El Juicio (The Judgement) is an album by pianist Keith Jarrett recorded in 1971 and released in 1975. On four days in July and one in August 1971, Jarrett went into the Atlantic Recording Studios with his trio (Charlie Haden and Paul Motian), plus Dewey Redman on tenor saxophone, and produced enough music for three albums: The Mourning of a Star (released in 1971), El Juicio (The Judgement) and Birth (released in 1972). Accordingly, the 1971 sessions mark the emergence of what would be later called Jarrett's "American quartet."

A French fusion super-group, formed in 1971 by two early members of Magma: François "Faton" Cahen and Jeff "Yochk'o" Seffer, and featuring many other talents of the 1970's prog and fusion fields. Zao took the Magma "Zeuhl" brand of fusion and jazzed it up a bit, adding folk elements of Seffer's cultural heritage, and lots of other unique touches. After Seffer left, the band became more jazz-rock. They have reformed at least twice since disbanding in the late 1970's.

In the mid Seventies, the heyday of "classical rock", the best British musicians gathered together to release an adaptation of Prokofiev's masterpiece "Peter And The Wolf". Featured in this interesting adventure are Phil Collins, Cozy Powell, Manfred Mann, Bill Bruford, Jon Hiseman, Jack Lancaster, Gary Moore, Brian Eno, Robin Lumley, Julie Tippetts, Percy Jones, Gary Brooker, John Goodsall, Keith Tippetts, Alvin Lee, Chris Spedding… Written in three other languages apart from English (French, Spanish and German), this version is told by Viv Stanshall. One can also notice the surprising presence of the legendary French violinist Stephane Grappelli, who usually performs jazz music.

Womega is an middle-seventies, one-off obscurity from Belgium. The core of the band were three brothers: Duk, Jen and Joss Vanlessen - Duk and Joss on guitars and Joss on bass. Paul Vrijens was on keyboards, he contributed in songwriting along with Vanlessen(s). The other memebers were Jos Bertrand on drums, Herman Merken on vocals; and Paul Peters on flute and brass instruments.
They managed to record their debut (and only album) in Acorn Studio, Oxford, UK. The album, titled "A Quick Step" was published in the winter of 1975. The album reveals a particular sound of the band: a progressive rock with elements of heavy rock, Canterbury, spiced up with folk overtones and jazz-rock attitude. Nice, melodical passages with guitar ans saxophone interplays, and dominating flute and Mellotron.

After three strong-selling albums in a row, Black Oak Arkansas released Ain't Life Grand to a somewhat cool response. The successes of the past seemed to have afforded the group better recording accommodations, as this 1975 offering sounds vastly superior to anything that preceded it. The material isn't improved, but the performances are tighter, and the mixes are punchy and clear. James "Jim Dandy" Mangrum still dominates the proceedings with his snarling vocals; however, the singer's more annoying ticks are softened a little, making this a very listenable record. Highlights include a decent cover of the Beatles' "Taxman," the uplifting closer "Let Life Be Good to You," and "Keep On," with its pronounced Grateful Dead shading. Outside of their two near-classics, Raunch 'N' Roll Live, and High On the Hog, this just might be the best effort from Mangrum and Black Oak Arkansas.

Pampered Menial is the debut album by American progressive rock/AOR band Pavlov's Dog, released in 1975. The album features the band's original line-up, comprising David Surkamp, Steve Scorfina, Mike Safron, Rick Stockton, David Hamilton, Doug Rayburn, and Siegfried Carver (born Richard Nadler). In the Q & Mojo Classic Special Edition Pink Floyd & the Story of Prog Rock, the album came number 26 in its list of "40 Cosmic Rock Albums".

Collects the original 1974 and 1975 albums from the French orchestra leader, together on one CD! Includes covers of The Carpenters' "Yesterday Once More" and Mikis Theodorakis' "Theme From 'Serpico". French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit "Chariot." In 1963, the song was given English lyrics, renamed "I Will Follow Him," and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash "Love Is Blue."

One of the tastiest concoctions of the mid-'70s jazz-fusion era, Chain Reaction finds the Crusaders at the top of their form. The compositions are both accessible and memorable, and the playing is uniformly excellent. Guitarist Larry Carlton delivers some of his finest licks and funkified rhythm work. Wayne Henderson shows there is a place in fusion for the trombone. Wilton Felder does double duty, delivering smoking saxophone lines and funky bass riffs. Joe Sample's Fender Rhodes piano provides a solid chordal foundation and great solos. And the stickman, Stix Hooper, keeps the groove solid. The band employs a variety of rhythms and tempos, and gives the members plenty of room to strut their individual and collective stuff. In fact, "collective" may be the key word here, for this is the sound of a band, not just a group of guys thrown together for a recording session. Chain Reaction was one of the albums that helped lure young, rock and soul-oriented listeners over to check out the jazz side, and should not be missed by those interested in the more accessible, funky side of fusion.

Thirty-two years after the fact, this live album presents a full-length version of the shows performed by Richard & Linda Thompson to promote their 1975 album Pour Down Like Silver, their third LP, following Hokey Pokey released earlier in 1975, and 1974's I Want to See the Bright Lights Tonight. They are accompanied by John Kirkpatrick on accordion and concertina, Dave Pegg on bass, and Dave Mattacks on drums. The recordings have not been released previously, except for "Calvary Cross" and "It'll Be Me," which were included on Richard Thompson's 1976 compilation Guitar, Vocal, but which have been remixed for this album.

Combining the Sensational Alex Harvey Band's third and fourth albums, The Impossible Dream and Tomorrow Belongs To Me, offers perhaps the archetypal vision of Alex Harvey, as his long-nurtured alter-ego, the comic book hero Vambo, finally burst out of imagination to take on a life of his own on stages across the world. Yet what would become the group's most successful albums also stand as their patchiest.

The late '60s and, most especially, the 70s have inspirited the music and the rock from all over the place, so that it evolved all the way up to contributing to the appearance of the most prestigious and prodigious ensembles. Locomotiv GT is a band that's legendary in the Hungarian Rock scene, but also in the Occident, lighting up an irresistible and torrential rock, in a way that made them classic. For the culture of rock, Locomotiv GT marks moreover an independent and styled breath than something typical and inspiring - nevertheless, it goes as a defining reference.
Locomotiv GT processed, during the classic period, all the fantasy and the asperities of hard and blues rock. Yet, in almost the same general way, their music consistently caught a much more artistic brightness (and all sorts of jazz, pop, melodic, lyrical and experimental accents)…

Led by Colin Cooper, the former frontman of the R&B unit the Hipster Image, the Stafford, England-based Climax Chicago Blues Band were one of the leading lights of the late-'60s blues boom. A sextet also comprised of guitarists Derek Holt and Peter Haycock, keyboardist Arthur Wood, bassist Richard Jones, and drummer George Newsome, the group debuted in 1969 with a self-titled effort recalling the work of John Mayall. Prior to the release of 1969's Plays On, Jones left the group, prompting Holt to move to bass. In 1970 the Climax Chicago Blues Band moved to the Harvest label, at the same time shifting toward a more rock-oriented sound on the LP A Lot of Bottle.