Live at Hammersmith Odeon is the first live album by the British singer Kate Bush. It is a recording of her first of only two concert tours, The Tour of Life from 1979, first released on home video in 1981. The video of The Tour of Life was re-released in 1994 as a boxed set that included a CD version of the performance. The twelve song live album is heavily abridged. The complete show consisted of twenty-four songs. The performance consists mainly of songs from The Kick Inside and Lionheart with a new song "Violin"; which would subsequently appear on Bush's third studio album Never for Ever in 1980.

These 12 songs were recorded by Twin Engine in 1971 with the intention of getting an album together for release on United Artists, but they weren't issued until more than 30 years later. The music has very much of a 1970 aura, mightily influenced at different points by the Let It Be-era Beatles (particularly in the guitar sound of "Give My Love a Chance," "The Time Is Now," and "Mistress of the Morning"), Crosby, Stills, Nash & Young (a riff in "The Time Is Now" seems airlifted directly from Neil Young's "Cowgirl in the Sand"), American Beauty-era Grateful Dead, and the country-rock being laid down by the Flying Burrito Brothers/Byrds axis in Southern California in the late 1960s and early 1970s. (That last influence may not have been entirely due to chance, as Byrds and/or Burritos members Chris Hillman, Clarence White, and Sneaky Pete Kleinow are all referred to in the packaging as having played on the sessions, though it's not specified who played on what track). It's very accomplished, and Twin Engine's duo harmonies are quite cheerful and invigorating.

Upon its release, the 1973 LP Brain Salad Surgery had been hailed as Emerson, Lake & Palmer's masterpiece. A long tour ensued that left the trio flushed and begging for time off. Before disbanding for three years, they assembled a three-LP live set (something of a badge of achievement at the time, earned by Yes in 1973 with Yessongs and, somewhat more dubiously, Leon Russell with Leon Live)…

Dream Letter: Live In London 1968 is a 2CD live recording by Tim Buckley, recorded in 1968. This was released in 1990 by Straight/Enigma Retro.

It may be hard to believe, but this is the CD premiere of this little-known, underrated, but quite important 5th release from such an amazing British progressive band! It was recorded in February 1974 (a whole year after violinist Dave Arbus departure, and now with Jo O'Donnell from Irish folk-rock band Mushroom on board) but released a whole year later by German Harvest label in striking, nude cover. Without a doubt it deserves for recognition. The band has offered a varied and well-arranged progressive-jazz-blues-rock songs stylistically similar to some of the tracks from the previous two albums (from 1971), but done in somewhat simpler and more consistent form. This CD has been expanded with many rare & unreleased live tracks.

The essence of progressive music is characterized perfectly on Voyage of the Acolyte, Steve Hackett's first solo album. The former Genesis guitarist uses his instrumental mastery to conjure up musical images of sorcerers, magic, and old English castles with the primary use of keyboards and electric guitar…

Country Lane's "Substratum" was recorded in 1973 with Raymond Amey on guitars, synthesizers, and vocals, Olivier Maire on organ, piano, spinet, and vocals, Jean-Francois Donze on drums, Giancarlo Duella on bass, and Freddy Von Kaenel on rhythm guitar and banjo. Swiss bands generally fit well alongside German artists, but Country Lane managed to set themselves apart. Like the others, they were mainly influenced by British artists of the time. However, where most were taking after the likes of E.L.P., Genesis, and Yes, Country Lane sounds more inspired by Deep Purple, Uriah Heep, and psychedelic music. There are even some comparisons made to Nektar and Frank Zappa. They jam heavy at times, but also keep it melodic. Epic concept is present, as well as humor (in the form of a little vaudeville).

Somehow this combination made sense: a revised band (with Nic Potter returning on bass and the addition of Graham Smith, formerly of String Driven Thing, on violin) with a shortened name, and an album that was named twice, with different cover art for each name…

Time and a Word, released in July 1970 by Atlantic Records, is the second album by the progressive rock band Yes. The group continued to follow their early musical direction of performing original material and cover versions of songs by pop, jazz, and folk artists. An orchestra was used on most of the album's songs; Peter Banks did not support the idea which resulted in him being replaced by Steve Howe after the album was released. Time and a Word became the group's first release to enter the UK chart at #45. It however failed to chart in the US and received mixed reviews from critics. During their UK tour in April 1970, guitarist Peter Banks was fired from the group. By the time of the album's release, he was replaced by Steve Howe, who is photographed with the group on the album's North American cover.

After the heavily distorted bass and doomsday church organ of Emerson, Lake & Palmer's debut album, the exhilarating prog rock of epic proportions on Tarkus, and the violent removal of the sacred aura of classical tunes on Pictures at an Exhibition, Trilogy, ELP's fourth album, features the trio settling down in more crowd-pleasing pastures. Actually, the group was gaining in maturity what they lost in raw energy…

True Blue is led in title under the auspices of Dexter Gordon as a welcome home party conducted by Don Schlitten for the expatriate tenor saxophonist in 1976. Essentially a jam session, this very talented septet features a two tenor-two trumpet front line, utilized to emphasize the soloing strength of the horns, not necessarily in joyous shouts or big-band like unison outbursts. The real star here is Barry Harris, and if you listen closely to his comping behind the soloist or his many colorful chords and single-line runs, you realize how brilliant he continued to be in his prime during this beyond-bebop time frame. The distinctly different, legato flavored sound of Al Cohn contrasts nicely to the broader range and richer tones of Gordon, while Blue Mitchell's warm West Coast trumpet phrasings also run aside but a little behind the animated and clipped brassy sounds of Sam Noto, a player deserving much wider recognition, and playing to the hilt on this recording. The session kicks off with the classic superimposed melodies of "Lady Bird" and "Half Nelson," with melodies split between the trumpet and tenor tandems.

Máquina! is maybe the very first underground rock group to have recorded in Franco's Spain, their first single dating back to early 69, and the following year, their first LP was out with a striking artwork depicting a clock coming out from a croissant meaning that it was time to wake-up (and have breakfast) in Spain. The album was called Why? and it was clearly so rebellious under a dictature that fellow group Tapiman (and Barcelona crosstown rivals/friends) answered them with a track Don't Ask Why. The five-piece group developed a high-energy Hammond-driven psych/prog rock with two lead guitarists, with many extraordinary musical moments given the context of those years.

The Rock is the 1975 album by The Frankie Miller Band. This 2003 remaster done by Eagle Records features four bonus tracks.

The Scorpions' third release, In Trance, continues to display their high-energy music, which is impossible to ignore. With the eyebrow-lifting "Dark Lady" as the opening track, the album immediately captures the listener's attention and keeps it all the way until the end. The interesting title track is clearly the best song of the album, but singles such as the fast-paced "Robot Man" and the hard-rocking "Top of the Bill" also stand out as highlights. Excellent singing and powerful music make this the best Scorpions recording working with Uli Jon Roth.

Foreigner is the self-titled debut studio album by British-American rock band Foreigner, released in 1977. It spun off a barrage of hit singles, including "Feels Like the First Time", "Cold as Ice" and "Long, Long Way from Home". It also features album tracks such as "Headknocker" and "Starrider", the latter of which features a rare lead vocal from lead guitarist and co-founder Mick Jones. The first attempt at mixing the album was done at Sarm Studios, London, but dissatisfied with result the album was re-mixed at Atlantic Recording Studios by Mick Jones and Jimmy Douglass.