Conceptually, Eldamar used to be inspired by J.R.R Tolkien, Heathenism, Elven Magic and Nature. On the new albums, however, this focus has shifted more towards existential themes and nonphysical experiences.
The goal of Eldamar's art has always been to help listeners to open up to the music in an emotional way and combine the experience with their imagination. To that end, the combination of aural and visual impressions was and still is important.
Where in the past Eldamar used the gorgeous nature paintings of Albert Bierstadt to help the listener to enter dream-like lands, the new album, which is part two of a conceptual work, uses another magnificent painting by the Polish master of surreal art Mariusz Lewandowski to give the listener some visual cues as to what this album is about…

Part of country music's late-'90s crop of female crossover stars, Jo Dee Messina's appeal nonetheless remained more with country fans than pop audiences. Messina was born August 25, 1970, in Framingham, Massachusetts, and grew up in nearby Holliston. She sang in musical plays starting at age eight but discovered country music at age 12 and got hooked on the likes of the Judds, Reba McEntire, and Dolly Parton.

Though it was considered a disappointment upon its release (indeed, its production was much too sleek at times, and it lacked the creative daring of Perfect Strangers), 1987's House of Blue Light has actually stood the test of time just as well, if not better, than its predecessor. The second effort from the re-formed Mark II lineup, this album showed Deep Purple searching for an '80s-flavored hit single, and by doing so, sounding uncomfortably similar to guitarist Ritchie Blackmore's other band, Rainbow.

Singles – The UA Years is a terrific double-album set that chronicles all of Dr. Feelgood's major singles, from 1976's "Roxette" to 1986's "See You Later Alligator." Although the hits-only approach leaves out some major Feelgood songs, Singles remains a first-rate retrospective, and for many years, it was the best Dr. Feelgood collection available. The 1997 double-disc Twenty Five Years of Dr. Feelgood later replaced Singles as the definitive retrospective, yet there are enough songs on this collection to make it worthwhile for serious fans who don't want to spring for either the box set Lookin' Back or the entire catalog.

This double CD is the most comprehensive collection of Elkie's music yet released. The first CD is similar to previous compilations, focusing on hits and covers of other songs. Some covers (Nights in white satin (Moody Blues), Don't Stop (Fleetwood Mac)) show that Elkie can take famous songs and keep them interesting. Others (such as Lilac wine) she plucked from obscurity and made her own. This CD contains much great music, most if not all previously released on CD. The second CD showcases Elkie's blues roots. It also includes covers, but of bluesy songs such as Hello stranger (Barbara Lewis), The way you do the things you do (Temptations), Rescue me (Fontella Bass), He's a rebel (Crystals) and Do right woman do right man. The first 13 tracks on this CD pre-dates Elkie's commercial breakthrough and some may be making their CD debut.

This five-CD box set collects all five of the Dave Brubeck Quartet's Time series recordings: Time Out, Time Further Out, Countdown: Time in Outer Space, Time Changes, and Time In, with bonus material attached to three of the discs. Of this quintet of recordings, the latter three have never been available on CD in the United States. Recorded between 1959 and 1965, each of these titles has a distinct relationship to "time travel" in the context of jazz. Brubeck, Paul Desmond, and company were consciously trying to extend the time-space continuum in jazz, and erase the boundaries of imposed four/four signatures in the idiom. Time Out was the first jazz album on which every tune was in a different tempo, and it charted all over the world…

When you possess a great pop voice, it's inevitable that you'll someday make a pop album, and Alison Krauss has finally made hers. Instead of bidding for radio airplay with the extravagant, extroverted pop of Shania Twain, Trisha Yearwood, or Celine Dion, Krauss has crafted an intimate, understated chamber-pop album reminiscent of Joni Mitchell's Blue or Rosanne Cash's Interiors.