A spin-off of Procol Harum, Freedom was formed by guitarist Ray Royer and drummer Bobby Harrison. Both of them were in Procol Harum's lineup at the outset for their debut "A Whiter Shade of Pale" single, but were ousted almost immediately when Procol singer, Gary Brooker, enlisted his former bandmates from the Paramounts, Robin Trower and Barry Wilson, as replacements.
Freedom's final outing in 1972, Is More Than a Word, is a study in contrasts. It still rocks hard as all get out, á la Humble Pie, but it also points in an interesting direction in places: toward more textured and acoustic-flavored material that echoes country music, thanks to an electric violin - uncredited - on the opening track "Together"…

Bernard Allison's inaugural effort bristled with the urgency and blues-rock guitar chops that distinguished his late father, Luther Allison. The pair played together for much of the '80s before Bernard recorded this album with his father's musicians – including keyboardist Michel Carras, who pulls down some good barrelhouse piano parts. The mood is feisty and assertive, especially on "B.A.'s Knockin' at Your Door" and "Low Down and Dirty," which poses the gleeful question, "And you think I'd change my style?" Of course not; fans knew exactly what they were getting, such as the Hendrix-flecked string-bending that drives "Help." (Bernard even dabbles on drums and keyboards.) Other highlights include the title track's party blues, complete with sassy horns; "Baby Child," a hilarious recounting of how Bernard began his career; and "Travlin'," a slower, yet frank look at the road's ups and downs…

On the evening of September 8, 1974, Rory Gallagher brought his explosive blend of blues, rock and Irish fire to the intimate stage of My Father's Place, the legendary Roslyn, New York club that became a proving ground for the era's greatest performers. This live radio broadcast recording captures Gallagher and his powerhouse band at the height of their powers, delivering a sweat-drenched set that brims with raw energy and virtuosity.

Having spent years as a jobbing musician and songwriter, Bruce Hornsby finally made his commercial breakthrough in late 1986, when The Way It Is topped the US singles charts. This superb live set was broadcast on WNEW-FM a week after its release, and captures the band at their jazzy, melodic best, with Hornsby s remarkable keyboard work to the fore.

The Rockpile was Toronto's hippest club, and 4000 of the city's hippest heads flocked there on February 23rd 1969 to see the great Frank Zappa and his Mothers Of Invention. They did not disappoint, playing a remarkable set that combined their uniquely skewed take on rock'n'roll with virtuoso solos and improvisations, as well as their trademark humorous interludes.

Few guitarists can transform a single note into a melody that sings, burns and heals the way Carlos Santana can. This special collection of live performances–captured from rare and legendary radio broadcasts spanning key moments of his career–offers a front-row seat to the artistry of one of music's true visionaries.

Crank the volume up and step back into the sweat-drenched clubs and raucous airwaves that made the Ramones legends. Live Icons captures the unfiltered, no-nonsense energy of America's original punk pioneers as they rip through the songs that changed rock 'n' roll forever, through a collection of live radio broadcasts.

Before the gold records, before the movie screens, before the legend was carved in stone, Elvis Presley was a young man with a guitar and a voice that could stop time. Live Icons gathers those electrifying moments when Elvis's music leapt from the radio to living rooms across America and set hearts–and history–on fire.

Live Icons brings you AC/DC's Greatest Hits Live - The Bon Scott Years. This selection of live radio broadcasts is pure, uncut high voltage from the years when AC/DC went from gritty Australian pub heroes to global rock powerhouses.

The Cream of Eric Clapton is a strong collection that provides an excellent overview of one of rock music's premier performers. Though the title might imply that the selections here are from Clapton's recordings as a part of the British supergroup Cream, the range is much broader, beginning with Clapton's earliest professional work with the Yardbirds and concluding with many of his most popular solo hits. There's an excellent historical perspective in the choices included, and this is an excellent introduction to Clapton's career. Of particular historical interest are "Crossroads," "I Shot the Sheriff," and "Behind the Mask," which showcase the eclectic influences that form Clapton's career. Much of the increased mainstream interest in traditional blues, reggae, and electronica can be credited to these cover versions, which introduced the works of Robert Johnson and Bob Marley to a wider audience.

No one expected the success of Dream Weaver when it was released, but it sailed to the top of the charts, and with good reason. Backed with only drums and a wide assortment of keyboards, Gary Wright crafted instantly recognizable tunes such as the title cut and "Love Is Alive," which caught on and remain staples of classic rock stations around the U.S. All very revolutionary and new at the time, Dream Weaver hasn't lost any of its magic over time.

The relationship between Harry Nilsson and John Lennon is legendary. They were notorious booze hounds and carousers, getting kicked out of clubs for misbehavior and generally terrorizing L.A. during Lennon's "lost weekend" of 1974. They wanted to make an album together – hell, anyone working at such a peak would – and the result was Pussy Cats, a Nilsson album produced by Lennon. Almost immediately, Nilsson got sick, resulting in a ruptured vocal cord. Not wanting Lennon to stop the sessions, Nilsson never told his friend, stubbornly working his way through the sessions until he lost his voice entirely. These are the sessions that make up Pussy Cats, an utterly bewildering record that's more baffling than entertaining. Like many superstar projects of its time, this is studded with contributions from friends and studio musicians, all intent on having a good time in the studio – which usually means hammering out rock & roll oldies.

Windows is a live album by Jon Lord and the German conductor and composer Eberhard Schoener. The music and the record are primarily credited to Lord. It was taped at a concert in Munich, (West) Germany on 1 June 1974 and the music is a mix between progressive rock and orchestral late romantic/modernist styles. The piece on the first side, "Continuo on B-A-C-H" is a loose attempt to build on the unfinished triple fugue that closed Johann Sebastian Bach's "Art of the Fugue". The second side of the LP is a three-part composition called "Window".