The Gospel According to the Meninblack (sometimes referred to as just The Meninblack) is the fifth album by English rock band the Stranglers, an esoteric concept album released 9 February 1981, on the Liberty label. The album explores conspiratorial themes involving alien visitations to Earth, the sinister governmental men in black, and the involvement of these elements in well-known biblical narratives. This was not the first time the Stranglers had used this concept; "Meninblack" on the earlier The Raven album and subsequent 1980 single-release "Who Wants the World?" had also explored it.

Def Leppard are an English rock band formed in 1977 in Sheffield as part of the New Wave of British Heavy Metal movement. Since 1992, the band has consisted of Rick Savage (bass, backing vocals), Joe Elliott (lead vocals), Rick Allen (drums, backing vocals), Phil Collen (guitar, backing vocals), and Vivian Campbell (guitar, backing vocals). Therefore, this is the band's longest-standing lineup.

In the early 70's the young French Prog scenario was full of competent bands that were being listened in and outside their country, and while most of them ascribed to the "French Theatric Symphonic", early Pulsar decided to re-create the sound of Pink Floyd with that unique Gaulish sound with a lineup of competent musicians formed by Jacques Roman (organ, piano, synth), Victor Bosch (drums, percussion), Gilbert Gandil (guitar, vocals) and Philippe Roman (bass), but something was missing so they recruited the flutist and string musician Roland Richard.
Their 1975 debut "Pollen", was acclaimed by most critics (despite the economic failure in the UK), who saw them as a breeze of fresh air, because they didn't limit themselves to copy a style, but added some Symphonic touches that gave them a special flavor…

The soundtrack to the 2018 Queen biopic Bohemian Rhapsody offers a fittingly cinematic portrait of the iconic rock band, built around a handful of the group's most well-known songs, including live versions and several tracks reworked specifically for the film. As a souvenir of the movie, the soundtrack works especially well. Opening with guitarist Brian May's arrangement of the "20th Century Fox Fanfare," and showcasing his distinctive searing guitar leads, it perfectly sets the tone for telling Queen and Freddie Mercury's story on the big screen. Here we get such beloved classics as "Somebody to Love," "Killer Queen," "Another One Bites the Dust," and "Under Pressure."

Astra is the third studio album by British rock band Asia, released in late 1985. It was the final studio album to feature original member John Wetton until 2008's reunion album Phoenix. The recording of the album took place at several studios in London during 1984-85. It reached #67 in the US on the Billboard 200 chart and #68 in the UK Albums Chart. Strangely, although Astra itself didn't make the top 50, two songs charted well on the US Hot Mainstream Rock Tracks chart, receiving radio airplay in various markets: "Go" (#7) and "Too Late" (#30), and the video of "Go" (based on the futuristic heroine on the album cover) received airplay on MTV. Allmusic critic Matt Collar gave Astra a three-star rating in a review full of praise. He called the album "a solid prog rock outing", "a truly underrated '80s rock album and a must-hear for fans".

A master of the traditional and the progressive, the styles of the past and the bright, swinging future, Eddie Palmieri is one of the most influential Latino pianists of the 20th century. His extreme versatility and artistic vision are brilliantly displayed on The Sun of Latin Music. While most Latin jazz musicians fall into either staunch traditionalism or pursuing progressive ideas to the detriment of groove and accessibility; Palmieri marries both ideals effortlessly. With smooth, danceable rhythm, lush vocals, and a clear center to the song, combined with sophisticated arrangements, tunes like "Desea Salvaje" and "Nunca Contigo" both swing the dancer and captivate the discriminating listener. Palmieri's interest in stylistic variety, including styles like danzon, guaguanco, and cumbia, not common of '70s era salsa, enrich the album and show off his versatility…

Recorded in the midst of 1966, naturally after the spring release of their debut but before "Pushin' Too Hard" climbed into the national charts in the spring of 1967, A Web of Sound finds the Seeds pushing their sound into new dimensions, happily keeping pace with their Los Angeles contemporaries Love and the Doors. That the Seeds never received the respect accorded to their peers, either then or now, may be partially due to their lack of lyrical ambition, or it could be due to the Hollywood teenage sleaze that seeped out of this quartet led by garage rock icon Sky Saxon. Whatever the Seeds did, it sounded somewhat dirty, a maxim that applies to A Web of Sound even if it lacks singles as hard and filthy as "Pushin' Too Hard"…

Released at the tail end of the '60s, Hot Buttered Soul set the precedent for how soul would evolve in the early '70s, simultaneously establishing Isaac Hayes and the Bar-Kays as major forces within black music. Though not quite as definitive as Black Moses or as well-known as Shaft, Hot Buttered Soul remains an undeniably seminal record; it stretched its songs far beyond the traditional three-to-four-minute industry norm, featured long instrumental stretches where the Bar-Kays stole the spotlight, and it introduced a new, iconic persona for soul with Hayes' tough yet sensual image. With the release of this album, Motown suddenly seemed manufactured and James Brown a bit too theatrical. Surprising many, the album features only four songs…

The Crematory hit factory opens its doors for the 17th time with its new studio album “Destination” and reaches a new, even higher level than before! It's an album that literally combines all the strengths and phases of the gothic metal pioneers, going back to their melodic death metal roots in places, then diving deep into the gothic realm again and surprising with some electro dancefloor bangers. “Destination” is like a musical best-of album, a return to the past combined with the strengths of the present. One thing is clear: Crematory are highly motivated, are upping the ante and definitely still have a lot to say even after 34 years of successful band history! With “Destination” in the bag, anything is possible - the road to success points straight ahead.

Phaedra is one of the most important, artistic, and exciting works in the history of electronic music, a brilliant and compelling summation of Tangerine Dream's early avant-space direction balanced with the synthesizer/sequencer technology just beginning to gain a foothold in nonacademic circles. The result is best heard on the 15-minute title track, unparalleled before or since for its depth of sound and vision. Given focus by the arpeggiated trance that drifts in and out of the mix, the track progresses through several passages including a few surprisingly melodic keyboard lines and an assortment of eerie Moog and Mellotron effects, gaseous explosions, and windy sirens. Despite the impending chaos, the track sounds more like a carefully composed classical work than an unrestrained piece of noise…

Robert Randolph is one of the rare artists who's been able to convince a sizable audience that the pedal steel guitar has a place outside country music. This is partly due to his over-the-top skills on the instrument, but just as importantly, Randolph and his Family Band have consistently shown their ability to launch a soul shakedown party of major proportions whenever they take the stage or set up in the studio. 2017's Got Soul, Randolph's fifth studio album, seems designed to capture the energy and power of Randolph and his band in full flight, and producer Matt Pierson has gone out of his way to give this material a big, rollicking sound that makes the most of the muscle and sweat of this music. While the tough, funky report of the rhythm section and the call of the organ provide the backbone of these songs, it's Randolph's pedal steel that gives Got Soul its unique sound, as the wailing peals of his instrument tear through the mix and lend this as much of a vocal presence as any instrumentalist can provide. While vintage soul and funk figures play a big role in these arrangements, Randolph's background in gospel is never entirely out of the picture, and there's a churchy passion at the heart of this music that adds plenty to the emotional resonance, especially on tracks like "Be the Change" and "Heaven's Calling".