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Ozric Tentacles (commonly known as the Ozrics) are an instrumental rock band from Somerset, England, whose music can loosely be described as psychedelic or space rock. Formed in 1984, the band has released 28 albums as of 2009, and become a cottage industry selling over a million albums worldwide[citation needed] despite never having major label backing. Pungent Effulgent is the first album by psychedelic rockers Ozric Tentacles. Released in 1989 to wide acclaim, it followed the many cassettes of the early 1980s.

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Funny thing about music, you can play the oldest of formulas, pay tribute to great writers and players and still sound vibrant and new.Take Delaware Crossing, the latest CD from the band Wolfe. The group is fronted by Todd Wolfe on vocals and guitars. If the name is familiar to you, it’s undoubtedly from his association with Sheryl Crow in her early years. He’s become an incredible blues guitarist and songwriter since those days and his band’s latest CD will be a welcome surprise for those of you who think that no one puts out a good old rocking blues record anymore.

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The original artwork for this album featured a joint stubbed out in a fried egg. We do not know what VC would have made of the laser-emitting flying penises devised by Akarma. Certainly the band seems to have lost focus, after the experiments of Made in England and there's a hint of weariness in Vincent's ironic sleeve notes. "This track is best heard in the family crypt at midnight while a full moon chases shadows through the tombstones - or a service station on the motorway which comes to much the same thing..." The space-funk instrumental work is still strong and Johnny Mandala (aka Goodsall) plays high-velocity licks, as Farlowe struts through a blues about the problems of distributing cannabis, as well as a loose Ray Charles pastiche. There's a moody cover of the Johnny Jenkins/Jackie Avery swamp rock classic Voodoo in You but the album as a whole doesn't have the distinctive presence of the earlier work. The band were approaching the end of their deal with Dawn - perhaps there's a feeling of duty, rather than pleasure in this session, which even the radiant cocks can't disguise.

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"The BOOSTER series supposed to be a musical side reflection - a hidden TD landmark not aimed for a TD mainstream success. But sometimes things were turned upside down. The whole cupdisc idea which now became a short note musical diary format plus some extras released on the two previous Booster volumes provoked such an enthusiastic reaction that you will have the chance now to experience the III. part of this series. It will follow the same philosophy like you know it from Booster I+II. Some tracks you will be familiar with, others are completely fresh from the recording desk here in Vienna. It truly will become one of your most enjoyable travel companion in your car, on your I-pod, mobile or whatever you prefer storing a piece of timeless music on."

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This all star jam session features Vince Converse, Nathaniel Peterson, Jon Paris and Clas Yngstrom, all playing the music of BB King, Freddie King, and Albert King! Four sensational blues guitarists jam to the music of the three kings - B.B. King, Albert King, and Freddie King - in this invigorating concert, recorded live in New York City. Included here are the songs "Hoochie Coochie Man", "Born Under A Bad Sign" and many others.

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Geordie is a regional nickname for a person from the Tyneside region of England, or the name of the English dialect spoken by its inhabitants. Depending on who is using the term, the catchment area for the term Geordie can be as big as the whole north east of England, or as small as the city of Newcastle upon Tyne.
Also, Geordie were a rock band from Newcastle upon Tyne, most notably active in the 1970s. Included are: Hope You Like It (1973), Don't Be Fooled By The Name (1974), Save The World (1976), No Good Woman (1978), No Sweat (1983) and A Band From Geordieland (1996).

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It's not easy to conceive and successfully impose a concert-performance dynamic on the formal, square structures of Tallis' Psalm-tune settings, bringing an air of excitement to these essentially functional church pieces. In most circumstances these works merely sound, well, like formal and square hymns, albeit very well crafted with strong, sturdy melodies and occasionally interesting harmony. But if you've been paying attention to the choral music scene lately, you know to expect that Stile Antico--a conductorless British ensemble of 13 (or so) young singers--is more than capable of giving exciting new life to old music, and that's exactly what we get here. There's energy and vitality in the singing that gives unusual substance and power to these very short (most around one minute or less), text-centered settings. Of course, it was a very good programming idea to intersperse the brief Psalm-tunes with some of William Byrd's most substantial motets. Ne irascaris Domine, Infelix ego, Laetentur coeli, and Tribulationes civitatum stand among Byrd's greatest works--indeed, among the most valued treasures of choral music. As such, they are oft-performed and recorded--and not surprisingly Stile Antico's renditions join with the very best in the catalog. Although I'm not so much a fan of this ensemble's very slow tempo for Ne irascaris, these singers certainly have the control to generate and sustain the necessary momentum--and the beautifully-wrought ending (a trademark of this group!) negates all earlier reservations regarding tempo. Laetentur coeli (no holding back here!) is a highlight worthy of special mention--an example of both Stile Antico's remarkable ensemble balance and sensitive linear interplay and the exceptionally complementary sound that captures these details so clearly and vibrantly. Not to be missed! -- David Vernier, ClassicsToday.com "Stile Antico's disc displays an ingeniously programmed alternation of exquisitely simple psalm settings by Tallis alongside some of the most brilliantly and richly polyphonic works by Byrd. The most striking feature of these performances is how wonderfully varied they are. In some pieces –- Byrd’s Vigilate for example, with its imitation of a cock crowing in the middle of the night -– the presentational style almost enters the realm of musical theatre, while in Tallis’ God Grant with Grace the utterly still and simple display of the music is transporting. In their overall sense of form and local nuance this group has something that so many other ensembles noticeably lack.” -- Anthony Pryer, BBC MUSIC Magazine (March 2008)

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For over 30 years, Lee Ritenour has been one of the most famous jazz guitarists in the world. This Californian possesses a spectacular sense of timing and sound. His nickname, Captain Fingers, is appropriately chosen. Both as a band leader and as a session musician, he has played on hundreds of albums. Perhaps a well-kept secret was his guest appearance on the legendary album The Wall released by symphonic rock band Pink Floyd. In recent years, Ritenour has been able to mix his fusion-like style with elements from the blues, pop and world music.

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