There's a certain relief that this 2009 Rhino reissue of 2002's double-disc set The Very Best of Fleetwood Mac doesn't even attempt to dabble in the early blues work of the Peter Green band, and treats the addition of Lindsey Buckingham and Stevie Nicks as ground zero. The two eras of the band don't sit well together, and it's best to isolate them, since those who want the hits don't need to hear the blues. Here, it's the prime of the platinum years, with almost all of the big songs in their original hit versions (the one real exception is a live version of "Big Love" from 1997, but most listeners aren't going to be too upset with the substitution).

Not to be confused with the platinum-selling glam metal miscreants active in the late 1980s, the original Skid Row blazed a much overlooked trail some 20 years prior, as one of Ireland's earliest contributors to the hard rock field. Skid Row began to coalesce in Dublin, Ireland in October 1967, around vocalist Philip Lynott, bassist Brendan "Brush" Shiels, drummer Noel Bridgeman, and guitarist Bernard Cheevers, who would be replaced the following January by a 16-year-old prodigy hailing from Belfast, north of the border, named Gary Moore. The quartet threw itself into playing pubs and working men's clubs so as to develop their chops and repertoire, eventually recording a 1969 single for Irish label Songs Records entitled "New Places, Old Faces."

The Epic is saxophonist Kamasi Washington's aptly titled, triple-length, 172-minute debut album for Brainfeeder. He is a veteran of L.A.'s music scene and has played with Gerald Wilson, Harvey Mason, Flying Lotus, and Kendrick Lamar (his horn is prominently featured on To Pimp a Butterfly), to name but a few. Most of his bandmates have played together since high school, and it shows. There are two drummers (including Ronald Bruner), two bassists (including Stephen "Thundercat" Bruner on electric), two keyboardists, trumpet, trombone, and vocals (Patrice Quinn). In various settings, they are supported by a string orchestra and full choir conducted by Miguel Atwood-Ferguson. Washington composed 13 of these 17 tunes; he also meticulously arranged and produced them. At just over six to nearly 15 minutes, the jams leave room for engaged improvisation. The Epic is based on a concept, though it's unnecessary to grasp in order to enjoy. The music reflects many inspirations – John Coltrane, Horace Tapscott's Pan-African People's Arkestra, Azar Lawrence's Prestige period, Donald Byrd's and Eddie Gale's jazz and choir explorations, Pharoah Sanders' pan global experiments, Afro-Latin jazz, spiritual soul, and DJ culture.

'Beaubourg' is the fourth studio album, released in 1978, by former Aphrodite's Child member, the electronic composer Vangelis. It's a concept album inspired by the architecture of the homonymous complex area, Centre Georges Pompidou. It depicts life in the Beaubourg district, his place of residence in Paris. This album is, simply put, nearly 40 minutes of Vangelis noodling in real time on two Yamaha CS-80 synthesizers, his signature instrument at that time. This pure sounds of the synthesizer made 'Beaubourg' a real cult classic over the years. The musical value of 'Beaubourg' is a demonstration of the tonal possibilities of a good synth in the hands of a master.

The concept album is themed around space physics. The title is based on a planet’s albedo; the proportion of the light it receives that is reflected back into space. Albedo 0.39 features tracks “Pulstar” and “Alpha” and became his first album that reached #18 of the UK Album Charts. Vangelis played every instrument on the record, which resulted in effective and versatile synthesizer passages. Critics describe the tracks as mesmerizing trips of assorted rhythms that include elements of jazz and mild rock. The multiple-award winning composer of electronic, progressive, orchestral and jazz music Vangelis started his career working on numerous successful projects, such as Aphrodite’s Child, a collaboration with Yes lead singer Jon Anderson and award winning soundtracks for Missing (1982), Chariots of Fire (1981), Blade Runner (1982) and 1492: Conquest of Paradise (1992).

The giants of German industrial metal, Rammstein, get their due recognition as one of the most influential industrial bands on the planet with this album of vicious cover versions! New school industrial acts such as Priest, Manntra, and Julien-K meet the vanguard veterans Frontline Assembly, Laibach, Burton C. Bell (Fear Factory) and Paul Ferguson (Killing Joke), Skold and more on a true clash of the industrial titans! Includes unqiue interpretations of Rammstein favorites from throughout the band’s career such as “Du Hast,” “Sonne,” “Deutschland,” “Engel” and more!

Another chapter in the history of Polish chilled electronic act Sundial Aeon. An ambient-trance collection of tracks filled with the emotions of the creators. Sometimes nostalgic, full of contemplation or reflection. Mostly euphoric, sublime and atmospheric compositions that transport the listener to a blissful state. The album includes new compositions and a specially extended remix created for the album by friend YAGE / The Future Sound OF London.

As a cornerstone of what is now called World Music, the vision and virtuosity of Shakti has inspired generations of musicians from around the world to explore sonic hybrids once thought impossible. Born of the musical and spiritual brotherhood shared by the revolutionary British guitarist and bandleader John McLaughlin and master Indian percussionist Zakir Hussain, Shakti’s soulful, organic intermingling of Eastern and Western musical traditions has proven transformative for both the band’s members and its listeners.

Joe Hisaishi started to show his interest in minimal music when he was a student at Kunitachi College of Music, and started his career as a comtemporary music composer. Presentation of MKWAJU in 1981 and the release of his first album “Information”in the following year was the kickoff of his career as a solo artist.Starting with Nausicaa of the Valley of the Wind (1984), Hisaishi has produced music for 10 Hayao Miyazaki films. He also composed the music for HANA-BI directed by Takeshi Kitano, Departures directed by Yojiro Takita, Villain directed by Sang-il Lee, The Tale of Princess Kaguya directed by Isao Takahata, What A Wonderful Familly!series directed by Yoji Yamada.

The beloved, historic & previously unreleased recording by the famous Guitar Trio: Al Di Meola, John McLaughlin & Paco De Lucia – ‘Saturday Night in San Francisco’ will be released on July 1st, 2022.

In a sense, Belinda Carlisle's A Woman & a Man is a companion record to her first solo album. It arrived in 1996, ten years after Belinda, and it also functioned as something of a break from the Go-Go's, as it was her first album after the group's mid-'90s reunion. That's not where the similarities end: the title track has some Motown propulsion, Charlotte Caffey comes in to co-write "Kneel at Your Feet," and instead of Tim, Carlisle covers Neil Finn. All these echoes are somewhat buried underneath the studio gloss created by producer David Tickle, a veneer that can get too thick on the ballads but nevertheless is often pleasingly expensive.

Competing nicely with the earlier Time After Time: The Best of Cyndi Lauper, Columbia/Legacy's The Essential Cyndi Lauper features most of the '80s icon's big hits as well as lesser-known album tracks. Considering the inconsistent nature of Lauper's albums, it is nice to find tracks like "Girls Just Wanna Have Fun" and "True Colors" packaged alongside "Sisters of Avalon" and "Who Let in the Rain." Most Lauper fans will already own these songs, but for casual fans, The Essential Cyndi Lauper will do the trick.

Aside from being legendary multiple Grammy-winning jazzmen on very different instruments, Chick Corea (piano) and Béla Fleck (the world's premier jazz banjo master) have a shared love for collaboration and the infinite improvisational possibilities their chosen idiom offers them. In some ways, the two have been preparing for this masterful, musical dialogue-driven masterpiece for over ten years. Fleck, who has always credited Corea as being one of his chief influences, invited the pianist to play on the Flecktones' Tales from the Acoustic Planet, as well as the group's live CD Live Art.