Aoxomoxoa is a 1969 album by the Grateful Dead. One of the first rock albums to be recorded using 16-track technology, fans and critics alike consider this era to be the band's experimental apex. The title is a meaningless palindrome, usually pronounced /ɒksə. məksˈoʊə/.

Expanded & remastered (HDCD) version of the band's 1969 tour de force spotlighting the band in all their onstage glory, features the single version of 'Dark Star' as a hidden bonus track. Digipak. Warner/Rhino. 2003.

For the first time in 40 years, here it is in dangerously powerful MONO, exactly as it was intended: the stupefying debut album by Texas' heroic psychedelic point-men, the 13th Floor Elevators, on Sundazed's uncannily accurate high-definition vinyl! The unearthly banshee howl of Roky Erickson, the blistering guitar of Stacy Sutherland and the demented electric jug of Tommy Hall haven't sounded this scary since their glory days in the third eye of the lysergic hurricane!

This classic album is now available in Special Slip-case 2CD edition. Complete Stereo & Mono versions of the album, plus 2 bonus singles tracks. Repertoire Records. 2008.

Donovan Phillips Leitch is a Scottish singer, songwriter and guitarist. He developed an eclectic and distinctive style that blended folk, jazz, pop, psychedelic rock, and world music. He has lived in Scotland, Hertfordshire, London, California, and since at least 2008 in County Cork, Ireland, with his family.

Artwork – Jakob Skøtt Mixed By, Mastered By – Jonas Munk Performer – Jakob Skøtt, Jess Kahr, Jonas Munk, Rasmus Rasmussen Photography By – Falk-Hagen Bernshausen

Given total creative control by producer and friend Frank Zappa, Beefheart and his Magic Band rehearsed the material for this 1969 album for over a year, wedding minimalistic R&B, blues, and garage rock to free jazz and avant-garde experimentalism. Warner Brothers Records.

Beggars Banquet is a studio album by English rock band the Rolling Stones. It was released in December 1968 by Decca Records in the United Kingdom and London Records in the United States; it is the band's seventh British and ninth American studio album. The recording marked a change in direction for the band following the psychedelic pop of their previous two albums, Between the Buttons and Their Satanic Majesties Request

One of the most ambitious debuts in rock history, Freak Out! was a seminal concept album that somehow foreshadowed both art rock and punk at the same time. Its four LP sides deconstruct rock conventions right and left, eventually pushing into territory inspired by avant-garde classical composers. Yet the album is sequenced in an accessibly logical progression; the first half is dedicated to catchy, satirical pop/rock songs that question assumptions about pop music, setting the tone for the radical new directions of the second half. Opening with the nonconformist call to arms &Hungry Freaks, Daddy,& Freak Out! quickly posits the Mothers of Invention as the antithesis of teen-idol bands, often with sneering mockeries of the teen-romance songs that had long been rock's commercial stock-in-trade. Despite his genuine emotional alienation and dissatisfaction with pop conventions, though, Frank Zappa was actually a skilled pop composer; even with the raw performances and his stinging guitar work, there's a subtle sophistication apparent in his unorthodox arrangements and tight, unpredictable melodicism. After returning to social criticism on the first song of the second half, the perceptive Watts riot protest &Trouble Every Day, & Zappa exchanges pop song structure for experiments with musique concrète, amelodic dissonance, shifting time signatures, and studio effects. It's the first salvo in his career-long project of synthesizing popular and art music, high and low culture; while these pieces can meander, they virtually explode the limits of what can appear on a rock album, and effectively illustrate Freak Out!'s underlying principles: acceptance of differences and free individual expression. Zappa would spend much of his career developing and exploring ideas -- both musical and conceptual -- first put forth here; while his myriad directions often produced more sophisticated work, Freak Out! contains at least the rudiments of almost everything that followed, and few of Zappa's records can match its excitement over its own sense of possibility.

German issue of the odds and sods disc from the 1999 box-set, 'The Complete Studio Recordings'. Packaged in a miniature LP sleeve.

Absolutely Live is the first live album released by American rock band The Doors in July 1970. Many shows were recorded during the 1970 tour to create the "Absolutely Live" album. The Doors producer, and long time collaborator Paul Rothchild painstakingly edited the album from many different shows to create one cohesive concert. For example, the best part of a song from the Detroit show may have been spliced together with another part of the same song from the Boston show, again trying to create "the ultimate concert". It can become very difficult to identify what parts are from what shows. Rothchild has said "I couldn't get complete takes of a lot of songs, so sometimes I'd cut from Detroit to Philadelphia in midsong. There must be 2,000 edits on that album".

n Concert is a live double album, recorded by The Doors. The album's performances are culled from a variety of different concerts and releases. In Concert includes all the tracks from Absolutely Live (with all but one track appearing on disc one with the remaining track on disc two) and Alive, She Cried. The three remaining tracks come from An American Prayer, Live at the Hollywood Bowl and one previously unreleased.

Moody and mesmerizing, An American Prayer is an interesting album of Jim Morrison reading his poetry over the Doors' music. An American Prayer was finished by the remaining members of the Doors after Morrison's death and finally released in 1978 (it was remastered and re-released in 1995 with bonus tracks). Those familiar with the lyrics of the Doors will not be surprised, but others may be put off because Morrison is unafraid to use crude imagery and talk unabashedly about taboo topics such as sex and religion. Although many dismiss his poetry as simplistic random musings, Morrison is a gifted lyricist with a vivid imagination. The album also demonstrates how the other musicians in the band create a mood that breathes life into Morrison's dark, twisted visions. The music excerpts of "Peace Frog" and "Wasp (Texas Radio and the Big Beat)" provide a welcome air of familiarity, and the definitive live version of "Roadhouse Blues" in the middle of the album provides a nice respite from the barrage of stories and metaphors. However, An American Prayer must be listened to in one sitting to be fully appreciated, preferably at nighttime when one is alone and can devote full attention to the listening experience. This album is not for everyone, but is a must-own for Doors completists and fans of Jim Morrison's poetry.