Prepare to embark on an auditory journey like no other as Norwegian prog-rock maestros Airbag unleash their highly anticipated sixth studio album, "The Century of the Self." Showcasing their trademark fusion of mellow introspection and dynamic energy, from the mesmerizing depths of "Dysphoria" to the haunting crescendo of "Tyrants and Kings," each track captivates with irresistible vocal hooks and virtuosic lead guitar work that has become synonymous with the Airbag sound. As the album unfolds, listeners are taken on a voyage through introspection and intensity, from the introspective balladry of "Awakening" to the foreboding depths of the single "Erase."

While Radio Massacre International did not invent the vocabulary of spacemusic, they certainly do know how to use it. On their album Zabriskie Point, RMI offers us a window into one of music's most intimate experiences, the free-form jam. A notation for this style of music does not exist. The musicians must have the ability to "feel" their way through. It is through these kinds of sessions that musicians bond and demonstrate an almost telepathic connection with their collaborators.
Without any rhythm, harmony or melody to speak of, the listener becomes absorbed and lost in RMI's referenceless sonic spell. Dark analogue synth tones colour the mood, carefully played electric piano notes speak of place and the ever present processed guitar…

Haze played excellent 1971 progressive rock with lots of impressive instrumental passages. 5 tracks that lean towards heavy bluesy progressive and some freaked out parts with good guitars, flutes, bass & drums, but their lead-singer's voice sometimes sounded somewhat strange. This limited SB version is a replica of the original Gimmix cover coming in a Digipak with the DIA in the frontcover.

The Doobie Brothers' third long-player was the charm, their most substantial and consistent album to date, and one that rode the charts for a year. It was also a study in contrasts, Tom Johnston's harder-edged, bolder rocking numbers balanced by Patrick Simmons' more laid-back country-rock ballad style. The leadoff track, Johnston's "Natural Thing," melded the two, opening with interlocking guitars and showcasing the band's exquisite soaring harmonies around a beautiful melody, all wrapped up in a midtempo beat - the result was somewhere midway between Allman Brothers-style virtuosity and Eagles/Crosby & Nash-type lyricism, which defined this period in the Doobies' history and gave them a well-deserved lock on the top of the charts…

Joe Gordon did not live long, only making it to 35. His second of two recordings as a leader (originally released by Contemporary) finds him on the verge of leading his own group. Gordon wrote all eight of the selections and is joined by adventurous but obscure altoist Jimmy Woods, pianist Dick Whittington, bassist Jimmy Bond, and drummer Milt Turner. Although the solos are generally more memorable than the tunes, this is an excellent effort that hints at what might have been had Joe Gordon lived.

Cynics who perceive many super-groups as nothing more than bloated extrapolations of, at times, perfectly mundane musical components, can back up their assumptions with Armageddon's eponymous debut from 1975. The first and final spawn of the would-be-super-group featuring former Yardbird vocalist Keith Relf, erstwhile Captain Beyond drummer Bobby Caldwell, ex-Steamhammer guitarist Martin Pugh, and Relf's Renaissance partner, bassist Louis Cennamo, the album contains a meager five tracks – four of which extend beyond the eight-minute barrier due to bouts of arguably unnecessary, self-indulgent waffling. On the other hand, this was the '70s, people, and of course this sort of excess was par for the course, back then.