Released in 1972, 'Charge' was Paladin's second and final album. Formed the previous year by Keith Webb and Pete Solley (both ex-members of Terry Reid's band), Paladin encompassed all that was experimental in early 70's rock. Fusing the worlds of jazz, rock and ethnic Cuban music, Paladin's second album was both more 'progressive' and hard edged in nature to their debut. Adorned in a striking sleeve designed by Roger Dean (artist for Yes), the album became known as much for it's sleeve as the excellent music within. Recorded at The Beatles' Apple studios and engineered by Geoff Emerick, the album was Paladin's finest hour featuring the classics 'Give Me Your hand' and 'Anyway'. One of the first signings to Bronze records, Paladin shared a home with Uriah Heep, Colosseum et al and were highly regarded. This remastered edition from Esoteric is sure to appeal to all followers of seventies progressive / classic rock.

Il Viaggio is an offering, a quest for musical, physical, and spiritual renewal, born from an emotional memory awakened. Joining the concrete and ambient, it drifts from the natural sounds of a new day towards a dreamed world. Taking to the road to reinvent oneself is the common thread running through this album, which is organized as a sonic journey in two parts, Lay Your Ear To The Rail (Disc 1) and The Chaos Azure (Disc 2).

On this recording Marcel Loeffler pays tribute to the legendary St-Germain des-Prés of the post-war years, when jazz and chanson together belonged in heaven. The material you can hear in this album is the best, with the great melodies of Brassens, Aznavour, Gainsbourg and Trenet brought alive by a famous accordionist whose light, powerful swing has earned him a reputation as a peerless musician. A genuine breath of fresh spring air that combines warm music and joie de vivre.

The CSides Project is a progressive rock band, based in South Wales, UK. Vocals and Bass: Allen McCarthy, Vocals: Sian Elson, Guitars: Martin Rosser, Drums: Allan Mason-Jones.

35 years after its original release comes this 2 CD digipak edition of the band’s third studio album “Perhaps” plus related bonus tracks.
The Associates were leading lights of the New Pop movement from the early 1980’s. Hailing from Dundee on the east coast of Scotland, the band signed to Fiction Records before spells working with and recording for both Situation Two and WEA Records. Originally released in February 1985 after exhaustive recording sessions, Billy Mackenzie finally followed up the 1982 Associates album Sulk with this 10 track offering. The album was a long time in the making and featured four different producers, Heaven 17’s Martyn Ware, Martin Rushent, Dave Allen and Greg Walsh…

Make a Scene is the fourth studio album by English singer and songwriter Sophie Ellis-Bextor, released in Russia on 18 April 2011 by Universal Music Group and in the United Kingdom on 13 June 2011 by Ellis-Bextor's own record label, EBGB's. It is her first studio album since Trip the Light Fantastic (2007).

No Title as of 13 February 2024 28,340 Dead (stylized in all caps and with quotation marks) is the eighth studio album by Canadian post-rock band Godspeed You! Black Emperor, released on 4 October 2024 by Constellation Records.

In 1982 Schnitzler had already met the New York musician Ken Gen Montgomery, who then regularly performed Schnitzlers' compositions live at various venues worldwide. And so Schnitzler also produced 4 cassettes especially for his concert in East Berlin, which were sent by courier from West to East Berlin. On the evening of 3.9.1986, the privately announced and illegal concert took place in the Erlöserkirche in East Berlin/GDR. Montgomery mixed Schnitzler's music live from the tapes. Jörg Thomasius recorded the performance and released the recording in 1987 on his own underground cassette label Krötenkassetten. The elaborately restored original recording is now being released for the first time on LP and CD under the title "CAS-CON II". In addition to photos and contemporary documents, it also includes Jörg Thomasius' and Ken Gen Montgomery's written memories of this very special evening.

Berlin-based British composer, percussionist, and instrument maker Bex Burch was invited to spend a month in the US by International Anthem in Summer 2022. Burch immersed herself in the label’s creative community and listened to what it gave her, making field recordings and allowing There Is Only Love and Fear to emerge from the collaborations and environments she encountered. Sessions for the album spanned multiple non-traditional recording spaces including a storefront in Bridgeport, Chicago and a canyon in Griffith Park, Los Angeles, with an eminent cast of creative musicians including Ben LaMar Gay, Macie Stewart, Anna Butterss, Mikel Patrick Avery, and Dan Bitney of Tortoise, all of whom Burch met for the first time in the moments before they played. These moments of instant collaboration were then edited, decomposed, and recontextualized by Burch, resulting in a deeply organic, energetic-yet-patient addition to the canon of modern composition.

B.B. King was 77 years old when Reflections was released, which perhaps entitled him to reflect back on the song standards the album contained. Despite advancing age, King had already been unusually busy on the recording front for a septuagenarian, turning out the gold-selling duets album Deuces Wild in 1997, Blues on the Bayou in 1998, Let the Good Times Roll: The Music of Louis Jordan in 1999, the double-platinum Riding With the King with Eric Clapton and Makin' Love Is Good for You in 2000, and the seasonal recording A Christmas Celebration of Hope in 2002. For Reflections, he again worked with Simon Climie, who produced Riding With the King, and collaborated with a session band including such notables as Joe Sample, Nathan East, and Doyle Bramhall II.

In 1956, Bernard Haitink conducted the Concertgebouworkest for the first time and together they would play more than 1,500 concerts across the globe. Besides his modesty, his humanity, his musical taste, and his honesty to the music, three words come to mind when one thinks of Haitink and his orchestra: Sound, Trust and Magic. Jörgen van Rijen, Principal trombone of the Concertgebouworkest, said at a memorial concert in February this year, “Every time with him [Haitink] the orchestra sounded warmer, deeper and richer, from the first moment he started to rehearse. How he did that is difficult to tell … he always gave us musicians the feeling he trusted you, that he was there to help, not to interfere.”