Simply Red The Very Best

The CMAA Winners compilation returns for another year featuring the very best of Australian country music. The album is a 2CD set of the nominees for the 45th CMAA Awards. Featured artists include The Wolfe Brothers, Catherine Britt, The Wilson Pickers, Travis Collins, Troy Cassar-Daley, Sara Storer and so much more.

Zero Limits reveals the breakthrough self-improvement approach that is proven to help people who are overworked, overstressed, and just plain overwhelmed deal effectively with removing self-imposed limitations in their lives that are often manifest as chaos, disease, and poverty …

Disco may have been a dirty word as the 70's came to a close but during the 80's its influence on much of this selection helped create some of the greatest dance music recorded. As a poet and philsopher once said, 'Lets Groove Tonight'…..

The Blasters live, as God intended. Only 10 songs made this 10" EP, pressed in the UK. There are 7 more on the cd. Well worth a listen! Some of the stops and starts are abrupt, but they are that way on the vinyl.

Sweden played a crucial part in the progressive rock revival of the 1990s, but amid dark-sounding King Crimson-influenced bands like Anekdoten and Anglagard, the positive-thinking Yes-enlightened act the Flower Kings felt almost out of place. Yet, the Flower Kings became, along with the American Spock's Beard, the '90s prog rock band with the largest fan base, the biggest sales, and the widest international appeal…

If you're in a band, you can either go with the flow the music takes or plant your feet and refuse to be moved. The Groundhogs, under the leadership of Tony McPhee, one of England's best guitarists, did the former. McPhee was a bluesman through and through, and the Groundhogs started life as a blues trio, but fairly quickly the music took a rock turn and suddenly the Groundhogs had a sizable following. After the cranked-out heavy blues-rock of Blues Obituary, they found their voice and came to notice with the very political Thank Christ for the Bomb, represented here by three tracks ("Strange Town," "Rich Man, Poor Man," "Eccentric Man") which show that while McPhee's writing might have been blues-based, he'd moved well beyond the three-chord, 12-bar format into something that used the band well, leaving room for his guitar solos but offering real substance in the ambitious songs…