Collection includes: Can't Buy A Thrill (1972); Countdown To Ecstasy (1973); Pretzel Logic (1974); Katy Lied (1975); The Royal Scam (1976); Aja (1977); Gaucho (1980).

Limited edition 9-LP boxset, featuring newly remastered audio pressed on 180g vinyl, plus a bonus disc of rare material.

The best of Austin and British Invasion musicians perform in celebration of the Health Alliance for Austin Musicians. Performances include Eric Burdon & The Animals, The Zombies, Alejandro Escovedo, Ian McLagan, Ruthie Foster, Shinyribs, Van Wilks, Malford Milligan, Guy Forsyth, Monte Montgomery, Shawn Sahm, Erin Ivey, Hector Ward, and the ALL ATX band.

Chicago XI (1977) was the final studio effort to feature the original septet, who by this time had been performing and recording for nearly a decade. In late January 1978, founding member Terry Kath (guitar/vocals) accidentally and fatally shot himself, forever altering the band's sound and indeed much of the combo's tenacious rock & roll heart. It is somewhat fitting that their ninth studio release (11th overall) contains two Kath compositions as well as a pair of additional lead vocals.

CLASSIC 1978 BROADCAST FROM GERMANY S THEN DIVIDED CITY After falling out with his long-time manager Herb Cohen, Frank Zappa spent much of the late 1970s in a legal battle with Cohen and later with Warner Brothers too. With the majority of his own recorded material thus tied up, Zappa concentrated on touring with a small, rock-oriented band. March 1978 witnessed the release of Zappa In New York, recorded live with a 13-strong band at the Palladium in late December 1976. Demonstrating in equal measure Zappa s extraordinary ability as a composer and fearless approach to controversial topics, the record reached a respectable No. 57 on the Billboard chart. Two standout numbers from In New York, Titties & Beer and The Black Page , would be a fixture of Zappa sets by the time his 1978 European tour rolled around, as the concert featured on this two CD set can attest.

EXTRAORDINARY 1979 BROADCAST, HOT ON THE HEELS OF THE SHEIK YERBOUTI ALBUM Largely recorded live during 1977 and 1978, Frank Zappa s 1979 double, Sheik Yerbouti, was the first release on the musician s newly formed Zappa Records, following Frank s departure from Warner Bros Records. Featuring the Grammy nominated Dancin Fool , as well as the controversial Bobby Brown , a track banned from US airplay. Released on March 3rd 79 - at the time Zappa was touring Europe, where his audience had long outweighed his domestic fan-base - the album became his best-selling album of all during his lifetime. On March 19th, the band performed at the Parc de Penfeld, in Brest, France, for a show that was recorded for live FM Radio Broadcast, transmitted across continental Europe and synched too on many US stations. Featuring a line-up which included, Ike Willis and Warren Cuccurullo on guitars, Tommy Mars and Peter Wolf on keyboards, Ed Mann on percussion, Arthur Barrow on bass and Vinnie Colaiuta on drums, the musicianship was, as always, second-to-none, and the gig a roaring success with many describing it as among the fines Zappa played during this era.

Composer, guitarist, singer, and bandleader Frank Zappa was a singular musical figure during a performing and recording career that lasted from the 1960s to the '90s. His disparate influences included doo wop music and avant-garde classical music; although he led groups that could be called rock & roll bands for much of his career, he used them to create a hybrid style that bordered on jazz and complicated, modern serious music, sometimes inducing orchestras to play along.

Back Door first came together in 1971 as a trio featuring Colin Hodkinson (bass, guitar, vocals), Ron Aspery (saxes, flute, electric piano) and Tony Hicks (drums) and recorded their first album in 1972. This self-financed and independently released record came to the attention of the London music press and after enthusiastic reviews and a short residency at Ronnie Scott’s club in Soho, the band secured a wider release of their album with Warner Bros. Around this time Back Door also began to record sessions for BBC Radio 1 and had a supporter in legendary DJ John Peel.

Rock Workshop’s self-titled 1970 debut album and 1971 follow up ‘The Very Last Time’ re- issued. Audio from the album master tapes for the first time ever. Includes the first re-issue of the single versions of ‘You To Lose’ and ‘Born In The City’, also taken from the master tapes. Rock Workshop’s debut album features legendary singer Alex Harvey as one’s of the band’s two lead vocalists alongside Alan Greed. Harvey sings lead on ‘Wade In The Water’ and ‘Hole In Her Stocking’ and also on alternate takes of album tracks ‘You To Lose’ and ‘Ice Cold’, single B side ‘Born In The City’ and originally unreleased track ‘Let My Bluebird Sing’.

With Wayne Henderson of Crusaders fame handling the production, Caldera showed a great deal of promise on its self-titled 1976 debut album. The Latin jazz-fusion unit isn't afraid to take chances on such imaginative pieces as Jorge Strunz's "El Juguete" and Eduardo del Barrio's "Exaltation" – chances that pay off in a major way. Though one can tell that Caldera's members were well aware of such explorers as Return to Forever, Weather Report, and the Mahavishnu Orchestra, it's also clear that they were major Earth, Wind & Fire fans and had absorbed a wide variety of Latin music. Strunz and del Barrio were hardly the only fusionists who incorporated Latin rhythms in the 1970s – Chick Corea, George Duke, Wayne Shorter, Al DiMeola, and Joe Zawinul were all well aware of the musical innovations of Latinos, but Caldera was unique in the sense that the band represented a real melting pot of Latinos bringing different ideas to the table. And on this LP, those ideas work magnificently.

Santana is the third studio album by Santana. The band's second self-titled album, it is often referred to as III to distinguish it from the band's 1969 debut album. The album was also known as Man with an Outstretched Hand. It was the third and last album by the Woodstock-era lineup, and it was also considered by many to be the band's peak commercially and musically, as subsequent releases aimed towards more experimental jazz and Latin music.

Chicago was one of the most successful bands of the rock era, racking up 21 Billboard Top Ten hits between 1970 and 1990, a period where they survived the departure of key band members while also subtly adapting to changing times. That's not an easy task for any rock band and it's especially difficult for a group like Chicago, a band that placed equal (if not greater) emphasis on horns as guitar. Picking up where Blood, Sweat & Tears left off, Chicago initially specialized in jazz-inflected prog-rock, using the sides of a vinyl record as canvasses for sprawling, adventurous rock. Chicago quickly learned how to channel this expansive sound into concise pop songs, scoring hits in the early 1970s with such punchy tunes as "25 or 6 to 4" and "Beginnings," while also showing facility with sweeter melodies on "Does Anybody Really Know What Time It Is?" and "Saturday in the Park." As the decade progressed, the band began to emphasize their softer side with bassist Peter Cetera singing such mellow standards as "If You Leave Me Now," "Baby, What a Big Surprise" and "Hard to Say I'm Sorry." The band stayed in this lane after Cetera's departure in the mid-1980s, not missing a beat with new lead vocalist BIll Champlin; he sang the number one hit "Look Away," as well as "I Don't Wanna Live Without Your Love" and "Look Away." Hits dried up in the 1990s but Chicago remained a pop/rock institution, with original members keyboardist Robert Lamm, trumpeter Lee Loughnane and trombonist James Pankow leading a rotating cast of supporting members through regular tours and albums.

Chicago was one of the most successful bands of the rock era, racking up 21 Billboard Top Ten hits between 1970 and 1990, a period where they survived the departure of key band members while also subtly adapting to changing times. That's not an easy task for any rock band and it's especially difficult for a group like Chicago, a band that placed equal (if not greater) emphasis on horns as guitar. Picking up where Blood, Sweat & Tears left off, Chicago initially specialized in jazz-inflected prog-rock, using the sides of a vinyl record as canvasses for sprawling, adventurous rock. Chicago quickly learned how to channel this expansive sound into concise pop songs, scoring hits in the early 1970s with such punchy tunes as "25 or 6 to 4" and "Beginnings," while also showing facility with sweeter melodies on "Does Anybody Really Know What Time It Is?" and "Saturday in the Park." As the decade progressed, the band began to emphasize their softer side with bassist Peter Cetera singing such mellow standards as "If You Leave Me Now," "Baby, What a Big Surprise" and "Hard to Say I'm Sorry." The band stayed in this lane after Cetera's departure in the mid-1980s, not missing a beat with new lead vocalist BIll Champlin; he sang the number one hit "Look Away," as well as "I Don't Wanna Live Without Your Love" and "Look Away." Hits dried up in the 1990s but Chicago remained a pop/rock institution, with original members keyboardist Robert Lamm, trumpeter Lee Loughnane and trombonist James Pankow leading a rotating cast of supporting members through regular tours and albums.

Nassau Coliseum New York 20th May 1977. CHICAGO S FINAL PERFORMANCE WITH GUITAR LEGEND TERRY KATH NASSAU COLISEUM, 1977 Until his untimely death on January 23rd 1978, eight months after the concert featured on this 2 CD set, Terry Kath had been Chicago s lead guitarist, having been with the band since their formation as Chicago Transit Authority, in 1967. Jimi Hendrix once told saxophonist Walter Parazaider, "Jeez, your horn players are like one set of lungs and your guitar player is better than me." Kath had to play both lead and rhythm with Chicago, in addition to singing on certain tracks, and make it sound as strong and powerful in front of Chicago s prominent horn section. In this, he did exceedingly well. This show opens with Kath s Mississippi Delta City Blues , originally found on Chicago XI. The show was performed on May 20, 1977 at The Nassau Coliseum on Long Island. At the time up and coming super-reporter Geraldo Rivera hosted an annual charity raising event entitled The One to One Telethon , to raise money to update and/or eradicate the gloomy insane asylums that were mistreating mentally challenged individuals in NYC back then. 1977 s One to One Telethon featured this concert by Chicago. Two sets with a break in the middle. The concert was broadcast live on FM radio - WLIR 92.7 in the greater New York area.

After living for some time in New York, Frank Zappa and The Mothers returned to Los Angeles in mid-1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to Woodrow Wilson Drive (Zappa's home for the rest of his life). Despite being successful in Europe, The Mothers were not doing well financially. Their first records were vocally oriented, but as Zappa wrote more instrumental jazz and classical style music for the band's concerts, audiences were confused. In early 1969 there were nine band members and Zappa was supporting the group from his publishing royalties whether they played or not. It was this ensemble who performed a stunning and legendary show at Lawrence University Chapel in Appleton, WI, on May 23rd 1969. Performed less than a month after the release of The Mothers Of Invention’s sixth studio album, the challenging and partially structureless Uncle Meat - which Rolling Stone described as "inspired monstrosity … [an] assault of glorious noise" - the concert is equally somewhat demanding.