Playlist
Sky Full of Holes
Fountains Of Wayne
Radio Bar
Year: 2011

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Sky Full of Holes
Fountains Of Wayne
A Road Song
Year: 2011

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Solo Concerts Bremen/Lausanne
Keith Jarrett
Lausanne, March 20, 1973
Year: 1973

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Solo Concerts Bremen/Lausanne
Keith Jarrett
Lausanne, March 20, 1973
Year: 1973

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Here Comes The Reign Again: The Second British Invasion
Chris Collingwood
Life In A Northern Town
Year: 2014

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Bambi's Dilemma
Melt Banana
Chain Keeper
Year: 2007

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2008 Two CD set of 23 tracks by Tommy Emmanuel, The 2008 Guitar Player Magazine Readers' Choice Awards for "Best Acoustic Guitarist" Results of Guitar Player magazine's annual Reader's Choice Awards for 2008.
Center Stage
Tommy Emmanuel
The Finger Lakes
Year: 2008

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Bang!
World Party
Radio Days
Year: 2006

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Any major dude will tell you that this immaculate jazz-pop collection sounds like it could have been recorded mere months, not 11 years, after The Nightfly. A Steely Dan LP in all but name, Fagen and Walter Becker offer killer horn charts, lite-funk grooves, airy guitar riffs and hipster sci-fi lyrics. --Jeff Bateman
Kamakiriad
Donald Fagen
On The Dunes
Year: 1993

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Any major dude will tell you that this immaculate jazz-pop collection sounds like it could have been recorded mere months, not 11 years, after The Nightfly. A Steely Dan LP in all but name, Fagen and Walter Becker offer killer horn charts, lite-funk grooves, airy guitar riffs and hipster sci-fi lyrics. --Jeff Bateman
Kamakiriad
Donald Fagen
On The Dunes
Year: 1993

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The Delivery Man
Elvis Costello
Monkey to Man
Year: 2004

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2001 release.
Room for Squares
John Mayer
Your Body Is a Wonderland

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In Absentia
Porcupine Tree
Gravity Eyelids
Year: 2002

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Continuum
John Mayer
Gravity (Live)
Year: 2007

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Continuum
John Mayer
Gravity
Year: 2007

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Continuum
John Mayer
Gravity
Year: 2007

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LUX
Brian Eno
LUX 4
Year: 2012

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LUX
Brian Eno
LUX 3
Year: 2012

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LUX
Brian Eno
LUX 2
Year: 2012

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LUX
Brian Eno
LUX 1
Year: 2012

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1996 album is their most straight-forward, lacking the art-rock tendencies of their earlier efforts. What is left is a psychedelicized heavy metal, with swirling harmonies & guitar riffs.
Ear Candy
King's X
Run
Year: 1996

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1996 album is their most straight-forward, lacking the art-rock tendencies of their earlier efforts. What is left is a psychedelicized heavy metal, with swirling harmonies & guitar riffs.
Ear Candy
King's X
Mississippi Moon
Year: 1996

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Hymn of the Seventh Galaxy
Chick Corea
Theme to the Mothership
Year: 1973

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Reissued with sparkling audio and exclusive photographs, this first, 1971, Mahavishnu album certainly vies for the title of the greatest of all jazz-rock recordings. Through spiritually questing flights of intense fury and exquisite quiet, it never loses its sense of inexorable force. Jan Hammer (keyboards), Jerry Goodman (violin), and bassist Rick Laird are completely sympathetic with guitarist John McLaughlin's vision as the music abandons the standard jazz format of successive solos in favor of rapid, heightening, braided, interactive contributions--a structure much drawn from Indian classical music. Astoundingly, the music retains discipline. For that, thank Billy Cobham: Through all the expressive, irregular meters, he remains a steady, resolved engine of percussion, vastly resourceful but ultimately reserved. McLaughlin's alchemy distills many worlds of music­-the jazz-guitar masters, flamenco, blues, Indian forms, and his experience in the innovations of the seminal jazz-rock outfits of Miles Davis and Tony Williams. Of course, distortion, feedback, and arena-rock amplification were crucial, as was the influence of Sri Chinmoy, McLaughlin's spiritual guide. "The Noonward Race," "Vital Transformation," and "The Dance of Maya" are music for the ages. -- Peter Monaghan
Inner Mounting Flame
Mahavishnu Orchestra
The Dance Of Maya
Year: 1971

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Reissued with sparkling audio and exclusive photographs, this first, 1971, Mahavishnu album certainly vies for the title of the greatest of all jazz-rock recordings. Through spiritually questing flights of intense fury and exquisite quiet, it never loses its sense of inexorable force. Jan Hammer (keyboards), Jerry Goodman (violin), and bassist Rick Laird are completely sympathetic with guitarist John McLaughlin's vision as the music abandons the standard jazz format of successive solos in favor of rapid, heightening, braided, interactive contributions--a structure much drawn from Indian classical music. Astoundingly, the music retains discipline. For that, thank Billy Cobham: Through all the expressive, irregular meters, he remains a steady, resolved engine of percussion, vastly resourceful but ultimately reserved. McLaughlin's alchemy distills many worlds of music­-the jazz-guitar masters, flamenco, blues, Indian forms, and his experience in the innovations of the seminal jazz-rock outfits of Miles Davis and Tony Williams. Of course, distortion, feedback, and arena-rock amplification were crucial, as was the influence of Sri Chinmoy, McLaughlin's spiritual guide. "The Noonward Race," "Vital Transformation," and "The Dance of Maya" are music for the ages. -- Peter Monaghan
Inner Mounting Flame
Mahavishnu Orchestra
You Know, You Know
Year: 1971

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Reissued with sparkling audio and exclusive photographs, this first, 1971, Mahavishnu album certainly vies for the title of the greatest of all jazz-rock recordings. Through spiritually questing flights of intense fury and exquisite quiet, it never loses its sense of inexorable force. Jan Hammer (keyboards), Jerry Goodman (violin), and bassist Rick Laird are completely sympathetic with guitarist John McLaughlin's vision as the music abandons the standard jazz format of successive solos in favor of rapid, heightening, braided, interactive contributions--a structure much drawn from Indian classical music. Astoundingly, the music retains discipline. For that, thank Billy Cobham: Through all the expressive, irregular meters, he remains a steady, resolved engine of percussion, vastly resourceful but ultimately reserved. McLaughlin's alchemy distills many worlds of music­-the jazz-guitar masters, flamenco, blues, Indian forms, and his experience in the innovations of the seminal jazz-rock outfits of Miles Davis and Tony Williams. Of course, distortion, feedback, and arena-rock amplification were crucial, as was the influence of Sri Chinmoy, McLaughlin's spiritual guide. "The Noonward Race," "Vital Transformation," and "The Dance of Maya" are music for the ages. -- Peter Monaghan
Inner Mounting Flame
Mahavishnu Orchestra
Meeting Of The Spirits
Year: 1971

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Greatest Hits Vol. II
Gloria Estefan
Turn the Beat Around

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John Legend is a Singer/Songwriter. Musician. Producer. Philanthropist. Entrepreneur. To quote music industry pioneer Quincy Jones, the nine-time Grammy winner is simply "a genius." One of the industry's most innovative artists, John returns after five years with his much-anticipated fourth solo album, Love in the Future. Taking R&B/soul to the next level, Legend creates an immersive experience about romance, love, hope, commitment and optimism. Enhancing the experience: a rich, melodic soundscape--accented by compelling interludes--that fully integrates the musician's gospel and pop influences, classical training and unerring hip-hop/soul sensibilities. "Love in the Future is a celebration and meditation on love," says Legend. Back as sounding boards and executive producers for this album are longtime Legend collaborators Kanye West and Dave Tozer. From start to finish, Love in the Future pulsates with a stripped-down urgency that perfectly showcases Legend s skills as a musician, lyricist and vocalist. The supple tenor sets the mood with an engaging cover of Bobby Caldwell's "Open Your Eyes," then sings about seizing the moment on the Q-Tip collaboration "Tomorrow." Legend conjures '70s Stevie Wonder with the synth-infused "Hold on Longer." Then the impending groom discourses on the subject of love with the penetrating "You and I" and "All of Me." Worthy enough to stand on its own as a full track is Legend's mesmerizing interstitial take on Anita Baker's "Angel" with newcomer Stacy Barthe. The Standard version of the album features 16 tracks and the Deluxe version of the album includes 4 BONUS tracks.
Love In the Future
John Legend
All of Me

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Redux '92: Live In Japan
Todd Rundgren's Utopia
Hammer In My Heart

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The Tallest Man on Earth released one of 2008's most powerful records, one that Pitchfork praised, calling Kristian Matsson "a natural-born folksinger, earnest, clever, and comforting." Shallow Grave could not have been more simple, just Matsson's commanding vocals with an acoustic guitar or banjo, recorded at his home in Dalarna, Sweden. Although the album was released on the Swedish label Gravitation without the help of widespread distribution, the story of The Tallest Man on Earth spread far and wide through word of mouth.
Shallow Grave
The Tallest Man On Earth
The Blizzard's Never Seen the Desert Sands

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Lonelyland
Bob Schneider
2002
Year: 2001

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Lonelyland
Bob Schneider
2002
Year: 2001

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2013 two CD release from the British guitarist, songwriter, producer and former Dire Straits leader. Privateering is Knopfler's first double album, each song an original. They cover a wide range of locations and characters from both sides of the Atlantic and move through a number of genres which include several new Blues originals. The album is a soulful and heartfelt collection masterfully performed by a group of world class players. In addition to what has become Knopfler's long-time band, hand-picked guest aces include Kim Wilson (harp) of the Fabulous Thunderbirds, Tim O'Brien (mandolin), singer Ruth Moody of The Wailin' Jennys, Paul Franklin (pedal steel) and Scotland's Phil Cunningham (accordion). Twenty new titles were recorded at the artist's British Grove Studios in London with the following players: Richard Bennett (guitar), Jim Cox (piano) Guy Fletcher (keyboards), John McCusker (fiddle), Mike McGoldrick (whistle and flute), Glenn Worf (bass) and Ian Thomas (drums). Knopfler was assisted by co-producers Guy Fletcher and Chuck Ainlay.
Privateering
Mark Knopfler
Haul Away
Year: 2013

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Seven years passed between the release of Bone Machine and Mule Variations. During that time Tom Waits eschewed cutting another "conventional" (the term used loosely here) song collection, occupying his time with acting projects, a soundtrack (Night on Earth), a stage project (The Black Rider), and sundry smaller diversions. What's surprising about Mule Variations is how little he's strayed from the old Bone yard through the years. As with his Grammy-winning 1992 outing, Waits intersperses the tough and the tender, mixing exercises in creative noisemaking with tunes that fall on just the right side of maudlin. As with Bone Machine's "The Ocean Doesn't Want Me," "What's He Building?" is an experiment in word jazz that owes a debt to its creator, Ken Nordine. Waits has again assembled a crew of attuned sidemen (including Primus and steadfast backers Ralph Carney, Larry Taylor, and Joe Gore). And, as always, Waits and his wife-cosongwriter-coproducer Kathleen Brennan exhibit an uncanny ear for the arcane. In the end, Mule Variations is the aural equivalent of a salvage shop that, while largely familiar, still has a few secluded chambers and trap doors. --Steven Stolder
Mule Variations
Tom Waits
Black Market Baby
Year: 1999

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2013 two CD release from the British guitarist, songwriter, producer and former Dire Straits leader. Privateering is Knopfler's first double album, each song an original. They cover a wide range of locations and characters from both sides of the Atlantic and move through a number of genres which include several new Blues originals. The album is a soulful and heartfelt collection masterfully performed by a group of world class players. In addition to what has become Knopfler's long-time band, hand-picked guest aces include Kim Wilson (harp) of the Fabulous Thunderbirds, Tim O'Brien (mandolin), singer Ruth Moody of The Wailin' Jennys, Paul Franklin (pedal steel) and Scotland's Phil Cunningham (accordion). Twenty new titles were recorded at the artist's British Grove Studios in London with the following players: Richard Bennett (guitar), Jim Cox (piano) Guy Fletcher (keyboards), John McCusker (fiddle), Mike McGoldrick (whistle and flute), Glenn Worf (bass) and Ian Thomas (drums). Knopfler was assisted by co-producers Guy Fletcher and Chuck Ainlay.
Privateering
Mark Knopfler
Bluebird
Year: 2013

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Bob Schneider is a fixture on the Austin scene, having kicked around for years in various bands before embarking on a solo career. Schneider's musical approach as a solo artist has proven as eclectic as the diverse musical styles of his former bands -- a little bit singer/songwriter, a whole lot of funk, country, rock, and folk. His music is redolent of singer/songwriters of the '70s from Neil Young to Paul Simon, with a slightly more modern musical sensibility reminiscent of Beck. Schneider has a knack for creating pleasant adult alternative music with edgy lyrics about alienation, drug addiction, and lost romance. The Californian was recorded in four days in Austin, with minimal overdubs, in an attempt to get a live feel.
The Californian
Bob Schneider
Mud House

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Shadows In The Night is Bob Dylan's newest studio album, and marks the first new music from the artist since 2012's worldwide hit Tempest. Featuring ten tracks, the Jack Frost-produced album is the 36th studio set from Bob Dylan and marks the first new music from the artist since 2012's worldwide hit Tempest. Regarding the repertoire on this album, Bob Dylan commented, "It was a real privilege to make this album. I've wanted to do something like this for a long time but was never brave enough to approach 30-piece complicated arrangements and refine them down for a 5-piece band. That's the key to all these performances. We knew these songs extremely well. It was all done live. Maybe one or two takes. No overdubbing. No vocal booths. No headphones. No separate tracking, and, for the most part, mixed as it was recorded. I don't see myself as covering these songs in any way. They've been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day."Bob Dylan's five previous studio albums have been universally hailed as among the best of his storied career, achieving new levels of commercial success and critical acclaim for the artist. The Platinum-selling Time Out Of Mind from 1997 earned multiple Grammy Awards, including Album Of The Year, while "Love and Theft" continued Dylan's Platinum streak and earned several Grammy nominations and a statue for Best Contemporary Folk album. Modern Times, released in 2006, became one of the artist's most popular albums, selling more than 2.5 million copies worldwide and earning Dylan two more Grammys. Together Through Life became the artist's first album to debut at #1 in both the U.S. and the UK, as well as in five other countries, on its way to surpassing sales of one million copies. Tempest received unanimous worldwide critical acclaim upon release and reached the Top 5 in 14 countries, while the artist s globe-spanning concert tours of the past few years have heavily emphasized that album s singular repertoire. Bob Dylan has sold more than 125 million records around the world.
Shadows in the Night
Bob Dylan
Autumn Leaves

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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
The Waiting
Year: 1981

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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
Don't Do Me Like That
Year: 1979

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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
I Won't Back Down
Year: 1989

Amazon MP3

He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
Even The Losers
Year: 1979

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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
I Won't Back Down
Year: 1989

Amazon MP3

Lovely Creatures
Bob Schneider
The Bringdown
Year: 2009

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Lovely Creatures
Bob Schneider
Til Someone Catches A Feelin'
Year: 2009

Amazon MP3

Lovely Creatures
Bob Schneider
Your Head Holds Gold. Your Heart Holds Diamonds
Year: 2009

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