Graves Of Nosgoth is a project born in May 2009 from four guys experience Every member has always been a part of some bands, and this fact conferred to Graves Of Nosgoth a ruthless mix of live and studio experience, of many influences and a lot of passion. Influences are various: mainly they come from classic 80's American Heavy Metal but not only. In fact we found a large range of inspirations coming from Progressive Metal and Rock. This fact confers variety, freshness and innovation to the conception, composition and writing of every inedit track, in which the band puts a lot of passion, love, determination and force of will.

Terry Stafford became one of only a few artists who managed to "steal" a hit from Elvis Presley by covering one of his album tracks – in this case "Suspicion" from Presley's album Potluck. Suspicion is a reissue of Stafford's 1964 album, and it includes the title track and "I'll Touch a Star" along with a number of other compositions by songwriters from Presley's stable.

Grabak are on a musical journey into abysmal depths of humanity and desires, seven sinners are about to break the chains of religious hypocrisy and decadence. There are nine brutal songs full of sophisticated arrangements that establish Grabak as one of the most extreme Black Metal bands.

By 1987, T.S.O.L. had completed its transformation from a dark, gloomy skate-metal outfit to a bluesy bar band. Musically, Hit and Run would fit in comfortably with the Cult's Electric (which is fitting since the Cult underwent a similar transformation) or Guns N' Roses' Appetite for Destruction, a rather odd fit from a band that was earlier compared to Bad Religion and even the Dead Kennedys.

"Personal Jesus" is Depeche Mode's 23rd UK single, released on August 29, 1989, and the first single from the album Violator. The single reached No. 13 on the UK Singles Chart and No. 28 on the Billboard Hot 100. Since then, the title song has been covered by numerous artists including Gravity Kills, Marilyn Manson, Jerry Williams, G&G, Lollipop Lust Kill and Johnny Cash.
In 2004, "Personal Jesus" was ranked #368 in Rolling Stone's list of "The 500 Greatest Songs of All Time", and in September 2006 it was voted as one of the "100 Greatest Songs Ever" in Q magazine.
"Personal Jesus" will be re-released as a single on May 30, 2011 for the new Depeche Mode remix album Remixes 2: 81–11, with the leading remix by the production team Stargate.

Standing In The Light is the fourth studio album released by the British jazz-funk band Level 42. The album, released in 1983, generated the group's first top 10 in the UK album charts, peaking in #9. The album was well received by critics and fans.

Japan - The Singles (1996) [2CD] {Victor Japan, BVCP-8613~14}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 990 Mb | MP3 @320 -> 340 Mb
Full Artwork @ 400 dpi (png) -> 306 Mb
© 1996 Victor Japan / BMG / Hansa | BVCP-8613~14
Rock / New Wave / New Romantic / Alternative Rock / Pop

1996 Japanese collection on BMG Victor of early singles,rare remixes & standout album tracks by David Sylvian's '80snew romantic band. 34 tracks, including five mixes of 'Life In Tokyo', two of 'Quiet Life', two of 'Halloween', three of'I Second That Emotion', three of 'European Son' and more!Comes packaged in double jewelcase. Japan's evolution from rather humble glam rock beginnings into stylish synth pop (and beyond) made the British group one of the more intriguing and successful artists of their era. Formed in London in 1974, Japan began its existence as a quintet comprised of singer/songwriter David Sylvian, bassist Mick Karn, keyboardist Richard Barbieri, drummer (and Sylvian's brother) Steve Jansen and guitarist Rob Dean.

This 1970 album heralded the emergence of the Kenton band from a relatively unproductive period on the recording scene, and along with the 1972 "Stan Kenton Today" album attracted a whole new generation of fans. Kenton's combination of new material and fresh performances of older charts was embraced by big band enthusiasts and jazz educators in the 1970s. ~ Amazon Customer's Review

"You Can't Blame Louis" and "Weave Your Spell" both stomp their way through catchy chorus and intelligent verse, but the 'piece de resistance' has to be the title track, an ingenious execution of the bands own roots and influences - it's Herbie Hancock in the early seventies. It's modern electric fusion pushed to the extremes of feasibility. The bass line, now a trade mark (terrible puns!) of the band, lays down a solid foundation whilst the attack of the drum kit is quite extraordinary.

Walt Dickerson never got quite the credit he deserved for pioneering a modernist approach to the vibes during the early '60s, aligning himself with the emerging "new thing" scene and expanding the instrument's vocabulary beyond Milt Jackson's blues and bop influences. Dickerson's groundbreaking sessions for Prestige all predated the rise of Bobby Hutcherson as the hot new "out" vibes player at Blue Note, and while Hutcherson was a bit freer early on, Dickerson's work still sounded adventurous and forward-looking. ~ AllMusic

If you're a band covering a song, the goal should be to pay homage to the original while simultaneously making the song your own. Like a chef tinkering with a recipe, the idea is to make something familiar, but to freshen it up with new ingredients, new flavors that complement the dish while reinventing it.