The two albums I.F. and I.F. 2 (short for Intergalactic Federation) Deep Space Network made with fellow German artist Dr Atmo for Fax Records feature longer tracks, offering a bigger canvas for Moufang and Grossmann to work on. These are true collaborations with Atmo - a lover of shadowy, cosmic Eastern melodies and percussion - where the whole ends up greater than the sum of the parts. I.F. contains the extraordinary "Ten Waves", a 25 minute psychedelic blissfest of bleeps, radio & TV samples and spacey melodies driven by a tabla drums and a steady, almost jazzy two-chord progression. This stoned masterpiece was a staple in dance party chill spaces in the 90's and stands up brilliantly today, every bit the equal of other extended chillout classics of the era.

After the breakup, Beatles fans expected major statements from the three chief songwriters in the Fab Four. John and George fulfilled those expectations - Lennon with his lacerating, confessional John Lennon/Plastic Ono Band, Harrison with his triple-LP All Things Must Pass - but Paul McCartney certainly didn't, turning toward the modest charms of McCartney, and then crediting his wife Linda as a full-fledged collaborator on its 1971 follow-up, Ram.
Where McCartney was homemade, sounding deliberately ragged in parts, Ram had a fuller production yet retained that ramshackle feel, sounding as if it were recorded in a shack out back, not far from the farm where the cover photo of Paul holding the ram by the horns was taken…

Gold assembled a handful of knowns and unknowns to make special cameos on this melodic and fun collection of original and classic Halloween tunes with a pop-rock bent. Among the haunted are David Cassidy, Karla Bonoff, Linda Ronstadt, Stephen Bishop, Nicolette Larson, and Gold's children and wife. From the Beatlesesque touches of "It Must Be Halloween" (parts seemingly lifted from "Being for the Benefit of Mr. Kite") to Boris Karloff's "Monster Mash" and "The Addams Family" theme song, Gold and company offer up treats that kids and their parents will like, including the "Ghostbusters" theme. But with cooler original fare like "The Creature from the Tub" and "Spooky, Scary Skeletons," you have to wonder why they relied on so many predictable cover songs.

This set includes music perfect for Halloween that isn't actually about Halloween, although everything included here is definitely scary on one level or another. Consisting of vintage jazz and blues tracks issued between 1925 and 1961, there are plenty of songs here about devils and witches, including Tampa Red's "Witchin' Hour Blues," Sippie Wallace's "Devil Dance Blues," and the Mississippi Sheiks' "I Am the Devil," among others. There's also a classic version of Screamin' Jay Hawkins doing his signature tune, "I Put a Spell on You," this one done with the Leroy Kirkland Orchestra.

Iconic British band Ozric Tentacles have announced ‘Travelling The Great Circle’, an expansive new hardback book release, featuring remastered music from one of the bands most creatively thrilling and acclaimed periods.

Demon Records are delighted to announce the release of Pelican West 40, a celebration edition of Haircut One 100’s much-loved debut album, released with full cooperation of the band. A 54-track extravaganza that celebrates the bright, burning, brief career of Haircut 100. The group moved from being London underground darlings to chart sensations in less than six months, and within a year had disappeared into pop’s ether, leaving behind one memorable album and four Top 10 UK singles.

Morning Glory: The 1973 Concert at the Teatro Gran Rex, Buenos Aires is the first official release of pianist Bill Evans with Eddie Gomez and Marty Morell captured live at the Teatro Gran Rex in Buenos Aires, Argentina on June 24, 1973.

Alan Broadbent is one of New Zealand's favorite musical sons and perhaps the most well-known and multi-talented of them all. Many are familiar with his arranging and conducting for Sir Paul McCartney, Diana Krall, Pat Metheny and Michael Bublé. Others may know Broadbent has received 8 Grammy nominations and won 2 Grammy Awards for Best Orchestral Arrangement Accompanying a Vocal, one for Natalie Cole and one for Shirley Horn. On Like Minds, Broadbent takes a seat on the piano bench for his third Savant recording with his trio featuring the great bassist Harvie S and the colorful drumming of Billy Mintz.

The Gitanes label has taken it upon itself to reissue on CD some of the late work of gypsy jazz giant Django Reinhardt. The tracks that make up Nuits de Saint-Germain des-Prés come from three Decca sessions dating from May of 1951 to January 1953, the final year of his life. The title comes from the reopening of the infamous club Saint-Germain des-Prés, whose reopening coincided with Reinhardt showing off his bop chops to a host of notable American jazzmen, including Benny Carter, Roy Eldridge, Charlie Parker, Don Byas, and others. The bands on all of these sessions are comprised of Young Turks, most notably a youthful Pierre Michelot on bass. The other constants are drummer Pierre Lemarchand and Hubert Fol on clarinets and saxophone; the latter's brother Raymond is the pianist on two of these sessions…

"Monster Mash" is one of the all-time great holiday songs, resurfacing (and sometimes charting) every Halloween without fail. The Original Monster Mash is the accompanying Top 20 album from 1962, on which Pickett leads off with his big hit before plying his Boris Karloff shtick for another 15 songs. Pickett's other Top 100 monster hit, the Christmas novelty "Monsters' Holiday," is here as well, along with dated jokes about Fabian ("Rabian - The Fiendage Idol") and then-current dance crazes ("Transylvania Twist," "Skully Gully"). "Let's Fly Away" is a brief Stan Freberg send-up that replaces "John and Marsha" with Dracula and Vampira. The Crypt-Kickers were an all-star band that counted Leon Russell, producer Gary Paxton, and other famous folks among its members, and the album remains a fine Halloween party platter year and years later. Unfortunately, the album was remixed for CD release in 1991, and the vocals are obscured in the mix so that the generic rock backing often prevails over the "spooky" dialogue and singing, which defeats the point for a novelty effort such as this.