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Despite titles that would inspire music of passion, Agricola was a very 'serious' musician, his music rarely happy. Much of it is slow moving, and though the texts dictate that they must fall under the 'Secular' heading, the general mood of the music is of a religious genre. Most of the songs are written for three voices, and most are brief in duration. His ability to work in this medium is undoubted, the skill with which he weaves the voices makes for a fascinating experience.

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"This album re-invents the word "Psychedelic" in so many ways. The OZRICS here are in fine form and deliver some their best work yet. "Jurassic Shift" is loaded with tons of swirling acid laced guitar , mixed with hyptnotic/pulsating electronica and wicked drumming. This all instrumental album is supported by the "freaked Out" flute playing of Joie which adds great depth to the music in actuality. Songs are very well written and recording quality here is fabulous giving the listener solid speaker seperation and dynamics. "Jurassic Shift" will definitely hook you on the OZRICS and you will be back looking for more." progarchives.com

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Georg Friedrich Haas' style recalls that of György Ligeti in its use of micropolyphony, microintervals and exploitation of the overtone series. Haas' "In Vain, for 24 instruments" is an outrageously successful example of layer upon layer of serialistic leitmotifs that cannot be singled out, as if they were phobic to 'empty spaces'. Haas' leitmotifs are to be grasped massively as they are intended to overpopulate the space they occupy not with hints (à la Nørgaard) but with their very bodily presence, explicit and assertive.

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It's a sign of Joe Bonamassa's increasing profile that he got blues legend B.B. King to guest on his eighth album Black Rock — and if what youre doing is good enough to rope B.B. in, there's not much reason to change, so Bonamassa doesn't tinker with his formula here, retaining a little of the folky undertow of The Ballad of John Henry, but with its remaining roots in a thick, heavy blues-rock more redolent of '60s London than the '50s Delta.

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Primarily known as sidemen, pianist Pinetop Perkins and guitarist Hubert Sumlin, if not as widely recognized as the artists they've supported, do have something of a legendary status in the blues world. Thus, this CD where the two of them take the lead (providing vocals as well) is aptly titled. The material consists mainly of longtime standards such as "Got My Mojo Working," "Rock Me Baby," "Hoochie Coochie Man," and "The Sky Is Crying," all performed with the considerable skill attained through years of experience. If Perkins and Sumlin's approach to these tunes isn't exactly innovative, it is rock solid and energetic, with plenty of excellent lead work from them both. Also notable is Annie Raines's harmonica, which provides solid counterpoint to the two leads, and occasionally takes the lead on its own

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He admittedly wasn't the originator of the seminal piano piece "Pinetop's Boogie Woogie," but it's a safe bet that more people associate it nowadays with Pinetop Perkins than with the man who devised it in the first place, Clarence "Pinetop" Smith. Although it seems as though he's been around Chicago forever, the Mississippi native actually got a relatively late start on his path to Windy City immortality. It was only when Muddy Waters took him on to replace Otis Spann in 1969 that Perkins's rolling mastery of the ivories began to assume outsized proportions.

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Hard to believe, but Bear Family's 2008 "Sea of Love" is the first CD compilation of Phil Phillips recordings — a disservice to a singer responsible for one of the great slow dance singles of the rock & roll era, "Sea of Love." As rock & roll as that may be — Robert Plant revived it for his post-Zeppelin oldies fantasia the Honeydrippers and had a hit with it too — the silken sighs in its sound hint that Phillips was an uptown crooner, a suspicion borne out by this lengthy compilation.

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His career riddled by drug abuse and paranoia, Peter Green is still regarded by some fans as the greatest white blues guitarist ever, Eric Clapton notwithstanding. As he grew up in London's working-class East End, Green's early musical influences were Hank B. Marvin of the Shadows, Muddy Waters, B.B. King, Freddie King, and traditional Jewish music. Born Peter Greenbaum but calling himself Peter Green by age 15, he played bass before being invited in 1966 by keyboardist Peter Bardens to play lead in the Peter B's, whose drummer was a lanky chap named Mick Fleetwood. The 19-year-old Green was with Bardens just three months before joining John Mayall's Bluesbreakers, whose rapidly shifting personnel included bassist John McVie and drummer Aynsley Dunbar. A keen fan of Clapton, Green badgered Mayall to give him a chance when the Bluesbreakers guitarist split for an indefinite vacation in Greece. Green sounded great and, as Mayall recalls, was not amused when Clapton returned after a handful of gigs, and Green was out.

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The Los Angeles-based post-grunge seven-piece Flogging Molly are an interesting mix of traditional Irish music and spunky punk rock. Former Fastway acoustic guitarist/frontman and Dublin native Dave King formed the band with fiddle player Bridget Regan, guitarist Dennis Casey, accordion player (and former pro skateboarder) Matt Hensley, bassist Nathen Maxwell, drummer George Schwindt, and mandolinist Bob Schmidt. Within a Mile of Home appeared in September 2004, and the band continued to hit the road hard in support. The DVD documentary Whiskey on a Sunday was issued in July 2006; it was a candid look at Flogging Molly as both a band and seven individuals, and came with a ten-song CD of acoustic and live tracks. In early 2007, as the group geared up for a U.S. headlining run, Hensley amicably departed to spend more time with his family. In March 2007, Flogging Molly released the iTunes exclusive EP Complete Control Sessions. Their fourth studio album, Float, followed a year later. ~ MacKenzie Wilson, All Music Guide – Amazon.com

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A 16-song Collection of all your Kult favorites; THE BE(a)ST OF TKK Kovers their Kareer from the earliest days to the end of the century! Features Sex On Wheelz and 'Cuz It's Hot. 16 trackks of foulmouthed depravity and cheap thrills! – Amazon.com

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This recording, where he shares top billing with veteran trumpeter Randy Brecker, comes as something of a surprise. Copland's approach to harmony is as distinctive and abstract as ever, but in the company of Brecker, bassist Ed Howard and drummer Victor Lewis—two frequent collaborators with great chemistry—he delivers his most swinging set in years.

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TopCat Records is proud to announce the release of Texas blues veteran Johnny Mack's debut CD "Gave Myself The Blues". After an illustrious career primarily on the regional blues circuit, this Texas crooner throws his hat into the international blues ring with the effortless virtuosity of a seasoned artist. "Gave Myself The Blues" is sure to receive great reviews and will certainly be one of the top CD releases of 2003. – cdbaby.com

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Lee Perry has been developing the sound of reggae since the 1960s, and though others have achieved similar results, no one has created music with the same zest and eccentricity. Artists like Max Romeo, Junior Murvin, Dr. Alimintado and Bob Marley have made some of their finest work thriving under Perry's production in the famed Black Ark studios.