Lawrence Of Newark is a spectacularly explosive, historically monumental, and masterfully synchronized cosmic jazz-fusion studio masterpiece led by the legendary American Hammond organ vanguard innovator and musical explorer Larry Young (also known as Khalid Yasin), reissued on compact disc in 2002 by the premier archival preservation imprint Castle Music. Spanning over 37 minutes of breathtakingly intense, conceptually unbound electric and acoustic interactions across 5 sprawling movements, this high-fidelity restoration serves as an absolute pinnacle monument in early-1970s radical jazz archaeology. Originally recorded in 1973 for Perception Records following Young's revolutionary tenures with Miles Davis and the Tony Williams Lifetime, this project utilizes a massive, multi-tiered orchestra of avant-garde masters to execute a fierce, forward-thinking sonic blueprint that shattered the traditional boundaries of organ jazz, transforming the instrument into a swirling, psychedelic synthesizer vortex.

16 Greatest Hits is a compilation album by Steppenwolf, released in 1973. It features some of their most famous songs, including "Born to Be Wild", "The Pusher", and "Magic Carpet Ride", and "Hey Lawdy Mama." The album consisted of the 11 tracks from the previous Gold: Their Great Hits album, in the same order as on the two sides of that earlier album, with the addition of the final two tracks on side 1, and the final three tracks on side 2. The album was made available in all formats through several U. S. record clubs, each bearing notes as to their club origin. The album was also issued (under various titles) in Canada, England, Germany, Greece, and the Benelux countries, and was issued on CD in 1985.

Odin (1972). CD-Reissue of German/English/Dutch outfit Odin. Their one and only album on famous German label Vertigo, originally released in 1972, is a truly gem of the golden age of Progressive Rock. Four excellent musicians show their great talent, especially organ player Jeff Beer and guitarist Rob Terstall, driven by great rhythm section Ray Brown on bass and drummer Stuart Fordham. The album's highlight is opening track 'Life is only'. This is an absolutely great 12-minutes number with raging, dissonant Hammond B-3 work, refined song constructions and very good guitar and vocal work. Another highlight is a 8-minutes version of Quartermass classic 'Gemini' with features also a long and impressive B-3 organ solo. 'Clown' closes the original album out with some heavy instrumental firepower from Jeff Beer keyboards and strong vocals…

The New Cactus Band's Son of Cactus (1973) is a mellow, blues-based boogie-rock record. While missing the heavy, eardrum-bludgeoning sound of the original Cactus, critics and fans view it as an entertaining, overlooked 1970s gem.
Compared to the original Cactus lineup, this iteration pivots toward a more relaxed pub-rock groove with Southern and country-rock influences. It is highly regarded as fun, feel-good "party music".

Enlightenment is an absolutely staggering, monumental, and historically definitive volcanic masterwork by the legendary American jazz pianist, composer, and modal pioneer McCoy Tyner, originally recorded live at the Montreux Jazz Festival in 1973 and beautifully preserved on CD via Milestone Records in 1990. Spanning nearly 70 minutes across seven breathtaking performances, this high-fidelity archive captures the former John Coltrane Quartet anchor at the absolute absolute absolute peak of his creative power, unleashing torrents of heavy chordal clusters and blistering pentatonic runs. Backed by a spectacular, hyper-kinetic acoustic powerhouse quartet featuring the ferocious, multi-reed virtuosity of Azar Lawrence, the deep, woody bass structures of Joony Booth, and the thunderous, polyrhythmic drum engine of Alphonse Mouzon, Tyner crafts a transcendent musical experience. The performance is highlighted by the multi-part, deeply spiritual Enlightenment Suite, the complex, rapid modal pathways of Nebula, and the legendary closer Walk Spirit, Talk Spirit—a massive, sprawling 24-minute tour de force that ranks among the greatest live statements in jazz history. Exceptionally preserved in pristine lossless audio quality, this definitive historical archive stands as a mandatory cornerstone and an absolute holy grail for global purists of modern creative piano jazz, high-energy post-bop, and monumental live concert recording achievements.

Time Of Change is a complex, monumental progressive rock masterpiece by the legendary Italian-British outfit The Trip, originally released in 1973 and beautifully archived here via the highly collectable 1999 historical reissue by the renowned Italian archival label Akarma. Spanning 39 minutes across five intricate movements, this high-fidelity release captures the band at their absolute zenith as a power trio following the departure of guitarist Billy Gray. Driven entirely by the dizzying, classical-crossover keyboard mastery of Joe Vescovi, the deep, driving bass lines of Arvid "Wegg" Andersen, and the ferocious, ultra-technical syncopations of legendary jazz-rock drummer Furio Chirico (who would immediately follow this record by forming Arti & Mestieri), the album stands as a towering pillar of the Rock Progressivo Italiano (RPI) movement. The entire first half of the album is consumed by the breathtaking, 20-minute magnum opus Rhapsodia, an explosive symphonic suite shifting seamlessly from baroque Hammond organ themes and delicate acoustic frameworks to frantic, avant-garde fusion jams. The second half balances this weight with avant-garde instrumentals like Formula Nova and the gorgeous, synth-drenched Corale. Exceptionally preserved in pristine lossless quality alongside original LP artwork scans, this definitive reissue is an absolute cornerstone and a mandatory treasure for global purists of vintage 1970s progressive rock, symphonic keyboards, and rare Italian music history.

At The Beeb consists of two BBC sessions Queen recorded for producer Bernie Andrews to be broadcast on the Sounds of the 70's TV show. The eight songs, recorded Feb. 5th and Dec. 3rd, 1973, are nearly identical to the versions found on Queen and Queen II. The exception is "Son and Daughter." Here, the composition is expanded to over twice the length of the album version, extended by instrumental flourishes from Brian May and Roger Taylor which hint at what would later become "Brighton Rock" and "Now I'm Here." This alone makes the CD worthwhile. The recordings are of exceptional sound quality, and the performances are fresh and crisp.

Eumir Deodato's 1973 masterpiece, Os Catedraticos 73, stands as a spectacular, groove-heavy milestone that bridges the gap between sophisticated Brazilian bossa-groove and high-octane American jazz-funk. Released during the absolute peak of Deodato's international fame—hot on the heels of his massive solo successes in the United States—the album revisits his historic "Os Catedráticos" studio project with an aggressive, electrified 1970s sonic palette. Splitting the recording sessions between Rio de Janeiro and New York City, Deodato masterfully blends an elite American brass section featuring Marvin Stamm and Wayne Andre with an unstoppable Brazilian rhythm foundation powered by Azymuth's legendary drummer Ivan Conti. Throughout the eleven brisk, infectious tracks, Deodato's driving Hammond organ and Fender Rhodes electric piano leads the way over propulsive samba-funk breakbeats, reimagining classic tracks like Arranha Céu (Skyscrapers) and O Jogo. This landmark release remains an essential blueprint for acid jazz and instrumental funk, capturing a visionary arranger seamlessly fusing kinetic dancefloor energy with complex harmonic brilliance.

Hand Made is the phenomenal third studio album by the seminal German jazz fusion group Passport, spearheaded by acclaimed saxophonist and composer Klaus Doldinger, released in 1973 via Atlantic Records. This recording represents a crucial evolutionary step for the band, marking the introduction of a revamped lineup featuring legendary drummer Curt Cress and keyboardist Frank Roberts, whose presence injected a heavier, funkier edge into the ensemble's signature style. Throughout the seven compelling compositions, Doldinger expertly guides the group through complex rhythmic shifts and rich harmonic layouts, balancing his lyrical woodwind excursions with an expansive array of electronic instrumentation, including the Moog synthesizer and Mellotron. Wolfgang Schmid's driving bass lines lock in effortlessly with Cress's propulsive drumming to establish a muscular, deep-grooving foundation. Capturing a perfect balance of fiery improvisational energy, progressive song structures, and spacey, cosmic soundscapes, this masterpiece remains an absolute cornerstone of continental European jazz-rock history.

Silverhead's second record, 16 and Savaged, finds the unit much tighter, yet like any great rock & roll band, they maintained that all-important swagger. The addition of guitarist Robbie Blunt gives the group an added punch, and he and Rod Davies proved to be one of glam's best twin-guitar attacks. Vocalist Michael Des Barres steps up as well, and his Steve Marriott-bumping-into-Rod Stewart rasp never sounded better, before or since. The boys come out blazing on the groovy opener, "Hello New York," nailing the Bolan strut and swiping the "Get It On" licks, while the gleefully sleazy "More Than Your Mouth Can Hold" has a definite Faces vibe, an intro borrowed from "Street Fighting Man," and all the subtlety of a Gene Simmons lyric.

Third Album is the fourh album by Shocking Blue, released in 1971. Despite being titled Third Album, it is actually the fourth. This is most likely meaning the third album with Mariska Veres, the lead singer.

A month after losing Wayne Shorter to the beginnings of Weather Report, Miles Davis added young saxophonist Steve Grossman to the fold that included drummer Jack DeJohnette, bassist Dave Holland, electric pianist Chick Corea, and percussionist Airto Moreira. Just in time, too, since Bitches Brew had just been released. What is most interesting about this performance is how abstract it is, even by the standards exacted on In a Silent Way and Bitches Brew. Opening with Joe Zawinul's "Directions," with a small three-note vamp, Davis creates a spaciousness for Grossman to hit the stratosphere and for both Holland and DeJohnette to literally fall freely as a rhythm section as long as they could find a groove. The band seems to open too far; they can't seem to find each other in the maelstrom. Davis lays out, watching it all, directing from the sidelines…