Having traveled the dusty road previously with alt rock singer Mark Lanegan, U.K. production duo Soulsavers turn to the equally tortured soul Dave Gahan (Depeche Mode) on The Light the Dead See, but this European union still opens their album with a mournful harmonica. Of course, Soulsavers have long been the production duo who prefers the sounds of spaghetti westerns to synthesizers, while making their guests sound as grand and grave as Leonard Cohen lost in the high lonesome, so this Depeche in exile is a perfect fit. Brooding across canyons here, Gahan is somewhere between James Dean and a preacher in this atmosphere, and even if his talk of darkness, the Devil, saviors, and the price you pay has all been covered with the Mode, he still sounds renewed, making sliding the downward spiral sound as intoxicating as ever, even when he explains what waits for those who hit the bottom…

It doesn't take long for the atmosphere that surrounds Nahemah's fourth release, 'A New Constellation' to reveal itself. Opener 'Much Us' is the sort of song that could be boring but instead draws the listener in, swirling and floating around several layers of ambience and methodical riffs. In fact, the song itself doesn't have any memorable hooks or catchy melodies, the appeal instead comes from the sprinklings of almost post-rock like melodies that hover ominously in the background while the thoroughly metal structure rages on almost constantly. Nahemah do well in blending an almost death metal sound with other non metal styles like progressive rock and (a bit more prominently on some songs) post-rock in particular…

Jethro Tull and Comus had a baby, and they named it Gravy Train. That's not strictly accurate, of course, but as the band's eponymous debut opens with the fluid changes of "The New One," it's not too far of a reach, either. Richly harmonic, daringly jam-laden, and peppered with guitar roars that simply defy comparison, Gravy Train is the sound of the British underground at its most joyously liberated peak - a time when a bunch of apparent freaks could simply go into a major recording studio and let rip. Except Gravy Train's concept of "letting rip" has more in common with a symphony orchestra than the Edgar Broughton Band. Without, of course, the orchestra. But there's a moment in the midst of "Think of Life" that cannot help but put one in mind of later Deep Purple, as the flute and guitar battle for supremacy, while the blues workout "Coast Road" is as breathtaking as any of that genre's better-feted exponents…

Foreigner - Foreigner (1977). Blissful feelings arise at the mere mention of 70s arena rock. It gives listeners the permission to have fun, sing along to aircraft-hangar-size choruses, play air guitar solos, forget about any troubles, recall the experience of a first kiss, and quite simply, rock out. Few albums better instill these pleasures than Foreigner’s 1977 self-titled debut album, a five-times platinum blockbuster chock full of salacious riffs, soaring vocals, edgy beats, and lyrics that practically demand to be shouted.
Spearheaded by guitar hero Mick Jones, fresh off success with Spooky Tooth, Foreigner rallied around a talented collective pulled from the U.S. and U.K…

This album features three complete John Peel sessions recorded in 1975, 1976 and 1977. None of these have ever been released before. This CD is the second volume of Caravan's BBC radio sessions and between them the albums feature every available session that the band performed for Radio1. The John Peel sessions include tracks from the albums, "Cunning Stunts", "Blind Dog At St Dunstans" and "Better By Far". Personnel includes Pye Hastings, Mike Wedgwood, Geoffrey Richardson, Dave Sinclair, Richard Coughlan, Jan Schelhaas and Dek Messecar. The CD is released with the full cooperation of the band and features an eight-page booklet with comprehensive liner notes, band photos and detailed recording information.

Recorded live between 1973 & 1976. The title of this CD should actually be called "Steve Miller Band Live". As for the quality of these live performances, they aren't bad, and credit should be given for the inclusion of early Miller material like "Going to Mexico," "Going to the Country,"and "Seasons," making this of interest to Miller fans.

Peggy Lee is in fine voice throughout this jazz-flavored set, backed by ensembles arranged by Benny Carter, Billy Byers, Billy May, and Shorty Rogers. One of her better recordings from the early ’60s.
Where some of Peggy's albums in the 1960's included much forgettable contemporary material that hasn’t stood the test of time too well, this album features a program of songs that range from contemporary show tunes ("I Beleive In You" and "The Sweetest Sounds"), an excursion into the blues ("See, See Rider") and the great American song book ("When The Sun Comes Out" and "I’ve Got The World On A String") plus a few lesser known numbers for good measure.

Although Druid's future seemed promising, the band failed to record more than two albums, leaving only 1975's Toward the Sun and 1976's Fluid Druid to their name. In 1995, BGO packaged both albums as a two-disc set, saving fans the hassle of locating each album separately. Druid is guided by lead vocalist Dane, who harbors a voice that is both high and sharp, but manages to customize it with the surrounding instruments. Both albums contain lush, relaxing harmonies with simple articulation and a free flowing folk-infused style that's illuminated by the keyboard and Mellotron applications. With parallels arising to that of Yes in Druid's musical composition, the songwriting isn't as intricate or as sensational, but it is delicately poetic and even romantic at times…

George Russell was one of the most forward-thinking composers and arrangers on the jazz scene during the 1950s, but his work was generally more appreciated by musicians than the jazz-buying public. New York, New York represents one of many high points in his career. He assembled an all-star orchestra, including pianist Bill Evans (a frequent participant on Russell's recordings), Art Farmer, Bob Brookmeyer, John Coltrane, and Milt Hinton, among others. In Rodgers & Hart's "Manhattan," Russell has the soloists playing over the orchestra's vamp, while he also creates an imaginative "East Side Medley" combining the standards "Autumn in New York" and "How About You." His original material is just as striking as his arrangements, while vocalist Jon Hendricks serves as narrator between orchestra segments.

Cut at the 1974 Montreux Jazz Festival with Stones' bassist Bill Wyman anchoring the rhythm section, the set captures some of the ribald musical repartee that customarily distinguished the pairing of Buddy Guy and Junior Wells, though they certainly break no new ground as they roll through their signature songs.

Formally established as a musical presence in August 2004, Australis represents the never-ending quest for the acoustics of emotions, the rhythms of passion and the unique melodies of the human condition. The name "Australis" means "Southern" or "from the South" in ancient Latin, and symbolizes the region of the planet where the project's founder experienced his first own emotions. Constantly experimenting in the never ending universe of sound and acoustics, Australis compiles in this album a unique mixture of styles and genres, all linked together by his distinctive acoustic signature.

Orion's Beethoven is an Argentinean psych/symphonic-prog band founded in 1969 that released two albums, Superangel in 1973 and Tercer Milenio in 1977. The group started with a lineup of 3 musicians: Adrian Bar (guitar), Jose Luis Gonzalez (drums), Roman Bar (bass & vocals). Jorge Liechtenstein replaced drummer Gonzalez in 1973 with the release of the first album. In 1981, the band's lineup expanded and they shortened their name to Orions. The music in the first album mixed psychedelic elements with symphonic prog and classical pieces. Their second album is a more rock oriented release.

The band name says it all. Three members of this quartet worked at different times in the original Soft Machine (John Etheridge, Hugh Hopper, John Marshall) whilst the fourth (Theo Travis) has assumed the mantle once taken by the late and lamented musician, Elton Dean. They've come up with a program of music that pulls off the not inconsiderable feat of acknowledging the legacy at the same time as it forges ahead in new and distinct ways. The world would be a far more interesting place if more musicians operated on a similar level. Overall this a vibrant, adventurous fusion and free form jazz outing; it stands up well to the band's illustrious history and ought to be on any Soft fan's collection.

Esoteric Recordings continue their series of reissues by Flash with "In the Can". Upon his departure from Yes following the release of the album "Time and a Word", guitarist Peter Banks formed this excellent Progressive outfit featuring Ray Bennett (bass, guitar), Colin Carter (vocals) and Mike Hough (drums). Signing to the Sovereign label in the UK, Flash recorded their eponymous debut album in 1972, enjoying much popularity in the USA. In The Can was the band’s second album offering from the group and was released in 1972, featuring such excellent material as "Lifetime", "Black And White" and "Monday Morning Eyes".

Esoteric Antenna are pleased to announce the release of the album by Soft Machine Legacy, "Burden Of Proof". This wonderful new studio album was recorded in Italy in the closing months of 2012 and features John Etheridge (Electric Guitar), Theo Travis (Tenor Sax, Flute, Fender Rhodes), Roy Babbington (Bass Guitar) and John Marshall (Drums and Percussion). Following in the fine tradition of Soft Machine, "Burden of Proof” is arguably Soft Machine Legacy’s finest album to date, featuring a host of outstanding new compositions, along with a new recording and arrangement of Hugh Hopper’s ‘Kings and Queens’ (originally featured on Soft Machine Fourth). The excellence of "Burden of Proof” rests with Soft Machine Legacy.