Beck, Bogert & Appice is the eponymous debut album by the 1970s band Beck, Bogert & Appice. They were a supergroup and power trio, with the line up of guitarist Jeff Beck (who had already been a member of The Yardbirds and The Jeff Beck Group), bassist Tim Bogert, and drummer Carmine Appice (both formerly members of Vanilla Fudge and Cactus). The album had solid sales in 1973. One of the most notable tracks is Beck's version of the famous song of Stevie Wonder's and his creation: "Superstition". This was the band's only studio album, as Beck left the band without warning during the recording of their second album, forcing a sudden dissolution in 1974.

Albert Hammond is one of the more successful pop/rock songwriters to come out of England during the 1960s and 1970s, and has also enjoyed a long career as a recording artist, his work popular in two languages on three continents across four decades. Hammond was born in London in 1944 – his family actually came from the British colony on Gibraltar, but wartime considerations caused his mother to be evacuated to London, where she gave birth. He spent his childhood and youth on Gibraltar, where he became fluent in both English and Spanish – that bilingual ability would serve him well in his later career. His family lived modestly on his father's fireman's pay, and one of his early diversions was music – he sang in church and became head choir boy. He also became interested in popular music, sang for his own enjoyment, and also took up the guitar.

Third in a series that began with Fragile Sunrise (2002) followed by Sepia (2004). Guests Gerry Beckley and Dewey Bunnell (America), Robert Lamm (Chicago), Jeffrey Foskett and Randell Kirsch. Produced by Hank Linderman. Sunny-breezy-roots-pop!

Campfire Songs: The Popular, Obscure and Unknown Recordings is a 2004 compilation album by 10,000 Maniacs featuring their biggest hits, b-sides and unknown recordings from the Natalie Merchant era.

Joanne is the fifth studio album recorded by American singer Lady Gaga. It was released on October 21, 2016, through Streamline and Interscope Records as a follow-up to Artpop (2013) and Cheek to Cheek (2014). Gaga collaborated with several producers on the record, including Mark Ronson, Jeff Bhasker, BloodPop and RedOne, and co-produced the majority of the material. The music of Joanne features "stripped-down" soft rock and dance-pop styles in order to emphasis the singer's vocal abilities, unlike on Artpop. Lyrically, the album delves on the theme of family and life's emotions, with the death of her father's sister, Joanne Stefani Germanotta, having a deep influence on the record. Japanese Edition contain bonus tracks.

Ein Virus stürzt die Welt ins Chaos, zwischen Moskau und Kiew wetzt man blutige Säbel: Ja, die Welt ist am Arsch. Generationsübergreifend fragt man sich: Wie kommt man aus diesem ganzen Schlamassel wieder raus? Die Antwort darauf liegt noch irgendwo im Dunkeln begraben. Aber die Hoffnung stirbt bekanntlich zuletzt. Umgeben von grauer Tristesse und gefangen in einer beklemmenden Endzeitstimmung saugt man jeden positiven Lichtblick dankbar auf. Ein neues Donots-Album kommt da genau richtig.

In 1995, A&M released Every Breath You Take: The Classics to replace the original album. It features a slightly different track listing: the original version of "Don't Stand So Close To Me" replaces the 1986 recording at track 5; the '86 version appears at track 13. A 'New Classic Rock Mix' of "Message in a Bottle" is included as track 14.

This is a classic in American progressive rock.
Hands were an American band, founded by members from Prism, who were active between 1977 and 1980. They never released an album back then, but this CD is put together with material from that period. The sound quality is overall very good with a few exceptions. Their music is a mix between medieval music and progressive rock, mostly instrumental. Hands have strong compositions and intriguing arrangements and they're reminiscent to Gentle Giant, Jethro Tull, King Crimson, Premiata Forneria Marconi, and Yes…

Chaos & Colour, the energetic and triumphant 25th studio album from British hard rock legends and progenators Uriah Heep, bristles with explosive classic rock guitars, supreme harmonies, and Heep's famously generous keyboard foundation. This deluxe edition includes a demo version of 'Save Me Tonight' as a bonus track. Led by founding member Mick Box, it is no surprise that themes of light, love and, ultimately, positivity are constant through the eleven tracks. Opener "Save Me Tonight" shows the band's weighty yet blistering chops, whilst "One Nation, One Sun" is a journey of soaring balladic contemplation.

In early 1966, with John Peel as producer, the Misunderstood went into Gold Star studio in Los Angeles to make some demos. Although the tapes have disappeared, an acetate of some of the songs still exists, from which eight tracks (two of which had previously been released) were rescued for reissue on the first disc of this double CD. Judged against their magnificent recordings in Britain in late 1966 (with slightly different personnel), it's a bit of a letdown. The group at this point were a competent but not extraordinary blues-rock act, offering competent renditions of standards by Howlin' Wolf, Muddy Waters, Jimmy Reed, and the like that only hinted at the originality that would blossom on their U.K. sessions. Indeed, the two tracks that have previously been available ("Shake Your Money Maker" and a wild, extended "I'm Not Talkin'" with ferocious distorted guitar breaks) are by far the best in the set…

A two-CD survey of Winter's recordings for Columbia between 1969 and 1979, the era of his greatest commercial success. This collects many of his most popular tracks, though it doesn't do much to argue a case for artistic diversity. Includes two otherwise unavailable songs: an alternate take of "30 Days," and a previously unreleased 1973 cover of Robert Johnson's "Come on in My Kitchen."

Originally released in 1979, this album of Hillage's self-styled "elektric gypsy musick" was spread across two vinyl discs; when subsequently reissued during the digital era the guitarist/singer's cosmic space rock set - including a version of George Harrison's "It's All Too Much" - fit onto a single CD.
The album was recorded at the peak of Hillage's popularity (although peak might be too strong a word!) at a variety of gigs during 1977 and 1978, in and around the London (UK) area. The songs are primarily taken from Hillage's first album "Fish rising", "L" (which appears virtually in full) and "Motivation radio".

BRIAN WILSON ADMIRED him, Phil Spector was scared of him-.-in the roll-call of 1960s Hollywood record men, quixotic producer Gary S Paxton was amongst the most remarkable. Like Wilson, in the studio Paxton was hands-on, covering all aspects of playing, singing and production-.-like Spector, he had the knack of marrying song, singer and arrangement. Unlike Wilson and Spector however, Paxton's was a seat-of-the-pants operation that relied on a loyal retinue of writers and players and most significantly, the relentless 24/7, pill and alcohol-fuelled drive of the man himself.

The Future Now is the seventh studio album by Peter Hammill, released on Charisma Records in 1978. It was the first solo album Hammill released following the 1978 breakup of his band Van der Graaf Generator, although he had released numerous solo albums while VdGG were active. The album contains twelve short songs, several in the new wave style of VdGG's last studio album, The Quiet Zone/The Pleasure Dome. The album cover shows a set of photographs by Brian Griffin, portraying Peter Hammill with half of his moustache and beard shaven. "If I Could" was re-worked for Hammill's 1984 album The Love Songs.

The BoDeans may have to play second-fiddles to guitar great Les Paul as Waukesha, Wisconsin's favorite musical sons, but their rootsy, unpretentious rock & roll carved them a comfortable niche and loyal following from the late 1980s on. This 17-track anthology spans a decade of the band's history, eschewing strict historical chronology for a running order that's both more artistically interesting and listener friendly. Indeed, fully a third of the tracks issue from the band's 1995 live album Joe Dirt Car, a gambit that helps underscore their spare, straightforward musical charms. The twin talents of singer-songwriters Sammy Llanas and Kurt Neumann form the band's core, and the close harmonies of early hits "She's a Runaway" and "Fadeaway" set the band's tone, recalling rough-hewn takes on a vocal tradition that stretches back to the Everlys and Lennon-McCartney. But it's a collection that also reveals the band's range, from the U2-like drama of "You Don't Get Much" to the pop-savvy Party of Five theme "Closer to Free" and a passionate live take of "Feed the Fire" that recalls John Mellencamp at his best. –Jerry McCulley