Fourth and final release by the original 10cc featuring Lol Creme and Kevin Godley, who left after this to work on the gizmo and make a name for themselves writing really smart and smart-ass pop music that didn't sell until they became early video producers and doing fine work in that arena.

Classic, classy stuff that could never happen now.

The second and final of the 'second wave' line-up of 5uus (basically Dave Kerman, Bob Drake and Sanjay Kumar + guests). This is considered by many people to be their best period and I would probably agree.

"Second installment from monster band 5UU's, featuring rock complexity, extraordinary production (by bassist and singer Bob Drake) and high energy precision mixed with eccentric song-writing. People that work this hard are becoming an endangered species. Extraordinary."-Chris Cutler

"At this point it is pretty secure to say that A.C.T had established their own personal way to express their ideas.Their QUEEN-meet-ABBA-meet-DREAM THEATER style is fairly grounded on extremely dense and technical musicianship, which surprisingly contains numerous incredible, striking melodies. Elements of Classical Music, Heavy Metal, Rock Opera and cheesy Pop are combined with generosity and intelligence with most of the tracks being pretty short, but sometimes they are tightly connected to form...

"Without a doubt, this is one of the holy grails of the Japanese early seventies lysergic psych scene, together with Speed Glue & Shinki, Sato Masahiko & Soundbreakers and People/Ceremony.
Privately released in a tiny edition on the Oz Records label way back in 1973, the original artifact was and is till this day the only legitimate recording on vinyl to feature the Rallizes and Acid Seven, in addition to a side each from Minami Masato and the legendary Taj Mahal Travellers.
New double-CD ...

Neil Campell – classical and electric guitars, keyboards
Marty Snape – acoustic guitars, keyboards, electronics
Roger Gardiner – bass
Viktor Nordberg – drums
Perri Alleyne-Hughes – vocals on 8 & 9
Ian Cantwell & Mark Jones – vocals on 11

“Imagine if the world was almost destroyed and there were just a few survivors left. With the goal of building a new positive world from the wreckage of the past what sort of music would surviving musicians make?
After the Flood is a

“No, it's not rock, or jazz, blues or funk, or classical. It's...all of them...sort of. I first bought this album in 1976, without having heard a note or read anything about it. I mean, if Jan Akkerman composed and played on it, why would I hesitate? Right? On first listen, I didn't quite know what to make of it. It felt like had just watched some foreign film with a plot that was obviously deeper than what appeared on the surface. The performances were superb and nothing struck me as being predictable....

This is a high-quality pirate edition of two never-reissued, very obscure Krautrock rarities, with ties to Can.

"His first two LPs from 1974 and 1976 on one CD, complete and with all original jacket artwork and lyrics. Now performs as Alex...

"This compact disc contains the full version of the 'Death Of Rock' EP, issued on Shangai Records in 1982. The other four tracks are all previously unreleased material."

"A charming poetic hodgepodge this, allowing the Gong shaman Daevid Allen...

"Geri Allen's earlier 2006 album, Zodiac Suite: Revisited, a fine effort recorded under the banner of the Mary Lou Williams Collective, celebrated the legendary pianist by rescuing one of her major works from obscurity. On Timeless Portraits and Dreams Allen widens her scope, as she is wont to do, to bridge jazz, spirituals, and classical music. She performs lyrical solo pieces and jazz classics, demonstrates the art of the trio with Miles Davis alumni Ron Carter and Jimmy Cobb, backs the exceptional...

''Imagine a classical composer writing a gothic symphony for a multi-faceted electronic musician, who in concert was aided by Mayan musicians, a haunting, often operatic singer, & a psychic intermittently channeling the spirits of the dead - that pretty much sums up this fascinating album.''- Goldmine.

“Atmospheric, evolving, intricate and layered; a suite of fine compositions and carefully crafted sounds. Consistent creation of another place, another time.”

"File under "Yes." When this version of the band couldn't obtain rights to the name, they put their album out under their combined names, but it's still Yes by any other name. Jon Anderson's tenor wails through spacy lyrics, Rick Wakeman constructs cathedrals of synthesized sound, Steve Howe rips high-pitched guitar leads, and Bill Bruford makes his drums sound like timpani..."-AllMusic

"Laurie Anderson's third proper studio album, coming over five years after 1984's Mister Heartbreak (1986's Home of the Brave was a film soundtrack), is a near-total departure from anything she had done before or, indeed, anything she did after...

"The most famous French Progressive rock band of the Seventies reformed at the end of the Nineties around its original leader Christian Decamps, this time helped by young musicians. "La Voiture A Eau" was then recorded in 1999, followed four years late...

"Known best as an experimental guitarist, with his ‘‘Giant’ Sardinian guitar – which has a large mechanical claw stuck to the side of its body (to pluck counter melodies), piano-like hammers operated by pedals (to strike the strings), extra strings crossing the main strings at right angles with yet another set of sitar strings mounted on the body, a rope, a viola bridge - which holds yet more strings - and thirteen pickups and microphones which can separately amplify all the elements, sending them to...

"This disc will play in stereo on a CD player and with film and 5.1 surround sound (or stereo) on a DVD player or computer. The music, as always, is prodigious, sounding like a small band, but played by one person in real time (as the film attests). In this format, you can also see the instrument close-to - a highly rebuilt and extended giant Sardinian guitar - with many sympathetic and extra strings, motor driven hurdy gurdy wheels, whirling strings, springs and other appendages, played, like a cello...

“After nearly a decade of explorations, the electro-acoustic collective Antler has released Inkling (2018, High Horse), the third and final volume of an epic trilogy. Inkling is an intimate journey through word and sound, featuring songs by Flora Wolpert Checknoff, Erinn Williams, and Cuneiform artist Jonathan Badger.
A mostly acoustic and sometimes electronic ensemble of indeterminate membership, Antler ranges in style from lurid Americana to atonal chamber music. A wide variety of instrumentations..

Completely charming album that should appeal to folks who love the more acoustic-based 'avant/progressive-yet-tuneful' stylings of L'Ensemble Raye, Feliu i Joan-Albert, 3 Mice, etc. This has definite Italian as well as South American folk influences...

"After releasing many albums on his own Discus label, Martin Archer finally got a well-deserved chance to introduce his work to a slightly larger audience with Angel High Wires, released by La Cooka Ratcha. This project is a collaboration with poet...

The 3rd album from the band that I consider to be possibly the finest Italian progressive rock band of the 1970's, & certainly a band in the top tier of all early 1970's progressive bands worldwide! Area combined jazz/rock/stolen ethnic music (mostly f...

Jazz as we know it today in all it's glorious and myriad forms AS WELL AS the root of much contemporary / popular music starts HERE!

"The most important musician of the century past has had a trumpet-load of retrospectives appear since...

Dagmar Krause-vocals Chris Cutler-drums, electronics Fred Frith-guitars, keyboards, violin, etc.

This was the 3rd and final album by the successor band to Henry Cow. I'm not really sure why (short playing length? the press had gone onto other things to champion? it wasn't released stateside, unlike the first two?) but this one slipped under the radar of a lot of folks, compared to their 1st two.
It's a very bleak, but also a very solid work. And very clever and sly in its own way - who...

This album, recorded in Berlin, and originally released in 1977 on Virgin, marks the first time Manuel Gottsching used the name Ashra (as opposed to Ash Ra Tempel). This was also possibly the first time that the term "new age" was used on a record! It'...

Y’know? Given the right luck an breaks, they could have been contenders.....

“The Attack (thanks to an ever growing legion of collectors dedicated to the vibrant sound of mid- to late-'60s Swinging London) have a far larger fan base now than they ever did during their existence. Indeed their unique brand of guitar-heavy, mod-rock qualifies them as one of the finest examples of (the over used term) freakbeat.
The founders Richard Shirman (the only original member to stay with the group...

Duck Baker is a highly regarded fingerstyle guitarist who is well versed in all the traditions one would expect from a 'fingerstyle guitarist'. But he's also a knowledgeable fan of and performer of free music styles and this is his first-ever release in that idiom. This guy is a master.

"I have played free jazz for over forty years and made records for over thirty, so it might seem strange that this is my recording debut in this style. A few bits and pieces have come out here and there; tracks...

New, digi-pack issue made from the tapes, of this well known group's debut album that isn't the one they are famous for, but is still a good one, for what it is.

"That is a plain warning for everyone out there that this 1970 debut by...