The Later Years 1987-2019 is an explicit sequel to The Early Years 1965-1972, the 2016 box set that rounded up nearly all the loose ends and detours from the first era of Pink Floyd, the fearless period when they were figuring out what the band could do. The Later Years covers a different time, when their most pressing challenge was demonstrating that they could thrive artistically and commercially without the presence of Roger Waters, the bassist/songwriter who charted Floyd's direction between 1973's Dark Side of the Moon and 1983's The Final Cut. In the parlance of these deluxe box sets, that decade amounts to "The Middle Years," a period far more prolific than 1987-2019, when the group released just two studio albums along with two live albums and a posthumous project that didn't arrive until 2014, by which time the group had largely been inactive for 20 years…

"Mexico" is the result of an exciting collaboration between Mexican electronic artist Murcof and Swiss born French trumpet player Erik Truffaz.
Truffaz, an improvisational jazz trumpeter and Murcof, a glitchy, classically influenced ambient laptop artist are an interesting pairing to begin with. Rather than structuring each piece in a completely democratic format, Truffaz and Murcof seem to take a jazz-like approach; playing off each other and allowing each other to dominate at the appropriate places. Opener "Al Mediodia" bears the most resemblance to traditional jazz and is based on a simple, syncopated percussion track which Murcof augments with repetitive, glitchy samples here and there…

If remembered at all today, it is probably thanks to their silly astronaut costumes, but in the '60s the Spotnicks were one of the most successful instrumental rock groups, alongside the Shadows and the Ventures. Their very specific sound had more in common with the Shadows, being clean and intentionally gentle. It originated from their first primitive demo recordings, but the record company liked it and, being plastic and twangy, it was promoted as a space sound. That sound was already outdated in the late '60s, but that didn't stop the group from having big successes throughout the decade. In the '70s the sound was definitely antiquated, but like the Ventures, the Spotnicks found reliable audiences in Japan and Germany, as well as cult and nostalgia followings around the world.

Rounder's four-CD Box of the Blues is, by looking at its inclusion of tracks, seemingly an ambitious proposition. But looks can be deceiving. Compiled and introduced by vice president of A&R Scott Billington - a man whose credentials, when it comes to fighting for and preserving blues traditions, are unassailable - these discs become a kind of theme-oriented blur of Rounder's substantial catalog holdings. Billington's schemata are quirky, sometimes ironic, and sometimes downright scary and profound as the set's first and second discs' "61 Highway" and "One More Mile" attest. The first CD concentrates its energies on the revelation of blues as it came up from the Mississippi Delta in the music of Fred McDowell, Johnny Shines, Etta Baker, Blind Willie McTell, John Hurt, and others and mutated up north to Chicago with Otis Spann, Robert Nighthawk, and others…

Chicken Bones hailed from a small town at the northern end of the Ruhr area roughly 30 km northeast of Dortmund. For many year their sole album "Hardrock In Concert" had been characterized as obscure but not so much essential. But over the years people found out, that Chicken Bones were a lot better than the reputation that preceded them and their album became quiet a sought after obscurity. Despite the title "Hardrock In Concert" Chicken Bones were not at all mundane hard rock but were highly creative and often moved very close to May Blitz, early Ufo or Wishbone Ash with lots of nice moves and flowery guitar work-outs (Freeman brothers in the "Crack Of The Cosmic Egg"). Chicken Bones sounds as a band in the tradition of the early 70s heavy progressive British rock scene…

Released in early 1961, Sinatra's Swingin' Session!!! is one of the last albums the Chairman of the Board made for Capitol before leaving for Reprise. Like most of Sinatra's Capitol recordings, this one shows the singer at the peak of his vocal and interpretive abilities. Nelson Riddle's hard-swinging arrangements of standards like Rodgers and Hart's "Blue Moon," Irving Berlin's "Always," and Cole Porter's "You Do Something to Me" would leave most vocalists in the dust, but Sinatra masters them without ever seeming to break a sweat.

Well, here it is folks, one of the premier prog classics from the early 80's revival of the genre. Along with Marillion, IQ, Pallas, and Pendragon, Twelfth Night were one of a handful of UK bands who took the influence of Genesis, and added in their own brand of punk and new wave attitude, to form a brand new sound that helped spearhead the prog resurgence in 1982.

From a live FM broadcast recorded at the Teatro La Cupula, Santiago, Chile 8/13/2013. Despite a seemingly hectic recording schedule, Bonamassa continued to tour extensively following the release of Driving Towards Daylight and Seesaw, embarking on over 80 dates across North America, South America and Europe in 2013. The shortest stint of these was the South American tour, where Bonamassa played just 5 shows across Peru, Argentina, Brazil and Chile. Anticipation for the short stop was nevertheless feverish, especially in Chile where Joe Bonamassa had not yet performed live.

Hector Zazou invites four outstanding instrumentalists from India and Uzbekistan to step into a virtual hall of mirrors, in which sound is reflected from one note to another: an aural equivalent of a famous scene in Orson Welles' The Lady From Shanghai.
Twenty-five years after laying the foundations for Afro-electronic fusion (with Congolese singer Bony Bikaye on the “Noir & Blanc” LP), and after many other groundbreaking albums, the ever-innovative Hector Zazou offers a fresh take on classical Asian music, in which the musicians' inspired performances are enhanced by his subtle reprocessing of the original sonic elements (no supplementary electronic sounds having been used)…