Although Jane's Addiction's 1987 self-titled debut was an intriguing release (few alternative bands at the time had the courage to mix modern rock, prog rock, and heavy metal together), it paled in comparison to their now classic major-label release one year later, Nothing's Shocking. Produced by Dave Jerden and Jane's Addiction vocalist Perry Farrell, the album was more focused and packed more of a sonic wallop than its predecessor; the fiery performances often create an amazing sense that it could all fall apart at any second, creating a fantastic musical tension. Such tracks as "Up the Beach," "Ocean Size," and one of alt-rock's greatest anthems, "Mountain Song," contain the spaciousness created by the band's two biggest influences, Led Zeppelin and the Cure…

B.B. King was the most successful and celebrated blues artist of his generation, a musician who came from humble roots in Mississippi and ended up taking his music to some of the most prestigious venues on Earth, giving the blues a level of respect and acceptance it had never enjoyed before. While King scored his first hits in the early '50s, it was in the mid-'60s that he first crossed over to the pop audience, and he cut his signature hit, "The Thrill Is Gone," in 1969. His Definitive Greatest Hits is a two-disc collection that brings together some of the best and most popular sides King recorded from the '60s onward, including "I Like to Live the Love," "Why I Sing the Blues," "Every Day I Have the Blues," "Into the Night," "My Lucille," "The Thrill Is Gone," and many more. The set also includes guest appearances by Robert Cray, Bobby Blue Bland, Gary Moore, and U2.

Motel Shot is a studio album by Delaney & Bonnie and Friends, released in 1971. The album, their third for Atco/Atlantic (catalog no. SD 33–358) and fifth overall, is a mostly acoustic set. The album's title refers to the impromptu, sometimes late-night, jam sessions pursued by touring musicians when on the road. The album reached #65 on the Billboard album chart, and includes Delaney and Bonnie's biggest chart single, "Never Ending Song of Love", which peaked at #13. "Never Ending Song of Love" would immediately become a popular tune to cover, with hit versions being recorded by The New Seekers and Dickey Lee at the same time as Delaney & Bonnie's version (each becoming a hit in different markets) and the Osmond Brothers having a minor hit with it a decade later. Guest musicians on the album include Leon Russell, Joe Cocker, Duane Allman, Dave Mason, John Hartford, Clarence White, Gram Parsons and Bobby Whitlock.

1977 was a transitional time for jazz enigma and self-proclaimed member of an “angel race“, Sun Ra. During the Summer of 1976, he had stormed Montreux and toured West Africa with one of the greatest of his full-sized Arkestras before embarking on occasional solo concerts for the first time, emphasising his prowess at the piano. Although he had always played the blues within Arkestra sets, he now summoned up the rolling tradition of blues piano, recalling Otis Spann, Avery Parrish, stride and ricky-tick styles.

"Sweet Honey Wine" lives up to its title, it begins cool and melodic and makes you wish you were sipping piña coladas on an island. "I Need Your Love" opens softly before revving up, only to be drop kicked by a wimpish male vocal. Smith achieves a Latin feel on "What's Done Is Done," but once again an insipid vocal and weak lyrics render it unplayable; a shame because there's a striking guitar solo. Lonnie gets back on track with "Do It" - it isn't jazz, but it's a decent groove underscored by an incessant rhythm guitar and a spirited organ solo. "Journey to Within" is like the title implies, dark and moody, music to stroll graveyards by. You would expect a three-headed monster to jump out your speaker. It settles into a sweet petulant groove spearheaded by a tenor sax solo and Smith's deep, spacey keyboarding on the black keys. The last cut, "My Latin Sky," is light and bouncy, and the most traditional jazz offering.

NOW Music is proud to present 60 more essential gems from the incredible year in Pop that was 1988 with NOW – Yearbook Extra 1988.

The Roland Kovac New Set released several instrumental LPs on the Selected Sound label from Hamburg, the second and third of which, "The master said" (1971) and "Love that" (1972), are good progressive rock with a clear emphasis on jazz. The line-up on "The master said" consisted of top musicians: Master Roland Kovac himself had obtained his doctorate in music as early as 1952 and written numerous classical works and soundtracks. Guitarist Siegfried Schwab had just become famous at that time by working with Et Cetera and other groups and shows his brilliance on this LP with his fuzz guitar. Drummer Charly Antolini ("Knock out") had already been in business for many years and is still first choice on the jazz scene today. The fourth member was Franz Löffler on bass, who had already released several guitar LPs in the 1960s.

Featuring Ultravox, Duran Duran, Orchestral Manoeuvres in the Dark, Yellow Magic Orchestra, Devo, Yello, Peter Baumann, Richard Bone, Japan and many others.
Following 2020’s ‘Musik Music Musique’ set, we present the sequel, this time looking at the electronic pop scene as it evolved from curio and novelty into a major movement and began to dominate the airwaves. Featuring a plethora of acts who would quickly become household names (many of which endure today) and exploring the wide variety of directions electronic instruments took both the mainstream and independent music in. ‘Musik Music Musique 2.0’ embraces both the pure pop aesthetic of a new generation of aspirational, defiantly polished artists and those who embraced electronic music in the aftermath of the post-punk explosion…

Emboldened by the enthusiastic response to the muted Nothing Like the Sun and reeling from the loss of his parents, Sting constructed The Soul Cages as a hushed mediation on mortality, loss, grief, and father/son relationships (the album is dedicated, in part, to his father; its predecessor was dedicated to his mother). Using the same basic band as Nothing Like the Sun, the album has the same supple, luxurious tone, stretching out leisurely over nine tracks, almost all of them layered mid-tempo tunes (the exception being grinding guitars of the title track).

Steve Earle and Nashville had had just about enough of one another once it came time for him to cut his third album in 1988. Earle's first two albums, Guitar Town and Exit 0, had sold well and earned enthusiastic reviews, but his stubborn refusal to make nice, his desire to make more rock-influenced albums, and the faint but clear Leftism in his populist lyrical stance made him no friends at MCA's Nashville offices, and his growing dependence on heroin didn't help matters one bit. Earle was moved to MCA's Los Angeles-based Uni imprint, and he headed to Memphis to cut his third album, Copperhead Road.

This retrospective spotlights a prolific purple patch in Ayers’ career, focusing on the mid-to- late 1970s when he took the vibraphone into the pop mainstream via a series of commercially successful albums for Polydor Records.Roy’s Band, which had previously been known as the Roy Ayers Quartet - a name that Ayers thought was too “square” and described as “a drag” - morphed into a much larger ensemble called Roy Ayers Ubiquity. Ayers said: “At that time, in 1970 when I joined Polydor, my manager, said ‘Roy, you should name the group Ubiquity.’ I said what does that mean? ‘Ubiquity means a state of being everywhere at the same time.’ I said, ‘That’s fate because if everyone has one of my albums I will be everywhere.’ I thought it was great so I started using that name.”

Beautiful Scars was born as a full-album concept during our European tour, inspired by the Japanese art of Kintsugi - the philosophy that we become more beautiful because we were broken. What began as an artistic vision soon became a lived experience, as Limberlost found itself shattered and rebuilt, transformed by the very message we set out to create. The journey begins with "Alien," a song capturing the weight of dysphoria and disconnection. "Playing Games" unleashes the aggression we all battle inside.

Top-notch sounding White Album outtakes from 1968.

Dans le catalogue Ocora consacré à la musique japonaise, ce CD est la première parution dédiée à la musique du royaume du Ryûkyû, aujourd’hui Okinawa, dont la musique est encore très peu connue hors du Japon. Parmi les rares écrits consacrés à la musique d’Okinawa et des archipels environnants de l’ancien royaume des Ryûkyû, outre on peut signaler une récente parution de Matt Gillan (2012), ainsi que divers articles. 2Bien qu’il présente un historique du royaume Ryûkyû, le livret aurait mérité d’être un peu plus étoffé. Ces îles ont été envahies par le clan Satsuma de l’île japonaise de Kyûshu en 1609. Grâce à un commerce lucratif avec la Chine, le royaume a pu maintenir une certaine autonomie. La cour royale a été destituée en 1879 lorsque le Japon a entièrement occupé ces îles. Bien que cette culture ait eu subi des influences autant de la Chine que de la Corée et du Japon, sa musique, ses coutumes et sa religion en sont demeurée distinctes (Gillan, 2012 : 11-12). Cependant, depuis les années 1990, nous assistons à un mouvement de revitalisation musicale auprès des jeunes.

From 1958 to 1993, Thomas and Louise Boddie’s industrious Boddie Recording Company issued nearly 300 albums and 45s, recorded 10,000 hours of tape, and remained in operation longer than any other studio, pressing plant, or label group in the history of Cleveland. Long forgotten even by the standards of the chronically overlooked northeastern Ohio music scene, Boddie was a fusion of its owner’s engineering genius and his limited economic means, its DIY recording studio housed in a humble barn, churning night and day to capture the sounds emanating from Cleveland’s east side neighborhoods. The 58 tracks on these three CDs (or 65-track 5LP) represent the best of the Boddies’ in-house Soul Kitchen, Luau, and Bounty labels, which released an unspoiled treasure trove of kitchen-sink eccentric soul, fuzzbox funk, shoestring doo-wop, and haunted, eerily hook-laden spirituals. Enclosed inside is a mountain of office-styled ephemera: two massive booklets brimming with detail on the Boddies and their artists; extensive notes and scores of unpublished photos; a complete detailed discography folio; reproduced fliers; and a Boddie greeting card—all rendered with the handcrafted charm that was the Boddie hallmark. Call it a self-contained secret record industry crammed into one box.