But the new 1981 recording is all but unprecedented. (The album begins with pianist George Cables's solo already in progress and with the instruments momentarily offmic, and there are occasional audio artifacts of the whole concert having come from a cassette source; after the first minute, though, the sound is fine.) Just when you think Pepper is prepared to stretch the melody as far as it will go, he abandons the rest of the tune and slips effortlessly into an improvisation, returning to Jenkins's tune at the end of the first chorus.

A very crisp band backs up the legendary Chris Farlowe on this DVD beautifully filmed at Bonn, Germany's Rockpalast. The music is wonderfully recorded, equal to the visuals with tight close-ups of the vocalist and his five-piece group as they drive through "Blues as Blues Can Get," "I'll Sing the Blues for You," "I Don't Want to Sing the Blues No More" – you get the picture – the '60s pop singer is a forceful and reliable blues master in the new millennium.

Mikael is a well known singer in Japan and Sweden. His sweet voice was chosen for various AOR projects like Tommy Denander's "Radioactive" or "Heartbreak Radio". But he find a stable band role in "Last Autumn's Dream", a great swedish outfit. This is his 4th and last solo album, a fine collection of songs, well produced an well written. 'I Send You My Heart', 'Stop', 'Excuse Me Baby' are good examples, production could be better, it's ok. Nothing to die for, but a good listen and an opportunity to discover this underrated artist.

An early studio recording featuring perhaps the best, or at least most popular, backing band lineup, Danger Zone is not up to the standard of Sammy Hagar's best material: be it the earliest, hardest rocking music (most notably, the debut Montrose effort) or his very successful early '80s MOR rock. "The red rocker" does put together a couple nice moments, displaying the deft songwriting that would keep him on top of the hard rock sales and radio charts for well over 20 years.

Tatsuya Yoshida has probably now supplanted James Brown as the hardest working man in show business. He leads several groups in addition to his long-standing Ruins, participates in several more, and even finds time to do some freelance drumming as well, with people like Satoko Fujii. Isotope is the latest release from Korekyojin, which consists of Yoshida on drums, Nasuno Mitsuru (Altered States, Ground Zero) on bass, and Kido Natsuki (Bondage Fruit) on guitar.

This is neo progressive rock, in the style of Arena. Clive Nolan's contribution in the progressive rock world is impressive: Pendragon, Arena and then here in Shadowland. He plays tons of keyboards here and composes the music. The style is prog hard rock, sometimes almost metal, because of the razor and aggressive guitar sound of Karl Groom. Nolan's keyboards are varied and he has a very unique scattered style that can be interesting in many bits. Lots of moog solos here.

This five-disc box collects as many complete concerts by Irish blues-rock guitarist Gary Moore, recorded in 1990, 1995, 1997, 1999, and 2001 at the Montreux Jazz Festival. Some might call this too much material, especially given the number of songs that recur (four versions of "All Your Love," three each of "Oh Pretty Woman," "Too Tired," and "You Don't Love Me," and two each of "The Blues Is Alright," "Further on Up the Road," "Need Your Love So Bad," "Parisienne Walkways," "Since I Met You Baby," "Still Got the Blues," "Stop Messing Around," and "Walking by Myself"), but there is in fact substantial variation from disc to disc.

The Monterey Pop Festival was held June 16 - 18, 1967 at the County Fairgrounds in Monterey, California, also the site of established folk, jazz and blues festivals. It was the first large rock festival, with around 200,000 people attending, and served as a template for the Woodstock Festival in New York State two years later. Many of the performers got their first big-time exposure at Monterey.

CD-1: Bo Diddley & Mainsqueeze, recorded live during the 1983 tour of Europe (8 tracks 42:34) CD-2: Greatest Hits & Influential Songs (25 Chess tracks 69:02) with 12 page booklet.

Although progressive rock reached its commercial peak in the '70s, it still enjoys an enthusiastic cult following – and not all of its fans are over 40. These days, the prog rock experience ranges from the classic albums of Yes, ELP, Pink Floyd and King Crimson to all the younger prog rock bands that emerged in the '90s and early 2000s. Today's younger prog rock converts seem to welcome new bands as well as concerts by a veteran like keyboardist Keith Emerson, who is reunited with Brian Davison and Lee Jackson on Vivacitas.

Irreverent masters of Burundi beat crossed with manic gypsy squeezebox and surf-alicious guitar, Kirk Brandon and his Theatre of Hate jostled and tousled their way merrily through the gleaming black bones of post-punk melancholia with an irreverent mix of boots, loops, and sax solos that rolled off tongues like so many brain-crushing downers.

Everyone Stares: The Police Inside Out is a rockumentary film made by Stewart Copeland, drummer of the band The Police. The film premiered at the 2006 Sundance Film Festival and was released on DVD in September 2006.For this film, Stewart Copeland used material he shot himself with a Super-8 camera he bought in 1978.

With Long Black Veil, the Chieftains attempted a mainstream pop crossover by recording with rock and pop stars from the Rolling Stones and Sting to Van Morrison and Sinéad O'Connor. Instead of changing their sound to accommodate the talents of their guests, the band plays it straight. As always, their performance is superb; what is surprising is how well the pop stars sing Celtic material. None of the guest singers sound displaced or uncomfortable, which is largely due to the sympathetic performances of the Chieftains.

The first album and the perfect place to start. Wild, raucous, crazy music straight out of the South Side clubs. The incessant drive of Hound Dog's playing is best heard on "Give Me Back My Wig," "55th Street Boogie," and "Taylor's Rock," while the sound of Brewer Phillips' Telecaster on "Phillips' Theme" gives new meaning to the phrase "sheet metal tone." One of the greatest slide guitar albums of all time.

As a 30+ year super-fan and admirer of the NGDB, a live show from this specific era was a welcomed find. The sound quality is generally good, capturing the on-stage sound authentically, technical flaws and all, keeping the crowd noise to a minimum. The repertoire is a full representation of what the band was playing at the time and a majority of their well-known songs are present.