In the 1980s and early '90s, there was often a very fine line between "hard rock" and "heavy metal." But with Annihilator, there was never a question - this was most definitely a metal band to the core. Comparable to Metallica and Judas Priest at their heaviest, Never Neverland is a blistering gem that takes no prisoners either musically or lyrically. In fact, Annihilator's lyrics could be quite substantial, and the headbangers offer hard-hitting commentary on subjects on subjects ranging from drunken driving ("Road to Ruin") to religious fanaticism ("I Am in Command") to environmental destruction ("Stonewall"). More accessible than death/grindcore bands like Deicide, Cannibal Corpse and Hellwitch but certainly much heavier than the many pop/metal units flooding the market in the late '80s and early '90s, Never Neverland was one of 1990's strongest metal releases.

Fifty songs spread among two CDs, various attributed to Cher, Sonny & Cher, and even "Caesar & Cleo," through which we trace the evolution of this duo from a doo wop-influenced pop team into folk-rock and protest mavens, to the media's reigning early-'70s pop/rock team. The sound is very good, and the range of music is almost dizzying, as the influence of Phil Spector wafts in and out over the recordings, and the duo turns its talents toward just about every sound that was selling at the time. There's a huge amount of good music here, much of it familiar from other collections, including "Sunny," "I Feel Something in the Air," and "All I Really Want to Do" – other notable cuts, apart from such solo Sonny Bono stuff as "The Revolution Kind" and "Laugh at Me," include Cher's renditions of "Alfie" and "Needles and Pins" and her first, failed, "comeback" attempt, "Classified 1A."

Capturing all the intimacy and the amp-hum in its unfussy, impromptu recording sessions, Lemon Law is dripping with atmosphere. The buzzing of that cable, that weird phase-y sound from the un-gated mic. It's all here. The lack of overdubs might even make Neil Young jealous. The complexities and the intricate arrangements feel easy and natural, and naturally nostalgic. It's all vaguely familiar and new at the same time.

Radical, daring and extremely refined: that’s how Carl Philipp Emanuel Bach saw his new path for the Oratorio, after his father’s Passions had marked the climax of the baroque era. Encouraged by his godfather Telemann and liberated from the yoke of the capricious Frederick of Prussia, he found himself in Hamburg with an audience hungry for new music. And he brought them his oratorios, no longer in churches but in concert halls, where he demanded the listener’s undivided attention for sudden changes of mood and colour.

Frank Sinatra's Greatest Hits Vol. 1 (1968). Frank Sinatra's Greatest Hits! concentrates on the Chairman of the Board's pop hits from the mid- and late '60s, several of which were single-only releases or only available on movie soundtracks. Appropriately, it begins with his biggest solo hit of the '60s, "Strangers in the Night," and then vacillates between adult contemporary pop songs and ballads. Much of the production sounds dated, with its guitars, reverb, and arrangements bearing all the hallmarks of '60s pop. While some of the songs rank among Sinatra's finest moments, particularly "Summer Wind" and "It Was a Very Good Year," most of these songs are guilty pleasures. They might not have the emotional resonance of his finest ballad and swing albums, but fluff like the Nancy Sinatra duet "Somethin' Stupid," the fuzz guitar-tinged "The World We Knew (Over and Over)" and the bluesy "This Town" are enjoyable as pop singles…

One of the band's masterworks, Juju sees Siouxsie and the Banshees operating in a squalid wall of sound dominated by tribal drums, swirling and piercing guitars, and Siouxsie Sioux's fractured art-attack vocals. If not for John McGeoch's marvelous high-pitched guitars, here as reminiscent of Joy Division as his own work in Magazine, the album would rank as the band's most gothic release. Siouxsie and company took things to an entirely new level of darkness on Juju, with the singer taking delight in sinister wordplay on the disturbing "Head Cut," creeping out listeners in the somewhat tongue-in-cheek "Halloween," and inspiring her bandmates to push their rhythmic witches brew to poisonous levels of toxicity.

Billy Joel - Piano Man (1973). Embittered by legal disputes with his label and an endless tour to support a debut that was dead in the water, Billy Joel hunkered down in his adopted hometown of Los Angeles, spending six months as a lounge singer at a club. He didn't abandon his dreams - he continued to write songs, including "Piano Man," a fictionalized account of his weeks as a lounge singer. Through a combination of touring and constant hustling, he landed a contract with Columbia and recorded his second album in 1973. Clearly inspired by Elton John's Tumbleweed Connection, not only musically but lyrically, as well as James Taylor, Joel expands the vision and sound of Cold Spring Harbor, abandoning introspective numbers (apart from "You're My Home," a love letter to his wife) for character sketches and epics. Even the title track, a breakthrough hit based on his weeks as a saloon singer, focuses on the colorful patrons, not the singer…

Emerging as a great pop vocal stylist in 1954, Nat King Cole enjoyed a string of hit singles and albums thereon, but Unforgettable is perhaps the singer at his early peak. With romance as the watchword, Cole slides through some of his most familiar ballads, include the title selection, "Portrait of Jennie," "Mona Lisa," and "I Love You (For Sentimental Reasons)." There are quite a few lesser known, but attractive songs, plus a small handful of standards ("What'll I Do?" is a keeper) that round out this interesting collection. The very artistic, near surreal three-dimensional white, charcoal black, and royal blue-hued front cover may be the best part of this reissue, as it reflects a time period defined by its simplicity and yet its increasingly technological, superimposed modernity.

Fans of Stevie Ray Vaughan will notice the title of this disc is that of a Vaughan song. Indeed, three selections from his songbook are covered here: "Too Sorry," "Telephone Song," and the title track. The impressive Melvin Taylor is an electric blues guitarist who will appeal to the fans of the legendary Texan for his skilled and precise playing along with his smooth and expressive vocals. Taylor definitely continues the Chicago blues tradition that begot Luther Allison, Buddy Guy, and Otis Rush. Taylor gives his version of Rush's "Right Place, Wrong Time" on this collection of nine covers. His lineup here is a trio – a reliable bass and drum rhythm section keeps up a steady bottom end, showcasing his ability to handle all vocals and guitar parts. Every track here is rife in the easy genius that marks a true master of the blues craft.

The only real problem with One Way Records' anthology on Katrina & the Waves is that it gives too much room to their first Capitol album (which ought to be out as a free-standing CD) and not enough to their later material. Anyone seeking to go further should track down this imported disc. Thanks to EMI's acquisition of the SBK label, for which the band recorded in 1989, and its merger with Virgin Records, for which the Waves recorded in the early '90s in Germany, this collection has a little range and depth, although it's still just a greatest-hits collection – if it were a best-of, it would also have to include some of their Attic Records sides from before their signing to Capitol. In addition to the eight songs off of the first Capitol album, there are four more off of Waves, including "Lovely Lindsey" (the one glaring gap in the One Way release).

The fourth, fifth, and sixth box sets dedicated to compiling all of Depeche Mode's single releases were put out in 2004, 13 years after the first three originally appeared. All of these sets provide a convenience for hardcore fans since they provide each single in its own slim jewel case. Needless to say, those who bought the original singles as they were released will be flustered once again. The sixth set, covering 1997 through 2001, includes the "Barrell of Gun," "It's No Good," "Home," "Useless," "Only When I Lose Myself," and "Dream On" singles. Remixes come from Dan the Automator, DJ Shadow, GusGus, Plastikman, Dave Clarke, Kid 606, Bushwacka!, and Kruder & Dorfmeister.

30-song set. Tour premieres of “Youngstown,” “Streets of Fire,” and “I’m Goin’ Down”. Four songs from 2020’s Letter To You: “Ghosts,” “Letter To You,” “Last Man Standing” and “I’ll See You In My Dreams.” “Last Man Standing” features a new arrangement. “I’ll See You In My Dreams” is performed solo acoustic to end the show. One song from 2022’s Only the Strong Survive: “Nightshift” (written by Franne Golde, Dennis Lambert and Walter Orange, popularized by The Commodores). Concert stalwarts like “Because The Night,” “Dancing in the Dark,” and “Tenth Avenue Freeze-Out” are performed in tighter, shorter versions. “Thunder Road” is the main-set closer.

Nyahh Records is proud and excited to announce this compilation of singers, which has been on the back boiler for some time!! Inspired by the song collecting of Alan Lomax, this compilation brings together two generations of singers from all across the island of Ireland. Some of the songs previously appear on albums, but the rest were recorded by the singer themselves on their phones to give the song a real and raw effect that brings an authentic feel and immediacy to the songs. A long standing tradition in Irish culture, singing has taken place in pubs and private homes all over the country since the 13th Century and has been away to share and keep the music alive, passing it down to younger generations. It is considered to be an aural tradition, as a lot of these songs would of not been written down. Nyahh is honoured to be able to present this collection of songs to you from some of Ireland’s best singers.

Every year Djabe & Steve Hackett impress jazz and progressive rock fans with more and more cohesive and powerful performances. The 2023 tour has once again delivered some surprises. The most attention-grabbing of these was the interpretation of the Genesis song Carpet Crawlers, sung fantastically by Péter Kaszás behind the drums. Listening to the whole concert, we feel that the parts are coming together more and more. The musicians and the songs from the repertoire of Djabe, Djabe & Steve Hackett, Genesis and Steve Hackett form an inseparable unit. The musicians perform Camino Royale, Ace Of Wands, Buzzy Island, Last Train To Istanbul and Los Endos with elemental power and energy. These are beautifully counterpointed by lyrical compositions such as Franciska, Horizons, Tale, Hairless Heart, Firth Of Fifth. And jazz fans will not be left unsatisfied either: in Could Have Been or Central European Time, the musicians of Djabe prove that they are without a doubt the leading musicians of the Hungarian jazz scene.

Corto.Alto is the brain-child of award-winning multi-instrumentalist, composer & producer Liam Shortall. Hailing from Glasgow, Scotland, this genre-defying producer brings together influences from Hip-Hop, Broken Beat, Electronica, Dub and Punk with an informed Jazz sensibility.