Il Cerchio d'Oro were one of the many symphonic-oriented groups to come out of the initial boom of Italian productivity. They were formed in 1974 by the Terribile brothers (Gino and Guiseppe on drums and bass/guitars, respectively) and Franco Piccolini on keys. They were active on the gigging circuit around Savona but never managed to secure a recording deal, and so the only recordings initially available were a handful of singles from the late '70s following lineup changes (they're not particularly interesting from a progressive rock standpoint, either).
25 years after the band formed, Mellow records came along and dusted off some old recordings, releasing them as the self-titled "Cerchio d'Oro"…

Recorded at FAME in 1969 and 1970, the great southern soul man’s third and fourth albums, with bonus tracks making their CD debut.

Universal Music will issue another great value three-CD Essential set under their budget Spectrum imprint, this time featuring Scottish rock band Big Country. This package includes all 13 of the band’s UK top 30 singles (including ‘Look Away’, ‘One Great Thing’, ‘Chance’ and ‘Wonderland’) as well as highlighting key album cuts (including the title track of 1986’s The Seer which features one Kate Bush) and offering a smattering of remixes. A live cover of the soul classic ‘The Tracks of My Tears’ features at the end of CD 2.

Three-time Grammy-award-winner BRIAN SETZER’s new concert Blu-ray/CD, ROCKABILLY RIOT: OSAKA ROCKA! – LIVE IN JAPAN–filmed on February 18 at Namba Hatch in Osaka, Japan–is set for release November 4, 2016 via Surfdog Records…

All albums in this CD box are the original Dutch Shocking Blue album releases from the sixties and seventies, housed in their original covers and with original artwork, representing the band at the time. For a long time Shocking Blue was believed only to be a hit singles band but their albums have well proven to stand the test of time, not only in the Netherlands but also internationally…

In the late 1960s, when acid rock reigned and the British Invasion was still raging, Carlos Santana and his band introduced a Latin-based rock sound featuring an Afro-Cuban beat. Carlos Santana was a fourth-generation musician and the son of a violinist who played mariachi music. His father tried for many years to teach him violin, but at age eight, Santana discovered the guitar and started listening to the electric blues of B.B. King and John Lee Hooker and that was the end of it. During his long-lasting career, Carlos Santana’s name has become synonymous with some of the most important genres of music today - jazz, Latin, salsa, blues and rock.

Digitally remastered and expanded two CD edition of this 1995 album from the jazz/R&B vocalist. This set includes a staggering 14 bonus remixes and exclusive interviews with Randy Crawford and Ralf Droesemeyer. This collection is a must for all acid jazz, jazz-funk, soul and dance fans everywhere!

The English, historical-instrument, Baroque ensemble La Serenissima (the term was a nickname for the city of Venice) has specialized in somewhat scholarly recordings that nevertheless retain considerable general appeal, and the group does it again with this release. The program offers some lesser-known composers, and some lesser-known pieces by famous composers like the tiny and fascinating Concerto alla rustica for two oboes, bassoon, strings, and continuo, RV 151. What ties the program together formally is that it covers a range of Italian cities that were becoming cultural centers as they declined in political power: not only Venice (Vivaldi, Albinoni, Caldara), but also Padua (Tartini), Bologna (Torelli), and Rome (Corelli). There are several works by composers known only for one or two big hits, and these are especially rewarding. Sample the opening movement of Tartini's Violin Concerto E major, DS 51, with its unusual phrase construction and daringly chromatic cadenza passage: it has the exotic quality for which Tartini became famous, but it does not rely on sheer virtuosity. That work is played by leader Adrian Chandler himself, but he also chooses pieces for a large variety of other solo instruments: the Italian Baroque was about more than the violin. Each work on the album has something to recommend it, and collectively the performances may make up the best album of 2017 whose booklet includes footnotes.

From 1975 until 1978, Embryo played at the Vlotho ”Umsonst und draussen” festival every year. Their concert from July 1977 on the sports ground, figuring as festival site, in front of about 26,000 people was recorded professionally by Ulrich Wilkening, operating the soundboard. The recording has been preserved till this day. In fact unreleased, except for the track, ”Getalongwithasong”, which appeared on the double LP ”Umsonst und draußen - Vlotho 77” back then, and later as well on the 4CD box “Aufbrüche”. Here is now the whole Embryo gig of that festival, in the well-known Embryo style: jazz-rock influenced by world music. The sound is excellent, as is to be expected from an expert.

The delightful scenario of L'Apothéose de Lully imagines the composer Lully, one of François Couperin s forebears at the court of Louis XIV, being wafted up to Mount Parnassus by Apollo. There, he meets the Italian muses, and the music becomes that synthesis of the French and Italian styles which Couperin so admired. All of this is captured with grace in Arcangelo's playing under its founder, Jonathan Cohen. The other work on the disc is the sacred Leçons de ténèbres, sung with purity by sopranos Katherine Watson and Anna Dennis and revealing another side to Couperin's art.

Jet Lemon Band was born in 2014. It is an incredible combination of two Russians (Jim Aviva - lead vocal and keyboards, and Sammy Lukas - piano, saxophone back vocal), two Germans- (Benjamin Schlothauer - bass, and Jakob Kufert - drums) and South Koreans Ju Young Cheong - guitars. The initial idea was to cover songs of the great rock bands of the '70s but the inspiration morphed into a desire to honor just one legendary group Led Zeppelin II, recreating the genius of this band in the style of jazz The band welcomes the opportunity to combine two very different kinds of music - jazz and rock into one cohesive album and to capture the imagination of both fan bases.

Stevie Ray Vaughan's second album, Couldn't Stand the Weather, pretty much did everything a second album should do: it confirmed that the acclaimed debut was no fluke, while matching, if not bettering, the sales of its predecessor, thereby cementing Vaughan's status as a giant of modern blues. So why does it feel like a letdown? Perhaps because it simply offers more of the same, all the while relying heavily on covers. Of the eight songs, half are covers, while two of his four originals are instrumentals – not necessarily a bad thing, but it gives the impression that Vaughan threw the album together in a rush, even if he didn't. Nevertheless, Couldn't Stand the Weather feels a bit like a holding pattern, since there's no elaboration on Double Trouble's core sound and no great strides forward, whether it's in Vaughan's songwriting or musicianship.

Mark Farner calls this a bootleg put out by the people at the original label who released music by Terry Knight & the Pack, a company called Lucky Eleven; but bootleg or no, Monumental Funk is an amazing record that Don Brewer and Mark Farner have every right to be very proud of…