This is a criminally underrated album that seemed to disappear without trace at the time. I think this is mainly due to RCA not believing in them because hard rock albums were hard to come by in the late nineties and it’s amazing that their second album actually saw the light of day. Formed by Scott Gorham in ’90 after the death of Phil Lynott in ’86 it was obvious Scott still had a lot of music in him and needed a vehicle to do it. For me, this is the better of the two albums they put out and if it was released today it would be hailed as a classic.

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.

Stellar guitarist Scott Gorham (ex-Thin Lizzy) started in the mid-Eighties his own band project with the aim to the current melodic hard rock sound from that time. During his recording contribution to the Phenomena Project, Gorham met bass/keyboard player Leif Johansen and drummer Mike Sturgis (ex Far Corporation, Asia) and they joined: 21 GUNS born.

Step into the world of rock n' roll with The Rolling Stones The Broadcast Collection 3-CD Box 65-72. This unique boxset contains an impressive selection of live recordings and radio broadcasts from the Stones' golden years, from 1965 to 1972. This was the period when the band defined itself as the ultimate rock legend and delivered hit after hit.

Step into the world of rock n' roll with The Rolling Stones The Broadcast Collection 3-CD Box 65-72. This unique boxset contains an impressive selection of live recordings and radio broadcasts from the Stones' golden years, from 1965 to 1972. This was the period when the band defined itself as the ultimate rock legend and delivered hit after hit.

Step into the world of rock n' roll with The Rolling Stones The Broadcast Collection 3-CD Box 65-72. This unique boxset contains an impressive selection of live recordings and radio broadcasts from the Stones' golden years, from 1965 to 1972. This was the period when the band defined itself as the ultimate rock legend and delivered hit after hit.

Tania Giannouli’s fifth album for Rattle is arguably her most important to date, a beautifully conceived set of piano improvisations ranging from the pastorale and lyrical to the most searching and desolate. SOLO is an artistically concentrated album, fearless, personal, and profoundly musical, a work that highlights Tania’s exceptional talents as an accomplished, highly intuitive pianist.

Having Mickie Most as producer could be a double-edged sword. On The Hurdy Gurdy Man, his over-ambitious nature and scattershot production sense occasionally sabotaged Donovan's songs rather than emphasizing their strengths. (The credits shamelessly list "Produced by Mickie Most" and "A Mickie Most Production," right next to each other.) As with the last few LPs, the program began with the hit title track (one of Donovan's best singles), a dim, dark song balancing psychedelia with the heavier, earthier rock championed during 1968 by Dylan and the Beatles. Though the next two tracks - an eerie, trance-like "Peregrine" and the endearing acoustic number "The Entertaining of a Shy Girl" - are excellent performances, any sense of mood is soon shattered by a hopelessly overblown music-hall showtune, "As I Recall It"…

Sarah Vaughan is accompanied by her regular rhythm section of the early '80s (with pianist George Gaffney, bassist Andy Simpkins, and drummer Harold Jones), guitarist Freddie Green, and the Count Basie horn sections on this enjoyable date. The arrangements by Sammy Nestico and Allyn Ferguson unfortunately do not leave much room for any of the Basie sidemen to solo, but Sassy is in superb form. She is at her best on "I Gotta Right to Sing the Blues," a remake of "If You Could See Me Now," and a rapid "When Your Lover Has Gone," although some listeners may enjoy her overly dramatic rendition of "Send in the Clowns."

Illegal was released in 1981, hardly a year associated with good prog music. Maybe Grobschnitt were living in their own world but they came back with a rather pleasant album , not a sure guarantee back then. Of course, the sound has been updated on some tracks as Lupo the guitarist is not afraid now to play some good hard rock guitar here and there.

More structured and less jarring than the 'X Jacks' CD with which it has similarities but no less strange in its construction of layered soundscapes and is actually more repetitive, covering rhythmic systems music, Steve Reich style layering and building, stabs of synth grandeur mixed with voice samples and rhythms so quirky you'd swear there was something wrong with the thing until you realise it's actually meant to sound like this. It's all very odd and disturbing.

These recordings for Verve records were made in 1956. Besides Teddy on piano, we hear the solid bass of Gene Ramey and the ever swinging drums of 'papa' Jo Jones. The interplay between these musicians is of a very high level, despite the fact that most selections on this cd are restricted to three or four minutes. Teddy plays with all the qualities as he did in the late thirties and early forties, but the rough edges are gone now. Highlights on the CD are: I Got Rhythm, Limehouse Blues and Blues For Daryl, which reminds us of the Just A Mood-session of the late thirties with Red Norvo and Harry James.

Born in 1965 in Chicago Bernard Allison was introduced into the roots of black music and playing electric guitar by his father, the living blues legend Luther Allison. At the age of 20 he played with the "Queen of Blues" Koko Taylor for two years and took part in countless sessions with musicians like Johnny Winter, Stevie Ray Vaughn and Jeff Healy.
He joined the tourband of Luther Allison in 1989 after a furious collaboration of "Father & Son" at the '89 Chicago Blues Festival. A recording of this formation is to be heard on the Luther Allison album "Let's Try It again". Bernard released his first solo album in 1990 with the significant title "The Next Generation".
He startet touring with his band all over europe and released the two albums: "Hang On" (1992) and "No Mercy" (1994).
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Finally, the fourth album from these young French prodigies! The production is huge. Powerful, but with just the right amount of clarity to perfectly capture and appreciate all the nuances of this melodic and technical death metal. Death metal, but not only that! At times, it's not far from Stratovarius, while generously borrowing from Children Of Bodom. The singer growls masterfully in black metal style, the guitarists hit the mark with every riff, the drummer is a monster of precision, and let's not forget the bass, which rumbles like a racing V8!

‘There’s No Stopping Us Now: The Female Mods’ Forgotten Story’ – a title that pays homage to one of The Supremes’ many infectious floorfillers – is a celebration of the inspirational women singers and groups who provided a brilliant and timeless soundtrack to an exciting moment in British pop culture. Bringing together the queens of Motown and Stax, classy chanteuses from around the world, and some homegrown dancefloor divas, these 98 songs on four discs were not only a key component of the enduring Mod scene, but many of the performers, musicians, songwriters and producers were the audible and visible representation of a way of life that publicist Pete Meaden described as “clean living under difficult circumstances”.