After a remarkable string of hits through 1969, Three Dog Night released It Ain't Easy, its fourth album in less than 18 months. Once again, it was a hot seller, going to number eight. Once again, it consisted primarily of songs written by some of rock music's best, but as yet unheralded, composers. And this time, the group had its first number one hit, a memorable version of Randy Newman's fear-of-partying song "Mama Told Me (Not to Come)." Although much more melodramatic than Newman's own understated take on his 12 Songs album, Three Dog Night's rendering was cleverly orchestrated and impossible to escape.

Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released in mid 1966, on Columbia Records. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". It was one of the first double albums in rock music. The album peaked at number nine on the Billboard 200 chart in the US, where it eventually was certified double platinum, and it reached number three in the UK. Blonde on Blonde spawned two singles that were top-twenty hits in the US: "Rainy Day Women #12 & 35" and "I Want You". Two additional songs—"Just Like a Woman" and "Visions of Johanna"—have been named as among Dylan's greatest compositions and were featured in Rolling Stone's 500 Greatest Songs of All Time list.

Horace Parlan on piano, Wilbur Little on bass, and Dannie Richmond on drums.
Horace Parlan overcame physical disability and thrived as a pianist despite it. His right hand was partially disabled by polio in his childhood, but Parlan made frenetic, highly rhythmic right-hand phrases part of his characteristic style, contrasting them with striking left-hand chords. He also infused blues and R&B influences into his style, playing in a stark, sometimes somber fashion. Parlan always cited Ahmad Jamal and Bud Powell as prime influences.

You Cross My Path is the tenth album by British alternative rock band The Charlatans, released on March 3, 2008. The album's cover art is drawn by Faris Badwan of The Horrors.

On the occasion of the Bruckner bicentenary, the Vienna Philharmonic recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.

Mémoriance is a unique sounding French symphonic progressive band from the 1970s who released 2 studio albums. Their debut album, "Et Après…", is a fine blend of styles, ranging from fellow French symphonic bands like Ange, Atoll and Carpe Diem, but also with a blend of Steve Hackett style guitar playing, as well as a hint of "Wish You Were Here", era Pink Floyd.
Their second release "L'Écume des jours d'après Boris Vian" is a concept album, based on the 1947 philosophical novel "L'Ecume des jours" (Froth on the Daydream), by Boris Vian.

This cupdisc Mona da Vinci doesn't sound like Mona Lisa's smile looks like - but the music on this brand-new disc is also very mystical and full of surprises. Five of the six tracks have never been released before and Calumet does only exist in a live version. Enjoy for example a brilliant guitar solo on Phantoms And Oracles by one of TD's guest guitarists Zlatko Perica. Delight in this special cupdisc - a true option for future dreams and realities!

One of two paired box sets chronicling the entirety of Kate Bush's recorded work as of 2018, Remastered features upgrades of her first seven albums: The Kick Inside, Lionheart, Never for Ever, The Dreaming, Hounds of Love, The Sensual World, and The Red Shoes. Apart from the remastering, there are no extras on this box – those have been shuffled off to Remastered, Vol 2 – but that's enough, considering that the albums haven't been revisited since their original CD releases. The remasters are clean and detailed, feeling fuller than their predecessors, and that's appropriate for music as sumptuous and transporting as this; the improved fidelity has the effect of making the music seem more vivid, not less.

AVID Jazz here presents four classic Mel Powell plus albums plus including original LP liner notes on a finely re-mastered and low priced double CD. 'Borderline'; 'Thigamagig'; 'Mel Powell Out On A Limb'; 'Bandstand'; All the jazz tracks from 'Mel Powell Septet' and the E.P. 'Classics In Jazz.' Early 1950's recordings from pianist Mel Powell….'one of the first musicians to make the transition from swing to serious composition without losing his mastery of either idiom'. An extremely busy musician, composer and arranger Powell was a mere sixteen years old when he replaced Teddy Wilson in the Benny Goodman Band during the early forties. For two years his piano playing and arranging dominated the Goodman band until he was drafted in 1943 and became a member of the Glenn Miller Air Force Band. After Millers death in 1945 Powell became the band leader and chief arranger. He then went on to study composition at Yale University removing himself almost entirely from the jazz scene (with the occasional exception of the odd gig with Goodman). But now he's back!

Zig Zag is the fourth studio album by American rock band The Hooters and was released in 1989. With Zig Zag, The Hooters moved toward a more political and folk music direction, contrasting significantly with their previous light-hearted songs. On this album, the songs dealt with the death of a friend, the demise of vinyl records and intrusion of technology, homelessness, a tribute to their own friendship, and even Beijing's Tiananmen Square protests of 1989.

One of the progenitors of heavy metal and British prog rock, Deep Purple had several different distinct lineups during the band's run, and there was always a shuffling of personnel, it seems, which makes the overall consistency of Deep Purple's recorded legacy pretty impressive, especially in retrospect. This three-disc set takes a particularly unique approach to the band's history, presenting instead a parallel one, with tracks from various bandmembers' projects in other guises and bands. Serious fans of this iconic band will find these discs fascinating.

The discovery of music manuscripts from the estate of composer and music journalist Johann Mattheson in Armenia has been the cause of great excitement for fanciers of the German Baroque – here, finally, is the opportunity to get to know this friend of Handel and Bach whose written words are so eloquent and informative, yet whose music has proven so elusive. Nevertheless, first things first – Brazilian-born harpsichordist Cristano Holtz makes the first comprehensive recording of a Mattheson set that has been available all along in Ramée's Johann Mattheson: Suites, namely the set of 12 harpsichord suites Mattheson published in England in 1714 and in Germany a little later. "Comprehensive" should not be taken to mean "complete"; this 75-minute disc contains a little less than half the set, with four suites presented in excerpted form. Purists may cry foul, but the full set of 12 suites would probably last about three hours in performance, and one is thankful to Ramée for restricting the release to a single disc and highlighting the good parts.

At long last, Muddy's historic 1941-1942 Library of Congress field recordings are all collected in one place, with the best fidelity that's been heard thus far. Waters performs solo pieces (you can hear his slide rattling against the fretboard in spots) and band pieces with the Son Sims Four, "Rosalie" being a virtual blueprint for his later Chicago style. Of particular note are the inclusion of several interview segments with Muddy from that embryonic period. This much more than just an important historical document; this is some really fine music imbued with a sense of place, time and loads of ambience.

John Abercrombie and Ralph Towner have forever been tied to the ECM roster as leaders and individualists, and initially it was hard to imagine their styles being compatible. As an amplified electric guitarist, Abercrombie's steely, sometime unearthly sound was an uneven puzzle piece alongside the graphic, stoic, classically oriented style of Towner. Yet on Sargasso Sea, there are several instances where they merge together as one, feeling their way through pure improvisations, angular and colorful motifs, or thematic nuances and a certain strata of consciousness that makes a world of common sense. There are selections where they both play acoustic guitars, but it is mostly Abercrombie's hopped up sound through an amp over Towner's bold and beautiful unplugged instrument, tossing in a piano overdubbed on two tracks…

Guru Guru's debut album shows why the band, even if it never reached the levels of appreciation and influence the likes of Can or Neu! did, still maintained a healthy reputation over the moons for its early work. Opening number "Stone In" has a quite appropriate title for a starting track - it is wonderfully tripped out, to be sure, and if Manuel Gottsching was more of a guitar god, Genrich kicks up a lot of frazzled noise. The principle of the Trepte/Neumeier rhythm section seems to have been "find loud weird grooves and then play them, sometimes chaotically." Again, they aren't Can's wickedly effective combination of Holger Czukay and Jaki Leibezeit, but they're not just falling over themselves either…