Gerry And The

Two years in the making, Close To The Noise Floor is a 4CD, 60-track set exploring the origins of electronica in the UK. Featuring tracks from key figures on the cassette label underground alongside early releases by future stars of the movement, this is part primitive rave, part synthesiser porn and part history lesson.

Interesting dialogs between Monk and various greats among saxmen: Coltrane, Rollins, and Coleman Hawkins.

One of several Liverpool pop groups to achieve international success in the sixties, the Swinging blue jeans were actually formed in 1958, when (acknowledging their hero, Gene Vincent), they called themselves the Bluegenes. They were already regular performers at the Cavern club when the Beatles made their debut in 1961 at that now-famous venue - indeed, the Beatles occupied the guest spot on their show…

The Searchers are a British rock band who emerged as part of the 1960s merseybeat scene along with The Beatles, The Swinging Blue Jeans, and Gerry and the Pacemakers. The band's hits included a remake of the Drifters' 1961 hit, "Sweets for My Sweet"; remakes of Jackie DeShannon's "Needles and Pins" and "When You Walk In The Room"; "Sugar and Spice"; "Don't Throw Your Love Away"; and a remake of The Clovers' "Love Potion No. 9". They were the second group from Liverpool after the Beatles to have a hit in America when "Needles and Pins" charted during the first week of March 1964.

The Broadsword and the Beast is the 14th studio album by Jethro Tull, released on 10 April 1982 and according to Ian Anderson in the liner notes of the remastered CD, contains some of Jethro Tull's best music. It mixes electronic sound, provided by Peter-John Vettese (a characteristic that would be explored further on the next album Under Wraps), with acoustic instruments. The album is a cross between the synthesiser sound of the 1980s and the folk-influenced style that Tull had in the previous decade. The Broadsword and the Beast is one of Steve Hackett's favorite albums.

Time and the Infinite pares things back to a trio, and while there are still four Rogers compositions, the majority of the disc is focused on workouts of standards from Cole Porter, Charlie Parker, George Gershwin and others. But anyone who knows Rogers knows that even the most well-worn tune is going to be approached with invention. While Rogers never loses site of the core of tunes like "Night and Day" and "I Loves You Porgy," his re-harmonization and addition of metric complexities keep them modern and relevant.