This DVD/CD package is an absolute must have for any Jethro Tull fan; finally a concert DVD from the classic 1970s period and the closest thing possible to having a video version of Tull's live album `Bursting Out.'

Big Brother & the Holding Company is the debut album from Big Brother and the Holding Company and the studio debut of Janis Joplin. The album was originally released in the summer of 1967, following the band's major success at the Monterey Pop Festival.

Chicago would never sound more progressive and tight than this. After the third album, they were in a continually state of flux. Granted they did make some marvelous music and sell a ton of records, but this is when they were taking a chance, pushing the envelope and doing what no one else was doing. This live set clearly demonstrates that and shows why they changed irrevocably after Terry Kath died. Some of the most incredible lead guitar runs are on these CDs.

This was recorded in early 1972, shortly after the band dropped the name "The Elves" and became "Elf", and not long before recording the first album. The sound quality is amazing, a lot of covers as well as unreleased material, and what's more : Ronnie James Dio covering "War Pigs" more than 7 years before joining Back Sabbath!!!

Really, this is probably Chicago's most underrated and overlooked of their early albums, but full of great material, and certainly one of their finest…

There have been a few excellent debut metal albums in 2006. So far, my two favourite, Cellador's Enter Deception and Outworld's Outworld have been, for the most part, very well received by the metal community. The later is an excellent offering from an up and coming progressive metal band, and those who enjoy this type of music should readily enjoy it. Fusing extreme virtuoso; muscular, high speed riffs; solid song writing; several epic tracks; and excellent, high flying vocals; Outworld's self titled debut is definitely an impressive offering from the Texas metallers. This band is one that the metal community should look out for in the future, especially fans of bands such as Symphony X, Tad Morose, and Dream Theater.

With the shortest track clocking at over eleven minutes, be ready for extremely long pieces of music from TFK. Musically, the band's reliance on melody and harmony to carry forth their edgier musical explorations is a real blessing; they welcome the listener inside their sound world and make them a part of their sprawling musical narratives. One listen to the monolithic opener, "The Truth Will Set You Free," (clocking in at over 31 minutes), or Disc Two's 26-minute-plus closer, "Stardust We Are," proves that good music has no expiration date, and that inspiration is a deep well that knows no prejudices. This is the real stuff: brave, elegant, ambitious and yes, soulful.

Song to a Seagull is Joni Mitchell's 1968 debut album. Mitchell would later note that the album is more a result of her love of classical music than of folk, and this is evident through the thick, rich, and often unusual harmonies, and the densely poetic lyrics of the album. This album was originally released as an untitled or self-titled LP because of an error at Reprise Records' publishing department.

Who would guess that such a good live album could come out so late in their career..

III Sides to Every Story was an overambitious project and an often times pretentious album, I think Extreme succeeds here anyway. This album is just as strong and adventurous as Pornograffitti. Extreme successfully mixes hard rock and heavy metal with funk, pop and prog. Extreme has always had progressive tendencies in their music, even though most do not consider Extreme to be progressive. Prog is about musical innovation, not technical masturbation. And Extreme was certainly innovative. Hell, even those of you who have been misled into thinking that progressive bands need be technical, try and find a guitarist more technical than Bettencourt.

This is the band in top-flight form and the remastering certainly gave this recording a newfound crispness and clarity. Ian is in splendid voice and the band is as tight as it was going to get on that particular tour. For those of us who wish we were there (yours truly) and those that were, this double CD set is a must have acquisition. You cannot say you are a true JT fan if this album is not in your collection. This collection of live tracks epitomizes the JT sound of that era.

A MASTERPIECE PROGRESSIVE MUSIC
Oh yeah … what do you expect more from a progressive music album if the musicians offer you with a music which has a balanced between complexity and harmony yet it’s adventurous in nature? Well, this is the case with this album. Even though this album was released too soon after their previous release “The Rainmaker” (2001) this follow-up album still have the same excellent quality as its predecessor.

Another excellent follow-up album from The Flower Kings after their previous excellent work titled “Space Revolver”. “The Rainmaker” is much more accessible than its predecessor as the music, overall, is more melodic and the music is more solid. Excellent harmony which blends stunning guitar work by Roine Stolt, Bodin’s floating and soaring keyboard sound – both of them are fully supported with excellent combination of bass guitar, drums, percussion and powerful vocals. You don't have to be a prog head to enjoy this music, if you love great rock and roll you need to hear this CD. Yes indeed, they are serious dreamers…

Roine Stolt's voice is strong, full, passionate, and delightfully accented. The Flower Kings' lyrics are heady, compelling, and hook city. The guitar work is extremely melodic and rates right up there with anything Brian May or David Gilmour has offered.
The ten songs here are split between five instrumentals and five featuring great vocals mingled with extended instrumental bridges and a variety of sonic excursions.
Take the best of Crack the Sky, Pink Floyd, early Genesis, and the slick cool pop/rock of Queen and Prince's 1999, mix everything together in the cauldron of Stolt's vision of world peace, and out comes a fresh batch of magic.

This Uriah Heep album is the last with David Byron on vocals and with John Wetton on bass and Mellotron. The album is varied, with great prog-oriented songs and good rock and roll songs. This is the less prog-oriented Uriah Heep album in Byron era, although there are great songs like Midnight and Misty Eyes and it contains lots of keyboards, played both by Hensley and Wetton.