My Morning Jacket - It Still Moves 2003

It's a beautiful thing to know that Brian Wilson is still alive and well in the kingdom of indie rock. My Morning Jacket's third full-length effort, and first for the ATO/RCA venture label, is a step beyond the band's work for Darla. While the gorgeous amalgam of the Band's vision of country/Americana and Neil Young's blend of folk and rock are everywhere present, there is a new textural awareness evident on It Still Moves. Jim James' songwriting is tighter in structure, but his production sensibility is early-'70s Laurel Canyon, with some of the Grateful Dead's American Beauty tropes as well. Sounds like a mess, doesn't it? Well, it's not. Wearing your influences on your sleeve doesn't mean unoriginality. James is an original songwriter; he has worked hard to develop the gifts inherent in his lyric concerns and his ability to paint emotional landscapes with his melodies, and the payoff has never been greater. "Mahgeetah," with its Pet Sounds ambience and country-rock melody -- complete with fuzzed-out guitar solo -- is far more imaginative than anything Wilco ever pulled off by trying the same thing (which they do over and over ad nauseam). "Dancefloors," with its biting Telecaster lead line that echoes "Baby Don't Do It" and the Stray Gators' country majesty, is full of warmth, depth, and Levon Helm's soul. And "Golden," which is the third track in this opening triad, brings James' love of Tim Buckley and Fred Neil into the light. But all of these elements of construction are read through James' Kentucky and his unique melodic gift, where fragments becomes entire lines become songs with stunning bridges, achingly poetic lyrics, and a country boy's sense of whacked-out humor and tenderness (check out "One Big Holiday"). The horn arrangements on "Easy Morning Rebel" make the country shuffle into a near R&B tune with an old-timey stroll through a shambolic rhythm track. In all, My Morning Jacket may be a journey through the past, but it's also a solid step into something rock & roll has been missing for an awfully long time in the mainstream arena: melody, extremely catchy and well-written songs that aren't afraid of the mainstream, and a love of the great pop continuum that translates into something new. AMG. listen here

Reggie Workman - Cerebral Caverns 1995

Reggie Workman has long been one of the most technically gifted of all bassists, a brilliant player whose versatile style fits into both hard bop and very avant-garde settings. He played piano, tuba, and euphonium early on but settled on bass in the mid-'50s. After working regularly with Gigi Gryce (1958), Red Garland, and Roy Haynes, he was a member of the John Coltrane Quartet for much of 1961, participating in several important recordings and even appearing with Coltrane and Eric Dolphy on a half-hour West German television show that is currently available on video (The Coltrane Legacy). After Jimmy Garrison took his place with Coltrane, Workman became a member of Art Blakey's Jazz Messengers (1962-1964) and was in the groups of Yusef Lateef (1964-65), Herbie Mann, and Thelonious Monk (1967). He recorded frequently in the 1960s (including many Blue Note dates and Archie Shepp's classic Four for Trane).

Since that time, Workman has been both an educator (serving on the faculty of music schools including the University of Michigan) and a working musician, and has played with numerous legendary jazz musicians including Max Roach, Art Farmer, Mal Waldron, David Murray, Sam Rivers, and Andrew Hill (Rivers and Hill joined Workman for the 1993 session, Summit Conference). In the 1980s, Workman began leading his own group, the Reggie Workman Ensemble. He also began a collaboration with pianist Marilyn Crispell that lasted into the next decade (the two acclaimed musicians reunited for a festival performance in 2000). During the '90s, Workman was not only active with his own ensemble, but also in Trio Three, with Andrew Cyrille and Oliver Lake, and Reggie Workman's Grooveship and Extravaganza.

In recognition of Reggie Workman's international performances and recordings spanning over 40 years, he was named a Living Legend by the African-American Historical and Cultural Museum in his hometown of Philadelphia; he is also a recipient of the Eubie Blake Award. AMG. listen here

Paul Bley - Turning Point 1964

When this album was released in 1975 by Paul Bley's Improvising Artists label, the seven selections had been previously unheard. The five pieces from Mar. 9, 1964 (which feature pianist Bley, tenor-saxophonist John Gilmore, bassist Gary Peacock and drummer Paul Motian) were later released in a more complete form on the Savoy LP Turns. This was a unique onetime encounter between the innovative Bley (whose lyrical approach to free form improvising was quite different than that used by the high-energy players of the time) and Sun Ra's longtime tenor John Gilmore; "Ida Lupino" is the most memorable of these tracks. In addition there are a couple of trio performances ("Mr. Joy" and "Kid Dynamite") from a May 10, 1964 concert with bassist Peacock and drummer Billy Elgart that have not been released elsewhere. Very interesting if not quite essential music. AMG. listen here

Neil Sedaka - The Very Best Of Neil Sedaka 2000

Neil Sedaka hit the charts with astounding frequency via these charmers aimed at adolescent hearts. But his record company didn't think he fit the teen idol image, so they sent him to foreign countries to perform so his record sales wouldn't suffer. When Sedaka kept rolling out hits in assembly-line fashion, RCA relented and marketed the wholesome singer/writer in the States. Chart climbers, like early collaborations with Howie Greenfield ("The Diary," "Oh! Carol," and others), and straight up smashes ("Happy Birthday, Sweet Sixteen," "Calendar Girl," and "Breaking Up Is Hard to Do") made them reconsider their opinion of Sedaka. To adults he was likable and to teens he made nice records -- records so melodic you remembered them instantly. Sedaka co-wrote his material and was princely at scribing singalong and whistling music. He inspired others to become creatively involved in their careers as well. AMG. listen here

Montego Joe - Wild & Warm 1965

Latin Jazz with some touches of soul, not too much info about this album, just give it  a try! listen here

Mark Ronson - And The Business Intl 2010

Mark Ronson is a sought-after turntablist who's worked with such diverse artists as Macy Gray, Jay-Z, and comedian Jimmy Fallon. The stepson of guitarist Mick Jones of Foreigner, Ronson spent the first eight years of his life growing up in England. Having played guitar and drums from an early age, it wasn't until moving to New York City with his mother that Ronson discovered DJ culture. At age 16, already a fan of such popular hip-hop artists as Run-D.M.C. and the Beastie Boys, Ronson began listening to the various hip-hop mixtapes released every few months by DJs. Inspired, Ronson confiscated his father's record collection and began trying his hand at mixing.

The young DJ with the diverse taste soon caught the ears and eyes of various socialites and New York celebrities, including fashion designer Tommy Hilfiger, who featured Ronson along with other sons and daughters of celebrities in a 1997 fashion campaign. A year later, hip-hop mogul Sean "P. Diddy" Combs hired Ronson to DJ his fabled 29th birthday bash. These and other high-profile gigs boosted Ronson's "hip quotient" and helped promote his more serious-minded music career. Fusing his eclectic turntable skills with his knowledge of musical instruments and songwriting, Ronson eventually embarked on his first solo project. Featuring such diverse guest artists as dancehall rapper Sean Paul, hip-hop artist Mos Def, Jack White of the White Stripes, and Rivers Cuomo of Weezer, Ronson's debut album, Here Comes the Fuzz, bowed for Elektra in 2003.

After releasing his debut album, Ronson kept busy producing tracks for a number of artists, including Amy Winehouse, whose 2006 album Back to Black earned critical praise in large part for Ronson's throwback, Motown-influenced production. His own sophomore effort, a collection of cover songs called Version, dropped in 2007. In 2010, Ronson began performing under the moniker Mark Ronson and the Business Intl and released his third studio album, Record Collection, featuring the single "Bang Bang Bang." AMG. listen here

Miguel Zenón - Alma Adentro The Puerto Rican Songbook 2011

A native of San Juan, Puerto Rico, Miguel Zenón dug Coltrane in high school but didn't get serious about a career in jazz until attending the Berklee School of Music. While at Berklee, he hooked up with drummer Bob Moses, who invited him to play with the Either/Orchestra, giving the saxophonist his first professional experience. Awards and grants lead to Zenón pursuing and earning a Masters in Saxophone Performance in 2001 from the Manhattan School of Music in New York City. He played live and in the studio as a sideman to Charlie Haden, the David Murray Big Band, Ray Barretto, and David Sanchez, and stepped out on his own with Looking Forward in 2002. The debut album fused jazz, Latin, and classical influences, and earned positive reviews at home and abroad. In 2003, he received a warm welcome on his first European tour, and got right back to recording when he returned home. His sophomore effort, Ceremonial -- produced by Branford Marsalis and released on his Marsalis Music label -- hit the shelves in early 2004. AMG. listen here

The Orange Alabaster Mushroom - Space & Time 2001

The Orange Alabaster Mushroom is a one-man band project by Ottawa, Ontario-based singer/songwriter Greg Watson. While a member of the Fiends (not the Los Angeles punk group, but a group of Ottawa-based garage rockers), Watson began recording his own, more psychedelically influenced solo material in early 1991. Although Watson continued his home recordings for a number of years and even placed a few on obscure psych compilations, the first Orange Alabaster Mushroom release was a four-track EP, The Psychedelic Bedroom, in 1996. That EP, which included the theme song/statement of intent "We Are the Orange Alabaster Mushroom," wasn't followed up for nearly three years, until the single "The Slug," backed with "Ethel Tripped a Mean Gloss," appeared in 1999. The limited-edition LP compilation Space and Time: A Compendium of the Orange Alabaster Mushroom was released by Earworm Records in 2000. Hidden Agenda reissued Space and Time in October 2001 with three new previously unreleased tracks.AMG. listen here

Oasis - (What's the Story) Morning Glory 1995

If Definitely Maybe was an unintentional concept album about wanting to be a rock & roll star, (What's the Story) Morning Glory? is what happens after the dreams come true. Oasis turns in a relatively introspective second record, filled with big, gorgeous ballads instead of ripping rockers. Unlike Definitely Maybe, the production on Morning Glory is varied enough to handle the range in emotions; instead of drowning everything with amplifiers turned up to 12, there are strings, keyboards, and harmonicas. This expanded production helps give Noel Gallagher's sweeping melodies an emotional resonance that he occasionally can't convey lyrically. However, that is far from a fatal flaw; Gallagher's lyrics work best in fragments, where the images catch in your mind and grow, thanks to the music. Gallagher may be guilty of some borrowing, or even plagiarism, but he uses the familiar riffs as building blocks. This is where his genius lies: He's a thief and doesn't have many original thoughts, but as a pop/rock melodicist he's pretty much without peer. Likewise, as musicians, Oasis are hardly innovators, yet they have a majestic grandeur in their sound that makes ballads like "Wonderwall" or rockers like "Some Might Say" positively transcendent. Alan White does add authority to the rhythm section, but the most noticeable change is in Liam Gallagher. His voice sneered throughout Definitely Maybe, but on Morning Glory his singing has become more textured and skillful. He gives the lyric in the raging title track a hint of regret, is sympathetic on "Wonderwall," defiant on "Some Might Say," and humorous on "She's Electric," a bawdy rewrite of "Digsy's Diner." It might not have the immediate impact of Definitely Maybe, but Morning Glory is just as exciting and compulsively listenable. AMG. link removed

Ozric Tentacles - Tantric Obstacles 1985

A band from another time, Ozric Tentacles served as the bridge from '70s cosmic rock to the organic dance and festival culture that came back into fashion during the '90s. Formed in 1983 with a debt to jazz fusion as well as space rock, the band originally included guitarist Ed Wynne, drummer Nick Van Gelder, keyboard player Joie Hinton, bassist Roly Wynne (Ed's brother), and second guitarist Gavin Griffiths (who left the group in 1984). The Ozrics played in clubs around London, meanwhile releasing six cassette-only albums beginning with 1984's Erpsongs. (All six were later collected on the Vitamin Enhanced box set, despite a threatened lawsuit from the Kellogg's cereal company for questionable artwork.) In 1987, Merv Pepler replaced Van Gelder, and synthesizer player Steve Everett was also added.

Ozric Tentacles' first major release, the 1990 album Erpland, foreshadowed the crusty movement, a British parallel to America's hippie movement of the '60s. Crusties borrowed the hippies' organic dress plus the cosmic thinking of new agers, and spent most of their time traveling around England to various festivals and outdoor gatherings. The movement fit in perfectly with bands like Ozric Tentacles and the Levellers, and the Ozrics' 1991 album Strangeitude became their biggest seller yet, occasioning a U.S. contract with Capitol. After the British-only Afterswish and Live Underslunky, 1993's Jurassic Shift -- featuring flutest John Egan, who would become known for his on-stage trance-dancing during the group's live performances, and new bassist Zia Geelani in addition to original bassist Roly Wynne, who departed the band in 1992 -- hit number 11 on the British charts, quite a feat for a self-produced album released on the Ozrics' own Dovetail label. The album was released in America by IRS Records, as was 1994's Arborescence. Neither album translated well with American audiences -- despite the band's first U.S. tour in 1994 -- and Hinton and Pepler left the band that year to devote their energies to their dance side project, Eat Static, releasing several albums on Planet Dog Records.

Ozric Tentacles returned to their Dovetail label for 1995's Become the Other, featuring new members Rad and Seaweed, who also appeared on 1997's Curious Corn. Ed Wynne's brother Roly, whose later life had been plagued with difficulties, committed suicide in 1999, a tragic development for the Wynne and Ozrics families. However, the band forged on, closing out the decade with the release of Waterfall Cities that year, and during the summer of 2000 the Ozrics resurfaced with Swirly Termination. The band also released Hidden Step in 2000, followed by the EP Pyramidion in 2002. Live at the Pongmasters Ball arrived in 2002 as well, their first venture to be released on both CD and DVD.

By 2004's Spirals in Hyperspace, Ozric Tentacles were largely guided by sole original member Ed Wynne, who was responsible for guitar, keyboards, and beat programming on the studio effort, which nevertheless included appearances from previous Ozrics contributors Zia, Seaweed, John Egan, and Merv Pepler, plus drummer Schoo (who had replaced Rad after the former's departure following a 2000 U.S. tour), Ed Wynne's wife Brandi Wynne on bass, and even space rock/electronica guitar legend Steve Hillage. Released in 2006, The Floor's Too Far Away continued the trend of Ozrics domination by Ed Wynne. A live appearance from June 2007 was documented in 2008's Sunrise Festival disc, and 2009 saw the release of a new studio album, The Yumyum Tree. Inspired by Lewis Carroll, the latter album featured, in addition to Ed Wynne in the leadership role, Brandi Wynne on keyboards along with bassist Vinny Shillito and drummer Roy Brosh. Yet another permutation of the latter-day Ozrics was a true Wynne family affair, with Ed joined by his son -- and the late Roly's nephew -- Silas on synths, wife Brandi back on bass replacing Shillito, and Ollie Seagle on drums. AMG. listen here

Jack White - Blunderbuss 2012

Jack White leaves such an indelible stamp on any project he touches that a solo album from him almost seems unnecessary: nobody has ever told him what to do. He's a rock & roll auteur, bending other artists to fit his will, leading bands even when he's purportedly no more than a drummer, always enjoying dictating the fashion by placing restrictions on himself. And so it is on Blunderbuss, his first official solo album, arriving five years after the White Stripes' last but seeming much sooner given White's constant flurry of activity with the Raconteurs, Dead Weather, Third Man Records, and countless productions. Here, he's once again placed restrictions on himself but they're not quite as clearly defined as they've been in the past, as when he's gotten great dividends by working with a limited palette. All the restrictions are entirely of a comforting variety: he's abandoned the primitivism of the White Stripes, something that came easily with Meg White bashing away on the drums, and has chosen a quieter, polished route, rotating in different musicians for different tracks. Jack still pulls out some standards from his bag of tricks -- clenched blues explosions, squealing guitars, and a cool breeze of electric piano -- but musicians matter and this bunch of pro players tightens and softens his attack (sometimes to its detriment, as on a clumsy cabaret version of Little Willie John's "I'm Shakin'"). When Blunderbuss gets furious, it's hard not to miss the chaos Meg brought to the Stripes -- with her at the drums, "Sixteen Saltines" would fly off the rails -- but it's a mistake to think of this album as a professionally produced White Stripes record as it relies as heavily on ideas White explored on his handful of old-timey acoustic cuts and the '70s guitar rock of the Raconteurs. If it resembles any Stripes album it's Get Behind Me Satan, the dark, odd 2005 set written in the wake of a breakup and filled with songs of paranoia and recrimination. This too is a divorce album with every song concerning love gone wrong, yet it's easy to ignore all the pain roiling underneath because Blunderbuss plays so sweetly, its melodies easing into memory and its surface warm and pleasant. Contradictions are nothing new for Jack White but he's never been as emotionally direct as he is here, nor has he been as musically evasive, and that dichotomy makes Blunderbuss a record that only seems richer with increased exposure. AMG. listen here

Die Antwoord - $O$ 2010

Representing the Lady Gaga Era’s dark underbelly, South Africa’s Die Antwoord are the real “Little Monsters” of their time, brought to fame by a series of videos that looked like David Cronenberg and Keith Haring were co-directing. On their debut album, $O$, the music is just as phantasmagoric, unsettling, and bursting with the same sick humor as their videos, but there’s also the same amount of care put into the product. Even as these incredibly busy hip-hop-meets-rave productions rocket toward the brink of chaos, the listener is harnessed in by layers of hooks and plenty of cheeky musical ideas. First, there’s the setup: a duo of South African’s trashiest trailer kids, including a lead male rapper, Ninja, who is obsessed with his namesake plus an albino kewpie doll, pixie-voiced back-up singer, Yo-Landi Vi$$er, who often channels her inner sex goddess even when she’s traditionally unsexy. A third, shadow member, DJ Hi-Tek, supplies much of the music, making wonderfully outlandish decisions like sampling Smile.dk’s sugary hit “Butterfly” for the massive “Enter the Ninja,” a hypnotic motivational track that should pump up any given mutant before they enter the ring. When “Scopie” - this album is chock-full of NSFW South African slang -- samples “Short Dick Man,” it’s clever, and borrowing from the Bronski Beat for the epic sex track “Beat Boy” is just one example of the album’s fascinating love of old synth music, from new wave to gabba hardcore with a little love thrown dubstep’s way. Jamaican dancehall is referenced on “Evil Boy,” which turns Little Red Riding Hood into a story of phallic bragging, as is dancehall’s iffy relationship with the “batty boy”, because Die Antwoord are hardly politically correct. Elsewhere, your mom’s private parts end up in a “Fish Paste” jar as an insult, and Ninja’s idea of a sexual encounter always requires post-coital mops and buckets. If it matters, none of this is real, and Die Antwoord are actually conceptual artists, presenting “exaggerated versions” of their “inner zef”. Whoever they are, $o$ is utterly unique and downright dazzling if you dream of a Grand Guignol hosted by P. Diddy. AMG. listen here

RPWL - Beyond Man And Time 2012

RPWL (Risettion Postl Wallner Lung - the band members) is a German progressive rock band. The band was formed in 1997 as a Pink Floyd cover band. After three years they started to make their own music based on their influences from their cover band era. Their debut CD, God Has Failed was met with international enthusiasm, praise and excellent reviews in all the major progressive rock music magazines.

The band wanted to make a statement with Trying To Kiss The Sun in 2002, which relied more on the band as a creative entity and less on their influences. Their 3rd studio album, Stock was released in 2003. It was formed of the tracks that didn't make it onto the first 2 albums, plus a cover of Syd Barrett's "Opel", which the band used at shows as a soundcheck.

In 2005 they released their 4th studio album World Through My Eyes. This was received well by fans and off it their first single was taken- "Roses" sung by former Genesis and Stiltskin vocalist Ray Wilson.

Later that year, the band released their 1st live album Live- Start The Fire. The double disc album contains the whole of the band's Rockpalast concert, again featuring Ray Wilson on lead vocals for "Roses" and one other track this time, "Not About Us", which is from Ray's one and only album with Genesis entitled Calling All Stations.

In 2007, saw the release of 9--a compilation including 5 previously unreleased live songs and 4 brand new solo songs recorded together by the band. Those studio-tracks are representing the different influences in the band. 9 was released in a limited edition of 999 CDs and was only available from their website.

In February 2008, they released a new album called The RPWL Experience, which diverted greatly from previous efforts. Martien Koolen of DPRP writes, "The southern German prog rock band certainly explores new musical horizons on this album as some songs even sound raw and unpolished." Proarchives.com listen here

Apparat - Walls 2007

Having made a considerable splash with the Ellen Allien collaboration Orchestra of Bubbles, Apparat returned to his own path with Walls, a remarkable album that ranks as his best yet. Beginning with the gentle string and vibes beats of "Not a Number" -- which in its own melancholy way, combined with the title, suddenly sounds like one of the most humanistic songs yet recorded, passionate in its elegant sorrow -- Walls takes a simultaneously familiar and unsettled path. While the continuing impact of disparate strands of music -- the fallout of My Bloody Valentine and its many imitators, the electronic obsessions of Warp, the stadium-ready melancholy of early Radiohead and its own horde of followers -- has resulted in a 21st century computer music of crushed sorrow; on Walls, Apparat transcends the downbeat limitations of the incipient form with astonishing grace. Hearing how what could be a standard filter-house volume build in "Limelight" becomes a fierce trap for a voice barely understandable, or how the post-Jeff Buckley/Thom Yorke woundedly sweet vocal on "Arcadia" actually means something working alongside the busily frenetic beats make the listener regard familiar approaches in a sudden new light. Meantime, "You Don't Know Me," which appears towards the album's conclusion, might actually be the best song on it. While there are a lot of songs that could be described as soundtracking a nonexistent film, this actually feels like it, strings and a handclap beat creating a pitch-perfect atmosphere to the end of a romantic movie. Raz Ohara's various vocal appearances throughout are nice additions but the highlight is "Hold On," where his perfectly in-the-moment R&B style contrasts the squelching bass and nervous but righteous groove to a T. AMG. listen here

Laura Allan - Reflections 1980

When you don't tire of an album after hundreds of listenings, you can crown it a "classic." Laura Allan plays zither and sings melodies of eternal inspiration and exquisite depth. A few refrains have lyrics, and they are pure poetry. "My heart is grateful--just to be, and nothing more. I am the joy, and the sorrow. The tear, the death, and blessed bird. As I am today, I am tomorrow: a child of God, flying out to love on this earth...." Though you'll probably remember only Allan's zither and angelic voice, other notables contribute to the magic: Paul Horn on swirls of flutes, Dallas Smith on Lyricon wind synthesizer, Geoffrey Chandler on synthesizer, and Kent Middleton on bells. Everything about this album seems to have been "Special Delivery" from Heaven; even the faint auto sounds in the background are totally forgiven, even embraced. Even if this album is available only on cassette tape, get it. It is available on tape only through Steven Halpern's Inner Peace Music. AMG. listen here