Alice Coltrane, also known by her adopted Sanskrit name Turiyasangitananda, was an American jazz musician and composer, and in her later years a swamini.

Japanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork.
Morrocan Roll is not a step toward the rock & roll side of the fusion equation, but rather an experiment with Eastern sounds and softer textures that trades in the thunderstorms of their debut for rhythmically rich siroccos. Expanded to a quintet with the addition of percussionist Morris Pert, Brand X balances their arrangements with more equanimity, resulting in a subdued sound that is mesmerizing rather than arresting. The songs are written by individual members (their debut credited the band), but this doesn't yield the results you might expect: while Percy Jones' "Orbits" is essentially a showcase for the fretless bass, Lumley's "Disco Suicide" shares more with Frank Zappa than the artist's typically dreamy tones, and it's Phil Collins' "Why Should I Lend You Mine" that sounds most like the work of Lumley. The better compositions come from John Goodsall, including the opening "Sun in the Night" (featuring sitar and a smattering of vocals from Collins), the parched-sounding "Hate Zone," and the album-ending "Macrocosm." Jones' "Malaga Virgen" is another highlight, led by the artist's popping bass, delivered with a unique mix of restraint and explosive energy. Morrocan Roll is notable for a heightened sense of humor, from lighthearted liner notes to its everything but the kitchen sink ending. If the music is more spiritually informed than their flashy debut, the contemplative listener will find this brand of subdued fusion jazz equally rewarding.

Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve (a reproduction of the UK cover). Features 'Foxey Lady', 'Fire' and 'Third Stone From The Sun'. Experience. 2006.

57ヵ国で1位を獲得した前作『ハードワイアード...トゥ・セルフディストラクト』から6年半ぶり、待望の12枚目となるスタジオ・アルバムが完成。先行シングル「ルクス・エテルナ」は、40年に及ぶメタリカの軌跡を3分半に凝縮した、短くも鮮烈な爆発的シングル。

Bob Dylan’s re-recordings and rearrangements of some of his old songs, first premiered on Alma Har’el’s 2021 film Shadow Kingdom: The Early Songs of Bob Dylan, will be released on audio formats for the first time in June.
The songs featured include ‘Forever Young’, ‘It’s All Over Now, Baby Blue’, ‘I’ll Be Your Baby Tonight’, ‘When I Paint My Masterpiece’ (first released by The Band in Sep 1971 on Cahoots before Dylan included his recording on 1971’s Greatest HIts Vol. II a couple of months later) and other great catalogue gems such as ‘Queen Jane Approximately’ and ‘The Wicked Messenger’.

Enhanced with Bonus Video "In The Studio With Jordan Rudess"

"Jordan Rudess Prime Cuts" features 2 Exclusive tracks; previously unreleased duets with Jordan and Kip Winger.

Featuring: Robert Berry, Marc Bonilla, Terry Bozzio, Jerry Goodman, Tony Levin, Rod Morgenstein, John Petrucci, Simon Phillips, Mike Portnoy, Kip Winger, Mark Wood

Bob Dylan这个名字让你想到什么？一张忧郁的脸孔、一副沧桑的嗓音、唱着反战歌曲，没错，就是他！Bob Dylan，原名Robert Allen Zimmerman，出生于1941年5月24日的美国明尼苏达州Duluth市。他深受美国现代民谣之父Woody Guthrie的影响，并且在其它方面如腔调、服装、姿态等等也都无不模仿Woody的神情。
Dylan被传奇制作人John Hammond发掘后，便开始连续录制了好几张非常具有政治意识的民谣抗议歌曲，这样的大胆作风旋即冲击了当时的乐坛，当然也立刻获得各方评论界的一致赞扬。甚至在当时整个乐坛已逐渐被类似Beatles的英国歌手占领之时，Bob Dylan却都还能在排行榜上占有一席之地，更加证明了他在当时确实激励了无数的青年开始拿起吉他唱出属于他们世代的民歌。
Dylan写出了大量的优秀作品，他的歌曲成为民权和反战运动的圣歌，像《随风飘逝》Blowin in the Wind 和《大雨将至》A Hard Rain's Gonna Fall这样的抗议歌曲，有像传统的《科里纳，科里纳》Corrina Corrina和以传统为基础的《来自北部乡村的女孩》Cirl from the North Country这样的爱情歌曲，还有像《我将会自由》（I Shall Be Free）这样的滑稽歌曲。迪伦成了民谣摇滚英雄。
Bob Dylan创立了全新的民间摇滚风格，提高了歌词的内涵和品味，改变了摇滚乐原来那种低俗的趣味，他通过深厚、丰富的、完全诗化的抒情化了的歌曲的主题，使听众随着音乐表现出来的原始冲击力感悟到了摇滚乐的那种容易被忽略掉的神韵。他那略显忧郁的、鼻音浓重的粗犷音质，很容易让听众识别。那强劲而粗放的、几乎不加修饰的吉它弹奏，则融入了布鲁斯音乐的精致风韵。
Bob Dylan的歌常常简单得让人吃惊，只有一把吉他加上个口琴。但也正因为这些方面的原因，人们在唱他的歌时觉得更加亲切随意。当你听厌了某些肤浅的歌词、无病呻吟的矫情……你可以回过头来，寻找一些真诚而有个性的、简单而附着灵魂的音乐来听，那么Bob Dylan的音乐应该是你的首选。
这是一张偏向乡村音乐的专辑，也是Dylan从六十年代末至七十年代处那段事业低估的开端。虽然这长专辑非议不断，但那只是对于Dylan而言的，人们对他的期望太高了。要是仅仅从一张专辑来说的话，这张绝不会比任何一位乡村歌曲大师的成名之作差。

40年代查理·帕克与迪吉·葛拉斯彼两人共同开创Bebop风潮之后就分手各自组团，直到1950年才又合作。这时两人早已是意气风发的乐坛巨匠，再度碰头仍旧活力四射。本辑《Bird And Diz 大鸟和迪兹》的五位乐手都是Bebop时期的重要人物，以实力坚强的组合，重新奏出经典之声。
Charlie Parker(as)
Dizzy Gillespie(t)
Thelonious Monk(p)
Curly Russell(b)
Buddy Rich(d)
Recorded june 1950 in New York City

Rich's second album, another live affair that swings hard from beginning to end. Newly remixed, it includes nine previously unissued tunes, doubling the amount of music. The band roars with the intensity of Rich's drums and young soloists Ernie Watts and Jay Corre.

十多年前，地球上并没有人可以预言到来自美国中部俄克拉荷马城的The Flaming Lips，有朝一日可以跻身「伟大乐队」之列，甚至到底他们跟主流厂牌Warner Bros的宾主关系能维持多久，也叫人怀疑。然而时间却证明，The Flaming Lips是可以化腐朽为神奇。不是当年我们把他们低估了，而是他们有一天忽然洗心革面起来。
一队本是只有在乐坛上浮浮沉沉的乐队，凭着1999年的一张The Soft Bulletin专辑，当时已出道十六年的The Flaming Lips便得以脱胎换骨而来，为他们取得重大的音乐成就与高度评价，从NME到Uncut都选之为全年最佳专辑。看到是The Flaming Lips音乐生涯上一个历史性的转折点，更被奠定为Cosmic American迷幻音乐的新典范，建立起其美丽的迷幻王国。
The Soft Bulletin在1999年面世，俨如改写了这队乐团的命运。毕竟在The Soft Bulletin之前，The Flaming Lips只是一队在乐坛上浮浮沉沉的队伍。
成立于1983年的The Flaming Lips，早年是一队深受Buffhole Surfers影响的Noise Rock乐团。由八十年代过度至九十年代，适逢九十年代初叶Alternative Rock狂流冲击着主流乐坛，The Flaming Lips亦跟众多美国另类摇滚乐队一样，与主流唱片公司（Warner Bros）签下一纸合约。当年他们的撒手，是在台上表演「放火」以作哗众取宠。
直至93年专辑Transmissions From The Satellite Heart，The Flaming Lips才初尝商业成功的滋味──单曲She Don’t Use Jelly成为流行一时的大热作，甚至出现在坏孩子卡通片Beavis & Butthead里。可惜She Don’t Use Jelly的成功，随后The Flaming Lips却无以为继，最叫人深刻的，就只有97年出版过那套要四张CD用四部CD机同步播放的Zaireeka专辑（结果只售出二万五千张）而已。那时，我们都可以明正言顺地把The Flaming Lips称之为一队One-Hit-Wonder。
万料不到，他们竟然可以力挽狂澜，洗心革面地弄出一张The Soft Bulletin。
在台上继续放火，还是处心积虑谱写好歌？The Flaming Lips选择了后者。到了The Soft Bulletin，便是他们的收成期。
The Soft Bulletin的惊艳之处，是我们都为The Flaming Lips能够谱出这样美丽动听的迷幻流行曲而深表赞叹；Wayne演绎出一首首犹如The Beach Boys / Brian Wilson般漂亮美好歌曲，同时又配以种种光怪陆离的奇趣电子声响，打造出充满新鲜感的聆听经验。
Wayne表示当时他们的态度跟以往已不同日而语，他们从音乐才华到经验再到制作资金都增长了，加上阵中的多功能乐手Steven Drozd开始充当起音乐总监，而令到The Flaming Lips有组织起来，实行由从前的「灾难性」摇滚乐队，而演进为要打造出美丽的歌曲为己任。大家亦自此开始对The Flaming Lips重新衡量。

Evan Parker made his first trip to North America as a performer in the fall of 1978 touring solo in the US and Canada. His landmark solo record Monoceros had been recorded in April. This is a recording of his first solo performance in New York City. While it may lack the sonic fidelity of Monoceros, its raw passion makes a statement to the New York audiences lucky to have been at Environ that October evening.releases June 2, 2023

Evan Parker - soprano saxophone (1,3,5,6) tenor saxophone (2, 4)
NYC photo by Thomas Struth

Recorded - April 24 and May 15, 1964
Studio - Van Gelder Studio, Englewood Cliffs, NJ
Art Blakey — drums
Lee Morgan — trumpet
Curtis Fuller — trombone
Wayne Shorter — tenor saxophone
Cedar Walton — piano
Reggie Workman — bass