Less of an intentionally confusing title than might be thought, Reilly for all intents and purposes is Durutti no matter the changes through the years – Vini Reilly does signal another new phase of the band's work, moving into a full embrace of technological possibilities via an Akai sampler. With Reilly and Mitchell joined by a slew of guests – Swing Out Sister keyboardist Andy Connell; singers Pol, Rob Gray, and Liu Sola; and even former member John Metcalfe on the epic surge "Finding the Sea" – Durutti this time around pursued the organic/machine combination to even more successful conclusions than on The Guitar. Reilly's singing has often come in for criticism (unwarranted, really, considering how his soft approach effortlessly suits the general atmosphere of Durutti's work), so the slew of sampled and borrowed snippets from other vocalists and musicians that pepper the album makes for an intriguing change. "Love No More," the album opener, shows how the approach can work, with acoustic guitar to the fore and echoed, truly haunting snippets of what sound like soul and opera singers wafting through the mix.

Ludwig van Beethoven’s first printed work was a set of variations – published in 1783 when he was only twelve years old – and his final keyboard composition was the massive set of thirty-three variations on a theme by Anton Diabelli, composed almost four decades later. Not counting the several movements in variation form included in the sonatas, his twenty-one sets of piano variations thus trace a line of development in his production, parallel to those formed by the 32 piano sonatas or the 16 string quartets.

Vivaldi, the Venetian, master of the whole palette of human emotions. From the church to the opera house, from tragedy to joy, the immediately-recognisable sensibility, the expressiveness, the inimitable colours and an unbeatable talent to say so much in just a few notes.

At the start of the 1980s, it dawned on somebody in charge of Jimi Hendrix's musical legacy that a whole generation of new listeners had come of age since the guitarist's demise. That meant it was time for a fresh raid on the vaults and a fresh, authorized album release to fly the flag of the Hendrix estate, amid the steady stream of bootleg, gray market, and other unauthorized collections of his early work starting to fill up record store bins and browsers. Kiss the Sky did not just resurrect and recycle old familiar recordings, but included a pair of tracks that were new to most listeners and had a lot of meaning for serious fans. The album walked a fine line, emphasizing the more challenging side of Hendrix's work without ignoring some key elements of his mass appeal…

The ten 1963-1964 sides that make up the majority of this set have sort of fallen through the historical cracks over the years. They didn't deserve such shoddy treatment - Sam didn't record "Back Door Friend" or "Hi-Heel Sneakers" anywhere else, and he's in top shape throughout The Late Great Magic Sam. Two live tracks at the set's close from 1969 don't add much to the overall package.

This is an utterly fascinating tribute to the music of Thelonious Monk. Most of the selections feature the unusual trio of tenor saxophonist Joe Lovano, guitarist Bill Frisell (who with his wide range of original sounds is really a one-band band), and drummer Paul Motian. Tenor saxophonist Dewey Redman and pianist Geri Allen are guests on two songs apiece and fit in quite well with the sparse but very complete trio. Among the ten Monk songs explored, taken apart and given surprising treatment are "Evidence," "Bye-Ya," "Ugly Beauty," and "Trinkle Tinkle." Recommended to open-eared listeners.

Schizoid Dimension: A Tribute to King Crimson contains contributions by a variety of artists on Cleopatra-affiliated labels, including Controlled Bleeding, Chrome, Brand X, Pressurehed, Astralasia, Melting Euphoria, Alien Planetscapes, Architectural Metaphor, Xcranium, Spirits Burning, Solid Space, and ex-Crimson violinist David Cross, whose track features John Wetton on vocals. Sometimes the artists' styles don't really mesh well with the music, but at other times, the reinterpretations can be fresh and compelling.

Sessions 2000, Jean-Michel Jarre's first Stateside release after a maddening drought, is essentially a year in the life of the mind of the master who wowed the world with his seminal "Oxygene" suite in 1976. Jazzier than early fans would probably expect, but as interesting as he's always been, Jarre's six-track view of a year is energetic, invigorating, and after-dinner-drink smooth.
Eschewing song titles for a deceptively simpler system of dates, Jarre has both taken away outside meaning from each song, but has also imbued each one with the sensory synapse each season brings. So, then, "January 24" is shot through with the ambience of ice and wind, becoming a chilled "Auld Lang Syne" of sorts, leaving "March 23" to open up sunnier vibes with jazz trumpet and down beat synths…

Boundary-pushing electronic duo and technological pioneers the Future Sound of London have charted a magnificent, unpredictable course throughout their multi-decade career, ranging from early rave staples to ambitious excursions into ambient soundscapes, psychedelic rock, modern classical, and more. Prodigiously releasing club records under various pseudonyms since the late '80s, Garry Cobain and Brian Dougans launched FSOL with the breakbeat house classic "Papua New Guinea" in 1991, following suit with the Accelerator full-length. After signing with Virgin Records in 1992, the duo began releasing more experimental, atmospheric material, including the highly regarded 1994 double album Lifeforms. They also sidestepped traditional methods of touring, instead broadcasting studio performances via ISDN lines. Following 1996's Dead Cities, the duo went on hiatus, re-emerging with the 2002 psychedelic opus The Isness, one of several releases credited to their Amorphous Androgynous alias.

2023 release from the Grammy-nominated singer/songwriter. "This is the most personal record I've ever made," says Joan Osborne. The result is a masterful collection of twelve contemplative songs offering hope and solace, while exploring Osborne's own unique journey from small-town Kentucky to around the world. The powerful album's deeply melodic songcraft, including some co-writes with producer Ben Rice (Valerie June; Norah Jones), serves up a rich Americana sound. Her sumptuous alto and poetic lyrics are underpinned by rootsy textures, ranging from Rice's banjo guitar to Cindy Cashdollar's lap steel, to Dave Sherman's piano and Hammond organ, to Jack Petruzzelli's baritone guitar.

I Viito sono un duo pop italiano formato da Vito Dell'Erba (voce) e Giuseppe Zingaro (chitarra e cori), rispettivamente di Bari e Campobasso.

Am 26. April 2024 erscheint das neue BAP-Album. »ZEITREISE / LIVE IM SARTORY« wurde an vier magischen Abenden in den legendären Kölner Sartory-Sälen mitgeschnitten und ist viel mehr als ein weiteres Live-Album. Wir hören: den Nukleus eines der zentralen Werke der deutschen Rockmusik, dringlich, relevant, elektrisierend. Niedeckens BAP hat diese Lieder revitalisiert. Für das Hier und Jetzt, die nächste Generation.

Still Got the Blues is the eighth solo studio album by Northern Irish guitarist Gary Moore, released in 1990. It marked a substantial change in style for Moore, who, prior to this album, was predominantly known for rock and hard rock music with Skid Row, Thin Lizzy, G-Force, Greg Lake and during his own extensive solo career, as well as his jazz-fusion work with Colosseum II. As evidenced by its title, Still Got the Blues saw him delve into an electric blues style. The album features guest contributions from Albert King, Albert Collins and George Harrison. The title track was released as a single and reached No. 97 on the Billboard Hot 100. The album reached No. 83 on the Billboard 200 on 16 February 1991, then was certified gold on November 1995. This was the most successful album both in sales and chart positions from Gary Moore in the US.

Matthias Reim ist zweifellos ein großfühlender Mensch. Ein beneidenswert produktiver Zeitgenosse ist er sowieso. Vor bald 35 Jahren hinterließ der Vollblutmusiker und Songwriter einen Aphorismus von bleibendem Wert: „Verdammt, ich lieb' dich“. Liedzeilen, die aus einer Laune heraus entstanden, formte der damals 32 Jahre junge Mann zu einem Mammut-Refrain, der zu einem Millionenseller gelangte. Er hat rund zwei Dutzend Studioeinspielungen veröffentlicht, etliche davon brachen in Gold- und Platin gegossen Verkaufsrekorde. Auf dem neuen Longplayer „Zeppelin“ präsentiert Reim seine 16 neuen Songs so frühlingsfrisch und auf den Punkt gebracht wie ein tatendrängender Newcomer. Einer, der sich gleichzeitig eines enormen Musikmacher- und Lebenserfahrungsschatzes ermächtigen kann. Anders lässt sich die gesteigerte Wahrhaftigkeit in „Zeppelin“ nicht erklären. Reims Rock klingt heute handgemacht-rockiger als je zuvor, die Refrains sind größer geworden und die Balladen balladesker. „Zeppelin“ ist kurzum der beste Reim aller Zeiten.

1963 BBC sessions not on the official "Live At The BBC" albums, feature fantastic R&B covers and some of their best early originals.