The Mamas & the Papas' second album was made while the group was still riding high from the chart success of their first album, If You Can Believe Your Eyes and Ears, and the two singles, "Monday, Monday" and "California Dreamin'," that made them icons of the young pop generation. At the same time, their personal lives were so messy that Michelle Phillips got bounced out of their ranks for a few months. Only the good vibes made it on the record, though, as the same creative team sought to recapture the beautiful harmonies and jangling, sometimes moody folk-rock that made their debut sound so good.

This is Barry Levenson's (Canned Heat) second Rip Cat Records release, featuring newly written and recorded songs. With special guest Billy Price. The Visit is Barry Levenson's tribute to the artists who set him on his musical path. Across a selection of the four cover songs (the first he has recorded), the guitarist puts his mark on material he learned from recordings by Albert King, Bobby "Blue" Bland, Lightnin' Slim, and Otis Rush. Original compositions make up the balance of the album. Levenson's instrumentals build on a foundation of T-Bone Walker, Magic Sam, Grant Green, Ike Turner, Mickey Baker, Freddy King, Kenny Burrell, and others, with results frequently unique - no one else could have imagined "Last Train to Nowhere" or "The Visit" - and always astounding.

Pee Wee Bluesgang (Peewees) is a five-member band, that plays Blues Rock. Founded in 1977 in Iserlohn, PeeWees were playing primarily own compositions. Its members were the singer and frontman Richard Hail, guitarist Thomas Hesse, bass player Heribert Grothe, drummer Siehoff Martin and saxophonist Karlos Boes. Two years after its inception they released their first LP. By participating in open-air concerts abroad, the band became well known far beyond the borders of Germany. There were tours with Chicken Shack, Canned Heat, Jack Bruce and the Stray Cats, among others. In 1980 they performed in Poland. In 1981 the Pee Wee Blue Gang played at WDR's Rockpalast in Cologne. The band released 17 albums so far. In 2010 PeeWee Bluesgang celebrated their comeback. Since then there is a different line-up.

This release presents the complete original LPs "Chet Baker & Strings", which marked the trumpeter’s first experience recording with a string orchestra, and "Chet Baker Ensemble". Both albums feature important jazz luminaries, such as Zoot Sims, Herb Geller, Jack Montrose, Bud Shank and Bob Gordon, plus the rhythm section of Russ Freeman, Joe Mondragon, and Shelly Manne. As a bonus, this edition contains the complete LP "Chet Baker Sextet", featuring Bob Brookmeyer and Bud Shank, as well as a 1956 Chet Baker big band date.

MG is the second solo studio album by Martin Gore, the primary songwriter for the band Depeche Mode. It was released on 24 April 2015 by Mute Records and consists of sixteen electronic instrumentals. Martin Lee Gore is an English singer songwriter, guitarist, keyboardist, producer, remixer, and DJ. He is a founding member of Depeche Mode and has written the majority of their songs. His work now spans over three decades. Gore's best-known compositions include hits such as "Personal Jesus", "Enjoy the Silence", "I Feel You", "People Are People", "Everything Counts", "Shake the Disease" and "Never Let Me Down Again".

A loosely organized concept album - an otherworldly prophet is institutionalized, befriends a fellow inmate, and escapes back to his home world - this release is primarily of interest today to Peter Banks fans. Too often the songs appear to be formed around the lyrics, rather than the other way around, and they only really get rolling when Colin Carter steps aside to let the band kick out the jams. "None the Wiser" has some tearing leads by Banks, and "Man of Honour," their strongest track, moves from a phased banjo introduction to fine interplay between acoustic guitar, bass, and tight drumming. But waiting for the four or five worthy instrumental passages on this album may try the patience of most listeners.

2002 compilation for German electronica act best-known for their hit 2001 album, 'Death By Chocolate'. Featuring 15 rare, extended, remixed & non-LP tracks. The prolific and long-running De-Phazz (also known as DePhazz) is a contemporary lounge project led by Peter "Pit" Baumgartner, a German-Austrian producer who has surrounded himself with a shifting cast of collaborators that includes vocalists Barbara Lahr, Karl Frierson, and Pat Appleton. Beginning with Detunized Gravity (1997), Baumgartner and company have explored various forms of lounge music, much of it balancing samples with live instrumentation, with innumerable cross-sections of vintage jazz and soul, easy listening, and Latin music.

Under the spell of Toni Simonen Cafe Del Mar displays once again a yearning to create and collect the most ingenious output in downtempo, still being as Innovative and relevant as ever. While featuring exclusive tracks from some of the most iconic artists of today's electro scene. It showcases new talents from all corners of the world. Dusty, Laid Back, Soulful, Organic Grooves from The Broken Orchestra new offering "Over and Over" featuring Natalie Gardiner.
Exclusive new composition from Raffaele Attanasio, "Der Himmel U-ber Berlin" beautifully played at the piano, reminiscent of Keith Jarrett finest output Downtempo Masterpiece "La Ritournelle". Composed by Sebastian Tellier and edited excluisvely by T-Mo for this album. New York City sound from Waldermar Schwartz, a heady mix of upfront modern Disco, muscular bass lines, swirling atmospherics. The Orchestral sound of Kinobe, played live with a 10 piece band, with violins and flutes…

With his voice in its heady first bloom, Fischer-Dieskau dramatises rather than merely relates. In the third song, "Ich wandelte unter den Bäumen", he is dulcet at the opening, finds a disembodied colouring for the mysterious birdsong, and then uses a harder, darkened tone to convey the mingled disillusion and defiance of the close. Elsewhere, Fischer-Dieskau combines a yearning legato with an edge of neurosis in "Schöne Wiegen meiner Leiden", hauntingly catches the numbed fear of "Lieb' Liebchen" - where Heine equates his heartbeat with a carpenter hammering his coffin - and sings the final "Mit Myrthen und Rosen" with rueful tenderness.