As smooth singers go, Philadelphia’s Melody Gardot is more versatile than most. On her last album she explored world music; on Currency of Man, she’s gone “conscious”. It’s not quite Erykah Badu, but when you’re a Grammy-winning easy-listening artist, it’s an admirable direction. There are songs inspired by the American civil rights movement (Preacherman, with its twangy, Dusty Springfield vibe), and others that speak out about war, famine and poverty. Moreover, she experiments with new rhythms – elements of 70s funk on She Don’t Know and rushes of gospel on Same to You, teamed with widescreen strings and flashes of horns. Some of her older-style material jars – when playing the cabaret siren on Bad News, or the musical theatre dame on overblown jazz ballad If Ever I Recall Your Face – but for the most part, these heavy-lidded protest jams are a sophisticated twist on her continually evolving sound.

Graduating top of trance’s 2012 breakout class, one incredible DJ performance & studio production after another has, of late, seen Bryan Kearney’s career reach light speed. A man regularly credited with twisting the codes of high-octane trance and techno into an all-new hybrid, it’s a path that’s seen him progress from nu-skool leader to A-list challenger. Having popped his mix-comp cherry with Solarstone’s ‘Pure Trance V3’ last year, early summer 2015 sees the young Irish turntable-ist take ownership of his own mix-comp marque. Incorporating his true grit/hang-tight mixing style with a flair for the sonically imaginative, Bryan has branded all the visceral excitement of his label & sound into the first volume of ‘This Is Kearnage’.

Watt is the fifth album by the English blues rock band Ten Years After, released in 1970. It was recorded in September 1970 except for the last track, a cover of Chuck Berry's "Sweet Little Sixteen", which is a recording from the 1970 Isle of Wight Festival.

Undead is a live album by Ten Years After, recorded live at the small jazz club, Klooks Kleek, in London, May 1968, and released in August of that year. The show combined blues, boogie and jazz playing that merged more traditional rock and roll with 1950's-style jump blues. The album "amply illustrates" Alvin Lee's "eclectic" use of the pentatonic scale mixed with other modalities.

Ten Years After is the debut album by the English rock/blues band Ten Years After. It features "Spoonful", a cover that the British blues rock group Cream also covered. The album is also low on original material in comparison to the band's later works which were, in most cases, entirely composed of Alvin Lee's songs.

World of Today was the second album to be released by Supermax. It was released in 1977 and included the track Lovemachine, which charted in Germany (#4), Switzerland (peaked at #6), Austria (#9), and the U.S. (#96).

After producing the first disco hit entirely produced with a synthesizer, "I Feel Love", Moroder kept the collaboration going with engineer Robert Wedell to create a solo album. In the production credits, it is stated that "only electronic keyboards were used in the making of this album." The first part of the album is a nonstop dance mix that has been said to influence future generations of house music producers.

The album was fantastic to begin with, but adding these extra bonus tracks AND live tracks was pure brilliance!!! Having Head back has brought an extra positive vibe to the whole band! Jon's vocals are as if he hasn't aged at ALL! 20+ years of blood, sweat and tears! And still going strong!

Overloading all senses with a relentless onslaught of turbo-charged old school heavy/speed metal in the vein of old Slayer, Running Wild, and Tyrant (US), RANGER'S torrid riffs, twin-guitar assault, intense rapid-fire drumming, pummeling bass onslaught and banshee-like old school vocal delivery thrashes you to oblivion.

Stained Class - четвёртый студийный альбом британской хэви-метал-группы Judas Priest, вышедший в 1978 году, один из первых альбомов спид-метала, оказавший сильное влияние на этот жанр. За песню «Exciter» группу стали называть «дедами трэш-метала».