Pink Long Way to go

Progressive rock bands stumbled into the '80s, some with the crutch of commercial concessions under one arm, which makes the Moody Blues' elegant entrance via Long Distance Voyager all the more impressive. Ironically enough, this was also the only album that the group ever got to record at their custom-designed Threshold Studio, given to them by Decca Records head Sir Edward Lewis in the early '70s and built to their specifications, but completed while they were on hiatus and never used by the band until Long Distance Voyager (the preceding album, Octave, having been recorded in California to accommodate Mike Pinder), before it was destroyed in the wake of Decca's sale to Polygram. In that connection, it was their best sounding album to date, and in just about every way is a happier listening experience than Octave was, much as it appears to have been a happier recording experience…

Another French obscurity from the 70's by a band relatively unknown to the public. MEMORIANCE existed and recorded between mid-70's and early-80's,having two full-length albums and two singles on their backs…

Pat Boone's complete secular recordings (1960 - Autumn 1962) with pop standards, country, rock 'n' roll, and novelties, and much more, including the Number 1 pop hit 'Moody River', and his international smash Speedy Gonzales. 46 previously un-issued performances. An extensive hardcover book with many rare and previously unpublished pictures from Pat's personal collection.

Brian Auger was raised in London, where he took up the keyboards as a child and began to hear jazz by way of the American Armed Forces Network and an older brother's record collection. By his teens, he was playing piano in clubs, and by 1962 he had formed the Brian Auger Trio with bass player Rick Laird and drummer Phil Knorra. In 1964, he won first place in the categories of "New Star" and "Jazz Piano" in a reader's poll in the Melody Maker music paper, but the same year he abandoned jazz for a more R&B-oriented approach and expanded his group to include John McLaughlin (guitar) and Glen Hughes (baritone saxophone) as the Brian Auger Trinity…

Dead Meadow's unique marriage of Sabbath riffs, dreamy layers of guitar-fuzz bliss, and singer Jason Simon's high-pitched melodic croon have won over psychedelic pop/rock and stoner rock fans alike, while elements of folk and pop would creep into their formula over time. Although the band's members met while attending all-ages shows in and around Washington, D.C.'s punk/indie scene, the trio draws more of its sound from such classic rock legends as Pink Floyd and Black Sabbath. The trio formed in the fall of 1998 out of the ashes of local indie rock bands the Impossible 5 and Coulour, with singer/guitarist Simon, bassist Steve Kille, and drummer Mark Laughlin. The three members set out to fuse their love of early-'70s hard rock and '60s psychedelia with their love of fantasy and horror writers J.R.R. Tolkien and H.P. Lovecraft. Collection includes: "Dead Meadow" (2000); "Howls From The Hills" (2001); "Got Live If You Want It!" (2002); "Shivering King And Others" (2003); "Feathers" (2005); "Old Growth" (2008); "Three Kings" (2010); "Warble Womb" (2013).

"I wanted it to be the biggest sounding Foo Fighters record ever. To make a gigantic rock record but with Greg Kurstin's sense of melody and arrangement… Motorhead's version of Sgt. Pepper… or something like that." So speaks Dave Grohl of the mission statement made manifest in Foo Fighters' ninth epic, the aptly-titled Concrete and Gold, due out September 15 worldwide on Roswell Records / RCA Records. Concrete and Gold was written and performed by Foo Fighters, produced by Greg Kurstin and Foo Fighters, and mixed by Darrell Thorp.