Having Mickie Most as producer could be a double-edged sword. On The Hurdy Gurdy Man, his over-ambitious nature and scattershot production sense occasionally sabotaged Donovan's songs rather than emphasizing their strengths. (The credits shamelessly list "Produced by Mickie Most" and "A Mickie Most Production," right next to each other.) As with the last few LPs, the program began with the hit title track (one of Donovan's best singles), a dim, dark song balancing psychedelia with the heavier, earthier rock championed during 1968 by Dylan and the Beatles. Though the next two tracks - an eerie, trance-like "Peregrine" and the endearing acoustic number "The Entertaining of a Shy Girl" - are excellent performances, any sense of mood is soon shattered by a hopelessly overblown music-hall showtune, "As I Recall It"…

Sarah Vaughan is accompanied by her regular rhythm section of the early '80s (with pianist George Gaffney, bassist Andy Simpkins, and drummer Harold Jones), guitarist Freddie Green, and the Count Basie horn sections on this enjoyable date. The arrangements by Sammy Nestico and Allyn Ferguson unfortunately do not leave much room for any of the Basie sidemen to solo, but Sassy is in superb form. She is at her best on "I Gotta Right to Sing the Blues," a remake of "If You Could See Me Now," and a rapid "When Your Lover Has Gone," although some listeners may enjoy her overly dramatic rendition of "Send in the Clowns."

Illegal was released in 1981, hardly a year associated with good prog music. Maybe Grobschnitt were living in their own world but they came back with a rather pleasant album , not a sure guarantee back then. Of course, the sound has been updated on some tracks as Lupo the guitarist is not afraid now to play some good hard rock guitar here and there.

More structured and less jarring than the 'X Jacks' CD with which it has similarities but no less strange in its construction of layered soundscapes and is actually more repetitive, covering rhythmic systems music, Steve Reich style layering and building, stabs of synth grandeur mixed with voice samples and rhythms so quirky you'd swear there was something wrong with the thing until you realise it's actually meant to sound like this. It's all very odd and disturbing.

These recordings for Verve records were made in 1956. Besides Teddy on piano, we hear the solid bass of Gene Ramey and the ever swinging drums of 'papa' Jo Jones. The interplay between these musicians is of a very high level, despite the fact that most selections on this cd are restricted to three or four minutes. Teddy plays with all the qualities as he did in the late thirties and early forties, but the rough edges are gone now. Highlights on the CD are: I Got Rhythm, Limehouse Blues and Blues For Daryl, which reminds us of the Just A Mood-session of the late thirties with Red Norvo and Harry James.

Born in 1965 in Chicago Bernard Allison was introduced into the roots of black music and playing electric guitar by his father, the living blues legend Luther Allison. At the age of 20 he played with the "Queen of Blues" Koko Taylor for two years and took part in countless sessions with musicians like Johnny Winter, Stevie Ray Vaughn and Jeff Healy.
He joined the tourband of Luther Allison in 1989 after a furious collaboration of "Father & Son" at the '89 Chicago Blues Festival. A recording of this formation is to be heard on the Luther Allison album "Let's Try It again". Bernard released his first solo album in 1990 with the significant title "The Next Generation".
He startet touring with his band all over europe and released the two albums: "Hang On" (1992) and "No Mercy" (1994).
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Finally, the fourth album from these young French prodigies! The production is huge. Powerful, but with just the right amount of clarity to perfectly capture and appreciate all the nuances of this melodic and technical death metal. Death metal, but not only that! At times, it's not far from Stratovarius, while generously borrowing from Children Of Bodom. The singer growls masterfully in black metal style, the guitarists hit the mark with every riff, the drummer is a monster of precision, and let's not forget the bass, which rumbles like a racing V8!

‘There’s No Stopping Us Now: The Female Mods’ Forgotten Story’ – a title that pays homage to one of The Supremes’ many infectious floorfillers – is a celebration of the inspirational women singers and groups who provided a brilliant and timeless soundtrack to an exciting moment in British pop culture. Bringing together the queens of Motown and Stax, classy chanteuses from around the world, and some homegrown dancefloor divas, these 98 songs on four discs were not only a key component of the enduring Mod scene, but many of the performers, musicians, songwriters and producers were the audible and visible representation of a way of life that publicist Pete Meaden described as “clean living under difficult circumstances”.

Don't call it a sequel, it isn't a Part Deux, 'Pop Psychédélque: Les Extras' is simply another slice of fine French Psychedelic Pop from Two-Piers, the label that brought you the groundbreaking compilation 'Pop Psychédélique' in 2021. L'es Extras' is the perfect partner for the original and brings you a whole new bunch of quite simply brilliant pieces of French Pop and Psychedelic flavours from the 1960's right up into the 2000s. Pressed on Limited Edition Coloured vinyl for Record Store Day 2025 this is an essential purchase for anyone with a love of French Psychedelic Pop, or anyone who just loves great music for that matter. 'Pop Psychédélique: Les Extras' features some of the finest French pop divas of the 1960's & 1970's such as Jacqueline Taieb, Brigitte Bardot, Christe Laume, Brigitte Fontaine, alongside artists like Marie Laforêt's wonderful take on the Rolling Stones 'Paint it Black', and the brilliant 'Les Cactus' by Jacques Dutronc. Fast forward to the 2010's and we have tracks from the French Psych scene and lush curiousities from Brigitte, Étienne Daho, The Limiñanas and Ricky Hollywood added into the mix. This Record Store Day Vinyl release includes hard to find tracks on vinyl for the first time. French Pychedelic Pop, a scene so joyous you can't help but fall in love… Les Extras anyone?

In conjunction with our beloved China Crisis, we are delighted to bring you a 10th Anniversary Pressing of their acclaimed and exceptionally rare album Autumn In The Neighbourhood. With an official release date of 07.11.25 but shipping from October 2025 - we will present 2 versions of the vinyl album. The standard single vinyl will be presented in a Gatefold Sleeve on Sky Blue Vinyl, a super limited edition double album - featuring 10 bonus tracks - will be pressed on Forest Green Vinyl. A CD featuring all the tracks from the double album will also be manufactured

AAA Cut From The Original Stereo Master Tapes By Kevin Gray Pressed On 180-Gram Heavyweight Vinyl At Optimal Heavyweight Glossy Gatefold Jackets, Housed In Faux Lizard Skin Hardshell Slipcase Features Rare Photos And Detailed Liner Notes By Doors Archivist David Dutkowski Limited & Numbered To 3,00. Rhino High Fidelity (Rhino Hi-Fi) proudly celebrates the upcoming 60th anniversary of The Doors with the release of The Doors 1967-1971 limited-edition high-fidelity boxed set today. The 6-LP collection presents the band’s first six full-length albums: The Doors, Strange Days, Waiting for the Sun, The Soft Parade, Morrison Hotel, and L.A.Woman. This comprehensive package is limited to only 3,000 individually numbered copies available exclusively at thedoors.com and rhino.com. This box will not be available in stores.

Norwegian pop trio A-ha has had their catalog revamped and repackaged a number of times since their inception in the 1980s, but 2016's Time and Again: The Ultimate A-ha brings their canon of hits up to date with the inclusion of material from each of their ten studio albums. The first disc of this set is generally concerned with their hits, beginning, appropriately, with the sunny synths of "Take on Me" and winding chronologically through the years to the sweeping orchestral ballad "Under the Makeup" from their 2015 LP Cast in Steel. The expected tracks like "Touchy!," "The Living Daylights," and their lush cover of the Everly Brothers' "Crying in the Rain" are all included alongside later-era cuts like 2000's "Summer Moved On," which was a number one hit in their home country. The second disc in the set is dedicated entirely to alternate mixes and remixes of their hits, some of which hold some historical value like Jellybean's previously unreleased 1986 remix of "Cry Wolf" and Justin Strauss' rare dub mix of "You Are the One."

Several years after the original art rock supergroup Colosseum disbanded, drummer Jon Hiseman formed Colosseum II, a more jazz fusion-oriented outfit featuring guitarist Gary Moore (Thin Lizzy) and keyboardist Don Airey. Their eclectic debut, Strange New Flesh, shows some impressive chops from all involved, with an emphasis on Moore's soulful guitar leads. Vocalist Mike Starr, while not an immensely engaging singer, does a nice job keeping up with Hiseman and bass player Neil Murray. Highlights include the technically showy but blissfully irreverent ode to Pink Floyd, "Dark Side of the Moog," a nice version of Joni Mitchell's "Down to You," and the funky "Gemini and Leo."

'Plays Live' was compiled from live recordings made at four venues across the American Midwest in late 1982. It is effectively a sign-off to the first phase of Peter Gabriel the solo artist. As such, it's a celebration of all that was achieved on that opening quartet of self-titled long-players, while also standing as confirmation that Peter was an engaged and engaging frontman. At the time, all bar one of the tracks would be familiar to the Gabriel completist, the exception being the previously unreleased 'I Go Swimming'. A studio vocal version of the song has still never been released. The touring band captured by the recordings consists of Peter, alongside Jerry Marrotta (drums and percussion), Tony Levin (bass and stick), David Rhodes (guitar) and Larry Fast (synthesizer and piano), whilst the iconic cover image of Peter in 'monkey mask' make-up was taken by long-time collaborator Armando Gallo.

The Alan Parsons Project 'Pyramid' is re-issued in a variety of different formats including as a remastered CD with 4 bonus tracks. Their third studio album 'Pyramid' was originally released in May 1978. It was a concept album centred on the pyramids of Giza. At the time this album was conceived, interest in pyramids and so-called pyramid power was all the rage. A pyramid could be found on the back of a dollar bill, there were stories in the newspapers about the supposed magical properties of pyramids and of course, the cover of Pink Floyd's 'Dark Side of the Moon'. As with other APP albums, the focus was on very high-quality studio sound production, and they recorded the album at Abbey Road Studios in London.