The first album has gradually gained legendary status. All tracks were recorded live in the studio, resulting in a raw and unpolished sound. This album is a perfect example of raw-edged, largely instrumental progressive rock. Coming with original album sleeve cover art, informative booklet and bonus tracks, making up for more than 70s minutes of music.

2022 release. Radiance is the sixth studio album for the Dead Daisies who have gone from strength to strength over the last 10 years. Once again produced by Ben Grosse, the album features 10 standout songs that evoke an energy and shine not known since the golden age of hard rock in the 0s and early 80s. Carried by the muscular drumming of Brian Tichy, fueled by the riffage of David Lowy, refined by the power and glory of Doug Aldrich and brought home by the low end thump and high end wails of Glenn Hughes, it once again shows The Dead Daisies on true form. Put the record on and get lost in time - Radiance is truly here.

On his R&B-oriented records of the late '70s, George Duke often shared the lead vocals with such band members as Lynn Davis, Josie James, and Napoleon Brock, but none of them are employed on 1982's Dream On, which finds him handling most of the lead vocals himself. And that isn't a bad thing, because Duke is a soulful and charismatic singer - there is no reason why he shouldn't hog the microphone on his own albums. Unfortunately, he doesn't have a lot of first-rate material to work with on this competent, if uneven and unfocused, LP. Dream On isn't a bad album; sleek R&B ballads like "I Will Always Be Your Friend," "Let Your Love Shine," and "You" are pleasant, but they aren't remarkable, and while Dream On simmers, it never burns and never explodes…

Like any patchy but promising debut from a classic rock group, it's often easy to underrate Queen's eponymous 1973 debut, since it has no more than one well-known anthem and plays more like a collection of ideas than a cohesive album. But what ideas! Almost every one of Queen's signatures are already present, from Freddie Mercury's operatic harmonies to Brian May's rich, orchestral guitar overdubs and the suite-like structures of "Great King Rat." That rich, florid feel could be characterized as glam, but even in these early days that appellation didn't quite fit Queen, since they were at once too heavy and arty to be glam and – ironically enough, considering their legendary excess – they were hardly trashy enough to be glam.