Santana is the third studio album by Santana. The band's second self-titled album, it is often referred to as III to distinguish it from the band's 1969 debut album. The album was also known as Man with an Outstretched Hand. It was the third and last album by the Woodstock-era lineup, and it was also considered by many to be the band's peak commercially and musically, as subsequent releases aimed towards more experimental jazz and Latin music.

The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department – which claimed the name as proprietary property. Musically, James Pankow (trombone) was about to further cross-pollinate the band's sound with the multifaceted six-song "Ballet for a Girl in Buchannon." The classically inspired suite also garnered the band two of its most beloved hits – the upbeat pop opener "Make Me Smile" as well as the achingly poignant "Color My World" – both of which remained at the center of the group's live sets.

Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin, and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer, bassist Ron Carter, and Ray Barretto on congas. The generally high-quality compositions (which include "Red Baron") make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising.

Recorded in Japan in July 1973, this massive, three-LP live album was available outside the United States in 1974 but held back from domestic release in the U.S. It features the same "New Santana Band" that recorded Welcome, and combines that group's jazz and spiritual influences with performances of earlier Latin rock favorites like "Oye Como Va."

From Japan, an already consecrated prog state of art, comes - close in modern, alternative and resonating times - the band NAIKAKU (full name is Naikaku-No-Wa, with the meaning of Internal Nuclear Tide). At first Satoshi Kobayashi (bass) and Kazumi Suzuki (flute) formed the band, in mid-1998, and initiated their music, but eventually the lineup grew towards an eclectic sextet, drummer Norimitsu Endo, guitarist and trumpeter Mitsuo Muraoka, flutist Naoko Higashi and guitarist Kei Fushimi joining…

“I felt that it was time for me to tackle on this theme of Standards. Each and every established Jazz artist must at one point of his career record a “Standards” Album. It is an homage to the tradition and a proof of his improvisational accomplishments. I accepted this challenge and took the titles of famous Jazz Standard compositions and translated them into my interpretation of what the Standards of today in Jazz should be. For me “Normas” is the documented sounds of a musician’s pilgrimage through our planet, interpreting it’s mysteries with sound.”

On his 1988 solo effort Talk to Your Daughter, singer/guitarist Robben Ford proves himself a master of sophisticated blues-rock guitar playing. The material is quite strong, and all the musicians perform at the highest level, but it's Ford's stellar soloing that makes this release. Fans of flailing '80s rock virtuosos would do well to check out Ford's exceptional work on Talk to Your Daughter. The musician's colorful yet controlled improvising and harmonic mastery is a rare and beautiful sonic treat. The title track is dripping with soulful, well-placed guitar lines that play like a master lesson of up-tempo blues phrasing that guitarists would do well to study. Other standouts include "Born Under a Bad Sign" and "Ain't Got Nothin' But the Blues." The fine arrangements and especially Vinnie Colaiuta's sharp drumming are all tightly wound with crisp, clear production that tops off "Talk to Your Daughter," making it a shining success. Listeners fond of Ford's work with the Yellowjackets and numerous side gigs, as well as guitarists and all musicians, should enjoy this very professional, succinctly executed offering. First rate!

‘We don’t feel comfortable calling Dear a return to our slow and heavy style,’ says Tokyo’s amplifier worshipping experimental metal institution Boris. ‘We’ve been heavy since day one.’ And it’s true. From the droning thunder of their Absolutego debut and through the cinematic crescendo of albums like Flood, the bombastic licks of the Heavy Rocks records, the punk rage of Vein, the bottom-dwelling psychedelia of Akuma no Uta and Pink, and the grimy thump of Attention Please and New Album, Boris has always attempted to search out new ways to level listeners with their sound. On the 25th year of their existence, the trio delivers Dear, an album they describe as ‘heavenly far beyond heavy.’ Though Boris has traversed a broad swath of sonic territories, they have always been consistent in their embracing of excess, pushing their myriad of approaches and stylistic forays to points of intoxicating absurdity.

John Harle's epic CV includes soundtracks, classical works and drama, all of which feed into the saxophonist's ambitious song cycle about "dark London". Its tales of the Limehouse Ripper, Spring Heeled Jack and the Highgate Vampire are centred a few centuries back, with words from William Blake and John Dee, though most of the lyrics are by Marc Almond, along with Tom Pickard and Iain Sinclair. There are splashes of cabaret and jazz, but the echoing, crepuscular atmosphere is dominated by Almond's impressive neo-operatic singing (some distance from electro-pop!), with a thumping, galloping finale that uses an extract from Blake's "prophetic book" Jerusalem. Dark but dashing.

The best thing about this album is that it contains tons rarities…

Live From London 2006 is a 2008 DVD by The Fantomas Melvins Big Band, a combination band involving members of Fantomas and (The) Melvins. The performance was shot in England at the Kentish Town Forum.

Over the years many people have asked, "Will the real Robben Ford please stand up?" Those are the people who wonder if the singer/guitarist is really a blues-rock vocalist or a jazz fusion instrumentalist at heart. But truth be told, Ford is many different things. He is genuinely eclectic, which is why one never really knows from one album to the next what direction he will take. Blue Moon, Ford's first album for Concord Jazz, is primarily a vocal date. Ford gets in his share of inspired guitar solos, and he provides one instrumental: the gutsy "Indianola." But most of the time he sings. And as a vocalist, he favors an exciting blend of blues, rock, and soul on tracks like "Something for the Pain," "Don't Deny Your Love," and "The Way You Treated Me (You're Gonna Be Sorry)." Meanwhile, "It Don't Make Sense (You Can't Make Peace)" and the moody "Make Me Your Only One" are among the CD's more jazz-tinged vocal offerings. Ford does not embrace a standard 12-bar blues format on all of the material, but then, he never claimed to be a blues purist.

Power Of Salad & Milkshakes is a 2003 documentary by Providence, Rhode Island noise rock duo Lightning Bolt. This covers a tour they went through in the early 21st century, showing what the two Brians do to maintain their sanity and musical power together. This was directed by Peter Glantz and Nick Noe.

One of many jazz-rock groups on Turin label Mu with a single LP release in their career.
Drummer Diaferia came from Esagono, while sax player Gianotti was in the last line-up of Procession.
The album, with six instrumental tracks, is very rare and has been reissued on CD for the first time by Electromantic in 2005.

Goo is a 1991 major label debut album by New York alterna- rockers Sonic Youth. They made music videos for each song on the album and compiled it for release, some of them ("Dirty Boots", "Kool Thing") done with finances from their record label (DGC/Geffen), others done independently, with one or two done by themselves. While these videos have been formally released as part of a compilation DVD, this is taken from the high quality laserdisc.