The Magician's Birthday is the fifth album by British rock band Uriah Heep, released in 1972 by Bronze Records in the UK and Mercury Records in the US. The concept was "based loosely on a short story" written by Ken Hensley in June and July 1972. In a retrospective review, Sputnikmusic praised The Magician's Birthday, saying, "Though probably not as cohesive as it could be, it still offers plenty of highlights, earning its place among Heep's finest albums". Reviewer Daniel Dias singled out "Sunrise", noting that it was "a highlight in Heep's catalog and one of the band's finest progressive rock ballads". AllMusic noted the album's prog elements as well, and said, "The Magician's Birthday never quite hits the consistent heights of Look at Yourself or Demons and Wizards but remains a solid listen for Uriah Heep fans". The Magician's Birthday was certified Gold on 22 January 1973.

Another in the long line of soundtracks by Tangerine Dream is actually one of the strongest in concept for any film they have done. The movie has a high degree of tension and the score by T.D. does just the trick. They use mostly hard driving sequencer rhythms to maintain the tension of the film. Listeners will find that this is nearly how all of the music is composed. There is very little melody within the structures of the music. But even with this lacking, the score is very well suited and very listenable. A couple of nonsequencer tracks are also on the album and break up the hard rhythms pieces.

'James Bowman is on impressive form and his admirers need not hesitate here' (The Penguin Guide to Compact Discs) D'excellentes interprétations' (Ecouter, Voir, France) 'After hearing the first three notes of Cantata 170 my expectations of this recording were high. I was not disappointed' (Hi Fi News)

Recorded by Paul Smith at ACME Studio, Chicago on October 25, 1989. Released on Wolf Records. Feautres the great A.C. Reed on tenor sax and vocals, Big Wheeler on harp and vocals along with Luther Adams and John Primer on guitar, Willie Kent on bass and Timothy Taylor on drums.

Charles Wayne Sexton is an American guitarist, singer, and songwriter. Sexton is best known for the 1985 solo hit "Beat's So Lonely" and for his work with the band Arc Angels. Charlie Sexton, released in 1989, is the second studio album released by singer/guitarist Charlie Sexton. An about-face, with more emphasis on Sexton's guitar playing and Texas roots. Although a youngster compared to most of his Austin friends, guitarist, singer, and songwriter Charlie Sexton has already had several phases to his career. Sexton, raised in Austin, TX, made his debut with Pictures for Pleasure in 1985 at age 16. He followed that up with a self-titled second album when he was 20. Because word of his reputation as a prodigy guitar player spread far and wide, he found himself an in-demand session player while still in his late teens, and he had the opportunity to record with Ron Wood, Keith Richards, and Bob Dylan.

Soft instrumental music with the gentle touch for upliftment and comfort. Helpful for creating a space of calmness and inner peace. Dedication: "Like Gentle Rain, softly washing the Earth, clearing the atmosphere, brightening the colours and nourishing all life. Such is the gift of meeting and the blessing of friendship".

The soundtrack to an obscure movie. "What I have tried to explain for years I've been able to express through this score". So says the Blues master and composer of this album in his sleeve notes.

Rosanne Cash recorded many worthwhile albums in the years after Hits 1979-1989 was released, but this compilation covers the time when Cash was a country star and reliable hitmaker – namely, the '80s. At only 12 tracks, the collection doesn't feature all of her hits, but it does contain what are arguably the cream of the crop…

At the End of a Perfect Day is a title that is all too apropos, since the music that fills the album is comprised of mellow ballads that are both relaxing and serene. The songs are typical of his soothing style, sung in de Burgh's suave demeanor making their simplistic makeup sound that much better. Without the narrative allure found in Spanish Train, de Burgh uses his haunting voice to enhance these average-sounding pieces, resulting in only a couple of mediocre standouts. The charming "Broken Wings has de Burgh's lonely voice fluttering amidst lyrics about his lost love.

1980's Eastern Wind sports a quicker pace that demonstrates that de Burgh can sing songs outside of ballads. It was this album that helped him gain worldwide recognition, thanks in part to it's huge success in the Scandinavian countries (especially Norway). Although the album does include some slower love songs, the overall appeal of Eastern Wind contains some musical jaunts as opposed to his usual collection of tranquil pieces. The lovely "Sailor" is fine proof that de Burgh can contour his voice at will.

APRIL FOOL was formed in early 1988 by drummer Walt "Wiggy" Kaye, who enlisted guitarist Chris Rocus, bassist Chris Mock and vocalist Dave Stradling. First order of business was a four song demo recorded at Dave Ivory's studio, Iris Sound. APRIL FOOL then hit the club circuit hard while the song "Bad Boy Willie" was receiving local Philadelphia airplay, resulting in the band's live concert following starting to grow. By the fall of 1988 Mock decided to leave the band and was replaced by bassist Roberto Lombardi. At this point the band enjoyed interest from several major labels. During the negotiations in early 1989, Rocus would be replaced by guitarist George Smith. Three weeks after the lineup changes, APRIL FOOL was back out playing live to even bigger crowds up and down the east coast.

One of the all-time great tenor saxophonists, Johnny Griffin will go down in the annals of jazz as a performer easily able to negotiate the tricky harmonic changes and swift tempos of modern music. He'll also be remembered as a player who could masterfully interpret tender ballads, rivaling Ben Webster in that regard.
Clémentine is a French singer and songwriter based in Japan. In 1988 released her first single, "Absolument Jazz" with CBS France. Signed a contract with Sony Music Entertainment Japan in 1990, and released many singles and albums.
Recorded at Gema Studio in Barcelona, October 29/30, 1987 and at Family Sound Studio in Paris, December 13/14, 1987.

As Ted Nugent's dominant persona took over the sound as well as the band name, Tooth, Fang & Claw brought his Amboy Dukes concept a step closer to the stadiums than its predecessor, Call of the Wild. The bandmembers don't get photos on the back this time, it's just Nugent being a madman up against some Fender and Marshall amps. The songwriting credits on the originals are all his now as well. "Lady Luck" plays as if the "American Woman" riff by the Guess Who got inverted, placed upside down in the middle of the song, and then finds itself coated in Ted Nugent's flashy and glitzy guitar work. The instrumental "Hibernation kinda touches upon the "Journey to the Center of the Mind" riff just for a moment and veers off into points unknown.