Collects five of his original albums, in card LP replica sleeves! Features The Move's "Message From The Country" (1971), ELO's "Electric Light Orchestra" (1971) and Wizzard's "Wizzard Brew" (1973), plus his solo releases "Boulders" (1973) and "On The Road Again" (1979). Roy Wood is an English singer-songwriter and multi-instrumentalist. He was particularly successful in the 1960s and 1970s as member and co-founder of the Move, Electric Light Orchestra and Wizzard. As a songwriter, he contributed a number of hits to the repertoire of these bands. Wood was inducted into the Rock and Roll Hall of Fame in 2017 as a member of Electric Light Orchestra.

Deluxe Vinyl Replicas by Culture Factory constitute high quality reissued compact-discs which reproduce all the components of the original LPs and are their exact replicas in compact-disc size (5.3 x 5.3 inches), with authentic single or gatefold cardboard jackets and paper sleeves. In addition to the above, each compact-disc Deluxe Vinyl Replica includes a black finish CD complete with the original label to give it the look and feel of the original record album. The music is encoded using state of the art, high definition remastering in 96 kHz / 24 BIT audio.

Digitally remastered reissue of the former Gong guitarist's 1976 sophomore solo album featuring bonus tracks from Hillage's personal tape archives. Compiled with Steve's full co-operation and featuring rare photos and memorabilia plus liner notes written by Prog expert Mark Powell.

Raven presents two landmark albums by legendary multi-instrumentalist, producer and solo artist Al Kooper. Few American musicians have pursued a more diverse or fascinating career than Kooper. As well as playing organ on Bob Dylan's timeless "Like a Rolling Stone", having formed Blood Sweat & Tears and produced Lynyrd Skynyrd, Kooper has issued a dozen solo albums. His 1968 debut I STAND ALONE incorporates pop and soul, jazz and classical elements, making for a seamless and enjoyable whole. As well as covers of "Hey, Western Union Man", "Coloured Rain," and "Blue Moon of Kentucky", Kooper excels with classy originals "I Can Love a Woman" and "Right Now for You". YOU NEVER KNOW WHO YOUR FRIENDS ARE (1969) ups the ante with the brassy "Magic in My Socks", the swooping, soulful "Loretta (Union Turnpike Eulogy)" and "I Don't Know Why I Love You". This top-value package of these two timeless albums comes complete with seven bonus tracks and showcases Kooper's incredible musicianship at its creative peak.

The Nice were an English progressive rock band active in the late 1960s. They blended rock, jazz and classical music and were keyboardist Keith Emerson's first commercially successful band. The group was formed in 1967 by Emerson, Lee Jackson, David O'List and Ian Hague to back soul singer P. P. Arnold. After replacing Hague with Brian Davison, the group set out on their own, quickly developing a strong live following. The group's sound was centred on Emerson's Hammond organ showmanship and abuse of the instrument, and their radical rearrangements of classical music themes and Bob Dylan songs. The band achieved commercial success with an instrumental rearrangement of Leonard Bernstein's "America", following which O'List left the group. The remaining members carried on as a trio, releasing several albums, before Emerson decided to split the band in early 1970 in order to form Emerson, Lake & Palmer. The group briefly reformed in 2002 for a series of concerts.

Pure Food and Drug Act was a band that was formed in the early 1970s based on the talent and charisma of Don "Sugarcane" Harris. The band began with Paul Lagos (sideman with Johnny Otis, John Mayall) on drums, Larry Taylor (original member Canned Heat), sideman John Mayall, Tom Waits on bass and Randy Resnick on guitar. Resnick was at that time experimenting with one and two handed tapping technique which was later to become a standard guitarist's tool. The group played small rooms in the Los Angeles area for several months, among which the Troubador and the Ash Grove. While the band began searching for a record deal, Larry Taylor began to tire of Don's constant lateness and irresponsibility and decided to continue his career with Mayall…

A lot of bands talk about balance in their songs. The balance of catchy, pop sensible vocal hooks with the raging energy of a rock n roll riot. All bands want it but most don’t have the guts to try. Louisville, Kentucky’s Hot Wires roar back with their second full length release entitled “Dark Energy” on Gubbey Records to deliver fuzzed out guitar rowdiness, high energy grooves, and a solid, pulsating rhythmic core. The album is stacked with sing along anthems inspiring you to raise your beer glass high combined with rampaging energy drenched in Ohio river dirtwater. Hot Wires evoke similarities to Sonic Rendezvous, Radio Birdman, The Rolling Stones, with a good helping of Deep Purple to not only perfect this balance but to charge ahead of the pack.

Unit 4+2 was a one-hit wonder that probably deserved better. As one of the better acoustic-electric bands of the mid-'60s, the group stormed the charts with one memorable hit, "Concrete and Clay," scoring on both sides of the Atlantic, but they were never able to come up with a follow-up that was as catchy. The group originated with guitarist Brian Parker and an instrumental band from Hertfordshire called the Hunters, who recorded for the Fontana label in 1961. Parker left the Hunters in early 1962 and joined Adam Faith's backing band the Roulettes. He didn't stay long with the latter band, preferring to put together a group of his own with the emphasis on vocals. Parker recruited guitarists Tommy Moeller (with whom he began writing songs) and David Meikle, and singer Brian Moules, and the quartet played gigs at youth clubs and other local venues, and turned professional soon after. Parker, who suffered from chronic ill health, left the band around this time (although he continued to write songs in collaboration with Moeller) and was replaced by Howard Lubin.

Miracles is a 1972 album by singer Yma Sumac. This is her first and only journey into psychedelic rock, as producer Les Baxter is in control of bringing her into the far out world of rock'n'roll with the same musicians behind The Cowan Brothers and does it work? I would say yes but it is okay to say "almost". This was released by London Records. This is a vinyl rip, it is cleaned up as much as possible without removing the actual music.

Formed in 1969 in São Paulo, SP, Brazil, the Pholhas was named as a suggestion from a friend of the members Paulo Fernandes, Oswaldo Malagutti, Helio Santisteban and Wagner Benatti during their first rehearsal. The band used to play at dancing clubs in the city in order to achieve popularity. And it happened quickly. The first album was recorded in 1972 by RCA Records, all sung in English in a time when this was not common in Brazil, where the language spoken is Portuguese. The album Dead Faces reached the # 1 position on the charts just 3 months after its launching, with 450,000 copies sold. This album won Pholhas' first gold album…

By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon…

And now, Bon Voyage is once again set to surface, on June 15. The folk-prog odyssey teems with ideas and sounds—flute solo breakdowns, half-whispered singing, multiple languages, and psychedelic guitar freakouts. Before her accident, the French artist decamped to Sweden to work on the album with psychedelic brethren Fredrik Swahn of the Amazing and Dungen’s Reine Fiske. In part, the music is a testament to the trio’s mutual love of deep-cut oddities. (Prochet cites Turkish composer Özdemir Erdoğan, Brazilian singer-songwriter Milton Nascimento, and soulful crate-digger favorite Shuggie Otis as influences.) The resulting record is one that she describes as “a little winter’s tale.”

Terry is one of those guitarists who have made the solo his life goal, just like Randy Holden, Jimi Hendrix, Wilburn Burnchette, but not out of narcissism or anything like it just because the instinct of guitar genius allows them, when the muse strikes to improvise and create incredibly personal and unrepeatable weaving of sounds.
Cosmic, smokin', powerful, riff-based power-chord hardrock w/explosive overdriven distorted heavy guitar to the forefront & gutsy, heartfelt, sincere vox by Florida (by way of Ohio!) guitarist-singer-songwriter…

The Petards have tried the impossible. In the early years of rock music, they met as a completely isolated German band from the provinces to achieve their national breakthrough on their own - the dream of international fame in the back of their minds. In their seven-year career, the Petards have made thousands of appearances, five long-playing records, a dozen singles and a lot of experience that groups in this country have been struggling with to this day. They were among the pioneers of German rock music who faced the thankless task of bringing new music to the rural areas of the Republic, where beat or rock music had previously only been accessible via radio. Although bands like the Petards met a starved and enthusiastic audience there, they were usually denied the boring recognition for their fundamental musical fieldwork.

This obscure folk-rock artist from the late '60s left a track record of a few albums and a handful of obscure single releases, including the languid "Lyanna" and the demanding "Don't Leave Me Now." Campbell first came to prominence as a singer/songwriter on the folk club scene. He signed a contract with the interesting Fontana label, which released much cutting edge folk-rock and psychedelic music. He recorded one album and three singles for them before switching dizzily to the Vertigo label. The resulting album took a proud place in this label's catalog, right between the largely forgotten Dr. Strangely Strange and the grandly remembered Paranoid by Black Sabbath. It was definitely Campbell's most famous album, entitled Half Baked with just a note of derision. The album's title track is in turn the most well-known cut by this artist.