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Kimi Kärki is a Finnish cultural historian, guitar player and singer-songwriter. Known for his versatile guitar playing and sombre compositions for Reverend Bizarre, Lord Vicar, Orne, E-Musikgruppe Lux Ohr, and, most recently, Uhrijuhla, Kärki has developed his recognisable playing style within doom metal, progressive, folk, and electric ambient scenes. This variety of mostly underground styles reflects the open and intuitive approach to music, which is in the very heart of Kärki's craft. Eye for an Eye is Kärki's second singer-songwriter album. It is a follow-up to The Bone of My Bones, a 2013 effort that was also released by Svart Records. When the first one was built on 12-string guitar foundation, this time things are even more intimate, personal and heartfelt, the songs are played with warm nylon string tones that come closer to the listener. But that heart is supported by a rich decoration of other sounds and harmonies. The stories told on this record are romantic, in the old meaning of the world. They have their origins in both lived life and what could be called the Dreaming, but also resonate the culture that surrounds the dreamer. Both the pain and the joy are real. Give these songs some time, and they might heal you a bit, just like they healed the songwriter himself. Please listen loud, and preferably when you can forget everything else for a while. Even the silences speak volumes here. To maximise the listening pleasure, Kärki again decided to invite some friends to contribute additional guest vocals. Patrick Walker is best known as the emotional vocalist and songwriter of both Warning and 40 Watt Sun, and John Richardson - who just released his superb debut album on Svart Records - is an old school musician and the Professor of Musicology at University of Turku. He was already heard on the first album, just like the two stunning female vocalists, Anna-Elena Pääkkölä and Pirita Känkänen, whose clear harmonies juxtapose Kärki's sombre delivery. The album was again engineered by Joona Lukala. The collaboration with this sharp-eared audio wizard helped Kärki to realise the ambitious aural stories as intended - enjoy Eye for an Eye. Record Label: Svart Records Style: Folk

guitarist Jorma Kaukonen And bass player Jack Casady The band founded in 1969, when their main band, Jefferson Airplane , Due to illness due to a break. The tracks - including some Jefferson Airplane tracks as well as Bl ues- Tracks - were recorded over a few days in September 1969 l Ive, and then as Debut album of the band 1970 released. Incl. 'Keep On Truckin', 'Keep Your L Amps Trimmed And Burning, Uncle Sam Blues, & c. Record Label: Floating World Records Style: Rock

Having reformed in June 2016, Esprit D’Air are an electronic Japanese rock and space metal band based in London. The band is now comprised of Kai (vocals and guitar), Ellis (bass) and Daishi (drums). Their sound is unique and fresh, bringing together hard-hitting aggression with melodic interludes and blistering guitar solos. The band have received critical acclaim from their charismatic live shows in various countries, and their song 'Shizuku' was the first song in the J-rock genre to appear on the video game Rock Band 3. Set to burst back on to the music scene this year, Esprit D’Air made a successful appearance at the main stage of UK’s largest celebration of Japanese culture, Hyper Japan at Olympia in July 2016. 2017 also saw the trio packing out their headline show at the O2 Academy2 Islington, London. The band are not seeking a major record label, but instead have a strong DIY ethos, and aim to be as self-sufficient as possible, producing everything themselves. Consequently they record, mix and master their own releases in their own home recording studio and create the artwork themselves Record Label: Starstorm / Jpu Style: Rock / Metal

Rockpalast was a WDR (Cologne) show produced between 1974 and 1986, and revived again in 1995. The show was produced by Peter Rüchel and directed by Christian Wagner. Peter Rüchel left in 2003, and was replaced by Peter Sommer, who also produced the 2004 Krautrockpalast gigs in Bonn. These two German music shows were definitely more ‘Old Grey Whistle Test’ than ‘Top of the Pops’. Rockpalast 1 At the time of this first appearance in 1977, the band stand between two albums. This was after Outside the Law (MIG 00292 CD), and after the post-USA split. Cliff had returned from his road trip to Kathmandu, and it was time get back to work. It was the original line-up again, but there was a big bust up, and Jim McGillivray left. Then came the phone call from Rockpalast, and Fritz Randow was pulled in to do drums. With just two weeks for Fritz to become the new EPITAPH drummer, the band hired a studio and practised daily. While Jim had a massive drum kit, Fritz had a very small, Phil Collins-style kit, because he was a great Phil Collins fan, with an 18-inch bass drum the size of Jim’s stand tom. With such a small kit, Fritz lacked Jim’s wall-to-wall sound, but he played well and also fitted in well in the fluorescent green painted former school in Graue that was home to EPITAPH at this time. The Rockpalast gig was also a life-saver, because they were paid DM 2,500, quite a lot of money in those days. Cliff remembers that “it was recorded in the studio with a small audience of about 30 people. Because of the cameras, the audience was about 30 to 40 metres away and it was very hard to play like that.” This appearance was part of a series that included bands like Ted Nugent, Nils Lofgren, and Tom Petty. EPITAPH was the only German band included, fitted in between all the American bands. Rockpalast 2 In 1979 EPITAPH was on the Brain Tour, organised by the record company Metronom. The tour included Uli Roth (who had split from the Scorpions to form his own band the year before), Accept, EPITAPH and a couple of other bands, all on the Brain label. One night when they were playing in Essen, the band came off stage to find Peter Rüchel from Rockpalast waiting in the wings. He was actually there to book Uli Roth, who was going on next, but EPITAPH had played so well that night that Peter turned to Cliff and said “Want to do Rockpalast again?” Just prior to the Rockpalast recording, EPITAPH had been on tour for six days, and Cliff had been singing all the lead vocals. The night they arrived, Cliff had lost his voice completely. He went to the hospital, where the casualty department was full of accidents and failed suicides, so Cliff was quite embarrassed to admit he was in casualty due to voice loss. But the night before a Rockpalast gig, this was an emergency. “They gave me something to drink, and my voice nearly held out. I made it through to almost the end of the concert before it started going again,” remembers Cliff. The line up for this second gig was Harvey Janssen on bass, Fritz Randow on drums, Heinz Glass on guitar, Michael Karch on Hammond organ, and Cliff doing vocals and lead guitar. Return to Reality had just come out, and the band was working on the new album which was going to be See You in Alaska, and some of the tracks from this Rockpalast gig hadn’t been recorded by then. When I Lose Your Love has got vocals on it here, but the album just has the instrumental version – and still nobody can remember why. Enjoy time travelling through the history of EPITAPH, with what is considered by many to be the best English language rock ever made in Germany. And they’re still at it today. Alistair A. Tarwid Record Label: MIG Style: Rock

2017 re-issue! Swingin' The Bottles' combines the Dogs D'amour's BBC sessions with recordings from a live show at the Dominion Theatre in London, 1990. Record Label: Idjs Style: Rock

2 CD set packaged in digi-pack format. CHARLIE DANIELS is best known for his contributions to country and southern rock music, he has been active as a musician since the early 50’s, and has played and recorded with BOB DYLAN, and LEONARD COHEN, amongst others. This set features three original albums- HIGH LONESOME (released in 1976), FIRE ON THE MOUNTAIN (released in 1974), and NIGHT RIDER his third studio album (released in 1975). DANIELS sings and plays guitar, banjo, fiddle, and mandolin, as well as composing most of the bands material. Tracks: Disc 1: Caballo Diablo, Long Haired Country Boy, Trudy, Georgia, Feeling Free, The South’s Gonna Do It Again, New York City King Sized Rosewood Red, No Place To Go, Orange Blossom Special, Texas, Willie Jones, Franklin Limestone, Evil, Everything Is Kinda Alright. Disc 2: Funky Junky, Birmingham Blues, Damn Good Cowboy, Tomorrows Gonna Be Another Day, Billy the Kid, Carolina (I Remember You), High Lonesome, Running With the Crowd, Right Now Tennesse Blues, Roll Mississppi, Slow Song, Tennessee, Turned My Head Around. Record Label: Floating World Records Style: Rock

Raven presents for the first time on one CD, the legendary concert by MICHAEL BLOOMFIELD and NICK GRAVENITES recorded at Bill Graham's Fillmore West in 1969. With bonus track, superb quality audio, color booklet and informative liner notes. The late, great Bloomfield is recognised as one of the finest and most influential blues guitarists that America has ever produced. Best known for his astonishing technique and the piercing tone of his solos, he was a member of the ground-breaking Paul Butterfield Blues Band, played on Dylan's 'Like a Rolling Stone' and backed him at the 1965 Newport Folk Festival when Dylan first went 'electric'. He helped pioneer horn-rock with the Electric Flag and the Super Session concept with Al Kooper as well as recording Triumvirate with John Hammond Jr and Dr. John. Bloomfield and Gravenites - lead singer of the Flag and a respected bluesman in his own right - cut an incendiary performance at the Fillmore West which yielded this phenomenal album. The concert was split across the original Live at Fillmore West vinyl and Gravenites' My Labors album, and the tracks have now been recombined on one stellar CD. Bloomfield positively burns on 'It Takes Time', 'Killing My Love', 'Gypsy Good Time', while his monumental solo on 'Blues on a Westside' is one of the greatest moments in blues rock history. Carlos Santana said Bloomfield "literally changed my life". Dylan said "he played circles around anything I could play". Gravenites called him "a huge giant of a person". Record Label: Floating World Records Style: Rock

Представляем юбилейное расширенное переиздание альбома "Simple Dreams" легендарной американской певицы, одной из зачинательниц кантри-рока, обладательницы одиннадцати премий «Грэмми» Линды Ронстадт. "Simple Dreams" — восьмой студийный альбом Ронстадт, вышедший в 1977 году. Он достиг миллионного тиража и платинового статуса RIAA и стал 2-м в карьере певицы альбомом, достигшим позиции № 1 в американском хит-параде (5 недель на первом месте). Альбом получил несколько номинаций на премию Грэмми, включая Премия «Грэмми» за лучшее женское вокальное поп-исполнение (где песня «Blue Bayou» конкурировала с такими звёздами как Дебби Бун, Долли Партон и Карли Саймон и уступила Барбре Стрейзанд) и Премия «Грэмми» за лучшую запись года (где конкурировала с Дебби Бун, Барброй Стрейзанд и Кристал Гейл, но уступила песне Hotel California группы The Eagles). Но альбом выиграл в категории Best Recording Package. Новое расширенное издание включает полностью ремастированное аудио альбома, а так же три концертных бонусных трека, взятых с выступления 1980 года. Artist: Linda Ronstadt Label: Elektra Catalog Group

Undoubtedly, a good dose of mental strength is essential in order not to let go of its way despite all the uncertainties that the music business per se brings with it. Transport League from Sweden are the parade example for determination and inflexibility. As a critics' lover always praised the green clover, as a down-to-earth band right at the pulse of time and in the ears of their fans, their rhythmically powerful and stylistically versatile heavy metal has left impressive fingerprints in the international Hard'n`Heavy scene. Other artistic landmarks will anchor Transport League as of 28 July 2017. Then, the band releases their new album TWIST AND SHOUT AT THE DEVIL via Rodeostar / Soulfood and will then catapult their songs on the stage with their usual relentless force. At the very latest, everyone would understand why the media would classify the style of this band preferably with the album title of their 2014 publication: BOOGIE FROM HELL! Record Label: Rodeostar Entertainment Gmbh Style: Rock

Mark Fosson has been playing music for nearly 50 years now. Solo Guitar is the fifth album released under his name in all that time, which gives an insight into the nature of his music; when it is time for Mark to commit to something underneath his fingers, regardless of whether that is after two years, ten or twenty, that’s what’s right. Solo Guitar sees Mark continuing to use his chops and enthusiasm to wander musically, drawing up pieces of sparkling, nimble fingerstyle with an eclectic vision. As the title implies, this time Mark is focused on the austerity of the guitar, plain and simple, to bring out the music. Whether on six- or twelve-string, his sure touch is transported by crystal-clear recordings that belie their down-home origins, as they catch the contours of every string as it is pressed, bent and struck - a full-bodied sound projecting soulful dips down into bass strings and shimmering upper register runs with equal power. The air around these performances is coloured with curving waves of steel-stringed beauty and the pungency of free- wheeling wit and recollection. The songs are from all over the place: The bristling, fluent action around the neck on Still Ain’t Got No Home - a song he wrote when returning east from his long sojourn in California - evokes a traveling energy, motoring down the road in a way that never really ends. This is one of Mark’s favourites of all that he’s written and it is clear why: the golden, eternal promise of the guitar is ebulliently, transcendently delivered. Mark Fosson’s Solo Guitar is a masterful work, the kind it takes a lifetime to assemble Record Label: Drag City Style: Rock

180 GRAM AUDIOPHILE VINYL GATEFOLD SLEEVE FIRST PRESSING OF 1.500 NUMBERED COPIES PRESSED ON GOLD AND RED MIXED VINYL Live at Tralfamadore is the fifth album, and the first live album by the Norwegian band Madrugada. It was released on EMI records in 2005 and went on to become the highest selling release in Norway for that year with the band's previous release The Deep End as the runner up. The songs were recorded at various locations during 2003 and 2005 as noted in the track listing. The powerful, "You Better Leave" is the only ew' song on the album and the only song (so far) unavailable elsewhere as a recorded studio version. The name Tralfamadore is a reference to the fictional home planet of aliens from several novels by the American science fiction author Kurt Vonnegut. Record Label: Music On Vinyl Style: Rock

Forming the Void was founded in 2013 in Lafayette, Louisiana. In no time the band gained an impressive reputation as an underground band, which led doomed rock into new spheres. Atmospheric, heavy and progressive, but still they lose none of these qualities in their heaviness. They layer their ambitions as closely as the riffs that transmit their visions. Like "Skyward" before, Relic "brings a colossal sound to the table." Relic "shows 7 pieces that present their bold and adventurous ideas in the most vibrant colors. Record Label: Lonestar Style: Rock

2 track 7" + 6 track download EP. "If you like your rock & roll to worry less about subgenres and more about just getting to the good stuff, Tom Baker is yer man, man." - Blurt Magazine. The Dirty Truckers got together back in 1999 when song writer Tom Baker chose to pursue a decidedly American rock n' roots direction. Drawing on kick-ass influences such as Cheap Trick, Steve Earle, and The Replacements, the Dirty Truckers rock hard and have a good time doing it. They have just released their fourth installation of quality Americana for your listening pleasure. Landing somewhere between Lucero and the Faces, Tiger Stripes is a cross-cutting mix of straight up rockers and soul searching ballads. This is the next chapter in the band's cross-country rock odyssey, proving that The Dirty Truckers are still true originals Record Label: Rum Bar Style: Rock

Undoubtedly, a good dose of mental strength is essential in order not to let go of its way despite all the uncertainties that the music business per se brings with it. Transport League from Sweden are the parade example for determination and inflexibility. As a critics' lover always praised the green clover, as a down-to-earth band right at the pulse of time and in the ears of their fans, their rhythmically powerful and stylistically versatile heavy metal has left impressive fingerprints in the international Hard'n`Heavy scene. Other artistic landmarks will anchor Transport League as of 28 July 2017. Then, the band releases their new album TWIST AND SHOUT AT THE DEVIL via Rodeostar / Soulfood and will then catapult their songs on the stage with their usual relentless force. At the very latest, everyone would understand why the media would classify the style of this band preferably with the album title of their 2014 publication: BOOGIE FROM HELL! Record Label: Rodeostar Entertainment Gmbh Style: Rock

SIX is the sixth studio album by the Canterbury band Soft Machine, released in 1973 and is half Live and half Studio. Soft Machine are an English rock and jazz fusion band from Canterbury, named after the book The Soft Machine by William S. Burroughs. They were one of the central bands in the Canterbury scene. They are widely considered by critics to have been very influential in rock music Record Label: Talking Elephant Style: Rock

Snow – At Last!!! So the band is: Doug Ellison – All Vocals, Carlos Cavazo – All guitars (Quite Riot), Tony Cavazo – Bass (Hurricane) and Stephen Quadros - Drums! Formed from the ashes of Speed Of Light by the Cavazo brothers – guitarist Carlos and bassist Tony – SNOW should’ve been as huge as Van Halen. Sadly, the quartet (the line-up completed by vocalist Doug Ellison and drummer Stephen Quadros) just couldn’t get signed for love or money. However, as you will discover, the Californian band would still have a great deal of influence on the early 80's American metal scene.... This is the LIMITED EDITION 1st PRESSING, which is the only that includes a full length live BONUS CD, recorded in LA at the Starwood back in May 1981! With complete liner note written by Dave Reynolds. Record Label: Escape Music Style: Rock

Sharks were originally formed in 1972 by Andy Fraser after the demise of Free, who left the band before their second album, ‘Jab It In Yore Eye’, which gained them a cult following amongst the punk cognoscenti, including The Clash, Chrissie Hynde and The Sex Pistols. The latter worked with Sharks' Chris Spedding on the demos for Never Mind The Bollocks. Over the last 40 years guitarist/singer Spedding and singer/composer Steve 'Snips' Parsons have performed and recorded with the likes of Paul McCartney, Johnny Marr, The Sex Pistols, Ginger Baker, The Cramps, Elton John, Roxy Music, Tom Waits and The Wombles. After Andy Fraser's death in 2015, Spedding and Parsons decided to reform Sharks and are joined in this new incarnation by keyboard player Nick Judd, who played on 'Jab It In Yore Eye' in 1974, along with bassist Tosh Ogawa and ex-Sex Pistol Paul Cook on drums. The original band offered a mix of the blues rock and pub rock of the 1970s and the snarl that would influence the punk rock movement that would arrive a few years later. That formula survives with Killers Of The Deep, which was recorded in 3Ms' Smokehouse Studios in London and features a classy cover by comic book legend Shaky Kane. This album is an acknowledgement of the band's performing and song writing quality and a vindication of the decision to reform Sharks. “A satisfyingly crunchy, blues-tinged collection, Killers of the Deep splices the Black Crowes to the Del Fuegos ... proof this shark can still bite!'”- Mojo. “Move over Mick and Keef, Sharks smell blood” - ****' - Record Collector. Record Label: Cadiz Music Ltd Style: Rock

A double-CD collection of various legendary radio performances from the years 1963-1965. The material was taped for/during shows s.a. Saturday Club, Blues In Rhythm, The Joe Loss Pop Show, Big Beat '64, Big Beat '65, Top Gear and Yeh Yeh! Record Label: London Calling Style: Rock

Known as "rock n' roll's secret weapon", Kris 'Fingers' Rodgers has been a recording & touring sideman in top touring garage rock and power pop acts like The Connection, Scott Sorry, The New Trocaderos, Bullet Proof Lovers, and Kurt Baker Band for years. 2017 is the year that Kris Rodgers takes centre stage on this solo, full length debut, "Losing the Frequency". Joining the Dirty Gems and returning the favour on this release, is crowned prince of Power Pop, Kurt Baker, taking over bass duties. Stand out, sing-a-long tracks, reminiscent of Elton John's "Goodbye Yellow Brick Road" and Billy Joel's "Glass Houses" include, "Revolution", "I Know", and "Rock 'n Roll Radio". Kris Rodgers has delivered an album of 70's inspired arena rock gems, bashing piano keys with a raspy-throated growl that transcends to FM Radio Album Oriented Rock's heyday Record Label: Rum Bar Style: Rock

Mark Fosson has been playing music for nearly 50 years now. Solo Guitar is the fifth album released under his name in all that time, which gives an insight into the nature of his music; when it is time for Mark to commit to something underneath his fingers, regardless of whether that is after two years, ten or twenty, that’s what’s right. Solo Guitar sees Mark continuing to use his chops and enthusiasm to wander musically, drawing up pieces of sparkling, nimble fingerstyle with an eclectic vision. As the title implies, this time Mark is focused on the austerity of the guitar, plain and simple, to bring out the music. Whether on six- or twelve-string, his sure touch is transported by crystal-clear recordings that belie their down-home origins, as they catch the contours of every string as it is pressed, bent and struck - a full-bodied sound projecting soulful dips down into bass strings and shimmering upper register runs with equal power. The air around these performances is coloured with curving waves of steel-stringed beauty and the pungency of free- wheeling wit and recollection. The songs are from all over the place: The bristling, fluent action around the neck on Still Ain’t Got No Home - a song he wrote when returning east from his long sojourn in California - evokes a traveling energy, motoring down the road in a way that never really ends. This is one of Mark’s favourites of all that he’s written and it is clear why: the golden, eternal promise of the guitar is ebulliently, transcendently delivered. Mark Fosson’s Solo Guitar is a masterful work, the kind it takes a lifetime to assemble Record Label: Drag City Style: Rock