Rockin Foo was a California band that only made two albums, and they are both self titled. With the release of their second album they added Ron Becker on bass guitar. In 1969 they shared the stage with Johnny Winter and Eric Burdon at the Fillmore West. Their music has been described as "psychedelic garage country rock" and "hippie rock". The guitarist, Wayne Erwin, wrote all the songs on the first album with collaboration on one track from Michael Clark and both albums were produced by the drummer, Lester Brown. They disbanded sometime after their second album.

Pop and R&B hits are given a 30s-60s makeover on this collection. Throwbackthursday 30s-60s features popular tunes.

U.K. band enjoyed some success in the 1970s with their uncomplicated blend of pop and rockabilly. Mention the name Mud to most Americans – even those neck-deep in the '70s revival – and the likely result will be a blank stare. In England, however, between 1974 and 1976, Mud was one of the hottest rock & roll acts there was, charting a series of monster hit singles and recording a pair of delightful oldies-oriented albums. They were never a profoundly philosophical band, and never pretended to be. The group played music to have a good time, and merely asked that others join in, which millions of Brits did for a few years.

Wisdom of Crowds is the debut album from an exciting project featuring Bruce Soord from The Pineapple Thief with Jonas Renkse from Katatonia.
As Wisdom of Crowds was originally written with Renkse’s voice in mind, Soord sought out the acclaimed Katatonia vocalist to complete the compositions and release the music to the masses in 2013. Despite the rigorous schedules of The Pineapple Thief and Katatonia, the two musicians were eventually able to connect to record an album that swings between fragile acoustic motifs and pounding rock riffs. The partnership unleashed an unparalleled imaginative force that gives listeners more with every listen - a progressive album for curious fans of either Katatonia or The Pineapple Thief.

Three years after their critically acclaimed debut 'The Will' and almost a quarter of a century after their first endeavour together, Rapture's doom death seminal landmark 'Futile', guitarists Jarno Salomaa and Tomi Ullgrén (both of them also members of funeral doom legends Shape of Despair) are back with their haunting and otherworldly twin-guitar harmonies on the sophomore release of Counting Hours 'The Wishing Tomb'.
On yet another surprising expansion of their signature sound, the Finns continue building a set of colossal and unforgettable melodies using unnerving and gazing grooves as the backbone of their compositions, only to be intertwined with the emotional vocals of singer Ilpo Paasela (of The Chant fame), culminating in what will be one of the gloomiest yet, oddly enough, most memorable releases of the year…

One of the founding fathers of bebop, alto saxophonist Charlie Parker (1920-1955) was the most influential modern jazz artist ever.This set presents his finest studio recordings, including the core of his best sessions for the Dial, Savoy and Verve labels, as well as the complete quintet sets from the classic 1953 Massey Hall concert, on which Bird was joined by Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach. Also contained here are the 1950 Bird & Diz date showcasing the two horn legends with Thelonious Monk, and Parker’s celebrated first session with strings, which constituted the saxophonist’s best-selling recording ever.

AC/DC With a limitless supply of dirty riffs, snarling vocals, and timelessly catchy, anthemic choruses, AC/DC is one of the most important and most lasting forces in hard rock. Founded in the early '70s by Scottish-born brothers Malcolm and Angus Young, the Aussie band exploded onto the international stage in 1979 with the release of their multi-platinum-selling sixth album, Highway to Hell. The death of charismatic frontman Bon Scott in 1980 threatened to derail the group, but AC/DC powered through. They recruited Geordie vocalist Brian Johnson and unleashed their most successful effort to date, Back in Black, which has become the second best-selling album in history. The band continued to help define the sound of hard rock and metal throughout the '80s, '90s, and beyond, spawning countless imitators and enjoying steady, consistent commercial success. They also became one of the best examples of arena rock, playing to enormous crowds as the years went on, and rocking as hard as ever on studio albums like 1990's pop-glinted The Razor's Edge and 2020's Power Up, both of which reached the upper tiers of multiple charts.

The ensemble of soloists of the Salzburg Wind Philharmonic devotes this CD to Francis Poulenc’s chamber music works for winds. Poulenc – a member of the Parisian group of composers known as Les Six – was particularly fond of woodwind instruments which corresponded with the tradition of his homeland and he created some of the most beautiful works written for wind chamber music. This ranges from the youthful Trio to late works dedicated to Arthur Honegger, such as his Clarinet Sonata, the Flute Sonata and Horn Elegy, and to the entertaining sextet, a declaration of love for his home town of Paris.

Lodovico da Viadana’s (1564–1627) life as a musician initially unfolded in Mantua, where he was appointed maestro di cappella of the Cathedral on 7 January 1594.

This remastered two-fer combines Alice Coltrane's 1969 release Huntington Ashram Monastery with World Galaxy from 1972. Originally, these LPs were released separately on Impulse. Both sets are spiritual in nature, with the first three cuts on H.A.M. combining the majestically meditative harp of Coltrane with Ron Carter on bass and Rashied Ali on drums and percussion. Coltrane switches to piano on the album’s final three cuts bringing the free jazz component into focus, especially from Ali, who is slightly subdued on this date. World Galaxy opens and closes with two compositions associated with John Coltrane: "My Favorite Things" and a section from his masterpiece "A Love Supreme." Alice Coltrane is featured on harp, piano, and organ with saxophonist Frank Lowe, bassist Reggie Workman, drummer Ben Riley, violinist Leroy Jenkins, and a full string section…

Some might think that guitarist Oz Noy, a celebrated voice in jazz-fusion over the last quarter century for applying his formidable guitar chops to funky rhythms and blues-based changes on 13 leader albums and hundreds of plugged-in concert performances, is not an obvious fit for Criss Cross, whose 420+-album catalog connects almost exclusively to the various tributaries of the hardcore acoustic jazz river. Noy, 52, begs to differ. "I've known about Criss Cross since my brother brought home albums when I was a teenager, " he says, discussing the back story of his label debut, Fun One, a creative, sophisticated and, shall we say, swinging trio encounter with pianist David Kikoski, bassist James Genus and drummer Clarence Penn.

Song X is a collaborative studio album by American jazz guitarist Pat Metheny and saxophonist Ornette Coleman. It is a free jazz record that was produced in a three-day recording session in 1985. The album features mutual Metheny/Coleman collaborator Charlie Haden on bass, Jack DeJohnette on drums, and Coleman's son Denardo on various percussion instruments. It was recorded at The Power Station in New York City between December 12 and December 14, 1985. A remixed and remastered version was issued on CD in August 2005, titled Song X: Twentieth Anniversary. Six unreleased tracks were added prior to the original eight songs. In The Penguin Guide to Jazz (2004), Richard Cook and Brian Morton said the more adventurous recordings on Song X showcased the jubilant playing between Coleman and Metheny, who not only "powered his way through Coleman's itinerary with utter conviction, he set up opportunities for the saxophonist to resolve and created a fusion with which Coleman's often impenetrable Prime Time bands had failed to come to terms." In a review of the album's 2005 reissue, Christgau wrote in Blender that all six bonus tracks were "strong enough to justify kicking off with them, and the perfect warm-up to an album Metheny was right to construct exactly as he did."

This second gathering of MTB (titled for the surnames of Brad Mehldau, Mark Turner and Peter Bernstein,) is an intense, focused recital that reinforces the exalted position each member holds in the 2024 jazz landscape. Everyone listens. No one overplays or goes for "house." The ambiance is one of concentrated excellence. When eminent jazz practitioners with shared histories convene in the studio without rehearsal or preparatory gigs, a perfunctory, by-the-numbers session is often the outcome. That is decidedly not the case on Solid Jackson, whose personnel, four of whom participated on the well-wrought day-after-Christmas of 1994 Criss Cross album titled Consenting Adults, reside in any hardcore jazz connoisseur's "top-five." All in all, the session is, as the cliche goes, "all killer, no filler," performed at a level that might have provoked Charlie Haden to respond with a hearty "Solid Jackson." "There was a natural blend," Bernstein says. "We all go way back, and everyone was very comfortable being around each other. One thing I like about making a record is that you're able to spend a day with people you've been meaning to hang out with for a long time. It's not just a party. You're working, too. But that's how we interact socially - by playing music. I was amazed. It's 30 years after we did the first one, but everyone is relatively intact. It's really a miracle. We're all still here; we get to play together again.

The CD features a new stereo mix plus bonus tracks including the ultra-rare (performed once only) Guts on My Side.
Starless and Bible Black is even more powerful and daring than its predecessor, Larks' Tongues in Aspic, with jarring tempo shifts, explosive guitar riffs, and soaring, elegant, and delicate violin and Mellotron parts scattered throughout its 41 minutes, often all in the same songs. The album was on the outer fringes of accessible progressive rock, with enough musical ideas explored to make Starless and Bible Black more than background for tripping the way Emerson, Lake & Palmer's albums were. "The Night Watch," a song about a Rembrandt painting, was, incredibly, a single release, although it was much more representative of the sound that Crimson was abandoning than where it was going in 1973-1974…

Trumpeter, bandleader, composer, and one of the most important figures in jazz music history, and music history in general. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.