Originally publised as a double album including his '83 concert as well, now it's released as a single edition with remastered sound. This is the album with '87 performance of Dio at Castle Donington. It was recorded when Dream Evil went out so almost all the songs are from Dio's band unlike the '83 release with a lot of material from Black Sabbath and Rainbow.

This production has a smooth, polished, and relaxed feeling. The arrangements are heavy with vocal choruses, electric guitar and languid Latin rhythms. Sarah Vaughn's crooning glows and smolders, creating a magnificent dynamic contrast. Vaughn completely possesses the ballad "Tete," captivating the listener in much the same way she did with her hit "Misty," 20 years previously. Like all her greatest work, it's multi-textured; prolonged whispers, powerful hollering, low moaning, staccato bopping, and a myriad of other techniques she employs with facility and finesse. "Gentle Rain" finds Vaughn alone with a guitar. The spare orchestration has the profound simplicity of a haiku. Her voice is like a saxophone on this number, holding notes for lush intervals in her lower registers…

Crammed with over two hours worth of Can performing during their peak years this selection of live cuts shows just what a dazzlingly inventive outfit the German free-form pioneers could be outside of their natural studio habitat. Like many innovative groups of the 1960's and 1970's Can live were a remarkably different beast from their studio persona, many of the tracks captured on this two-disc compilation either completely unrecognisable from their original album form or simply the result of some impromptu jams between the five members. With the sonic shackles of the studio well-and-truly disposed of, this raw and powerful approach is best exemplified by the utterly extraordinary 'Colchester Finale', a fuzzy, dizzy, relentless thirty-seven minute long abstract masterpiece that brings to mind - and also surpasses - the thunderous invention of 'Tago Mago'…

The Wings Of Steel have been soaring through the Winds Of Time, and have brought back with them some of the best quality heavy metal you'll hear in modern times. Forged in Los Angeles by vocalist Leo Unnermark and guitarist Parker Halub, Wings of Steel channels the fire of classic heavy metal with modern precision, dynamic songwriting, and soul. Unnermark’s soaring range and Halub’s explosive riffs unite in a sound that’s both timeless and unmistakably their own. After turning heads with their self-titled debut EP (2022), and full-length Gates of Twilight (2023), Wings of Steel quickly rose from underground buzz to international attention. Their first European tour in 2024 brought sold-out crowds and the live album Live in France (2024), capturing the band’s raw, high-energy performances. Now, with their new full-length album Winds of Time (2025), Wings of Steel takes their sound to the next level — a defining statement that cements their place among heavy metal’s most promising new forces.

Piet Blank and Jaspa Jones - the producers known worldwide. For two they have let out already many albums and tens magnificent singles, reliably having fixed in world history of dancing music. Their hits more than once appeared at tops of charts, and each new album stably got to number 50 of the best to Germany. The first release which has left in 2003 of an album "Relax: Edition One" to a descent has occupied 22 place in charts of Germany, and a chill-miss the version of track Pet Shop Boys "Love Comes Quickly" from this album became the present hit.

Accomplished blues man Darren Watson returns with a new release this month, a complete album of John Hiatt songs reinterpreted – Darren Watson Sings John Hiatt. Watson has been pushing out quality material for the best part of 40 years, beginning in the 80s as frontman of Chicago Smoke Shop (which supported the Robert Cray Band, George Thorogood and the Destroyers, and The Fabulous Thunderbirds), and continuing since the early 2000s as a solo artist with six albums released to great acclaim, including a bunch of NZ Music Award nominations.

Digitally remastered edition of one of the most ambitious and costly records to come out of '70s library music, the legendary Rythmes Contemporains from the brilliant Janko Nilovic. This complex and protean work shines out particularly from the rich discography of this Yugoslavian composer, and according to his many fans across the world, is one of his greatest achievements. The year is 1972 and Janko Nilovic is in his most creative period. The label Montparnasse 2000, trusting him entirely, give him the means to make his ambitions a reality, allowing him to put together a gigantic big band comprising 45 musicians, including the gifted drummer Andre Ceccarelli, percussionist Jean Schultheis and Catherine Laura on lead violin.

The first new recording led by legendary jazz bassist Buster Williams since 2004, the 2018 album, "Audacity", was conceived as Buster celebrated the milestone of his 75th birthday. The result is a mission statement for an artist turning a new corner with the experience of three-quarters of a century behind him. "Audacity" also features Buster’s long-running, all-star quartet Something More with saxophonist Steve Wilson, pianist George Colligan, and drummer Lenny White. There are few jazz groups working today with the creative skill and brilliance of Something More and Audacity captures all four musicians at their very best. They cover a lot of ground musically with six new compositions from Buster and one each from Steve, George and Lenny. Recorded live at New York City's Sear Sound Studio C.

This CD could almost have been subtitled "The Lost Years," defining the period in which Donovan's records barely even made it into stores so that they could be ignored by the public - that had been the fate of Essence to Essence (which actually made it into stores), and 7-Tease and Slow Down World - each died an absolute commercial death in its wake. More's the pity, because there's a lot of beautiful (even gorgeous) and clever music here, a big chunk of it about as good as anything that Donovan ever put out. The zeitgeist behind the songs on these two albums may throw people who are accustomed to his '60s material, when Donovan had a wide listenership and was in sync with the times; here he's singing against his times (and mostly against indifference and self-involvement), and he is so beguiling musically and lyrically, that one feels a real sense of tragedy that these albums weren't more widely heard…

Last Time Around – Live At Legends is a fitting farewell to the late, great Junior Wells and his partnership, friendship and kinship with Buddy Guy that lasted decades. The album is a historic release in many ways. It reunites two blues legends who began their unique association in the 1950s. The album was recorded live in March 1993 at Buddy Guy's world-famous Chicago blues mecca Legends, and it's an acoustic document of many classic songs that made both Wells and Guy legends in their own right, such as "She's Alright" and "I've Been There," along with other classic blues standards such as "Hoochie Coochie Man" and "Key to the Highway," all delivered with a looseness and power that define both Guy and Wells. It also marks the last time the two ever played together.

This live American concert in 1992 emerged on cd at about the same time as the Geffen release "The road to you" which was culled from PMG's european concerts in the early 90's. While this current selection may not quite equal that release in the quality of the sound, it is a much better live performance overall. There are a couple of small blips in the performance but this is live and taken from one concert. Raw Metheny but edge of your seat performance.

More than a quarter century after he cut his debut album, Bell recently made his finest disc to date. Boasting superior material and musicianship (guitarists Carl Weathersby and Lurrie Bell and pianist Lucky Peterson are all stellar) and a goosed-up energy level that frequently reaches incendiary heights, the disc captures Bell outdoing himself vocally on the ribald "Let Me Stir in Your Pot" and a suitably loose "When I Get Drunk" and instrumentally on the torrid "Jawbreaker." For a closer, Bell settled on the atmospheric Horton classic "Easy"; he does it full justice.