Taking their name from the 1960s B-movie Satan's Sadists, Portland, Oregon's Satan's Pilgrims' spirited blend of retro-surf and foot-stomping garage rock evokes the raw power and instrumental prowess of the Ventures, the Sonics, the Wailers, and the Kingsmen – it also draws from horror movies, Joe Meek productions, and the British Invasion. Like contemporaries and labelmates the Fathoms and Space Cossacks, the band caught the resurgent early-'90s surf rock wave brought forth by the arrival of Quentin Tarantino's Pulp Fiction, which reintroduced the world to Dick Dale's "Misirlou," and rode it to nominal commercial success via essential outings like Around the World with Satan's Pilgrims (1997) and their eponymous fifth studio long-player (1999).

Energetic, original Blues-Rock at it's finest. A 3-piece blues-rock band out of south central PA. Live with absolutely no overdubs! "Not your daddies blues band!" is how one club owner describes Jo' Blues. This was recorded at the world famous Civil War landmark Leitersburg Tavern. Famous for their pickle shots, ghosts and exquisite taste in music! Jo' Blues set out on December 9, 2016 as a benefit for a tough little four month old, and ended up recording a performance that cried out for release to the masses! A true celebration of raw, energetic blues-rock!

Jo' Blues has been around since 2000. Originally born in Los Angeles and moved to Pennsylvania in the late 2000's. A power trio that puts the rock in blues-rock! A combination of newer blues and different styles of traditional blues that makes you feel good and get your groove on. From high energy to a traditional blues approach with a blistering cover of the Willie Dixon song, 'I Just Want to Make Love to You' to finish off the ten song CD!

This was the most unusual, and probably the most difficult to assemble of MCA's Chess Box series, mostly because of the unusual nature of Willie Dixon's contribution to Chess Records. To be sure, Dixon rates a place in the history of the label right alongside that of Muddy Waters, Howlin' Wolf, and Little Walter, but his role was more subtle than that of a performer (indeed, two of the half-dozen recordings here that feature Dixon as a singer were previously unreleased)…

This is the third and last album by the German Christian proggers. The three albums are all very similar. The music, playing and singing, is of a consistently high quality, firmly in the Romantic school of neo- Floydian German groups, like Novalis, later Eloy and Stern Meissen Combo. This means lots of string-synths, acoustic guitars and pretty melodies. Vocals are often choral and there is a fair amount of classy electric guitar soloing of the Gilmour school. This album is pretty laid back, with very few up-tempo passages. Eden also featured a violinist, which adds a pleasantly pastoral extra dimension.

A leaderless sextet jams on four of pianist Mal Waldron's originals; the performances range from eight to 12 minutes apiece. The all-star lineup (trumpeter Thad Jones, Frank Wess on tenor and flute, guitarist Kenny Burrell, Waldron, bassist Paul Chambers and drummer Art Taylor) is in fine form on the straightahead material and bop fans will want to pick up this reissue CD.

Recorded between 1987 and 2003, the selections on Kissin Plays Liszt are representative of the Russian pianist's extraordinary virtuosity and the Hungarian composer's wide range of styles and expressions. These live recordings from New York and Tokyo have been compiled in a double-disc package to commemorate the 200th anniversary of Franz Liszt's birth, and Evgeny Kissin's extraordinary grasp of the repertoire guarantees that the music is as exciting and moving as possible.

‘5 Klavierstücke’ was recorded and produced by Gareth Jones in the South of France on Irmin Schmidt's two grand pianos. Schmidt partly prepared his Pleyel piano (in the way he was taught by John Cage himself) and the other piano - Irmin Schmidt’s 100-year-old Steinway - remained unprepared.

The talented sisters return with an album of enjoyable classics, containing songs popular in France over the last 25 years. It Includes Halliday’s Que je t'aime, Gainsbourg’s La javanaise, and Brel’s Vesoul. Star guests are Madame Monsieur, Nicolas Fraissinet, and Insa Sane.

Handel was in his twenties when he travelled throughout Italy, producing some of the Baroque era’s most exciting, colourful music for his patrons. These cantatas—effectively mini-operas with one or two characters and performed in aristocratic homes—were only recently rediscovered, having remained unpublished for 300 years. They’re vintage Handel: Aminta e Fillide, telling of a shepherd’s love for a shepherdess, features some of his most skilful vocal writing, deftly and gracefully performed by Sabine Devieilhe and Lea Desandre. The star attraction, Armida abbandonata, explores the gamut of Handel’s genius and deserves a place among his greatest operas. Le Concert d’Astrée are in blistering form.

Vox Luminis already boasts an impressive discography, orientated mainly towards sacred music and German repertoire (its album devoted to music by Heinrich Schütz won the Gramophone ‘Best Recording of the Year’ Award in 2013). Now this ensemble, founded nearly fifteen years ago by Lionel Meunier, has scaled one of the summits of English music: the legend of King Arthur and his mentor the wizard Merlin inspired one of Henry Purcell’s most popular successes, King Arthur, a semi-opera on which Purcell lavished all his exuberant musical and theatrical inventiveness.