After the freakish hard rock of The Man Who Sold the World, David Bowie returned to singer/songwriter territory on Hunky Dory. Not only did the album boast more folky songs ("Song for Bob Dylan," "The Bewlay Brothers"), but he again flirted with Anthony Newley-esque dancehall music ("Kooks," "Fill Your Heart"), seemingly leaving heavy metal behind. As a result, Hunky Dory is a kaleidoscopic array of pop styles, tied together only by Bowie's sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class. Mick Ronson's guitar is pushed to the back, leaving Rick Wakeman's cabaret piano to dominate the sound of the album.

Indelibly Stamped is the second album by the British rock band Supertramp, released in 1971. It marked a dramatic change in direction to a more straightforward rock sound, and by admission of the band's own liner notes, "Travelled" is the only song with any resemblance to their debut album. Like their debut, this album was a commercial failure upon release, but in later decades it went gold in France and Canada. Original editions have a colour gate-fold cover and different text for the band name and album title. The cover photograph features the tattooed torso and arms of a topless woman. This is the first Supertramp album issued in the U.S. The album was banned from a number of record stores in Australia, while others sold each copy inside a brown paper sleeve.

Blues in Orbit is a spectacularly colorful, historically monumental, and masterfully synchronized large-ensemble studio masterpiece directed by the legendary Canadian-American jazz pianist, composer, and ultimate orchestrator icon Gil Evans, released in 2009 by the premier German archival jazz imprint Enja Records. Spanning over 36 minutes across 8 visionary tracks, this high-fidelity document serves as an absolute peak monument in late-1960s and early-1970s progressive jazz orchestration archaeology. Gathering rare, fiercely experimental New York studio sessions tracked between 1969 and 1971, Evans completely bypasses conventional big-band arrangements, choosing instead to execute a bold, psychedelic sonic blueprint that masterfully bridges his signature cool-jazz textures with electric guitars, deep modal grooves, and raw avant-garde horn textures.

Indian Summer were a progressive rock quartet, formed in Coventry, UK, in 1969. The members were Malcolm Harker on bass, Paul Hooper on drums, Bob Jackson on keyboards and lead vocals and Colin Williams on guitar. Their manager was Jim Simpson who was managing Black Sabbath at the time. Simpson signed Indian Summer with the same production team to record their debut album. Indian Summer's album of the same name was released two and a half years later, in 1971. But Indian Summer disbanded in the same year.

Ruth Copeland's second Invictus recording retains the services of Funkadelic vets Eddie Hazel, Bernie Worrell, Tiki Fulwood, and Ron Bykowski, but like the preceding Self-Portrait, I Am What I Am simply fails to jell. Without the leadership and focus of George Clinton, the music zigs and zags in too many opposing directions. Credit Copeland for ambition – the opening antiwar epic "The Medal" recalls the politicized psychedelic soul of Norman Whitfield-era Temptations classics like "Cloud Nine" and "Ball of Confusion," while "Crying Has Made Me Stronger" shifts gears completely to embrace gospel – but her reach consistently exceeds her grasp. When I Am What I Am does come together, it's impressively heady stuff. Particularly noteworthy is the deep-fried funk outing "Suburban Family Lament," which showcases Hazel's scorching guitar as well as Fulwood's much-sampled and monstrous introductory drum break.

Ikarus played a very varied sound with complex arrangements and melancholic melodies inspired by early King Crimson and Van der Graaf Generator or reminding to German colleages Thirsty Moon and Os Mundi. The original album contains only 4 tracks (from 6 to 15 minutes) but plays over 40 minutes a rather uniquely spacious and dynamic sound, full of surprises. Their lyrics scrutinized the behaviour of mankind with a particular focus on our darker minds. CD contains 15 minutes bonus track "Sunwave" by pre-Ikarus band Beatiques In Corporation from compilation "Pop and Blues Festival", 1970. CD come with comprehensive band history by Ikarus bass player Wolfgang Kracht and a lot of unseen and rare photos from the band archive of drummer Bernd Schröder. Remastered from the master tape. A Krautrock Classic!

Horizon is a staggering, monumental, and deeply hypnotic cosmic document by the legendary avant-garde composer, keyboard mystic, and Afrofuturist pioneer Sun Ra and his Solar Arkestra, recorded live in Cairo, Egypt, during their historic 1971 tour and masterfully preserved on CD by Art Yard in 2008. Spanning 76 minutes across 11 sprawling interstellar movements, this high-fidelity archive captures the Arkestra at an absolute peak of structural and improvisational power, playing with a raw, incendiary energy directly beneath the shadow of the pyramids. Sun Ra anchors the performance on the legendary Tiger organ and Moog synthesizer, cutting through the heavy desert air with wild, microtonal electronic frequencies and thunderous acoustic piano runs. Behind him, the definitive lineup of his vanguard—including the fierce tenor saxophone architecture of John Gilmore, the soaring alto pyrotechnics of Marshall Allen, and the deep baritone foundation of Danny Thompson—unleashes a torrential wall of sound. Backed by a dense, shifting multi-drum engine and the commanding, celestial vocals of high priestess June Tyson, the tracklist moves seamlessly between tight, hypnotic modal themes and absolute free jazz explosive eruptions. The performance is highlighted by a massive, blistering 16-minute rendition of The Shadow World, a deeply grooving Love In Outer Space, and the definitive spiritual chants of Space Is The Place and The Satellites Are Spinning. Meticulously restored from the original master tapes with full original insert scans, this definitive reissue stands as a mandatory cornerstone and an essential holy grail for global purists of modern creative music, spiritual jazz, and cosmic avant-garde history.

Island Episode is a masterfully soulful, deep-grooving, and brilliantly tropical hard bop milestone led by the legendary American tenor saxophone titan Houston Person, originally recorded in 1971 and beautifully archived here via Prestige Records' highly collectable 1997 digital remaster. Spanning over 52 minutes across nine tracks, this high-fidelity document captures the undisputed king of modern soul jazz steering an absolute powerhouse ensemble through an infectious blend of greasy Hammond organ grooves, driving rhythm-and-blues structures, and breezy Afro-Caribbean rhythms. Driven by Person’s famously massive, warm, and deeply expressive horn tone, the session features a spectacular, jaw-dropping dream team of jazz and funk heavyweights. Guitar legend Billy Butler and organ maestro Ernie Hayes lay down dense, blues-infused foundations, while the legendary "Pretty" Purdie anchors the pocket with his signature, unstoppable shuffle alongside bassist Gerry Jemmott and conguero Buddy Caldwell. The tracklist is flawlessly paced, highlighting a soaring, calypso-tinged reading of Sonny Rollins' timeless classic St. Thomas (complete with an alternate Take 2), the blistering, driving 9-minute epic Montuno merengue, and a deeply emotional ballad performance on Don't misunderstand. Exceptionally preserved in pristine dual-format lossless and high-bitrate audio alongside full artwork scans, this definitive reissue stands as a mandatory cornerstone and a prized collector's item for global purists of vintage Prestige sessions, rare groove, and classic soul jazz history.

How did the Kinks respond to the fresh start afforded by Lola? By delivering a skewed, distinctly British, cabaret take on Americana, all pinned down by Ray Davies' loose autobiography and intense yearning to be anywhere else but here - or, as he says on the opening track, "I'm a 20th century man, but I don't want to be here." Unlike its predecessors, Muswell Hillbillies doesn't overtly seem like a concept album - there are no stories as there are on Lola - but each song undoubtedly shares a similar theme, namely the lives of the working class. Cleverly, the music is a blend of American and British roots music, veering from rowdy blues to boozy vaudeville. There's as much good humor in the performances as there are in Davies' songs, which are among his savviest and funniest. They're also quite affectionate, a fact underpinned by the heartbreaking "Oklahoma U.S.A.," one of the starkest numbers Davies ever penned, seeming all the sadder surrounded by the careening country-rock and music hall…

Formed at the end of the 60's, Gomorrha raised from the German progressive rock scene thanks to the help of the producer and sound engineer Conny Plank. The band original line up includes Helmut Pohl (drums) and Eberhard Krietsch (ogan, bass) with Ad Oschel and Ali Claudi at the guitars. They released their first album in 1971. They distinguish with a dense heavy psych rock experience punctuated by organ dominated sequences. In 1972 they release what will be considered as their summit "I Turned To See Whose Voice It Was"; An adventurous album featuring catchy instrumental jams, krautrock's original psych / spacey mood, pastoral flute parts and heavy guitar riffs. The concept of this release is focused on the apocalypse theme and the book of revelation. They suddenly split up in 1973 after the publication of two memorable documents of German independent rock.