One of those real rare hard rock group often considered as heavy progressive, Jenghiz Khan produced one sole album that is now a highly-priced collectible item. With an amazing cartoon-like gatefold cover of the Great Conqueror having cut the group member's heads, this obscure quartet is also the start of bassist Rapsat's lengthy career (he had recorded with another "prog" group Laurelie the same year) as a French-speaking rock singer/songwriter. The album is the hard rock that one can expect from the era with an amateur trait, but also some undeniable progressive tendencies. The album has received a CD issue sometime ago and is now most likely scarce also.

Friday, May 12, sees the release of Earth Electric’s Vol.1: Solar on Season of Mist, which we are streaming it in its entirety now. The group finds former Mayhem guitarist Rune Ericksen teaming with highly respected Portuguese musicians Alexandre Ribeiro (bass, Grog Neoplasmah) and Ricardo Martins (drums, Jibóia) as well as London-based keyboardist Dan Knight (Messenger). Joined by vocalist Carmen Simoes (ex-Ava Inferi), the symphonic rock outfit blends the best stained glass elements of succinct, classic progressive rock with the power of unapologetic metal, culminating in an album that appeals to a broad base of listeners while never losing its integrity.

Looking On is the third album by The Move, released in the UK in December 1970. The LP is their first to feature Jeff Lynne, their first containing entirely original compositions. It includes both their 1970 singles, the Top 10 hit "Brontosaurus," released on Regal Zonophone in March, and the less successful "When Alice Comes Back To The Farm," released on Fly in October. It's also the first LP to feature both Roy Wood and Jeff Lynne as a tandem, with Wood’s use of cello and woodwinds and Lynne's piano in addition to their usual guitars and vocals, anticipating the work they would later pursue in The Electric Light Orchestra, whose debut album they were starting to record at around the same time…

This "concept" album related to an infamous rock'n'roll habit! Unfortunately the album sleeve didn't list the line-up, but it seems likely that Ken Hensley of Uriah Heep fame had a leading role. He recorded the Weed album during March 1971 in between the Uriah Heep albums Salisbury and Look At Yourself. Some members of the 1970/71 Virus line-up were also involved, Bernd Hohmann and Werner Monka at least and possibly their rhythm section as well. All six tracks were composed by the concert promoter Bobo Albes and Phillips' household producer Rainer Goltermann made sure the sessions in the Windrose Studios in Hamburg were preserved for posterity.

The Violent Side is a 2CD bootleg by British rockers The Who. True to its subtitle, the album is a soundboard recording of the full set of The Who at Woodstock on 16 August, 1969. The second half of disc two are bonus tracks recorded at Young Vic in London, England in April of 1971. This comes courtesy of Countdown Factory.

Riot Act is the seventh studio album by American rock band Pearl Jam, released on November 12, 2002 through Epic Records. Following a full-scale tour in support of its previous album, Binaural (2000), Pearl Jam took a year-long break. The band then reconvened in the beginning of 2002 and commenced work on a new album. The music on the record featured a diverse sound, including songs influenced by folk, art rock, and experimental rock. The lyrics deal with mortality and existentialism, with much influence from both the political climate after the September 11, 2001 terrorist attacks and the accidental death of nine fans during Pearl Jam's performance at the 2000 Roskilde Festival.

Recorded on a shoestring budget, UFO has several challenging sonic moments. The uneven mixes and amateur performances that some listeners might find quaint or innocent could be distracting to others. In their pre-Michael Schenker days, the British band made a much more experimental noise that reflected psychedelic as well as R&B influences pitched with a dark resonance. This swirling mish-mosh barely suggests the early British metal of the group's commercial pinnacle that was still years off when they released their eponymous debut…

One of Rolling Stone’s top 100 albums of the decade, Rated R from Queens Of The Stone Age marks its 10th anniversary with the expanded, two-CD Rated R - Deluxe Edition (Interscope/UMe), released August 3, 2010. Added to the original album is a second disc with six B-sides and the band’s memorable summer 2000 Reading Festival concert–featuring nine previously unreleased songs, including live versions of Rated R’s “Feel Good Hit Of The Summer”, “The Lost Art Of Keeping A Secret”, “Better Living Through Chemistry” and “Quick And To The Pointless”.

Looking back at The Black Angels' 13-year career, it's a wonder it took the group so long to name an album Death Song. The Austin-based collective originally took its name from The Velvet Underground classic "The Black Angel's Death Song," as befits its dark, droning take on hard-edged psychedelia. The Black Angels' Death Song, however, is far from some kind of VU tribute. While continuing to evolve the seething, hypnotic tradition laid down by Lou Reed, John Cale, and company in the 1960s, The Black Angels have delivered an enormous and frighteningly timely fifth album full of uniquely trippy anthems to oblivion.

Kingdom Come is the debut studio album by American rock band Sir Lord Baltimore, released on Mercury Records in 1970. This album is notable for the fact that its 1971 review in Creem contains an early documented use of the term "heavy metal" to refer to a style of music. It features very fast-paced, rhythm and blues-based rock 'n' roll with high levels of distortion in the guitar and, in some cases, the bass. Baltimore's heavy style can be compared to early Black Sabbath, the Stooges and MC5. Kingdom Come has received acclaim from critics and its influence on heavy metal music is well-noted. In his retrospective review, Marcos Hassan of Tiny Mix Tapes called it "one of those great records where not a second is wasted".

A thoroughly intriguing & engaging album that appeared on the Crown label in 1969. Absolutely nothing is known about the band other than their albums have become highly sought-after for their over-the-top heavy psych-blues-rock mayhem that owes much to Hendrix, Iron Butterfly, & Blue Cheer's 'Vincebus Eruptum' (1968)…

One could easily make the case for designating the Masters Apprentices as the best Australian rock band of the '60s. Featuring singer Jim Keays and songwriter/rhythm guitarist Mick Bower, the band's earliest recordings combined the gritty R&B/rock of Brits like the Pretty Things with the minor-key melodies of the Yardbirds. The compelling "Wars or Hands of Time" and the dreamy psychedelia of "Living in a Child's Dream" were undiscovered classics, although the latter was a Top Ten hit in Australia…

At the start of the 1980s, it dawned on somebody in charge of Jimi Hendrix's musical legacy that a whole generation of new listeners had come of age since the guitarist's demise. That meant it was time for a fresh raid on the vaults and a fresh, authorized album release to fly the flag of the Hendrix estate, amid the steady stream of bootleg, gray market, and other unauthorized collections of his early work starting to fill up record store bins and browsers…

Goodbye (also called Goodbye Cream) is the fourth and final studio album by Cream, with three tracks recorded live, and three recorded in the studio. It was released in Europe by Polydor Records and by Atco Records in the United States, debuting in Billboard on 15 February 1969. It reached #1 in the United Kingdom and # 2 in the United States. The album was released after Cream disbanded in November 1968. Goodbye was voted the 148th best rock album of all time in Paul Gambaccini's 1978 poll of 50 prominent American and English rock critics.