Evening Star

2nd album from Dave Stewart, Mont Campbell, and Clive Brooks. Explosive organ dominated music of the highest order. Project and remastering supervised by Mark Powell. Extensive new liner notes. A classic.

Ninth album from this Swedish band.  Katatonia's music shares a kindred spirit with that of Opeth and Tool.  Very much emotion driven with a dark vibe through out.  It doesn't come more melancholy than this one... "Despite being into their third decade, gloomy Swedish progressive metallers Katatonia are still producing fine work. 2009’s Night Is the New Day was heralded as the band’s finest ever album, and with prog’s increasing influence evident across the more facile end of the metal spectrum, this band is doing better than ever. Dead End Kings marks another progression for this outfit – in terms of album structure, anyway. While their previous effort was a sumptuous effort with a sum greater than its parts, this ninth album is a collection of fantastic, searching songs that stand alone as well as they do together. It’s still completely and utterly miserable, though… so very, very miserable. The cellos in opening track The Parting add solemn layers to music that is already laden with sorrow and introspection. It’s a multifarious affair from then on in. The slightly sinister Hypnone adds strength before the album succumbs to the mellow, emotive The Racing Heart. Buildings is the most resolutely metal track here. Its humungous riffs are positioned at exactly the moment where the listener may have been lulled into a false sense of security, bludgeoning guitars swelling the song’s belly with a fiercely charged beauty. There are other moments of grandiose, majestic beauty breaking up the murkiness, but Buildings is the only piece of metal you’re going to get.Dead Letters is massively reminiscent of Tool – and while the American prog-grungers remain at work on their overdue fifth LP, it’s a very welcome sound. It doesn’t last though. As with everything Katatonia do, the song wanders off into another direction, atmospheric moments splintering into sparse orchestration, Jonas Renkse’s murmured voice flying across the top throughout. <br><br>The closer is certainly the finest standalone song here, bringing Dead End Kings to a glorious and complex end. There’s no grand climax. It just fades to dust, allowing you to reflect upon yet another excellent album from Katatonia." - BBC

Finally - an official pro-shot DVD of the band's performance in Sao Paolo, Brazil from 2006. You also get a documentary filmed on the band's Rocket Ride world tour and 4 video clips.

"Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on "Hand Jive." Yet even when the instrumentalists and soloists are placed in the foreground -- such as Miles' extended opening solo on "Madness" or Hancock's long solo toward the end of the piece -- this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti's charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction." - All Music Guide

""In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this CD, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic "Seven Steps to Heaven," "Joshua," and slow passionate versions of "Basin Street Blues" and "Baby Won't You Please Come Home." The 20-bit remastered version issued by Sony's Legacy imprint in 2005 includes two rather startling bonus tracks from the original sessions that were not included on the LP or previous CD releases; they are the beautiful "So Near, So Far," and "Summer Night."" - All Music Guide" - All Music Guide

Third and final album from this important trio of Dave Stewart, Clive Brooks, and Mont Campbell augmented by the Northettes Amanda Parsons, Ann Rosenthal and Barbara Gaskins. Oh yeah...an obscure guitarist named Steve Hillage contributed ts to one of the tracks. Although possibly my least favorite of the 3 Egg albums, that isn't saying much since they are all quite remarkable. This record is a vital cog in the Canterbury axis of bands. In fact as you listen to the album you recognize that it is in fact the quintessential Canterbury album - all the elements are in place. It is the obvious musical antecedant to National Health. Can anyone coax such freaky sounds out of an organ like Dave Stewart? This has been out of print for some time and now available again with fresh mastering and new liner notes courtesy of project coordinator Mark Powell. An important part of any progressive music collection. Essential.