Solomon's Seal was an album recorded in 1972 by folk-rock band Pentangle. It was the last album recorded by the original line-up, before the band split in 1973. Jacqui McShee has stated that it is her favourite Pentangle album. The album title refers to the Seal of Solomon - a mythical signet ring with magical powers, sometimes associated with the pentagram symbol adopted by Pentangle.

Definitive 2 CD best-of collection from cult Anglo-Australian folk-pop group best known for their international smash hit 'I'd Like To Teach The World To Sing'. In their heyday between 1970-74 they were one of the biggest bands in the world, selling over 25 million records, and this release revisits that period. It includes the aforementioned classic and has been hailed by fans for finally bringing together all their top tunes, including some never before available on CD. 52-tracks in all.

Although Sweet Child is usually cited as the group's high-water mark, Basket of Light finds them at their most progressive and exciting. Highlights of this album – which actually reached the Top Five in the U.K. – include the buzzing jazz dynamics of "Light Flight," their moving rendition of the traditional folk song "Once I Had a Sweetheart," their reinvention of the girl group smash "Sally Go Round the Roses," and "Springtime Promises," one of their finest original tunes.

Pentangle were always great at creating musical fusions, and on this album, they once again came through. The opening song, "Wedding Dress," is a fabulous meeting of Celtic, country, and, believe it or not, funk. It's one of the few songs of theirs that actually rocks. The rest of the record is classic Pentangle, with Bert Jansch's and John Renbourn's acoustic guitars intermingling so well that it would make even Neil Young and Stephen Stills a little envious. Jacqui McShee, as usual, has some exquisite vocal moments, namely the previously mentioned "Wedding Dress" and an excellent reading of "Will the Circle Be Unbroken." This track shows how the group was further exploring new musical ground, this time with traditional American folk/gospel. The group's rhythm section of Danny Thompson (upright bass/cello) and Terry Cox (percussion) – easily one of the most inventive on the planet – shines on every cut, creating solid ground for Renbourn, McShee, and Jansch to do their high-wire act on vocals and guitar. One of their finest all-around albums.

Magic Box (also known by its cover title as The Loved Ones' Magic Box) is the debut and sole album from Australian rock band The Loved Ones. It was released in Australia on the W&G label in 1967. The album was reissued in 1985 on Glenn A. Baker's label Raven Records with a different track order and bouns tracks. However, when the album was remastered only the left hand channel of the stereo master was used. This means some instruments and an intro to 'Sad Dark Eyes' (an electric piano in the right hand channel) are missing on the Raven Records release. The 1995 Karussell compact disc uses the Raven Records master as its source, meaning the true stereo or mono version of Magic Box has never been released on compact disc. Both cd reissues included a Wild Cherries rehearsal take of 'Without You', which has been incorrectly attributed to the Loved Ones. The album was included in the 2010 book, '100 Best Australian Albums'.

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations. The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

It doesn't take much rhetorical muscle to argue that science fiction was one of the dominant genre artforms of the 20th century, from the Lumiere brothers to Spielberg, from Wells and Conan Doyle to Asimov, Bradbury, and Clarke. This nearly exhaustive, lavishly packaged collection documents the genre's musical legacy across virtually every major genre on its five discs and 113 tracks. Each volume is divided by sub-genre–Movie Themes, TV Themes, Pop, Incidental/Lounge, Novelty–with each containing both the obvious contenders and some delightful surprises. The film disc alone contains a wealth of rarities, including music from Them!, The Beast from 20,000 Fathoms, The Andromeda Strain, Fantastic Voyage, and other notables. The packaging is brilliant kitsch: a 6.5-inch square, metal-lidded cube emblazoned on three sides with suitably tacky 3-D images of–you guessed it!–a floating brain. But the profusely illustrated, hard-bound, 200-page book (designed to emulate the Big Little Books of the 1940s and '50s) that's included gives the subject its serious due, with an introduction by Ray Bradbury and contributions from an array of other notables, including Forrest J. Ackerman, Billy Mumy, Joe Dante, Dr. Demento, and Matt Groening. Perhaps the best half-cubic-foot of sci-fi brain food every assembled. –Jerry McCulley

Collection includes: Sophisticated Beggar (1966); Folkjokeopus (1969); Flat, Baroque and Berserk (1970); Stormcock (1971); Valentine (1974); HQ (1975); Bullinamingvase (1977); The Unknown Soldier (1980); Once (1990); Death or Glory? (1992); The Dream Society (1998); Green Man (2000); Counter Culture (2005); The Death of God (2005); Man & Myth (2013).

Originally recorded for Criminal Records in 1980, Looking for Eleven finds Rod Clements and Ray Laidlaw of Lindisfarne handling bass and drum duties, rather than Rick Kemp and Dave Mattacks. The resulting set has a somewhat stripped-down sound to it, though the assorted Chapman trademarks are present and accounted for, right down to the offbeat guitar sounds (Chapman, like John Martyn, has always refused to stick with a typical acoustic guitar sound). This album features more than the usual amount of instrumental work, which makes for a particularly engaging listening experience.

This is Music: The Singles 92–98 is a singles compilation album by the English alternative rock band The Verve. The compilation was released in November 2004 and included two previously unreleased tracks: "This Could Be My Moment" and "Monte Carlo". The album was named after a track by the same name off their 1995 album A Northern Soul. The album cover is based on the cover of their 1992 single, "She's a Superstar".

Even though Helado Negro's music is always unmistakable, Roberto Carlos Lange has never repeated himself. On PHASOR, his ability to change, grow, and roll with life's highs and lows is at a peak. Lange recorded the album after trading Brooklyn's bustle for the considerably more easygoing creative mecca of Asheville, North Carolina, and the feeling of a fresh start is evident following the lockdown outpourings of 2021's acclaimed Far In. In the best possible way, PHASOR doesn't seem like as much of an effort as its predecessor. Everything on Helado Negro's eighth album feels serendipitous, from its sunny electronics to its mingling of psych-rock, jazz, and kosmische to the understated yet undeniable grooves that give Lange's musings a flowing foundation.

While the all-killer no-filler single-disc The Byrds' Greatest Hits remains the best distillation of their classic songs, The Essential Byrds is a smartly assembled double dose, including all 14 of the 1965-1967 tracks on Greatest Hits, but expanding its reach into their entire Columbia output, going as far as the early '70s. Inevitably, that means that disc two – which goes, roughly, from mid-1967 to 1971 – isn't as good as the first half, and that the last four tracks in particular are by far the least impressive, tagged on mostly so that the release spans the Byrds' entire Columbia catalog. That's a small reservation considering that the two-fer adds many first-rate songs not on Greatest Hits, from non-hit singles like "Lady Friend" and "Goin' Back" to standout album cuts like "Renaissance Fair," "Natural Harmony," "Jesus Is Just Alright," and "Chestnut Mare." There are no surprises here; even the songs that eluded inclusion on albums for many years, like the early B-side "She Don't Care About Time" and "Lady Friend," have been commonly available in the CD era. And it's true that this misses some other fine album tracks that could have stood with pride alongside those selected, like "I Knew I'd Want You," "John Riley," and "Dolphin's Smile." Within the confines of the two-CD format, though, it's a very well-chosen career overview.

Time Life Music’s Singers & Songwriters: 1976-1977 collects 24 radio hits over the span of two discs. Despite the title, the compilation doesn’t just favor traditional singer/songwriters like Al Stewart, Linda Ronstadt, and England Dan & John Ford Coley, though they are represented here. Group contributions include Orleans (“Still the One”), Fleetwood Mac (“Say You Love Me”), Chicago (“If You Leave Me Now”), and Bread (“Lost Without Your Love”), but it’s the solo acts that provide the most recognizable hits.

All six albums Joan Baez recorded for A&M during the '70s with non-LP singles-a long-overdue look at a key phase in her career! This box has every note from this fertile period, including the albums Come from the Shadows, Gracias La Vida (Here's to Life), Diamonds and Rust , the live album From Every Stage and the never-before-on-CD Where Are You Now My Son? and Gulf Winds releases.

I aptly discovered this group on the 25th December 2009. I had been searching through the archives, hoping I could find an obscure funk album with each member varying significantly in styles, an interesting cover, vaguely political lyrics, and very tight and memorable grooves. I was getting slightly worn out and frustrated that I couldn't find the album to peak my enthusiasm, until I found this one on Christmas Day.