On this breathlessly inventive, intensely theatrical, and brilliantly layered 2019 masterpiece, Dutch musical chameleon Valensia returns to the grandiose art-rock arenas that made him a legend. Released via the premier Japanese rock imprint King Records, 7eve7 is a spectacular high-fidelity showcase of Valensia’s unique brand of symphonic pop-rock brilliance. Deeply rooted in the multi-tracked operatic vocal layers of Queen, the baroque whimsy of classic pop, and the intricate arrangements of neo-progressive rock, Valensia serves as the ultimate multi-instrumentalist wizard, handling a staggering array of instruments and soaring vocal harmonies himself. The album is a dizzying, cinematic ride through shifting time signatures, blazing guitar solos, and lush, technicolor orchestration. From the majestic sweep of the opening epic "To Save A Sunset Moth" to the vibrant melodicism of "Iberia (The Summer Of Love)" and the exclusive Japanese bonus track "Ivy & Bodene," this pristine recording remains an absolute, essential tour de force for collectors of elite, over-the-top symphonic rock craftsmanship.

On Rock Is Alive, the highly acclaimed Swedish classic rock outfit Universe Infinity makes a triumphant, monumental return to form that stands as a love letter to the golden era of 1980s arena rock. Originally formed in the mid-80s under the moniker Universe, this 2018 release via Avalon and Marquee Inc. marks their definitive resurgence, combining classic Scandinavian melodic metal craftsmanship with pristine, modern studio production values. Fronted by the soaring, multi-octave vocal authority of powerhouse singer Toffe Mossberg and driven by the blistering, melodic guitar leads of Michael Kling, the record operates with massive, hook-filled energy. The tracklist is an uncompromising parade of high-octane stadium rockers and rich, harmonic tapestries, from the explosive opening statement Start Give All Your Love and the driving rhythm configurations of Catch Of My Life to the relentless, anthemic swagger of the title track Rock Is Alive. This exclusive Japanese edition is highly sought after by collectors, featuring the stellar bonus track The Rival. The result is a definitive, profoundly expressive melodic rock document that proves the timeless spirit of heavy rock and roll is indeed burning with absolute brilliance.

Wave Of Emotion is a fiercely energetic, texturally rich, and highly innovative studio album by the multi-talented guitar virtuoso and singer-songwriter Richie Kotzen, released in 1996 exclusively in Japan via Polystar Records. Serving as a crucial bridge in his mid-nineties discography, the album perfectly captures Kotzen expanding his musical horizons by fusing gritty, soulful blues-rock with intricate jazz-fusion stylings and heavy funk syncopation. Renowned for his incendiary legato and finger-picking techniques, Kotzen dials back the purely neoclassical speed of his early Shrapnel years to deliver compositions focused on tight rhythmic hooks, raw emotional weight, and muscular vocal work reminiscent of classic soul-rock belters. From the explosive opening charge of World Affair and the blistering, technically demanding title track, to the atmospheric, multi-layered fusion exploration of the instrumental centerpiece Strobe, the album radiates with staggering musicianship. It stands as a high-caliber cult classic for guitar enthusiasts, highlighting Kotzen’s rare transition from a standard shredder into a fully-realized, genre-defying musical force.

When We Were the New Boys finds Rod Stewart tackling the music of his Brit-pop offspring and coming to terms with his pub rock roots. It's a bit of a risky move, since he could have embarrassed himself with stodgy singing but, surprisingly, he (more or less) pulls it off…

The material on this album originally was intended to be part of a four-record set called Läther, prepared for release in 1977. Then Frank Zappa got into a disagreement with his record company, Warner Bros., and Läther was split up into several different releases as part of a contractual agreement. The results were dumped on the market during 1978 and 1979, while Zappa moved on to his own record label…

A live document of the Brian Jones-era Rolling Stones sounds enticing, but the actual product is a letdown, owing to a mixture of factors, some beyond the producers' control and other very much their doing. The sound on the original LP was lousy – which was par for the course on most mid-'60s live rock albums – and the remasterings have only improved it marginally, and for that matter not all of it's live; a couple of old studio R&B covers were augmented by screaming fans that had obviously been overdubbed…

Coming on the heels of his departure from The Faces, A NIGHT ON THE TOWN was Rod Stewart's first solo album. With his usual collaborator Ron Wood now a member of the Rolling Stones, Stewart gathered together an impressive group of backing musicians that included Steve Cropper, Duck Dunn and Al Jackson of Booker T & The MG's, Joe Walsh, the Tower Of Power horn section and multi-instrumentalist David Lindley…