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This psychedelic noise-rock band from Japan is  definitely not for everyone but if your tastes run towards free-jazz when you think of jazz and you find the opening of Axis: Bold As Love structurally symphonic, you will surely dig Acid Mothers Temple & The Melting Paraiso  U.F.O. and this album in particular, which definitely has a Hendrix vibe, right down to the cover art that has lettering like Are You Experience and some scantily clad gals like the UK Track edition of Electric Ladyland  that Jimi hated. 

This hard /progrock trio never got the media hype and they are rarely mentioned outside their own musical world, but Muse has made it big. How? The old fashioned way: hard work in the studio and constant touring. They have an intensely loyal fan base. Their worldwide touring grosses are impressive and they chart  well around the world

This Rolling Stones discography written for issue 4 of The Tracking Angle, may have gathered some moss, but it still has some valuable information for Stones LP collectors (Photo shows Decca UK FFSS Their Satanic Majesties Request

Ideally, LPs should be played with the pickup stylus remaining tangential (ie, at a 90° angle) to the groove—just as the lacquer from which the LP was ultimately stamped was cut in the first place. Over the years, many attempts have been made to accomplish this. Back in 1877, Thomas A. Edison's original machines tangentially tracked his cylinders, but Emil Berliner's invention of the flat disc put an end to cylinders altogether. In the 1950s, a number of companies marketed so-called "tangential" trackers that used dual arms, based on conventional pivoting arrangements, to change the angle at which the headshell was mounted as it moved across the LP side. In 1963, Marantz introduced the SLT-12, which used a plastic pantograph to move the stylus across the record surface. Garrard's Zero 100 pivoting arm controlled its independently pivoting headshell with a bar that extended from the main bearing of the tonearm.