Score (1974) [uncensored Version]

Formed in 1969 in the lace city of Nottingham, England - Paper Lace were just one of hundreds of bands looking for the big time. Their big break came in 1974, when after winning the nationwide talent show "Opportunity Knocks", they were spotted by the songwriting team of Mitch Murray & Peter Callander. The first single "Billy - Don't Be A Hero" topped the U.K. charts for 3 weeks in March 1974. The follow up single,"The Night Chicago Died" hit the number one slot on both the U.S.& Canadian charts [#3 in the U.K]. An album - " Paper Lace and Other Bits of Material" followed. The 3rd. single release "The Black Eyed Boys" narrowly missed the U.K. top 10 [#11]. In 1978 Paper Lace had a top 20 version of "We've Got the Whole World in Our Hands" in conjunction with local football team Nottingham Forest F.C.

This large-scale work by Theodorakis sets the poems of Pablo Neruda to an orchestral score.

Journey to the Centre of the Earth is one of progressive rock's crowning achievements. With the help of the London Symphony Orchestra and the English Chamber Choir, Rick Wakeman turns this classic Jules Verne tale into an exciting and suspenseful instrumental narrative. The story is told by David Hemmings in between the use of Wakeman's keyboards, especially the powerful Hammond organ and the innovative Moog synthesizer, and when coupled with the prestigious sound of the orchestra, creates the album's fairy tale-like climate. Recorded at London's Royal Festival Hall, the tale of a group of explorers who wander into the fantastic living world that exists in the Earth's core is told musically through Wakeman's synthesized theatrics and enriched by the haunting vocals of a chamber choir.

Australian quartet Buffalo's third long-player in as many years, 1974's Only Want You for Your Body found them honing their songwriting into far more focused and compact heavy rock nuggets, in a natural progression from first album Dead Forever's oftentimes trippy, post-psych meanderings and second album Volcanic Rock's even mix of lengthy jams and piledriving proto-metal. If anything, for what they lacked in terms of timelessly savage riffing (see Volcanic Rock's "Sunrise" and "Shylock"), new barnstormers like the leering "I'm a Skirt Lifter Not a Shirt Raiser," the comparatively well-behaved "Stay with Me," and the head-nodding chug-groove monster single "What's Going On" (which set a template abused by literally dozens of '90s stoner rock bands) were arguably more well-rounded band performances.

While one has to wonder whether the demand for Malo's product is wide enough to merit a four-CD box set rather than individual reissues of some or all of their albums, Celebracion certainly does a great job of presenting the band's legacy in total. Each of their four 1972-1974 Warner Brothers albums is included in gatefold sleeves, with a 20-page booklet that goes over the band's history with some depth, bolstered by interview quotes from several bandmembers. Two to five bonus tracks are added to each disc/album, though unfortunately these are just shorter single edits of album tracks. There's one previously unreleased cut, "Pana," but that's just an unreleased single edit of the same track of that name that appears on their debut album…