before. Wayne Shorter's saxophones are now reticent, if always eloquent, beams of light in Zawinul's general scheme while Alex Acuña shifts ably over to the drums and Manolo Badrena handles the percussion.

One of the Canterbury scene's most revered bands, Hatfield and the North made up for the brevity of their career with some fascinating music. Always adventurous, the quartet had the keen sense to realize that only the most hardened jazz fans respond to numerous key changes and exceedingly complex time signatures, and thus enlivened their live set with the odd gnome smashing, suggestive lyrics, and jokey song titles. It worked a charm, with the band quickly amassing a large, loyal following at home in Britain and across the continent. On their eponymous debut, Hatfield stunningly succeeded in translating both their sense of fun and their musical brilliance onto disc.

West, Bruce & Laing played Circus Krone in Munich during their final run of shows. This live set catches the band in full swing—no overdubs, just three musicians playing loud, loose, and with something to prove. Jack Bruce, Leslie West, and Corky Laing move between heavy blues, sharp riffs, and long instrumental stretches.

This album features Sugarloaf, a 1970s American rock band led by vocalist and keyboardist Jerry Corbetta. Originating in Denver, Colorado, the band changed their name from Chocolate Hair to Sugarloaf upon signing their first recording contract. Their hits "Green-Eyed Lady" (1970) and "Don't Call Us, We'll Call You" (1975) both reached the top 10 on the Billboard charts. Other charting songs include "Mother Nature's Wine," "Tongue in Cheek," and "Stars In Our Eyes." Their 1975 album, "Don't Call Us, We'll Call You," was a re-release of their 1973 album "I Got A Song," featuring the hit single of the same name.

This album features The Strawbs, one of the standout British progressive bands of the early '70s. Setting themselves apart, their sound drew heavily from English folk music rather than rock. They gained recognition with their hit "Part of the Union," which peaked at number two on the UK Singles Chart in February 1973. Another notable track from the same LP is "Lay Down," a popular progressive rock hit. The Strawbs embarked on tours with Supertramp during their "Crime of the Century" tour, and they undertook their own "Hero and Heroine" tour, drawing musical similarities and themes. A review in Rolling Stone in 1974 praised their transition from folkier roots to a lush, mellotron-dominated sound, drawing comparisons to Yes, King Crimson, and the Moody Blues. Critics noted their compelling songwriting and lyrical depth.

This striking and thought-provoking album, born from the encounter between a towering jazz personality and youthful sensibilities, captures the direction of Japanese jazz in the 1980s.

A classic album released in the 1970s by Isao Suzuki, one of the leading bassists in the Japanese jazz scene, "String Band" is set to be repressed as the fourth release in the "Spin This Now!" series. This album was recorded by Isao Suzuki with an international string band lineup featuring Hank Jones, Roy Haynes, and Ron Carter. Widely supported by jazz fans both in Japan and abroad, it remains highly sought after and continues to command strong popularity on the used market.

Another shrouded in mystery album from the Pyramid label, produced by Toby Robinson in Cologne circa 1974. Kosmische and Head sounds with plenty of Minimoog, analogue synths / keyboards, effects, loops, tape manipulation, treated percussions, etc., courtesy of Galactic Explorers, an electronic, minimal, ambient krautrock trio featuring Reinhard Karwatky (Dzyan). Take a trip to the inner regions of your mind, see ancient solar systems forming and listen to cosmic winds and vibrations while sine waves of pure bliss will give you total peace of mind… 24-bit domain remaster from the original tapes.

The short lived New England originally formed around the Boston area in the late 1970s, featuring John Fannon on guitar and lead vocals, Jimmy Waldo on keyboards, Hirsh Gardner on drums and Gary Shea on bass guitar. After being discovered by famed KISS manager Bill Aucoin, their self-titled debut was issued by Infinity Records in 1979, and produced by KISS’s Paul Stanley, produced along with famed Queen, Asia and Journey producer Mike Stone. The tracks ‘Hello, Hello, Hello’ (UK No. 69) and ‘Don’t Ever Wanna Lose Ya’ (US No. 40) began to pick up plenty of airplay on AOR radio in the States as the band headed out on a major arena tour opening for KISS. Switching to Elektra Records, New England followed their debut in 1980 with “Explorer Suite”, this time co-produced by Mike Stone with singer and principle songwriter, John Fannon. The title track, plus ‘Livin’ In The Eighties’ were released as singles, but didn’t quite manage to capitalise on the airplay from the first LP. “Walking Wild”, their third and final album, also for Elektra, was released in 1981 and produced by Todd Rundgren. With ‘Don’t Ever Let Me Go’, ‘DDT’ and ‘Get It Up’ released as singles, the album had a more harder rocking approach, but unfortunately the band split up shortly after its release, in 1982.

Fans generally acknowledge the classic era of Tangerine Dream as coinciding with their Virgin years, which this collection rounds up nicely, opening with two landmarks, Phaedra and Rubycon, then including the group's broadening of scope and direction with the live Ricochet, Stratosfear, and Cyclone. This was directly after the early avant-garde years, consisting of experimental, arrhythmic work like Atem and Electronic Meditation, and before the Hollywood years, when Edgar Froese and co. began composing work for movie scores like Risky Business. Phaedra and Rubycon have not dated at all since their early-‘70s recording, despite Froese, Peter Baumann, and Chris Franke’s early adoption of Moog technology, along with Mellotron and other electric or electronic instruments. Along with the full LPs in their most recent remastering, the collection also rounds up single edits and 7” versions when they were originally available.

Goodbye Yellow Brick Road was where Elton John's personality began to gather more attention than his music, as it topped the American charts for eight straight weeks. In many ways, the double album was a recap of all the styles and sounds that made John a star. Goodbye Yellow Brick Road is all over the map, beginning with the prog rock epic "Funeral for a Friend (Love Lies Bleeding)" and immediately careening into the balladry of "Candle in the Wind." For the rest of the album, John leaps between popcraft ("Bennie and the Jets"), ballads ("Goodbye Yellow Brick Road"), hard rock ("Saturday Night's Alright for Fighting"), novelties ("Jamaica Jerk-Off"), Bernie Taupin's literary pretensions ("The Ballad of Danny Bailey"), and everything in between. Though its diversity is impressive, the album doesn't hold together very well. Even so, its individual moments are spectacular and the glitzy, crowd-pleasing showmanship that fuels the album pretty much defines what made Elton John a superstar in the early '70s.

Wish You Were Here 50 gives fans an exciting new perspective into one of Pink Floyd’s most iconic and best-loved records. The 50th anniversary edition features the original album plus two discs of studio rarities including previously unreleased alternate versions and demos presenting Pink Floyd's eighth studio album in a brand new way that demands repeat listening. Featuring 'Shine On You Crazy Diamond', the hypnotic 'Welcome To The Machine', the scathing 'Have a Cigar', and the essential title track, Wish You Were Here is undoubtedly one of the most important album releases in the history of popular music. The record’s themes of absence, isolation, transience, and comment on the insincerity of the music business are embodied in the iconic album artwork. 50 years since its release, Wish You Were Here sounds as resonant and vital as ever. This special anniversary edition allows fans, for the first time, to delve deeper into a pivotal moment in Pink Floyd’s history.