On déifie le premier album à la banane, encense le très expérimental White Light White Heat et vénère le troisième éponyme. Mais le quatrième et dernier opus studio du Velvet Underground est souvent négligé pour ne pas dire carrément oublié… Loaded est pourtant un véritable chef d’œuvre même si sa réalisation comme son casting furent on ne peut plus chaotiques. Déjà, l’œuvre renferme un bon nombre de chansons magistrales (c’est bien ici que les tubesques Sweet Jane et Rock’n’Roll apparaissent pour la première fois) à l’image de Who Loves The Sun qui ouvre le disque de manière solaire (logique vu le titre…) et très pop. On est bien loin de la décadence et de la noirceur de la Factory d’Andy Warhol des débuts… Sur un titre comme I Found A Reason, la jovialité aux airs Beach Boys est même de mise. Lou Reed claquera pourtant la porte avant la sortie du disque que terminera Doug Yule qui chante d’ailleurs sur certains morceaux. Même Moe Tucker ne pilote la batterie que sur quelques titres. Qu’importe, Loaded est une merveille qui ressuscite en habits de lumière pour ses 45 ans, remastérisé, avec en prime des prises alternative et des démos.

Enjoy wonderful chill sounds that sound like the sea and vacation. Selected by DJ Michael Maretimo. A handpicked relaxing soundtrack from the world famous beaches around the world.

Famed for their perennial "All Right Now," Free helped lay the foundations for the rise of hard rock, stripping the earthy sound of British blues down to its raw, minimalist core to pioneer a brand of proto-metal later popularized by 1970s superstars like Foreigner, Foghat and Bad Company. Free formed in London in 1968 when guitarist Paul Kossoff, then a member of the blues unit Black Cat Bones, was taken to see vocalist Paul Rodgers' group Brown Sugar by a friend, drummer Tom Mautner. After deciding to form their own band, Kossoff and Rodgers recruited drummer Simon Kirke (since Mautner was at university) and 16-year-old bass phenom Andy Fraser from the ranks of John Mayall's Bluesbreakers; with the aid of Alexis Korner, who also suggested the name Free, the fledgling band signed to the Island label, issuing their bluesy debut Tons of Sobs in 1968.

Purple vinyl, limited to 1000 copies worldwide. The album 'Bossa Nova (New Brazilian Jazz)' embodies the finesse of bossa nova, enhanced by a touch of sophisticated jazz. Under the direction of Lalo Schifrin on piano and arrangements, talented musicians such as Leo Wright (alto saxophone, flute), Chris White (double bass), Rudy Collins (drums), as well as José Paulo and Jack Del Rio (percussions), bring a unique energy to the ensemble. Tracks like 'Boato (Bistro),' with its delicate groove, or 'Chora Tua Tristeza' and 'Poema Do Adeus,' with their refined arrangements, perfectly illustrate this captivating fusion of Brazilian smoothness and jazz virtuosity.

Ria Moran’s debut album Cubico (out July 2025 via DeepMatter Records) is a bold fusion of R&B, neo-soul, and alternative influences, already earning early BBC 6 Music support before its release. A deeply personal and sonically rich project, Cubico is Moran’s most honest work to date—an intimate therapy journal exploring love, loss, and self-discovery.

I Beat Loneliness is the upcoming tenth studio album by the British rock band Bush, set to be released on 18 July 2025 through earMusic. The first single, titled "60 Ways to Forget People", came out on 17 April and was followed by "The Land of Milk and Honey", on 5 June.

Vocalist Phil Mogg, guitarist Mick Bolton, bassist Pete Way, and drummer Andy Parker formed the British space metal outfit UFO in 1969. Originally known as Hocus Pocus, the group, which took the name UFO in honor of a London club, debuted in 1971 with UFO 1. Both the album and its follow-up, the same year's Flying, found great success in Japan, France, and Germany, but was barely noticed in the band's native country; as a result, their third effort, 1972's Live, was released only in Japan. In 1974, Bolton left the group; after brief trial runs with ex-Pink Fairies guitarist Larry Wallis and future Whitesnake member Bernie Marsden, former Scorpion Michael Schenker stepped in as a permanent replacement in time to record 1974's Phenomenon, which sported a harder-edged guitar sound. After 1975's Force It and 1976's No Heavy Petting brought UFO increased visibility with American audiences, keyboardist Paul Raymond joined for 1977's Lights Out.

It's not quite ultimate, but it is pretty close, containing three discs of prime Grace Jones, from her 1977 debut through the number one 1993 club single "Sex Drive." Unsurprisingly, since it is so extensive, The Ultimate Collection (a European release from Universal) goes too deep for casual Jones fans. It contains two versions of some cuts, like "My Jamaican Guy," included in its album and extended 12" mixes, and it does include quite a bit of material from her straightforward disco albums released in the '70s, when she had to be given much mainstream attention. Nothing of great significance is missing here.

The Doobie Brothers’ illustrious career is marked by a string of hits, two of which, “Sweet Maxine” and “Take Me In Your Arms (Rock Me),” are included here. But Stampede offers much more. In terms of musical dexterity, the 1975 set stands as the group’s peak studio moment.
With ex-Steely Dan guitarist Jeff “Skunk” Baxter finally a full-time member of the band, the California quintet steps up everything from the arrangements to the songwriting. The group also invited several distinguished guests along for the ride: Vocalist Maria Muldaur, soul legend Curtis Mayfield, slide guitarist Ry Cooder, and jazz hand Victor Feldman among them. The results are as good on record as they appear on paper…

With 1986's Strong Persuader, guitarist and vocalist Robert Cray stepped to the front of the line as a smooth and intelligent practitioner of the blues genre. Strong Persuader almost worked as well as a greatest hits set, with the brilliant Willie Mitchell-influenced "I Guess I Showed Her" being best of a perfect ten. With that standard being set, Don't Be Afraid of the Dark is marred by it's lack of potent material and a tired-sounding band and Cray. The title is a steamy track punctuated by the Memphis Horns. The edgy and methodical "Don't You Even Care" finds Cray again on the losing end of a relationship. Although the relationship blues are stinging here, this album's best effort strays far from the formula. The oddly humorous "Night Patrol" has Cray playing armchair therapist wondering what went wrong with a drunk, and a 17-year-old girl on the corner…

First time on CD for this 1976 album from the jazz great. Miroslav Vitous is one of the premiere bass players in all of jazz music. At age 6 Miroslav started with the violin and switched to the piano at age 9. He then finally settled on playing the bass at age 14. He came to the United States in 1966 and became part of the New York Jazz scene. In 1970 he formed the band Weather Report and three years later formed the Miroslav Vitous Group. This album features Lenny White, David Earl Johnson and Gerry Brown.

This album is her initial solo piece that was recorded in Gent, Belgium in 1999 and is imported from Japan. Known around the world as the most promising and upcoming young artist who has the finest percussion technique and musical skills. This album explores wide ranges of percussion sound by marimba, vibraphone and multi-percussions and her perfect performance covers the signature pieces from Iannis Xenakis, Franco Donatoni, Frederic Rzewski, Joseph Schwantner and Yoichi Sugiyama.

Rhino’s seventh installment of 50th Anniversary Studio Releases for Grateful Dead. FROM THE MARS HOTEL is the 7th album and 2nd released on Dead’s own label, Grateful Dead Records. The Deluxe Edition will feature the same remastered and Plangentized audio from the 50th Remaster PLUS the previously unreleased live performance from the University of Nevada-Reno on May 12, 1974. This was the first road show for the infamous “Wall Of Sound,” which debuted mere weeks earlier at home on March 23, 1974 at the Cow Palace. remastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes tape restoration and speed correction and Produced for Release by David Lemieux.

The Golden Age of rock'n'roll and pop music is obviously not limited to the standoff between the Beatles and The Rolling Stones. With Pink Floyd, the options are quite different. Formed in 1965 in London, the band will slalom between progressive rock and psychedelic rock, offering soaring and experimental music, engaged and satirical texts, concept albums and bigger than life concerts, as the Anglo-saxons say … the saga will have three major chapters : the Syd Barrett era, the David Gilmour/Roger Waters era, the Waters era and the Gilmour era.

On Jobim's second A&M album, Eumir Deodato takes over the chart-making tasks, and the difference between him and Claus Ogerman is quite apparent in the remake of "The Girl From Ipanema": the charts are heavier, more dramatic, and structured. Sometimes the arrangements roll back so one can hear, say, the dancing multi-phonic flute of wildman Hermeto Pascoal on "Tema Jazz," and the rhythms often veer away from the familiar ticking of the bossa nova. Jobim is his usual understated self, adding very subtle electric piano to his arsenal of acoustic piano and guitar, but the material sometimes falls short of Jobim's tip-top level (dead giveaway: "Tide" is a clever rewrite on the chord changes of "Wave"). Still, it's beautifully made and very musical at all times.