Aircraft Illustrated From Vol 05, N 07 From 1972 07

L'Infonie were born as a Québécois versatile rock commune in 1967 around the initiator Raôul Duguay and the musical chief Walter Boudreau, just along the Québécois "multidisciplinary" music scene in those days. Quite in the vein of late-60s concentrated music essence, mixed with pop, jazz, and classic, they recorded their first creation "Vol. 3" (currently released as an eponymous one) at André Perry Studio and released in 1969. Amazingly, their soundscape had been altered moment by moment - obvious jazz rock / fusion movement and a talented American musician Terry Riley could exert pretty influence upon their second work "Vol. 33 (Mantra)", featuring a sole suite "Mantra" based upon Terry's landmark piece "In C". Finally L'Infonie breathed new life into Québécois progressive rock world with their third double-album "Vol. 333" released in 1972…

1st Live Recordings is a two-volume album series released by Pickwick Records in 1979 containing live performances by The Beatles. Adrian Barber, the stage manager at the Star Club, on the instructions by King Size Taylor, the leader of The Dominoes, another group from Liverpool, recorded this on a Grundig home tape recorder at 3​3⁄4 ips in December 1962, probably during three performances at Hamburg's Star Club on 25, 28 or 29 and 30 December…

Some Time in New York City… This album was not kicked off with a good start. After John and Yoko moved to New York, they started to get involved in anti-war protests, and protests to get John Sinclair out of prison. All of these were followed with Richard Nixon's attempts to deport John Lennon, which would last for around 5 years afterwards…

The complete collection: Every soul, funk, gospel, rock track from Indianapolis s greatest label on a 4 CD set Sometimes, all it takes is one man to recognize a city s potential for an industry. In Indianapolis, that man was Herb Miller, and his business was soul and funk. He came to prominence long after Indy s allure as a jazz destination waned. He founded LAMP Records in the late 1960s to wake Naptown from its musical slumber. Miller served a critical role in city s burgeoning soul and funk scene, providing not only financial backing, but acting as a one-stop, record-making shop for artists that had, to that point, been doing it all themselves. He s the Berry Gordy you ve never heard of. His roster national acts like the Vanguards and Ebony Rhythm Band alongside talented, regional acts such as the Moonlighters, Montiques, Pearls and the Words of Wisdom Truth Revue rivaled that of any American independent and paved the way for the ascension of 80s and 90s hitmakers Kenneth Babyface Edmonds and Antonio L.A. Reid, both of whom cut their teeth with LAMP alumnus.

Capability Brown had and still have a cult following in UK music history as a "progressive" band, ultimately based on an outstanding piece from their second album, Voice. But largely their range covered mainstream pop music, treated in an "arty", alternative fashion. The band was a six-piece in which everyone sang and played instruments. The line-up consisted of Tony Ferguson (guitar, bass), Dave Nevin (keyboards, guitar, bass), Kenny Rowe (bass, percussion), Grahame White (guitar, lute, balalaika, keyboards), Joe Williams (percussion) and Roger Willis (drums, keyboards).
Ferguson and Nevin wrote the majority of the band's material, and the band also excelled in covers of obscure material (Rare Bird's Beautiful Scarlet and Redman, Argent's Liar, Affinity's I Am And So Are You and Steely Dan's Midnight Cruiser).
Capability Brown's forte was vocalizing…

The J. Geils Band made many fine, sometimes great, studio albums but where they really captured their full, thrilling potential was on the concert stage. Most live albums tend to be a poor excuse for actually being at the show in question, but the Geils Band's live albums jump out of the speakers with so much joy, fun, and unquenchable rock & roll spirit that you might as well be there. "Live" Full House was their first live record, and it is a blast from start to finish. Recorded in 1972 at Detroit's Cinderella Ballroom, the group runs through songs from their first two albums, The J. Geils Band and The Morning After, kicking out the jams on rockers like the Motown chestnut "First I Look at the Purse," Otis Rush's "Homework," and one of the group's first self-penned classics, "Hard Drivin' Man," as well as positively scorching through an incredible version of John Lee Hooker's dark and evil blues "Serves You Right to Suffer"…

The second album by Manfred Mann's Earth Band to be released in 1972, Glorified Magnified is as solid a heavy rock album as you're likely to find from that era, and it still holds up three decades later, mostly because these guys are smarter than the music they're playing and don't mind indulging their taste as well as their dexterity. They can romp and stomp through "Meat" or "I'm Gonna Have You All," complete with a slashing guitar solo by Mick Rogers on the latter, or throw in a synthesizer interlude by Mann on "One Way Glass" that's so quietly and carefully executed as to be worthy of a classical piece – and not skip a beat doing it.

Duane Allman's greatness was apparent on his recordings with the Allman Brothers, yet there was another side to the superb guitarist. For many years, he was a highly respected session musician, playing on cuts by Wilson Pickett, Aretha Franklin, King Curtis, Boz Scaggs, Delaney & Bonnie, and Clarence Carter, among others. By including those session cuts, as well as a sampling of his brief sojourn in Eric Clapton's Derek and the Dominoes and a few rare solo tracks, along with a number of representative Allman Brothers songs, the double-album Anthology winds up drawing a complete portrait of Allman…