Hot Tuna-Yellow Fever (1975)

In 1975, Hot Tuna, the band led by former Jefferson Airplane members Jorma Kaukonen and Jack Casady, decided to shift their blues-folk style, which characterized their first four albums, towards a harder, blues-rock sound. "America's Choice" would be the first of this new phase for the group, dubbed "The Rampage Trilogy", and characterized by this new stylistic direction. Six months after the release of "America's Choice", came "Yellow Fever", the group's seventh album, which, like its predecessor, featured a new drummer, Bob Steeler, replacing Sammy Piazza. Long instrumental developments, heavy rock with distorted riffs and dense blues sounds are the common denominator of a repertoire composed of pieces such as the boogie rock "Baby What You Want Me To Do", the hard rock "Free Rain" and "Half/Time Saturation", the psychedelic southern "Sunrise Dance With the Devil", the blues rock "Hot Jelly Roll Blues" and "Song for the Fire Maiden", or the energetic instrumental "Surphase Tension".

Brian Auger & The Trinity-Befour (1970)

In 1969, Julie Driscoll decided to leave Trinity, the band she led with Brian Auger, with whom she had released some of the best rhythm and blues and jazz fusion rock albums of the 1960s ("Open", "Jools and Brian", and "Streetnoise"). Despite this significant departure, Brian Auger decided to carry on, recruiting guitarist Gary Winston Boyle. Together with the rest of the lineup,Dave Ambrose (bass), Clive Thacker (drums), and Auger himself (keyboards and vocals), they recorded Trinity's sixth album, "Befour", released in mid-1970 by RCA. Drummers Mickey Waller, Barry Reeves, and Colin Allen also contributed to the album. On "Befour", Auger presents a series of surprising jazz-rock and groovy fusion covers, driven by Brian Auger's brilliant work on the Hammond organ and Boyle's phenomenal guitar style. The ingenious interpretations of the classics "Pavane" and "Adagio per Archie e Organo" showcase Brian Auger's intelligent style, which, far from seeming pretentious, demonstrates his incredible mastery of the organ. The atmospheric version of Traffic's "No Time to Live" is performed in a haunting manner, while the audacious cover of Herbie Hancock's "Maiden Voyage" is unorthodoxly but equally effectively redirected to the territory where the band excels. The exuberant "Listen Here", a brutal fusion of jazz-rock rhythms with four drummers and two bassists delivering undeniably powerful sounds, and the captivating "Just You Just Me" are tracks that foreshadow the direction Auger and Oblivion Express will take in the following years. The latter is a hypnotic piece of repetitive rhythms with intricate guitar work and captivating, atmospheric organ solos. With this album Brian Auger once again created a work that was as vibrant as it was captivating, and a true masterpiece of early 70s jazz rock.

Kansas-Freaks Of Nature (1995)

"Freaks of Nature" marked Kansas' return in the 1990s, an album preceded by the conceptual "In the Spirit of Things" from seven years prior. However, after all those years, much had changed within the group, and with a revamped lineup, Robby Steinhardt, Kerry Livgren, Dave Hope, and Steve Morse were no longer present, replaced here by Greg Robert (keyboards), Billy Greer (bass), and David Ragsdale (violin and guitar), while original members Steve Walsh (vocals and keyboards), Phil Ehart (drums), and Rich Williams (guitars) led this new incarnation of the Topeka band. The first thing that stands out is the return of the prominent violin of yesteryear, after several albums where it had lost the prominence it displayed in their 1970s work. Another characteristic of this new release is its departure from the melodic rock sounds of the eighties, taking a step back towards the progressive rock of the seventies, but with a strong emphasis on hard rock. This progressive hard rock style is present in tracks like "Desperate Times", where violinist Ragsdale and the powerful instrumental section drive a magnificently executed piece. The melodic "Hope Once Again" becomes one of the highlights, contrasting with the heavy "Black Fathom 4", the exotic "Need", and the acoustic "Peaceful and Warm". On the other hand, the most progressive moments are embodied by the dramatic "Under The Knife" and the complex "Cold Grey Morning". In short, "Freaks Of Nature" marked the return of the most eclectic and effective Kansas, undoubtedly a great starting point for their subsequent releases, which would continue with the orchestrated "Always Never The Same" (1998) and the epic "Somewhere to Elsewhere" (2000).

Art Blakey & The Jazz Messengers-Moanin´ (1959)

Art Blakey was a drumming prodigy, a leader who perfectly combined talent, skill, technique, power, and subtlety. Along with other legendary drummers like Max Roach and Kenny Clarke, he invented the modern bebop drumming style. His hard bop style, infused with blues elements and funk rhythms, was fundamental in influencing subsequent generations of drummers worldwide. Blakey mastered swing tempos like no other; he knew how to complement his style within a band, employing his instrumental technique to provide the necessary drama and inspiration. For many years, Blakey led one of the most formidable jazz bands, The Jazz Messenger, which featured some of the greatest musicians of the era, including Wynton Marsalis, Lee Morgan, Wayne Shorter, and Clifford Brown. All these facets and qualities are perfectly represented in his album "Moanin'" with The Jazz Messenger, which was released under the Blue Note label in early 1959. The soul-infused jazz style of the title track, a composition written by pianist Bobby Timmons, was very popular during the 1960s. On this album, saxophonist Benny Golson also composed four extraordinary tracks, including "Blues March", "The Drum Thunder Suite", and "Along Came Betty", all of which are modern jazz standards, in which Blakey displays his dazzling instrumental prowess.

Morse Code-La Marche Des Hommes (1975)

Behind the name Morse Code Transmission lies one of the key players in the early Canadian avant-garde rock scene. Between 1971 and 1994, they released seven compelling albums rooted in classical symphonic rock. Founded in Montreal in the late 1960s, their initial lineup consisted of Christian Simard (vocals and keyboards), Jocelyn Julien (guitar), Peter Schenkman (cello), Al Cherny (flute), Michel Vallée (bass), and Raymond Roy (drums). Their debut album, released in 1971, and their second, released a year later, showcase a style still lacking a clear musical direction, but where psychedelic folk sounds and baroque pop serve as the common thread. Three years later, with guitarist Julien replaced by Daniel Lemay, and the band shortened to Morse Code, they released their third album, "La Marche Des Hommes", a more evolved work where the band reached full compositional maturity. This album produced a remarkable work that moves between hard rock and progressive rock, a style that placed them somewhere between the more pastoral and theatrical Genesis and a softened version of 1970s British hard rock bands. Tracks like the memorable and ethereal title track are the prelude to a delightful repertoire of excellent symphonic songs such as "Qu'est-Ce Que T'as Compris?", "Une Goutte De Pluie", and "Cocktail", which together form a remarkable example of classic 1970s progressive rock.

Sad Cafe-Facades (1979)

Sad Cafe were another of those unclassifiable bands that navigated between melodic pop-rock and art rock. Formed in the mid-70s in Manchester, they had several high-impact hits such as "Every Day Hurts", "Strange Little Girl", "My Oh My", and "I'm in Love Again", reaching high positions on the UK charts. Their lineup consisted of Paul Young (vocals), Ian Wilson (guitar), Vic Emerson (keyboards), Ashley Mulford (guitar), John Stimpson (bass), and Tony Cresswell (drums). In 1977, under the RCA label, they released their debut album, "Fanx Ta-Ra", in which their refined style of harmonious pop-rock caught the attention of critics and audiences in Britain and Europe. With their next album, "Misplaced Ideals" (1978), they maintained their status as a promising band, creating another magnificent album of great melodies with irresistible vocals, complemented by excellent and sophisticated instrumentation. "Facades", released a year later, was produced by the renowned 10cc member Eric Stewart, resulting in their most eclectic work, ranging from the melodic hard rock sounds of "Take Me To The Future" to complex compositions like "The World", passing through the catchy pop-rock of "Little Girl", the grandiose melodies of "Nothing Left Toulouse", and the sublime mid-tempo of "Get Me Outta Here".

Foghat-Fool For The City (1975)

"Fool For The City" was the fifth album by the hugely popular boogie rock and hard blues rock band Foghat, a record that would achieve platinum status thanks to tracks like the well-known "Slow Ride", and reach high positions on the charts worldwide in 1975. Formed in 1971 in London from the ashes of another seminal British blues rock band, Savoy Brown, by guitarist Dave Peverett along with guitarist Rod Price, bassist Tony Stevens, and drummer Roger Earl, they quickly gained a tremendous reputation in the United States thanks to their incendiary concerts and their simple yet direct style of hard rock boogie. "Fool For The City" consists of seven essential hard rock, boogie, and blues rock songs that immortalized them thanks to tracks like the aforementioned "Slow Ride", an extensive tour de force of vibrant, fiery rock and roll. But this album is not just about this emblematic song; it also features the dizzying and addictive hard rock that gives the album its title, the rock and roll "My Babe", the powerful blues rock "Terraplane Blues", the rhythmic "Save Your Loving (For Me)" or the melodic with jazzy touches "Take It or Leave it".

Chris Farlowe-From Here To Mama Rosa with The Hill (1970)

Chris Farlowe is considered one of the best voices in British Rhythm and Blues and a true legend of British rock music. With a strong personality, he belonged to various bands during the 1960s, always leaving his distinctive mark with his unique voice. His hesitant beginnings as a solo singer, releasing a series of unremarkable albums, ended when he formed the Thunderbirds, a band with which he released some significant hits that secured him a certain reputation among professional musicians in his country. Interestingly, in this first lineup, he coincided with future British rock legends Dave Greenslade and Carl Palmer. However, they didn't achieve widespread public acclaim, a fact that earned him the status of a great figure without a following. But in the mid-1960s, Rolling Stones frontman Mick Jagger agreed to produce his song "Think", with which he finally achieved the long-awaited success. In the following years came other hits like "Just a Dream", "Out of Time", and "Yesterday's Papers", which cemented his status as one of the leading figures in the music scene of the era. In 1970, Farlowe, along with the Thunderbirds, now reformed as The Hill, composed of Steve Hammond (guitar), Peter Robinson (Hammond organ), Bruce Waddell (bass), Paul Buckmaster (cello), and Colin Davey (drums), recorded the album "From Here to Mama Rosa with the Hill", considered a minor masterpiece of British rock. This album, a departure from his previous rhythm and blues recordings, was framed by the bombastic orchestral sounds of psychedelic and avant-garde pop, enveloped in brilliant progressive sonorities such as "Mama Rosa", "Head in the Clouds", "Winter of My Life", "Are You Sleeping?", "Questions", and "Travelling Into Make-Believe". From here, Farlowe would move between a series of collaborations with the legendary bands Colosseum and Atomic Rooster, as well as his own solo career, releasing albums regularly until 2014 when his last work appeared.

Rose Tattoo-Rose Tattoo (1978)

Like their compatriots AC/DC, Rose Tattoo is an Australian hard rock band that shares many similarities with the legendary group led by the Young brothers. Founded in the mid-70s in Sydney, their main driving force was vocalist Angry Anderson, who, along with guitarists Peter Wells and Mick Cocks, bassists Geordie Leach and Ian Rilen, and drummer Dallas Royall, managed to get the same producers as AC/DC to back their first recordings on the Australian independent label Alberts. At the end of 1978, Rose Tattoo released their self-titled debut album, showcasing a fast-paced and powerful hard rock sound, as evidenced by the raw and visceral tracks "Never Too Loud", "Rock 'n' Roll Outlaw", "Nice Boys", "Stuck On You", and "Remedy". In the following years the band would gain a great reputation and tremendous success due to their acclaimed concerts throughout Europe, which would allow them to conquer the British and European market with the subsequent album "Assault & Battery" (1981).

Atlantis-Atlantis (1973)

After the German band Frumpy disbanded, some of its members decided to form a new group called Atlantis, which moved away from the psychedelic and avant-garde approach of its predecessor, exploring styles such as blues, funk, soul, and American hard rock with progressive influences. Formed in mid-1972 by singer Inga Rumpf, keyboardist Jean-Jacques Kravetz, and bassist Karl-Heinz Schott, they recruited guitarist Frank Diez and drummer Curt Cress. Shortly after their formation, they moved to London where they entered Island Records studios to record their debut album. However, before recording, Kravetz was replaced by keyboardist Jean-Alain Roussel, and Traffic percussionist Reebop Kwakuh Baah also participated in the recording sessions. Subsequent tours of the UK, opening for Traffic and Procol Harum, marked the beginning of a constant turnover of members. In the middle of the following year came the band's second album, "It's Getting Better", which was followed by another successful tour and further personnel changes. In 1974, after their third album, "Ooh Baby", the band embarked on a long tour of the United States as the support act for Lynyrd Skynyrd. The following LP, "Get On Board", would be Atlantis's final epitaph, with Rumpf and Schott, the only two remaining members of the original lineup, bringing the adventure of this magnificent German band to an end. Focusing on their successful debut album (which achieved considerable sales on the British and North American charts), we find a varied sound of styles, from blues, soul and classic rock as is evident in "Get Up", "Rock'n' Roll Preacher", "Maybe It's Useless", "Words Of Love" and "Let's Get On The Road Again", to progressive pieces with the extensive and excellent "Living At The Edge Of Time".

Finch-Beyond Expression (1976)

A year after their debut album, the impressive "Glory Of the Inner Force", the Dutch progressive rock band Finch continued their adventure with the more experimental "Beyond Expression", a less frenetic and more challenging album than its predecessor. Finch have always been characterized by their unpredictable style, fusing energetic rock with more serene and spacious interludes, utilizing an arsenal of analog keyboards such as mini-Moogs and the Mellotron. However, on this album, Joop Van Nimwegen's guitar takes center stage, delivering many passages with great technique and impressive feeling. The suite "A Passion Condensed" stands out as their masterpiece, featuring superb instrumental layers, while the epic "Scars On The Ego" is their most metallic and hypnotic moment, with searing guitars. To finish this second album comes the dynamic "Beyond The Bizarre", the only one of the three tracks that make up the album where they approach the band's more usual sound.

The Tremeloes-Greatest Hits (1970)

The Tremeloes were a British band that began their career in the early 1960s and had several hits that made them world-famous. The band consisted of singer Brian Poole, guitarist and vocalist Alan Blakley, guitarist Graham Scott, bassist and saxophonist Alan Howard, and drummer and vocalist Dave Munden. The addition of Rick West to the group, replacing Scott, was crucial, as the newcomer had connections with producer Jimmy Grant, who chose The Tremeloes over The Beatles to sign them a disastrous decision that will go down in history as one of the biggest mistakes in pop music. They started with the Decca record label, but initially, the label began to question the group's artistic ability after releasing several singles with little success. After releasing "Twist and Shout", originally by the Isley Brothers and also popularized by The Beatles, the band began to emerge from obscurity in the UK, achieving stardom with "Do You Love Me". In 1964, further successes followed, and in 1965, and again a year later, they left Decca to join CBS. In 1967, The Tremeloes began to shine without Poole, who had left the band, reaching number 1 on the charts worldwide with "Silence Is Golden". Commercial successes continued in the following years, but always with covers of other artists' songs. At the height of the psychedelic era, The Tremeloes tried to remedy this lack of original material with "Helule, Helule", which put them back at the top of the charts. Later, Bob Dylan's "I Shall Be Released" became another hit. However, in 1968, they continued recording with little commercial success. In 1969 they achieved resounding success with "Once a Sunday Morning", and the songs "(Call Me) Number One" (69) and "Me and My Life" (70) also reached high positions in the British and European charts. In the 1970s they had some hits in Europe and over the years they continued recording but without the success of their earlier years.

Poco-Ghost Town (1982)

Well into the 1980s, the American band Poco was far from their glory days of the early 1970s, yet they continued to produce commendable work that kept them at the forefront of country rock. In 1982, they released their fifteenth album, "Ghost Town", featuring only two of their original members, guitarists Paul Cotton and Rusty Young, while the rest of the lineup consisted of Charlie Harrison (bass), Steve Chapman (drums), and Kim Ballard (keyboards). At this point, the band continued to offer that melancholic country rock style, bathed in brilliant vocal melodies and adorned with influences of catchy, harmonious, and melodic rock. The rich vocal harmonies of "How Will You Feel Tonight", the nods to the past with the country rock "When Hearts Collide", "The Midnight Rodeo (In The Lead Tonight)" or "Love's So Cruel", the addictive mid-tempo "Ghost Town" and the irresistible country "Cry No More" and "Break Of Hearts", reflected a remarkable work, despite being very far creatively from their legendary early albums.

The Chieftains-A Chieftains Celebration (1989)

The Chieftains are undoubtedly Ireland's walking ambassadors, having managed over nearly five decades to become a mainstream Irish folk music group while maintaining the versatility, roots, coherence, and spontaneous, natural personality of their native culture. Formed by piper Paddy Moloney in 1964, he brought together renowned Celtic instrumentalists such as Michael Tubridy, Sean Potts, Martin Fay, David Fallon, Peader Mercier, Sean Keane, Kevin Conneff, and Matt Molloy, some of whom are still part of the band today. Their music, through traditional and popular, has evolved into more contemporary and diverse sounds, even subtly and occasionally fusing Celtic music with other genres like jazz and rock. Their numerous collaborations over the years include some fifty artists of the caliber of Ry Cooder, Van Morrison, Elvis Costello, Mark Knopfler, Gary Moore, Bela Fleck, Roger Daltrey, Jackson Browne, Art Garfunkel, The Rolling Stones, Sting, Diana Krall, and Emmylou Harris. Six-time Grammy Award winners, the BBC Lifetime Achievement Award, and the honorary title of Irish musical ambassadors by the Irish government are just some of their many artistic achievements. With over fifty albums released, it would be impossible to single out one above the others, but it is undoubtedly "A Chieftains Celebration", a compilation released by RCA Victor in the late 1980s. Besides offering an exceptional retrospective of their first 30 years of dominance within Irish folk music, it was released to commemorate the millennium of Dublin.

Giant-Last Of The Runaways (1989)

Giant is an American band formed by a group of session musicians from various Los Angeles studios. The band members are brothers Dann and David Huff (guitar and drums, respectively), bassist Mike Brigadello, and the experienced keyboardist Alan Pascua, a musician with a highly successful past collaborating with Rick Springfield, Santana, Bob Dylan, and House of Lords, among others. In 1989, they moved to the UK, where, under the production of Terry Thomas, they recorded their debut album at Ridge Farm Studios in Rusper. On this debut, titled "Last of the Runaways", the Los Angeles group showcases exquisite AOR with beautifully crafted melodies and catchy choruses, all underpinned by the power of melodic hard rock. Tracks like "I'm a Believer", "I Can't Get Close Enough", "I'll See You in My Dreams" or more melodic pieces like "Love Welcome Home", catapulted them to share the top of melodic rock with the iconic bands of those years.

Catfish-Get Down (1970)

Catfish was a blues band from Detroit, and like so many others, a perfect example of what they could have been but never were. Formed in the late sixties by guitarist Bob "Catfish" Hodge, who, along with Mark Manko (rhythm guitar), Harry Phillips (keyboards), WR Cooke (bass), and Jimmy Optner (drums), built a strong reputation on the blues-rock circuit in the Motor City. Recognizing the band's great potential, Epic Records signed them and produced their promising debut album in 1970. On this first release, the band showcased a blend of powerful blues seasoned with country rock. Titled "Get Down", this debut album from this talented band brilliantly showcases their versatility, ranging from the bluesy "300 Pound For Mama" to dusty country tunes like "Sundown Man", lysergic psychedelic explorations like "Reprise; Catfish/Get High, Get Naked, Get Down", and heroic compositions such as "Love Lights". Despite widespread praise and acclaim, the album failed to achieve the success it deserved beyond the local and statewide scene in Michigan. From then on, they became regular opening acts for major media sensations like Black Sabbath, Bob Seger, and Ted Nugent. A year later, they tried again with the live album "Live Catfish", which, like its predecessor, failed to find mainstream appeal, precipitating the final farewell of one of the most promising bands in American blues rock.

Supersister-To The Highest Bidder (1971)

Alongside bands like Focus, Kayak, Shocking Blue, Golden Earring, and Finch, Supersister were one of the best Dutch groups, although they received less media attention than the others. This quartet, comprised of Robert Jan Stips (vocals and keyboards), Sacha van Geest (flute and vocals), Ron van Eck (bass), and Marco Vrolijk (drums), oriented their style towards the Canterbury sounds, jazz-rock, and the complex, humorous satire of Frank Zappa's Mothers of Invention. With "To the Highest Bidder", their second release, they continue down the musical path laid out on their debut album, where flautist Van Geest's role is as essential as it is entertaining, showcasing the dynamics of free jazz and progressive jazz. This progressiveness is reflected in the expansive tracks "A Girl Named You" and "Energy (Out of Future)", distinctly avant-garde pieces with exotic and Latin elements, imbued with a certain instrumental grandiosity. The rest consists of more introspective and calm tracks that navigate between Caribbean music and jazz rock.

Al Di Meola-Scenario (1983)

The 1980s were not an easy time for bands and musicians who had begun their artistic careers in the early 1970s, adapting as best they could to the changing musical landscape. Jazz rock was no exception, and as such, the style subtly shifted towards more modern sounds, with a massive use of new technologies, such as drum machines, synthesized guitars, and the latest generation of synthesizers. This is precisely what Al Di Meola sought to capitalize on with his sixth album, "Scenario", released in 1983. On this album, he shared the spotlight with another giant of 1970s jazz rock, Jan Hammer, with his arsenal of keyboards and synthesizers. In this release, Meola utilizes a range of modern instruments, such as the Roland synthesized guitar and the Fairlight CMI, in addition to his usual electric and acoustic guitars. The album also features guest appearances from various musicians, including drummers Bill Bruford and Phil Collins, and bassist Tony Levin. While not reaching the heights of their iconic earlier works such as "Land Of The Midnight Sun" (1976), "Elegant Gypsy" (1977), "Casino" (1978) or "Electric Rendezvous" (1982), this new release is an enjoyable album where the intricate and sophisticated programming, along with the guitars and keyboards of both musicians, are the most relevant aspects of a repertoire composed of outstanding songs such as the refined, slightly Mediterranean melody "Mata Hari", the exotic "African Nights", the synth-funk "Cachaca", the hypnotic "Calliope" or the vintage jazz-rock "Scoundrel".

Rush-Presto (1989)

With "Presto," the Canadian band Rush closed another chapter in their history, simultaneously creating an album that marked a return to their original sound, giving greater prominence to rock guitars at the expense of the synthesizers of their previous four albums. This shift stemmed from a point where their keyboard-driven, techno-heavy style had reached a stagnation, offering no possibility of further evolution. This radical change is evident in tracks like "Show Don't Tell", a song where Alex Lifeson and his guitars reclaim their lost ground. Similarly, Neil Peart's philosophical lyrics remain present in compositions of exceptional instrumental prowess, as exemplified by tracks like "Hand Over Fist", "Anagram (For Mongo)", "The Pass", "Presto", and "Available Light". This album would receive great acceptance from his millions of old and orthodox fans around the world, who viewed the album releases of the eighties with suspicion.

Captain Beyond-Captain Beyond (1972)

One of the most overlooked old-school supergroups was Captain Beyond, formed by former members of four iconic bands. They released three excellent albums: "Captain Beyond" (1972), "Sufficiently Breathless" (1973), and "Dawn Explosion" (1977). Formed in 1971 in Los Angeles by vocalist Rod Evans (ex-Deep Purple), guitarists Larry Rhino and Lee Dorman (ex-Iron Butterfly), and drummer Bobby Caldwell (ex-Johnny Winter Band), they drew inspiration from the styles of their parent bands, delivering hard rock and heavy sounds that permeate every groove of their three albums, albeit with a touch of avant-garde, especially on their second release. On "Raging River Of Fear", from their debut album, the heavy blues riffs stand out, as does the frenetic heavy rock track "Dancing Madly Backwards", which together form a general repertoire of high-octane rock pieces with acoustic and jazz interludes. With their next release, they began to incorporate much more stylistic variety and progressive influences, as demonstrated by the dynamic "Sufficiently Breathless", the jazz-rock with Latin tendencies "Everything A Circle", and the spacey "Starglow Energy". Finally, with their third release, "Dawn Explosion", they return to hard rock, albeit with a more organic and melodic tone, as shown by the captivating tracks "If You Please", "Fantasy", "Breath Of Fire", and "Midnight Memories".

Ralf Nowy-Lucifer´s Dream (1973)

Ralf Nowy was a talented German musician with a prolific artistic career, working as a producer, musician, composer, arranger, and musical director. In the 1960s, after graduating from the Stern Conservatory in Berlin, where he studied classical music, composition, arranging, and jazz, he formed several jazz bands, playing flute and saxophone. In 1963, he was chosen as the best soloist at the Berlin Jazz Festival. This award opened doors for him, leading him to direct the Forum Theatre in Berlin, become a production director, conduct the Saarländischer Rundfunk Orchestra of Saarbrücken, and collaborate with various German and European artists. In the early 1970s, he began collaborating with Giorgio Moroder on film soundtracks and composing numerous commercials for German television. Alongside all of this, he created his own music, releasing several albums focused on kraturock with a jazz influence. In 1973, he released his first album, "Lucifer's Dream", for which he recruited a large group of backing musicians from the German jazz and rock scene, including bassist Amon Düül II, Lothar Meid, and Missus Beastly guitarist Paul Vincent. "Lucifer's Dream" is primarily composed of a series of highly structured pieces with elaborate arrangements, recorded in spectacular quadraphonic sound, making it an exciting adventure into jazz fusion with clear cinematic undertones. A truly exquisite album, where the string arrangements, sophistication, guitars, and wind instruments combine to create a comforting musical experience.

Robin Trower-Caravan To Midnight (1978)

By 1978, Robin Trower was firmly established as one of the great guitarists of hard rock and blues, having already released a series of high-quality albums that went gold and platinum, including "Twice Removed From Yesterday", "Bridge of Sighs", "For Earth Below", and "Long Misty Days", all of which garnered favorable reviews and strong sales. Following the release of "Long Misty Days", Trower made changes to his band, bringing in bassist Rustee Allen and freeing James Dewar from that role to focus on vocals. In 1978, Robin Trower released his sixth album, "Caravan to Midnight", which featured percussionist Paulinho da Costa. While not reaching the heights of his earlier work on "Caravan to Midnight", Robin once again delivers a series of high-quality tracks showcasing his brilliant guitar skills, as demonstrated in the catchy "My Love (Burning Love)" and the hypnotic blues "Caravan to Midnight". Other cuts, such as the rhythmic "I'm Out to Get You", the addictive blues-rock "King of the Dance", and the ethereal "Sail On", confirmed his status as the phenomenal guitarist who came to be unanimously dubbed the "white Jimi Hendrix" by the press.

Dillard & Clark-The Fantastic Expedition of Dillard & Clark (1969)

Towards the end of the 1960s, the American folk and country rock scene was at its peak. Bands and artists like The Byrds, The Band, and Bob Dylan had contributed significantly to this, leaving behind moments of great splendor. It was in this context that Gene Clark (formerly of the Byrds) and Doug Dillard emerged. Dillard, a renowned bluegrass musician and banjo legend, is an icon of the most ancestral sounds of rural America. These two musicians joined forces and created an album that would redefine modern country rock, laying the foundation for all subsequent movements and subgenres that drew from American country and folk. "The Fantastic Expedition of Dillard & Clark" is not only a journey into the heart of rural America, but also a voice that championed a traditional style and way of life that endures today and will continue to do so long after we die. This album thoughtfully showcases a series of iconic country songs like "Out on The Side", bluegrass classics like "She Darkens The Sun", and laments and rural experiences such as "Train Laves Here This Morning", "The Radio Son", and "With Care From Someone". Without a doubt, this is one of the most innovative, fundamental, and essential works of American roots music, and a true masterpiece of the genre.

Metallica-Kill´Em All (1983)

In 1983, Metallica unleashed their fast, furious, and exhilarating thrash metal with one of the most stunning debuts in heavy metal history. An album of killer guitars, intense and brutal riffs, and a hyperactive and devastating rhythm section, showcasing a raw, direct, and ice-cold sound. Lyrically, they focused on death, hell, wars, victories and bloody defeats, rebelling against the political establishment, and much, much more. James Hetfield (guitar and vocals), Kirk Hammett (guitar), Cliff Burton (bass), and Lars Ulrich (drums) created an album that, unlike their subsequent releases, is composed of relatively simple pieces overall, albeit with somewhat complex instrumental structures. Influenced by the new wave of British heavy metal (Iron Maiden), the American and British heavy punk movement (Motorhead), and fusing these styles with the aggression and rawness of hardcore, this album showcases all these hallmarks, from the frenetic "Hit The Lights", "Motorbreath", "Whiplash" and "Phantom Lord", to the more complex and intricate developments of the semi-progressive "The Four Horsemen" and the superb instrumental "(Anesthesia) Pulling Teeth". With this debut, Metallica rebelled against all the easy-listening music of the time, breathing new life into heavy metal and hard rock in the early eighties, and simultaneously inspiring and influencing tens of millions of young people around the world.

Eloy-Colours (1980)

The German band Eloy's eighth album featured several changes compared to their previous album, "Silent Cries and Mighty Echoes", both in terms of the lineup and the stylistic shift. Drummer Jürgen Rosenthal and keyboardist Detlev Schmidtchen were no longer with the band, replaced by Jim McGillivray and Hannes Folberth respectively, while Frank Bornemann (guitar and vocals), Hannes Arkona (guitars), and Klaus-Peter Matziol (bass) remained at the helm. Regarding their sound, this release maintains a similar direction to its predecessor but with a more accessible and catchy feel, undoubtedly paving the way for future releases that will be more focused on progressive pop-rock without the complexity of the previous work. The simplest melodies, without the pretensions of yesteryear, appear in pieces like "Gallery", "Sunset" or "Impressions", while the progressive "Horizons" continues the tradition of their previous albums and the epic "Child Migration" becomes the high point of this "Colours".

Memoriance-Et Aprés (1976)

Memoriance was an obscure and forgotten French art rock and symphonic rock band that released two compelling albums during the 1970s, now highly sought after by the prog rock community. Formed in the mid-70s, their original lineup consisted of Jean-Pierre Boulais (guitar and vocals), Jean-François Périer (keyboards), Didier Guillaumat (guitar and vocals), Didier Busson (drums), and Michel Aze (bass). Their intelligent fusion of styles, encompassing classic symphonic rock and space rock, is prominently featured on their only recordings. On their debut album, "Et Après", the sounds of a galloping bass, refined and elegant guitars, and certain jazz elements predominate, all underpinned by great musicianship. Tracks like "Je Ne Sais Plus" showcase the virtuosity of its members, crafting a powerful yet melodic, progressive structure with continuous rhythmic shifts. Jazz rock appears in the instrumental "La Grange Mémoriance", while the group's theatrical side is reflected in the title track "Et Aprés", a diverse piece that includes both quiet moments and frenetic rhythms, ending with the accessible and conventional classic rock of "Tracsir". Three years later, they returned with the concept album "L'Écume des Jours d'Apres Boris Vian", based on a 1940s novel by the philosopher and writer Boris Vian. ​​After a maxi-single titled "Sparadrap/Téléphone", released in 1981, the band finally disbanded, bringing their interesting recording journey to an end.

Popol Vuh-In Den Gärten Pharaos (1971)

Popol Vuh were pioneers in expressing the diverse musical ideas that emerged in the late 1960s and early 1970s. With their second release, "In Den Gärten Pharaos" (1971), the band, led by Florian Fricke, demonstrated a clear evolution from their debut album released the previous year. In addition to Fricke (synthesizers, organ, and electric piano), the Popol Vuh lineup for this album included Betina (cymbals and production), Holger Trülzsch (Turkish, African, and Asian percussion instruments), and Frank Fiedler (Moog synthesizers). Comprising two expansive epics of genuinely hypnotic sounds, this is undoubtedly one of the great milestones of popular music, representing a fundamental step forward in the development and consolidation of the various musical movements that would follow. The nearly 20-minute title track, "In den Gärten Pharaos", establishes a surreal, cosmic adventure, with a multitude of ambient sounds and rich instrumentation that alternates between world music percussion, cymbals, organs, and synthesizers. In "Vuh", an even more extensive suite, the medieval church organ is the driving force behind the music, which, supported by synthesizers and the cacophonous sounds of cymbals and drums, creates a sound very close to trance and the deepest meditation. Without a doubt, despite its inaccessibility to the general public, "In den Gärten Pharaos" is a masterpiece of contemporary music and of the most experimental and innovative rock.

Hank Mobley-Soul Station (1960)

Unfairly overshadowed by contemporary musicians like saxophonists Sonny Rollins, Stan Getz, and John Coltrane, Hank Mobley was another of the great legends of hard bop and jazz soul. While not a mere innovator or pioneer, his career was remarkably prolific, releasing formidable albums for Blue Note Records between 1955 and 1970. His style, distinct from Coltrane's aggressive sound or Stan Getz's subtlety, was relaxed, delicate, and melodic. For Blue Note, he recorded some of the finest jazz albums, such as "Soul Station" and "Roll Call", albums of great musical and jazz solidity. In "Soul Station" (1960), Mobley surrounded himself with some of the great musicians of his time such as Art Blakey, Wynton Kelly or Paul Chambers, offering a masterclass in jazz starting with the anthological "I Remember" or the formidable "Dig Dis" and "If I Should Lose You", in which this talented musician also showed his tremendous ability to compose exquisite pieces of the best hard bop in history.

Return To Forever-Light As A Feather (1972)

A year before reforming Return to Forever, adding an electric guitarist (Bill Connors) and venturing into the realm of powerful jazz rock, frontman Chick Corea was immersed in refined jazz fusion with clear Brazilian and Latin influences. Following his debut album recorded for the ECM label, Corea released the elegant "Light as a Feather" with Brazilian singer Flora Purim, drummer Airto Moreira, saxophonist Joe Farrell, and bassist Stanley Clarke. On this second recording, this lineup offers a warm setlist of island and Latin sounds, featuring the versatile "Captain Marvel", the epic "Spain", the classic "500 Miles High", the jazzy samba "You're Everything", and the bossa nova "Light As A Father". From this point on, only Chick Corea and Stanley Clarke would remain in Return to Forever for the next stage of the band, and yet the one that would record this "Light As A Feather" is undoubtedly responsible for one of the best jazz fusion albums of all time.

Jethro Tull-Heavy Horses (1978)

Following the formula of their previous album, "Songs From The Wood", Jethro Tull presented their eleventh album, "Heavy Horses", in which medieval British folk influences form the cornerstone of this release. This time, Ian Anderson emphasizes the unsustainable encroachment of urbanization into rural areas and its subsequent impact on wildlife and the countryside. This rural setting is reflected in music brimming with acoustic guitars courtesy of Martin Barre and Anderson, violins and orchestral arrangements by Darryl Way and David Palmer, and Ian Anderson's unmistakable flute. These structures underpin songs like "...And The Mouse Police Never Sleeps", "Acres Wild", "Moths", "One Brown House", and "Weathercock". However, they don't entirely abandon rock, featuring more sophisticated and energetic tracks such as the edgy "No Lubally", the semi-funky "Journeyman", and the progressive folk title track. "Heavy Horses" provided the best epilogue to a series of albums ("Minstrell In The Gallery", "Too Old To Rock'n'Roll; Too Young To Die!" and "Songs From the Wood"), where acoustic sounds and progressive folk had subtly replaced the energetic folk rock and progressive rock of "Aqualung", "Thick As A Brick", "A Passion Play" and "War Child".

Man-Be Good To Yourself At Least Once A Day (1972)

Man are undoubtedly the quintessential Welsh band. Despite their frequent lineup changes, they achieved legendary status thanks to a series of albums that resembled their American contemporaries, the Grateful Dead and Quicksilver Messenger Service, due to their long, improvised suites with riffs and extended guitar solos, their psychedelic style, and their influences from country rock and blues. In 1972, Man consisted of guitarists and vocalists Micky Jones and Clive John, keyboardist Phil Ryan, bassist Will Youatt, and drummer Terry Williams. With this lineup, they entered Rockfield Studios in Monmouth, Wales, to record their fifth album, "Be Good to Yourself at Least Once a Day". Featuring only four lengthy tracks ranging from eight to twelve minutes, this new release continues to showcase their experimental psychedelic side while achieving a greater balance between all the aforementioned styles. The relentless "C'Mon" opens this album, a true epic with doses of space rock, a shimmering Hammond organ, and explosive guitar improvisations. The instrumental "Keep on Crinting" moves between gentle country passages, the thick sounds of psychedelia, and subtle jazz touches. The astonishing acid rock track "Bananas" is another highlight, a classic from these Welsh musicians, straddling psychedelic rock and krautrock with a steady rhythm and excellent instrumental interplay. The album closes with the bluesy boogie "Life on the Road", where monumental instrumental passages and the two ingenious guitarists take center stage amidst the vocal sections.

Them-Them Featuring Van Morrison (1973)

Them was one of the most influential groups of the mid-1960s, creators of one of the genre's most famous hits, "Gloria", a true classic for many years and through countless versions by numerous artists and groups. Formed in Belfast in 1963, their original lineup consisted of Van Morrison on vocals, Billy Harrison on guitar, Alan Henderson on bass, Patrick McCauley on organ, and Ronnie Millinc on drums. Later, the group underwent several lineup changes without any impact on the band's quality, which was based almost exclusively on Van Morrison's overwhelming personality. In 1964, the group moved to London, and their first albums created a powerful climax around Morrison's personality and his almost soulful voice. "Baby Please Don't Go" and "Here Comes the Night", songs written by Bert Berns (author of other hits like "Shout" and "Hang on Sloopy"), catapulted them to stardom, but their biggest hit would be the aforementioned "Gloria", a number one hit in 1965 and one of the great songs of the 1960s. In 1965, they released their first album under the Decca label, "The Angry Young Them", which included the aforementioned "Gloria" and "Mystic Eyes", both written by Morrison, as well as covers of R&B classics. Them would go on to record many other brilliant tracks such as "Call My Name", "Here Comes the Night", "It's All Over Now", and "Baby Blue", among others. A year later came their second album, "Them Again", but in 1967, with only two albums recorded, Van Morrison disbanded the group to pursue a solo career. From then on, he became one of the most important figures in rock and blues worldwide, with a career that kept him out of the mainstream charts but placed him among the best solo artists of all time. In 1973, the compilation album "Them Featuring Van Morrison" was released, featuring the group's best songs.

Strawbs-Grave New World (1972)

Strawbs were one of the most original British bands due to their constant evolution, fusing English folk and progressive rock. Founded by guitarist and singer Dave Cousins ​​in the mid-1960s, they had to wait until almost the end of that decade to release their self-titled debut album. A year later, the addition of keyboardist Rick Wakeman gave them a more avant-garde style, steering their music towards symphonic rock, as demonstrated on "Dragonfly" (1970) and with greater emphasis on the following album, "From the Witchwood" (1971). However, after this latter release, Wakeman decided to join Yes and left Strawbs, being replaced by keyboardist Blue Weaver. Weaver, along with drummer Richard Hudson, bassist John Ford, guitarists Dave Cousins ​​and Tony Hooper, and with arrangements and production by Tony Visconti, recorded Strawbs' fourth album. In this release, the band presents a concept album about the life of man, from birth to death. "Grave New World", a title that references the novel by Aldous Huxley, contains everything from pleasant melodies, along with ironic and biting lyrics in the glorious "Benedictus", to psychedelic forays in "Queen Of Dreams", passing through the energetic guitars of "Heavy Disguise", the symphonic ballad "Flower and the Young Man", and the vigorous progressive rock of "Tomorrow", all interspersed with the folk interludes "On Growing Older" and "Ah Me, Ah My".

The Pretty Things-Savage Eye (1975)

In 1973, Led Zeppelin, along with their manager Peter Grant, founded their own record label, Swan Song Records, signing some of the most popular bands of the 1970s, such as Bad Company and The Pretty Things, who released several albums under their auspices. Focusing on the latter, The Pretty Things had maintained a very stable career since the mid-1960s with a style that navigated between psychedelic pop and proto-progressive rock. Albums like "S.F. Sorrow" (1968) and "Parachute" (1970) are considered two of the great masterpieces of the era. Even after their heyday, they continued to release commendable works focused on classic rock, such as "Freeway Madness" (1972), "Silk Torpedo" (1974), and the album we're discussing today, "Savage Eye", released in 1975 and, like the previous album, published under the aforementioned Swan Song Records. In this release, the band, comprised of Phil May (vocals), Jack Green (bass, vocals, and guitars), Peter Tolson (guitars and bass), Gordon Edwards (guitars, keyboards, and vocals), John Povey (keyboards), and Skip Alan (drums), focused on a repertoire primarily oriented towards conventional rock and the typical rock 'n' roll of the 1970s. Tracks like the monolithic, Zeppelin-esque "Under the Volcano", or the melancholic folk-pop-rock "Sad Eye", along with the grandiose "My Song", are more than enough to qualify this as a magnificent album. The rest, while not reaching the heights of the previous tracks, maintains a high level of compositional and instrumental quality, as demonstrated by the upbeat rock 'n' roll "It Isn't Rock 'n' Roll", the energetic rock of "I'm Keeping", and the relaxed pop-rock of "It's Been So Long".

Thelonious Monk-Brilliant Corners (1957)

"Brilliant Corners" was Thelonious Monk's ninth solo album, recorded for the Riverside label in 1956 in New York and released the following year. With this recording, Monk began to be considered a pioneer of modern jazz, after years of being misunderstood by critics and fans due to his experimental avant-garde approach. "Brilliant Corners" not only produced one of his best works but also one of the greatest recordings in jazz history. For this recording, Monk surrounded himself with a stellar cast of musicians, including Max Roach, Clark Terry, Paul Chambers, Sonny Rollins, and Ernie Henry. Most of the melodies on this album are based on relaxed, mid-tempo blues, beginning with the tour de force title track, a song ahead of its time due to its tremendous dynamism. The avant-garde jazz-blues "Ba-Lue Bolivar Ba-Lues-Are" or the delicate ballad "Pannonica" showcase Monk's poise on the piano keys, while the Afro-Caribbean "Bemsha Swing" returns to its experimental side alongside Sonny Rollins' saxophone, who, through Monk's challenging piano sequences, displays his sublime talent with the saxophone.

The Allman Brothers Band-Enlightened Rogues (1979)

In 1979, The Allman Brothers released their sixth studio album, "Enlightened Rogues", which showcases some of the hardest and most energetic tracks of the band's entire career. Despite its undeniable quality, it's considered one of their most predictable works. Recorded during a period of creative stagnation for a carefree Gregg Allman, guitarist Dickey Betts was the main driving force, writing five of the album's eight tracks. For this recording, the Jacksonville-based lineup no longer included keyboardist Chuck Leavell or bassist Lamar Williams, who were replaced by Dan Toler (guitars) and David Goldflies (bass), respectively. The regular lineup remained: Gregg Allman (organ, electric piano, and vocals), Dickey Betts (guitars and vocals), Jaimoe (drums), and Butch Trucks (percussion). Betts' compositions resulted in a series of powerful songs like "Can't Take It With You" and "Blind Love", while the characteristic sound of Southern blues infused with jazz passages is present in "Just Ain't Easy", the bluesy "Need Your Love So Bad", an original John Mertis piece, and the guitar tour de force "Pegasus". Weighed down by the success of his earlier, enormous works, the album didn't receive the recognition it deserved, yet it still reached number nine on the Billboard charts and earned a gold record for its numerous sales in the North American market.

Trúbrot-...Lifun (1971)

We're going to Iceland, home to Trúbrot, an eclectic band that moved between the hypnotic and atmospheric sounds of psychedelic space rock and proto-hard rock. Founded in 1969, their lineup consisted of Karl Sighvatsson (keyboards), Gunnar Jökull Hákonarson (drums), Gunnar Þórdarson (guitar), Rúnar Júlíusson (bass and vocals), and Shady Owens (vocals). After several albums focused on the typical psychedelic pop-rock of the 1960s, "Trúbrot" (1969) and "Undir Áhrifum" (1970), they moved to England where, in 1971, they recorded their most ambitious work, "Lifun". In this release, the Icelandic band showcases its great stylistic diversity with a series of songs ranging from the heavy rock of "Lives Overture" to the stimulating atmospheric pieces of "Circulation," passing through the galloping progressive "School Complex", the folk of "Hush-S-Bye", and the grandiose mini-symphonies of "Margföld er Lifun er Lifum við Ein". After several more albums, "Mandala" and "Náttúra: Magic Key", both released in 1972, they disbanded at the end of the following year.

Stan Getz & João Gilberto-Getz/Gilberto (1964)

In 1964, saxophonist Stan Getz's album with Brazilian guitarist and singer João Gilberto became a landmark, sparking a bossa nova craze in the United States and much of the world. A native of Pennsylvania, Getz's early work was associated with bebop, influenced by the subtle and refined style of the legendary Lester Young. Amidst the vibrant Los Angeles jazz scene of the late 1940s and throughout the 1950s, Getz collaborated with prominent jazz icons such as Benny Goodman, Woody Herman, Horace Silver, Oscar Peterson, and Charlie Parker. Having firmly established himself within the West Coast Jazz scene, Getz built a formidable reputation thanks to his numerous collaborations and his own albums, such as "Stan Getz Plays" (1952), "Diz and Getz" with Dizzy Gillespie (1955), and "Stan Getz and the Cool Sounds" (1957), among many others. In the early 1960s, Getz recorded several bossa nova albums with Charlie Byrd, and years later, his partnership with Antônio Carlos Jobim proved crucial. Together with the then-promising João Gilberto, they recorded one of the most famous jazz albums of all time. "Getz/Gilberto" features not only Jobim and Gilberto, but also Milton Banana, Astrud Gilberto, and Sebastião Neto, who together create an exquisite exploration of the tranquil and delicate sounds of bossa nova. This combination of Getz's silky saxophone riffs and the smooth guitar strums is truly remarkable. Gilberto's and Astrud Gilberto's delicate voice are reflected in the mythical song "The Girl From Ipanema", undoubtedly the most popular of such an iconic and fundamental album.

Deep Purple-The Battle Rages On...(1993)

Six years after the last reunion of what is considered the classic Deep Purple lineup for the recording of the album "The House of Blue Light" (1987), the so-called "Mark II" lineup, they reunited for a third time to create their fourteenth studio album, "The Battle Rages On...". However, in reality, the only member who returned to the fold was singer Ian Gillan; the rest (Blackmore, Lord, Paice, and Glover) had already released the previous album, "Slaves and Masters" (1990), with singer Joe Lynn Turner at the helm. With this new release, the British band returns us to the more traditional Deep Purple sound, moving away from the AOR style of its predecessor to create a great album of classic hard rock with certain Eastern and semi-progressive influences. Comprised of a repertoire of excellent and solid hard rock, the veteran musicians continued to demonstrate that they still had much to offer the music industry, presenting a series of killer tracks such as the frenetic "Lick It Up", or the powerful and forceful "The Battle Rages On", "Anya", "One Man's Meat", "Solitaire", "A Twist in the Tale", "Time to Kill", and "Talk About Love". In all of these, Ritchie Blackmore showcased his killer side with his guitar riffs and solos, the sensational work of Ian Paice and Roger Glover in the precise and relentlessly heavy rhythm section, combined with the instrumental grandeur of Jon Lord's Hammond organ and the sublime voice of one of the greatest vocalists in history. Without a doubt, "The Battle Rages On..." was the best epitaph for Deep Purple's most legendary and successful lineup.

Keith Jarrett-The Köln Concert (1975)

Keith Jarrett is considered one of the greatest jazz pianists, dubbed by many critics the "Bach" of jazz, thanks to his exceptionally meticulous style of spontaneous instrumental solos. He began piano lessons at just two years old, and by seven he was already giving solo concerts. In 1962, at only 16, he gave a concert of more than two hours, composed entirely by himself. During the 1960s, he performed and collaborated with jazz greats such as Chet Baker, Art Blakey, Charlie Haden, Gary Burton, Miles Davis, and Charles Lloyd, among many others. In the early 1970s, Jarrett began to lean towards an acoustic style while continuing to diversify his creativity and explore avant-garde sounds. His album "Facing You" for ECM is an example of this decidedly minimalist period. He subsequently began a series of recitals for ECM, achieving great acclaim and increasing public interest. “The Köln Concert” captures the recital the pianist gave on January 24, 1975, at the Cologne Opera House, which was released later that year by ECM, the label headed by Manfred Eicher. It comprises 66 minutes of extended, intensely rhythmic improvisations with feverish and lyrical passages and a cathartic outpouring of emotion. The album achieved such renown that it remains the best-selling album of unaccompanied piano music to this day.

Eric Clapton & B.B.King-Riding With The King (2000)

Eric Clapton's passion for the blues dates back to his years with John Mayall and The Bluesbreakers, continuing through his time with the legendary Cream, Blind Faith, and Derek and The Dominos, in addition to his countless collaborations and contributions to his solo albums. While in previous works like the formidable "From The Cradle", Clapton had delved deeply into the roots of the blues, with "Riding With the King", the British guitarist demonstrates his respect and fascination for the genre by recording this album with the admired B.B. King. Besides these two geniuses, the album features collaborations with prestigious musicians such as guitarists Andy Fairweather Low, Jimmie Vaughan, and Doyle Bramhall, keyboardist Joe Sample, bassist Nathan East, and drummer Steve Gadd. In this superb album, Clapton and King manage to blend together perfectly, as could not be otherwise, to give us delightful pieces such as "Come Rain Or Come Shine", "Ten Long Years", "Key to the Highway", "When My Heart Beats Like a Hammer" or "Three O'Clock Blues", achieving with all of them an exquisite album of the best blues, crafted by two of the greatest guitarists in history.

Styx-The Grand Illusion (1977)

If there's one band that perfectly captured the theatricality of rock, it was undoubtedly the American group Styx. In their early days, they focused on a progressive rock style rooted in American music. As the years went by, Styx evolved their style, moving towards a less bombastic and more catchy sound, bordering on adult-oriented rock, but maintaining their complex and theatrical compositions. Albums like "The Serpent Is Rising", "Man of Miracles", "Equinox", "Crystal Ball", "The Grand Illusion", "Pieces of Eight", "Cornerstone", and "Paradise Theater" are considered essential works of American rock. In 1977, Styx were at the peak of their career, and that year they released their seventh album, "The Grand Illusion", which would become one of their greatest creative and commercial achievements. This excellent work fused classic rock and art rock, achieving triple platinum status for over three million copies sold in the North American market. Styx's appeal in this release lies in its great sonic diversity, where, under a wide range of styles and musical influences, the album spans from vigorous and powerful sounds like "Miss America" ​​to canvases of progressive dynamism like "Superstars", passing through the instrumental complexities of "The Grand Illusion", the melodic rock of "Come Sail Away", epic progressive pieces like "Castle Walls", and compelling hard rock like "Man in the Wilderness".

Goblin-Roller (1976)

Goblin was an Italian band that oriented its music mainly to horror movie soundtracks with dark, intriguing and progressive sounds, but also released some albums outside the film industry.
Formed in Rome in 1972 during their career they have been dissolved several times and reunited in the last 40 years.
His first and most classical formation was comprised of the guitarist Massimo Morante, the keyboardist Claudio Simonetti, the bassist Fabio Pignatelli and the drummer Walter Martino, however throughout his long career there have been innumerable line-up changes to the point that they have There have been records that have been recorded by totally different lineups. His first job was for the soundtrack of the 1975 movie "Profondo Rosso", a short job, barely 30 minutes, but where the gloomy sounds full of organs are already sensed with an approach to jazz sounds, atmospheric passages and great moments of guitars, bass and drums.
“Roller” released a year later was already a conventional album without the pressure of a Dario Argento behind it, and it showed a progressive style influenced by the British bands of the genre. Pink Floydian atmospheres, sounds in the vein of Mike Oldfield's “Tubular Bells”, long spacious passages with funk and rock tones, all with great instrumental performances by the band's musicians. Turned into a cult album for progressive fans, Goblin has continued to release both film-directed discs and mainstream parallel works, reaching his late twenties all these years.