The Very Best of Otis Redding wasn't the first Otis Redding compilation but it is the best of the single-disc collections, distilling the high points across his career (up thru the posthumous hits "(Sitting' On) The Dock of the Bay" and the heartbreaking "I've Got Dreams to Remember") in 16 tracks, every one a musical milestone and a soul music high-point of one kind or another. Although aimed at the casual listener and the neophyte fan, there are some astonishing realizations to be had in listening to this disc and looking at the chart placements of the early sides, and realizing just how uniform his musical influence is - "These Arms of Mine" and, especially, "Pain In My Heart," from 1962 and 1963, respectively, sold only a fraction of what his later singles did, yet they've been covered by so many artists since, that they're as familiar as any of the other, bigger hits on this disc…

Other than four piano solos from April 4, 1962, this set was pianist Bill Evans' first recordings after a hiatus caused by bassist Scott LaFaro's tragic death in a car accident. The first of two meetings on record in a duo format with guitarist Jim Hall, the collaborations are often exquisite. Both Evans and Hall had introspective and harmonically advanced styles along with roots in hard-swinging bebop. There is more variety than expected on the fine set with some cookers, ballads, waltzes, and even some hints at classical music.

Released in 1974, Amon Düül II's Hijack is not frequently (if ever) regarded as one of their better albums. In fact, author Ingmar Schrober gives it a few scant sentences in Tanz der Lemmings, his biography of the band published in 1979. For the most part, this critical dismissal is accurate - fans and critics seem to agree for once - most of what's here is unfocused, very polished, meandering psych prog that goes nowhere. But Hijack is significant in the band's history, and perhaps for posterity as well, for three reasons. The first of these is that the recording of this album signalled a short-lived reunion of sorts for most of the members of the original Amon Düül - vocalist Renate Knaup-Kroetenschwanz, guitarist/vocalist Chris Karrer, guitarist John Weinzierl, drummer Peter Leopold…

Made In Germany was a real musical transformation for Amon Düül II. If you took this album, and ADII's first album "Phallus Dei" and played them both for an unknowing listener, they would never even suspect it was the same band! The songs like "Ludwig" have an almost Beatlesesque quality to them (albeit on much more drugs). Ambitious vocal harmony arrangements, pristine production values, orchestral flourishes… Amon Duul? Anyway, this album is a masterwork of a completely different sort than their earlier releases, so naturally many fans will not still be onboard at this point. Short, vaguely Floydian spacy instrumental breaks replace the full-on sonic assaults of yore, and the main feature is… songs. Beautiful, sometimes achingly melancholic, sometimes witty and humorous, always honed like a gem; this is top-notch songwriting without ever losing ADII's keen eye for ambition.

Within a month after finishing "The Green Manalishi" - Peter Green’s swansong as guiding creative force behind the earliest version of Fleetwood Mac - he departed the group to record with a rhythm section. What emerged was his first solo album, "The End Of The Game" and it was as much a departure from "The Green Manalishi" as that same track had been from the rest of Fleetwood Mac’s entire output. Through three tracks per side, Green pursued a far looser strand of improvisational rock comprised of wholly instrumental outings that were entirely un-bluesy, extemporaneous free rock borne on the wings of Green’s guitar with its expansive tone evoking the loosest of feels, often drenched with emotional wah-wah pedal use of hair triggered sensitivity…

Known primarily as a hard rock/blues rock group, the Groundhogs have become a legend in the world of rock, they never set out to become a Prog rock band though during 1970-1972 created some imaginative experimental music born from the pen of Tony McPhee, and made much of the band's work interesting material for followers of Prog - social, mindwarp, ecological and psyche/space rock themes and unusual instruments found their way into the band's albums made during this their most progressive and arguably most fruitful period, featuring many regard as the classic Groundhogs line-up of Tony (T.S.) McPhee guitar/vocals, Pete Cruikshank on bass guitar and Ken Pustelnik on drums.

John Peel favourites and Dandelion Records proto-metallers Stack Waddy burned brightly and briefly during a recording career that barely lasted two years in the early 1970s. Leaving behind two albums of pounding, blues and psych infused heavy rock, some BBC appearances and a handful of outtakes, the Manchester four-piece imprinted themselves firmly enough on the memories of anybody who saw them to remain cult favourites today. Drawn together here are all of Stack Waddy’s Dandelion Records recordings - the ‘Stack Waddy’ and ‘Bugger Off!’ albums alongside a John Peel compered BBC In Concert performance and the aforementioned outtakes. Raw, bloody and never far from a beer or two, the band tear through Bo Diddley, Chuck Berry, The Kinks, Zappa, Beefheart and even Sinatra, as well as their own excellent material.

With Wolstenholme's keyboards pushed back in the mix, and strangely missing the harmonies that enriched their earlier work, Octoberon is something of a departure for the band. While Wolstenholme's stately "Ra" shows a dabbling in mysticism and the soaring sound of their previous work, most of the album is a strangely glum affair. John Lees adopts a pub rock sound in his compositions, although "May Day" manages to veer unexpectedly into a glorious choral and organ arrangement. "Polk Street Rag," despite its name, is a slick rocker about a sordid X-rated movie house in San Francisco. There's a black humor throughout, as in this brutally funny line from "Suicide?": "Heard a voice shouting 'Don't jump, please for God's sake let me move my car."

Trees Of Eternity (1994-2000) is the new 7 remastered Discs, 72-page Hardback Book containing 6 studio albums and the never-before-released Live at Fillmore, 1998. Beginning with Arborescence, which hit number 18 in the UK albums chart, we set off on a journey through the Ozrics' impressive catalogue. The band had gone through some line up changes during this period, leading to an exciting new chapter in their story. Become the Other, Curious Corn, Spice Doubt, Waterfall Cities and The Hidden Step showcase the band at their most inventive, with new ideas aplenty, all found here remastered by band leader Ed Wynne. However, the true standout of the set is the inclusion of the legendary Fillmore, San Francisco show of 1998, also mastered by Ed Wynne and remixed specially for this set…

During the mid-seventies, the Hamburg-based band Novalis established themselves as leaders in the field of German-language romantic rock. The quartet called itself Novalis after the most important German poet of early romanticism. They created a rock music of poetic, lyrical with german lyrics and instrumental beauty. Their music, a heavy organ rock, was compared to the sounds of bands such King Crimson and Pink Floyd. They released a few albums of lush, keyboard-dominant prog rock during the seventies. The keyboards created majestic layers on which the guitar builds airy melodies.

The first solo release by contemporary blues-based artist Keb Mo' mixes a reverence for traditional country blues with more streamlined elements of commercial pop. Keyboards, bass and drums (in addition to Keb Mo's contributions on guitar, harmonica and banjo) flesh out breezy soul-inflected pop such as "She Just Wants To Dance" and the island flavored "Tell Everybody I Know." Though gears continue to shift, from organ-drenched gospel to hillbilly lite, Keb Mo' brings things back to the source with inventive homages to the blues altar, such as in his re-casting of two Robert Johnson songs.

P2O5, founded in Wendelstein near Nuremberg in 1970, released their only LP in 1978 on the Brutkasten label which is today in high demand. There is to be heard hard rock with progressive elements and English lyrics. The Brutkasten studio was only modestly equipped, the sound thus could have been better with the corresponding funds. It now appears for the first time as a CD, with two as yet unreleased bonus tracks.

Plenty of field recordings scattered about that synthesize all too well with what Frank has got down on his naturalismo programming. Each track places its own geographic signature firmly and builds a unique melodic repertoire all its own. If you’re thinking of toasting the muffin on both sides, sip this aromatic whimsy.

This album found them at a musical peak as a stellar 70s rock band who had oodles of swamp blues and funk, with a loose shambling style that spoke of confidence rather than sloppiness. Lowell George was singing better than ever on this album, notably with the sublime "Roll Um Easy," where his voice was chillingly expressive. Bill Payne and Richie Haywood play their respective keyboard and drums with calm and precision. There are no weak tracks here, and this is another vital album, in keeping with all recordings that featured George.

1969-1971 (2007). Of the first of Lasting Weep's two posthumous releases of, this one is actually the only one that could be regarded as their only testament, made from five recording sessions between 1969 and 1971, two of them for soundtracks to films or images. LW was made up of future Quebecois greats flutist/saxophonist Bergeron and multi-instrumentalist Langlois (both future Maneige), drummer Mathieu Leger (future Conventum and l'Orchestre Sympathique) and bassist Chapleau (found as a session musician on a lot of 70's records). Apparently these archives were found in one of musician's attic; and most thankfully these tapes can be finally made public…