On this, the second Spirit album, the group put all of the elements together that made them the legendary (and underrated) band that they were. Jazz, rock & roll, and even classical elements combined to create one of the cleanest, most tasteful syntheses of its day. The group had also improved measurably from their fine debut album, especially in the area of vocals. The album's hit single, "I Got a Line on You," boasts especially strong harmonies as well as one of the greatest rock riffs of the period. The first side of this record is a wonderful and seamless suite, and taken in its entirety, one of the greatest sides on Los Angeles rock. The CD reissue also boasts some excellent bonus tracks. "So Little to Say" is one of Jay Ferguson's finest compositions ever, and the jazz-inspired instrumentals such as "Fog" and "Space Chile" showcase pianist John Locke as one of the most inspired and lyrical players in the rock idiom to date. All in all, a classic album and a true landmark.

Kitaro's universally acknowledged as the founding architect of new age music. The Grammy and Golden Globe Award-Winning Kitaro has achieved global acclaim over a more than three decade long career with a signature sound and a pioneering fusion of cultures, techniques and spheres of consciousness that are truly his own.

Despite its age, this collection remains the best introduction to the wonderfully bizarre sounds of Jethro Tull – a unique combination of folk music, progressive rock, heavy metal, and of course, Ian Anderson's ubiquitous flute. Drawing exclusively from the band's '70s heyday, opener "Living in the Past" sets the retrospective tone, leading the way into the signature guitar riff of "Aqualung," the band's multifaceted pièce de résistance. Though lyrically indecipherable, "Locomotive Breath" is equally timeless, and the moment when John Evan's fanciful piano intro gives way to Martin Barre's guitar feedback remains thrilling. With his acoustic guitar in hand, Ian Anderson becomes a medieval bard, drawing the listener into worlds of legend both threatening ("Sweet Dream," "Witches Promise") and joyously carefree ("Thick as a Brick," "Skating Away on the Thin Ice of the New Day"). The unbelievable kaleidoscope of sound which makes up "Songs from the Wood" is simply too original and intricate for words to describe.

The first-ever single-disc anthology of Queen drummer Roger Taylor's solo material, 2014's Best brings together tracks off all five of his studio albums. The collection follows-up the more exhaustive 2013 box-set, The Lot, and features cuts from 1981's Fun in Space, 1984's Strange Frontier, 1994's Happiness?, 1998's Electric Fire, and 2013's Fun on Earth. While primarily known for his commanding drum presence with Queen, Taylor is also a strong rock singer and talented songwriter, responsible for penning such Queen hits as "Radio Ga Ga," "Breakthru," "These Are the Days of Our Lives," and others. Vocally, Taylor has a throatier, more gravelly presence on the microphone than Queen's highly resonant, operatic frontman Freddie Mercury. In that sense, he often brings to mind the sound of such similarly inclined contemporaries as the Who's Roger Daltrey, Mott the Hoople's Ian Hunter, and Deep Purple's Ian Gillan. Perhaps not surprisingly, many of the cuts here sound like they could easily have ended up on a Queen album, and tracks like "Let’s Get Crazy," "Man on Fire," and "Strange Frontier" showcase the same synth-driven, pop/rock approach Queen was championing in the '80s.