The Knack attempted to update the Beatles sound for the new wave era on their debut - a good idea that was well executed, but critics cried "foul" when millions sold after Capitol's pre-release hype (it went gold in 13 days and eventually sold five million copies, making it one of the most successful debuts in history). Get the Knack is at once sleazy, sexist, hook-filled, and endlessly catchy - above all, it's a guilty pleasure and an exercise in simple fun. When is power pop legitimate anyway? Includes the unforgettable hits "My Sharona" and "Good Girls Don't."

Former Muddy Waters sideman and current Blues Revue magazine columnist Bob Margolin brings his encyclopedic knowledge of blues and chops galore with him on this, his third album for Alligator. Ten of the 14 selections are penned by Margolin, with selected covers of material from Bobby Charles, Grady Jackson, Snooky Pryor and Gladys Knight and the Pips rounding out the mix. This time around Margolin stretches his musical boundaries into new directions, adding to his already wide range of blues subgenres. The title track is a solid homage to Chuck Berry, while Grady Jackson's "Coffee Break" is the kind of atmospheric, sax-driven track that would have fit perfectly on any Aladdin blues-after-hours 10-inch album. "Imagination" gets a true soul workout, as does "The Window," with its funky lead fills. His guitar tone can sometimes get positively trashy and as distorted as any old blues 78 you've ever heard, as on "Alien's Blues"…

In the early 1960s Goffredo Petrassi’s idiom was almost indistinguishable from that of the Italian avant-garde. Completed in 1964, the Seventh Concerto evolves with mounting tension and a sense of underlying menace. The Eighth Concerto from 1972 was commissioned and premiered by the Chicago Symphony Orchestra. It is a substantial piece of outright virtuosity, with dissonance, trenchant dialogues and a fraught atmosphere. The much earlier Sonata da camera for harpsichord and ten instruments finds Petrassi poised between neo-Classicism and a more modernist direction.

KUNIKO's much-anticipated third studio recording features the works of Iannis Xenakis, whose work has had a huge impact within the world of music, and in particular on percussion repertoire.

3 X CD SET OF CLASSIC DOORS BROADCAST RECORDINGS Both unique and controversial, The Doors remain among the most influential rock acts of the 1960s, largely because of Jim Morrison's lyrics and charismatic but unpredictable stage persona. After Morrison's death in 1971, the remaining members continued as a trio until disbanding in 1973- it s no secret that bereft of their former front-man the group became somewhat pedestrian. This triple disc box set collects together live performances by The Doors from the period during which they were extraordinary in the extreme. Featuring two individual shows from 1970 recorded for live broadcast in Detroit and Seattle, plus a third disc containing performances recorded for television transmission between 1966 and 1968, this set is among the finest collection of live Doors recordings yet released.

Three live broadcasts of some of Talking Heads earliest and most captivating shows!

Beginning with a crack of thunder, like it was made to trail Gary Bartz's "Mother Nature" (actually recorded at a slightly later date), Stepping into Tomorrow contains almost all of the Mizell trademarks within its title track's first 30 seconds: a soft and easy (yet still funky) electric-bass-and-drums foundation, silken rhythm guitar, organ and piano gently bouncing off one another, light synthesizer shading, and coed group vocals to ensure true liftoff. It's only one in a line of many magnetic '70s sessions led by Fonce and Larry Mizell, and it differs from their two previous Donald Byrd dates - the polarizing and groundbreaking Black Byrd and the deceptively excellent Street Lady - by not featuring any of Roger Glenn's flute, and by focusing on heavily melodic and laid-back arrangements…

It isn't exactly difficult to scoff at the Blues Brothers – beginning your musical career as a sketch on Saturday Night Live is not the best way to develop artistic credibility, and while Elwood Blues wasn't too shabby a harp player, his brother, Joliet Jake, sang only marginally better than that guy who used to impersonate Joe Cocker on late-night television. But no one ever bought a Blues Brothers album expecting a life-changing musical experience – these guys were there to put on a show, and putting on a great show is just what they did. It helped that Dan Aykroyd and John Belushi obviously loved the music, and they knew how to put together a killer band (any fan with the vision to hire Steve Cropper, Donald "Duck" Dunn, Steve Jordan, and Matt "Guitar" Murphy" to cover classic blues and R&B deserves credit for good taste, if nothing else).

Political astuteness aside, Henry Cow's Leg End is simply a busy musical trip, comprised of snaking rhythms, unorthodox time signatures, and incongruous waves of multiple instruments that actually culminate in some appealing yet complex progressive rock. Here, on the band's debut, both Fred Frith and woodwind man Geoff Leigh hold nothing back, creating eclectic, avant garde-styled jazz movements without any sense of direction, or so it may seem at first, but paying close attention to Henry Cow's musical wallowing results in some first-rate instrumental fusion, albeit a little too abstract at times. Through tracks like "Amygdala," "Teenbeat," and "The Tenth Chaffinch," it's simply creativity run amok, instilling the free-spiritedness of the late '60s into this, a 1973 album. The techniques are difficult to follow, but the stewing that emerges between the piano, guitar, flute, and percussion is so animated and colorful…

You never quite know what style of guitar playing is going to greet you when you put on a new Paul Gilbert disc, as he's tackled blues, pop, and acoustic pieces in the past. But on his 2008 release, Silence Followed by a Deafening Roar, Gilbert focuses on what made him such a renowned player among guitar shredders worldwide in the first place, as he totally focuses on his soloing and riffing capabilities (and goes "all instrumental," to boot). It may be 2008, but such tunes as the album-opening title track and "Eudaimonia Overture" could have easily come out in 1988, and probably would have caught the attention of every Guitar for the Practicing Musician subscriber at the time. And there are even a few tranquil moments ("Bronx 1971") and oddities (the piano-led "The Gargoyle") thrown in for good measure. Paul Gilbert remains one of rock guitar's top gymnasts, as evidenced throughout Silence Followed by a Deafening Roar.

The 21st studio long-player from the British electronic music legend, Savage (Songs from a Broken World) is the follow-up to 2013's acclaimed Splinter (Songs from a Broken Mind), which saw Numan delivering his highest-charting album since 1983's Warriors. A willfully dark, narrative-driven concept album concerning the melding of Eastern and Western cultures in a post-apocalyptic world that's been decimated by the effects of climate change, Savage is awash in ambient horrorscapes, blast-furnace percussion, and electro-goth synth leads that suggest Depeche Mode by way of Nine Inch Nails.

This trio incorporate elements of Berlin school electronics with Prog/Krautrock and are a force to be reckoned with in a live setting. "Septentrional", their inaugral release on the DiN label see’s a new approach co-ordinated by DiN label boss Ian Boddy. RMI recorded a series of three hour long improvisations which they handed over to Boddy in multitrack form. These were then sifted through, extensively edited - often in a non-linear fashion, re-mixed with the addition of synthetic percussion layers on three of the five tracks and finally reassembled by Boddy into five new pieces. The result is still definitely an RMI sounding album and captures the feel and spirit of the band but filtered through the sonic excellence listeners have come to expect from this innovative label.