The Magician's Birthday is the fifth album by British rock band Uriah Heep, released in 1972 by Bronze Records in the UK and Mercury Records in the US. The concept was "based loosely on a short story" written by Ken Hensley in June and July 1972. In a retrospective review, Sputnikmusic praised The Magician's Birthday, saying, "Though probably not as cohesive as it could be, it still offers plenty of highlights, earning its place among Heep's finest albums". Reviewer Daniel Dias singled out "Sunrise", noting that it was "a highlight in Heep's catalog and one of the band's finest progressive rock ballads". AllMusic noted the album's prog elements as well, and said, "The Magician's Birthday never quite hits the consistent heights of Look at Yourself or Demons and Wizards but remains a solid listen for Uriah Heep fans". The Magician's Birthday was certified Gold on 22 January 1973.

Jeff Liberman is a guitar player in the best tradition of ’70s guitar Gods like Hendrix, Trower, Clapton or Zappa. The perfect mix between virtuosity and feeling with a gift for brilliant songwriting. Between 1975 and 1978, Liberman self–released three albums on his own Librah label which were some of the first private pressings to gain recognition amongst psych collectors in the ’80s. Jeff Liberman was born in South Side of Chicago in 1954. Coming from a place where Blues and Jazz music has a strong scene, he got inspired by a few local musicians, including Charley Wolfer. “He was great and taught me such songs as ‘Suzy Q’ by Creedence and ‘In-A-Gadda-Da-Vida’ by Iron Butterfly. Just a great player. Other influences are Phil Upchurch, Leo Pucinakis and Ron Seroggin.”

Fully established as a dramatic, innovative singer with astonishing appeal and energy thanks to her string of excellent '80s releases, Faithfull concluded her renaissance decade with Blazing Away, an excellent live album recorded in New York's St. Anne's Cathedral…

Short-lived band from Newcastle, which became from an oddity to a legend over the years.Kestrel (named after a type of bird) were born in 1975, featuring Dave Black on guitars/vocals, Tom Knowles on lead vocals, Fenwick Moir on bass and Dave Whitaker (formerly of Ginhouse) in the original formation, later to add John Cook on guitars and keyboars…

Released in late 1986, "Think Visual" is the first album the Kinks did for MCA Records. Arista Records seemingly sensed that the Kinks period of commercial renaissance was over following the dropoff in sales of 1984's "Word Of Mouth". Indeed, the sales dropoff continued with "Think Visual", but don't let that fool you. "Think Visual" is an engaging, spirited rock record that no Kinks fan should be without.

Returning with their first new album in six years, Modest Mouse present their anxiously awaited seventh full-length, The Golden Casket, via Epic Records.

“For the Grateful Dead's second live album, released two years after its predecessor LIVE/DEAD, the band delivered an equally magnificent, but entirely different, Grateful Dead sound. Whereas LIVE/DEAD was a perfect sonic encapsulation of the band at the peak of their Primal Dead era, SKULL & ROSES captures the quintessential quintet, the original five piece band, playing some of their hardest hitting rock 'n' roll (‘Johnny B. Goode,’ ‘Not Fade Away’), showing off their authentic Bakersfield bona fides (‘Me & My Uncle,’ ‘Mama Tried,’ ‘Me & Bobby McGee’), and some originals that would be important parts of the Dead's live repertoire for the next 24 years (‘Bertha,’ ‘Playing In The Band,’ ‘Wharf Rat’).

John’s brand new album was released on the 1st of March. John Illsley, a founder member of Dire Straits, has been making solo albums for several years now and then taking to the road to play the new songs along with the old Dire Straits hits. 2019 sees John with a brand new album, 'Coming Up for Air' and an unusual tour to go with it. Recorded at the beautiful British Grove studios, the new album features Robbie McIntosh and Scott Mckeon on guitars and a host of other exceptional musicians.

Morrison's best album of the '90s still casually hangs out in the spiritual world that served as his home for most of his '80s material, but the mystical touches are at least kept in check for a good deal of the time. Better still is that Morrison sings with a passion that had crawled into laziness during big, and crucial, chunks of his career (most prominently the early to mid-'80s). The songs, or more accurately (as the title makes very clear) hymns, combine the elements that have guided Morrison's best albums – R&B, folk, pop, Celtic, rock, even gospel – for a satisfying journey through the mystic and the real…