Gwendal-Gwendal (1974)

Gwendal is a legendary French band that masterfully fused Celtic and Breton influences with jazz and rock elements. Its founder was saxophonist and flautist Youenn Le Barre, who, along with bassist Roger Schaub and guitarist Jean-Marie Renard, was one of the band's core members for many years. Their self-titled debut album, "Gwendal", was released in 1974, showcasing the rhythms and folk influences of Ireland and medieval music. On this first release, instruments like the violin and flute were the driving force behind a distinctly traditional style. However, by then, other artists such as The Horslips, Alan Stivell, Gryphon, and Clannad had already explored this eclectic fusion of traditional and avant-garde sounds, releasing seminal works that would have a profound impact on the world of modern music. Despite having a musical philosophy still undefined, this debut album showcases interesting creative contributions such as the rhythmic "An Dro-Nevez", the reflective "Planxty-Birke", the intriguing "Patrick's Day", and the minimalist "Deu Tu Ganene". Starting with their third album, "Á Vos Désirs" (1977), they incorporated drummer Arnaud Rogers, an instrument that would broaden Gwendal's musical palette, adding a deeper, more jazz-influenced dimension to their rich and distinctive style.

Magnum-On A Storyteller´s Night (1985)

With cover art that perfectly reflects the music within, Magnum's fifth album, "On A Storyteller's Night", became one of their best works, perfectly capturing their addictive style that brilliantly blends epic, melodic rock, and progressive structures. It's replete with great keyboard passages, courtesy of Mark Stanway, the powerful hard rock guitars of Tony Clarke, and the impressive vocals of singer Bob Catley. From the energetic "Just Like An Arrow" to the melodic "The Last Dance", passing through the infectious "Endless Love", the AOR "Two Hearts", and the epic and glorious "Haw Far Jerusalem", Magnum showcased their great musical diversity, producing everything from semi-progressive albums like "Chase The Dragon" and "Wings Of Heaven" to clear concessions to high-quality melodic rock such as "The Eleventh Hour", "Vigilante", and "Goodnight L.A".

Earth, Wind & Fire-The Best of Earth, Wind & Fire, Vol1 (1978)

Earth, Wind & Fire managed to turn every song they composed into a true anthem for an entire generation, whether it was funk, rock, soul, disco, or R&B. They are also one of the most successful bands of all time, with nearly 100 million records sold and seventeen Grammy nominations, winning six and countless other accolades. In 1978, with only seven albums released, they launched the compilation "The Best of Earth, Wind & Fire, Vol 1", which became a massive success, selling over 6 million copies thanks to an impressive collection of great songs like "Got to Get You Into My Life", "Fantasy", "Love Music", "Getaway", "September", and "Sing a Song". The band continued to release work until 2014, reaping success after success such as the million-selling albums "I Am" (1979), "Faces" (1980), "Raise!" (1981) or "The Essential" (2002).

Steeleye Span-All Around My Hat (1975)

"All Around My Hat" perfectly encapsulated Steeleye Span's nascent style, blending their folk sound with more accessible, commercial rock. It subtly replaced their usual fusion of artful folk and traditional folk from their earlier works, particularly their predecessors "Now We Are Six" (1974) and "Commoners Crown" (1975). For this new album, curiously released months after "Commoners Crown", the band, led by the duo Maddy Prior and Tim Hart (vocals and guitars respectively), expanded their musical horizons into the realm of folk-influenced rock, highlighting Bob Johnson's powerful electric guitar riffs. With a repertoire full of attractive songs such as "All Around My Hat", "Gamble Gold", "Hard Times Of Old England", "Sun Waves" or "Dance With Me", with this album, the eighth chronologically of Steeleye Span, they would achieve their greatest commercial success, achieving a gold record in the British charts and considerable sales outside the United Kingdom.

Boomerang-Boomerang (1971)

From the ashes of the legendary Vanilla Fudge emerged several bands: Cactus and Boomerang. Cactus was led by drummer Carmine Appice and bassist Tim Bogert, while keyboardist Mark Stein would form the core of Boomerang. To form Boomerang, Stein recruited several unknown musicians, starting with guitarist Richard Rameriz, bassist Jo Casmir, and drummer James Galluzi. Their only release was the self-titled "Boomerang," a decent hard rock album that drew from the sonic sources of other contemporary bands such as Vanilla Fudge, Led Zeppelin, and Steppenwolf, but with a clear psychedelic undercurrent. Rameriz's heavy guitar riffs, Stein's dense organ, and the dusty, southern rock-influenced rhythm are the common denominator of an album that, despite containing a commendable repertoire, would fail spectacularly, overshadowed by the success of his former bandmates in Cactus. Powerful hard rock tracks like "Cynthia Fever", "The Peddler" or "Juke", the country rock "Hard Time", the bluesy boogie "Mockinbird", the attractive southern rock "Fisherman" or the melodic ballad "Brother's Comin' Home", have enough merit for this release to have had greater media and commercial recognition.

Fischer-Z-Red Skies Over Paradise (1981)

Fischer-Z were one of the most successful and well-known post-punk and new wave bands of the early 1980s. Formed in 1977 by guitarist and activist John Watts, along with David Graham (bass), Steve Liddle (drums), and Steve Skolnik (keyboards), this quartet built a strong reputation over several years on the London club and pub circuit, thanks to their blend of punk rock and synth-pop with elements of pub rock and ska and reggae rhythms. Signed to United Records, they released their debut album, "World Salad", in mid-1979, which featured biting political themes of the time and a catchy, basic pop-rock style. With their next full-length album, "Going Deaf For A Living", Watts solidified the group's style, firmly establishing their music as a vehicle for conveying political ideas through the short narratives of their songs. On their first two albums, they featured sarcastic songs like "Pretty Paracetamol", "The Worker", "So Long", and "Room Service". With "Red Skies Over Paradise", their third release, they made clear political references to the Cold War between capitalist and communist countries, starting with the ironic cover art. This ironic narrative is present in songs like "Battalions of Strangers" and "Cruise Missiles", which contrast with melancholic love songs like the moving "Marliese". With this last album, Fischer-Z achieved their best creative and commercial work, selling over a million copies and, incidentally, becoming their epitaph. Shortly after, John Watts ended the band, at least for six long years, before reviving them with new members, but showcasing their usual forceful political messages mixed with other, more repetitive songs.

Seventh Key-Seventh Key (2001)

In early 2000, bassist Billy Greer, formerly of Kansas' second incarnation, and guitarist Mike Slamer, formerly of the band led by Steve Walsh Street, founded Seventh Key, a group that navigated between melodic rock and hard rock. At the start of 2001, they released their debut album, which, in addition to keyboardists David Manion and Igor Len and drummer Chet Wynd, also featured some members of Kansas, including Phil Ehart, Steve Walsh, Steve Morse, and Rich Williams. On this first album, the hard rock guitar riffs of Slamer, Morse, and Williams, along with Manion's keyboard flourishes and the irresistible vocal harmonies courtesy of Greer and singers Terry Brock and Steve Walsh, are the common thread running through most of the tracks. From attractive mid-tempo tracks like "Only The Brave", "Missy", "Surrender" or "When Love Is Dying", to catchy AOR tracks like "Everytime It Rains" and "Forsaken", passing through the energetic "The Kid Could Play" or "Prisoner of Love", they all together make up an excellent work highly regarded by fans of adult-oriented rock, which would have a brilliant continuation several years later with "The Raging Fire".

Todd Rundgren-Initiation (1975)

This is probably Todd Rundgren's most progressive solo work, considered by many to be a masterpiece of avant-garde rock, offering everything from energetic tracks to astonishing instrumental exercises on keyboards and guitars. Released in 1975, "Initiation" was his sixth album outside of his band Utopia, and on it the guitarist and producer surrounded himself with a wide range of collaborators, including Edgar Winter, Rick Derringer, David Sanborn, Dan Hartman, Rick Marotta, and Roger Powell, among others. With an unusual runtime of nearly 70 minutes, Rundgren managed to fit a repertoire twice as long as almost any other record released at the time onto just one side of the original vinyl. While the album features several songs with a clear conventional rock feel, it also contains many progressive and experimental moments. The heavy tracks "The Death of Rock and Roll" and "Eastern Intrigue" are perhaps the most peculiar among all the conventional ones, contrasting sharply with the pleasant "Real Man" or the extravagant "Born to Synthesize", an a cappella song sung by Todd himself. However, the expansive "Initiation", "Fair Warning", and especially the hallucinatory instrumental suite "A Treatise on Cosmic Fire" are the high points of this surprising recording by the blond guitarist from Pennsylvania.

Judas Priest-Defenders Of The Faith (1984)

Considered by their most die-hard fans as one of Judas Priest's last great albums, "Defenders of the Faith" continued the triumphant path of its predecessors, "British Steel" (1980), "Point of Entry" (1981), and "Screaming for Vengeance" (1982). On this occasion, the band even transformed their visceral style into aggressive heavy metal, with countless instrumental pyrotechnics driven by their two ruthless guitarists, K.K. Downing and Glenn Tipton, and supported by the blistering rhythm section of bassist Ian Hill and drummer Dave Holland. Special mention must be made of the soaring vocals of a sublime Rob Halford in immeasurable form. Thrilling heavy metal tracks like "Freewheel Burning" or "The Sentinel", along with the raw "Jawbreaker", "Rock Hard Ride Free", "Love Bites", "Some Heads Are Gonna Roll" or "Heavy Dute", make up the amazing repertoire of one of the essential albums in the history of heavy metal.

The Herbie Hancock Group-Head Hunters (1973)

Once Herbie Hancock concluded his "Mwandishi" period (essentially a fusion of free jazz, modal jazz, and tribal sounds), he returned to a more conventional, funk-infused jazz style with the release of "The Herbie Hancock Group: Head Hunters". For this album, Hancock reunited his band Sextant, which included Bennie Maupin, Paul Jackson, Harvey Mason, and Bill Summers. Comprising four expansive tracks, from the opening "Chameleon", Hancock makes it clear that the material presented here differs considerably from his previous work. A tour de force in clear jazz-funk style, the jazz-rock influences of "Bitches Brew" are represented in the dynamic "Sly" and the ethereal, atmospheric "Vein Melter", while the jazz-fusion track "Watermelon Man" provides the most accessible moment on the entire album. This "Head Hunters" is, along with works such as "Crossings" (1972), "Sextant" (1973), "Thrust" (1974), "Man-Child" (1975) or "Mr. Hands" (1980), the creative pinnacle of one of the greatest jazz rock pianists in history.

Barclay James Harvest-XII (1978)

Barclay James Harvest's ninth album was the last to feature their main keyboardist and one of the band's founders, Wolly Wolstenholme, who left due to musical differences with the rest of the lineup. It was also the last album on which they used the Mellotron, replacing it thereafter with more cutting-edge synthesizers. While "XII" is a more harmonious and balanced album than its predecessor, "Gone To Earth", it lacks tracks as popular and catchy as "Hymn", "Love Is Like A Violin", "Poor Man's Moody Blues", and "Sea Of Tranquility", which appeared on the previous release. The most emotional moment is undoubtedly the song "Berlin", a clear ode to the German city divided at that time by the Berlin Wall, a tremendous success in Germany and the rest of Europe. On the other hand, the solid rock of "Fantasy: Loving Is Easy" becomes the only counterpoint to an album full of beautiful soft rock melodies such as "Classics: A Tale of Two Sixties", "Turning In Circles" or "Sip Of Wine", while the progressive vein appears in the majestic "Science Fiction: Nova Lepidoptera" and "In Search Of England", to end with the pleasant "Fiction: The Streets Of San Francisco", inspired by the famous American police series of the 70s. As in all the previous records, this would once again flood the charts in Germany and central and northern Europe, places where the band gathered a very large legion of fans.

Electric Light Orchestra-Secret Messages (1983)

The successor to the futuristic and seminal "Time" was Electric Light Orchestra's tenth album, "Secret Messages", which became another splendid work brimming with the sophistication and class characteristic of leader Jeff Lynne's compositions. Recorded with the same lineup as their previous albums (Jeff Lynne, Richard Tandy, Bev Bevan, and Kelly Groucutt), plus the addition of Louis Clark, Dave Morgan, and Mik Kaminski, Lynne chose recording studios in the Netherlands, specifically in the city of Hilversum, in the north of the country. Unlike the previous album, which was saturated with synthesizer sounds that underpinned its conceptual story, this release features guitar-driven pop-rock melodies under excellent production, where the elegantly executed music becomes captivating and evocative. There they are to corroborate it, from beautiful ballads like "Take Me On and On", "Stranger" or "Letter From Spain", to galloping rock pieces like "Danger Ahead", "Four Little Diamonds" or "Rock 'n' Roll is King", passing through captivating songs like "Train Of God" or "Loser Gone Wild".

Skagarack-Hungry For A Game (1988)

Heirs to the best melodic rock created in Northern Europe, the Danish band Skagarack established themselves as the perfect alternative to other Scandinavian bands of the genre such as Europe, Alien, and Treat. Formed in the mid-eighties, their core consisted of Alvin Otto (drums), Torben Schmidt (vocals), Jan Petersen (guitar), Tommy Rasmussen (keyboards), and Morten Munch (bass). Their debut album was a clear statement of intent, in which harmonious vocals, captivating melodies, and powerful guitar riffs opened the doors to the pantheon of Scandinavian melodic metal. Two years later, they released their second album, "Hungry For A Game", which, under the Polydor label, once again delivered an excellent work of great melodies, powerful hard rock tracks, and emotive songs with unforgettable choruses. From the brilliant title track, an irresistible song with great vocal choruses, to the infectious "Joanna", the Danish band shows their incredible ability to create potential melodic rock hits, as also shown by the overwhelming "Somewhere In France", "Boys" or "Always In a Line", not forgetting the precious ballad "This World".

The Don Harrison Band-The Don Harrison Band (1976)

The Don Harrison Band was a short-lived group popularly known in North America for featuring two of Creedence Clearwater Revival's most famous members: bassist Stu Cook and drummer Doug Clifford. Along with guitarist Don Harrison and fellow guitarist Russell DaShiell, they formed The Don Harrison Band in 1975, releasing the albums "The Don Harrison Band" in 1976 and "Red Hot" the following year, both on Atlantic Records. Their self-titled debut is undoubtedly their best recording, an album that subtly evokes the country rock, swamp rock, and rhythm and blues influences of Creedence Clearwater Revival. On this first album, standout tracks include the swamp rock anthem "Sixteen Tons," undoubtedly the most tangible example of the Creedence sound, along with the fun "Romance," the southern-tinged "Who I Really Am," the rock and roll "Rock and Roll Records," the folky "Fame and Fortune," the blues rock "Sometimes Loving You," and the melodic "Living Another Day." The album's strong commercial reception led to them opening for The Rolling Stones at the 1976 Knebworth Festival. After the second album, the band definitively broke up, with Cook and Clifford joining Southern Pacific, before later reforming their old band as Creedence Clearwater Revisited, but without brothers John and Tom Fogerty.

Nova-Blink (1975)

Fondly remembered by European fans of 1970s progressive jazz-rock, Nova was an Italian band formed by members of other Italian groups such as Osanna and Cervello. These included guitarists Corrado and Danilo Rustici, who, along with saxophonist Elio D'Anna, formed the band in London in the mid-seventies. Between 1975 and 1978, they released four superb albums focused on expansive, jazz-oriented progressive improvisations. Given the instrumental prowess of its members and their growing reputation, they soon secured a deal with Arista Records to finance their debut album, released in 1975 under the title "Blink". This first release featured, in addition to Rustici and D'Anna, bassist Luciano Milanese, drummer Franco Lo Previte, and Morris Pert, percussionist for Brand X. Composed of an eclectic fusion of styles ranging from jazz rock to sumptuous funk rhythms and intense blues rock, all underpinned by grand instrumental passages. From the powerful jazz rock with a blues undercurrent of "Tailor Made", to solid exercises in classic and heavy rock such as "Something Inside Keeps You Down", spirited jazz fusion with funky rhythms like "Nova" and "Toy", and dizzying blues rock like "Stroll On", this album, while lacking the consistency of their later releases, showcases the diverse guitar styles of its two leaders and the driving force of the rhythm section. These elements, combined with creative musical lines, make Nova's debut album a truly remarkable listening experience of high-level progressive jazz rock.

Hannibal-Hannibal (1970)

Brass rock wasn't exclusively an American style; bands from other parts of the world also emerged that fused jazz with rock, classical music, blues, and progressive rock, but they had less media and commercial success than the genre's flagship bands, such as the American groups Chicago Transit Authority, Blood, Sweat & Tears, If, A.B. Skhy, and Dreams. Hannibal was one of those bands that emerged in the wake of the aforementioned groups and was formed in Birmingham, England, in the late 1960s. Short-lived, they only released one album in 1970, featuring Alex Boyce (vocals), Adrian Ingram (guitar), Bill Hunt (Hammond organ), Cliff Williams (tenor saxophone and clarinet), Jack Griffiths (bass), and John Parkes (drums). With a style based on elaborate compositions that navigate between blues rock and jazz rock, this band would manage to create an excellent repertoire in which the avant-garde jazz "Winter", the blues rock-jazz "Wet Legs" and "Look Upon Me", the hypnotic and psychedelic "Winds of Change", the experimental jazz-blues "Bend for a Friend" or the dark and progressive "1066" stood out.

UFO-Lights Out (1977)

UFO are legends within the world of hard rock, but they were almost equally unfairly relegated by many fans to mere second-rate acts compared to other great bands of the genre, despite having produced a colossal and brilliant discography. One of those impressive works is their mythical "Lights Out", a true masterpiece of British hard rock, released in 1977 as their sixth album up to that point. The mere presence of guitarist Michael Schenker, demonstrating his enormous talent and virtuosity, is more than enough reason to consider this album a simply masterful work. But in addition to Michael Schenker, Phil Moog showcases his excellent vocal range, delivering a memorable performance, as does the rest of the band, composed of Paul Raymond (guitar and keyboards), Pete Way (bass), and Andy Parker (drums). Power, rhythm, melody and energy are what UFO leaves on record in the grooves of this album, highlighting the vigorous "Too Hot to Handle With", "Just Another Suicide", "Gettin' Ready" and "Electric Phase", in addition to the semi-progressive epic "Love to Love", while the beautiful ballad "Try Me", or the successful version of the Americans Love, "Alone Again Or", put the brakes on such a robust repertoire of magnificent songs of the best hard rock of the late 70s.

Casiopea-Casiopea (1979)

Casiopea symbolizes the best of Japanese jazz, inspired by smooth jazz, funk, and rock—a group that has been one of its leading exponents for decades. This Japanese band has always revolved around its leader and principal composer, Issei Noro (guitar), the only member who has remained with the band since its founding in the mid-seventies, despite countless lineup changes over nearly five decades. Several years after its formation, and after successful participation in various jazz festivals, they released their first full-length album with Minoru Mukaiya (keyboards), Takashi Sasaki (drums), and Tetsuo Sakurai (bass). This debut also featured collaborations with three of the greatest musicians on the North American jazz fusion scene: David Sanborn, Michael Brecker, and Randy Brecker. Although their style was still developing, on this first recording, the Japanese band created a fascinating fusion album blending melodic jazz, vigorous rock, and rhythmic funk. The funk rhythm is present throughout much of the album, especially in the dynamic tracks "Dream Hill" and "Black Joke." Meanwhile, the progressive "Space Road," the smooth jazz of "Tears of the Star," and the addictive jazz fusion of "Swallow" showcase Casiopea's great eclecticism. From this point on, the band would enjoy a prolific career, releasing over fifty albums, both studio and live, making them one of the most prolific labels in the history of jazz-rock.

Moon Martin-The Very Best of Moon Martin (1999)

John David Martin (better known as Moon Martin) is one of the most intriguing artists of the new wave movement. He began playing in several local Oklahoma bands in the late 1960s before moving to Los Angeles and forming a band called Southwind, with whom he released three albums that had little impact. However, his work as a songwriter and session musician for artists such as Linda Ronstadt and Gram Parsons, among others, paved the way for his solo career. In 1978, he released his first album, "Shots from Cold Nightmare", which featured several standout tracks, including "Nights Thoughts", "Victims of Romance", "Cadillac Walk" (which became famous after being recorded by Willie DeVille), and especially "Bad Case of Loving You" (released by Robert Palmer a year later, which became a major commercial success). From then on, some of his songs were included on the albums of various artists, and Moon Martin established himself as a solo artist. The new album "Escape from Domination" (1979) and the singles "Rolene" and "No Chance" are key pieces, ushering in the 1980s with the LP "Street Fever", which cemented his status as one of the best artists of the following decade. In 1979, Moon formed his own group, The Ravens, with Jude Cole (guitar), Dennis Croy (bass), and Rick Croy. In 1982, he released his fourth album for Capitol Records, "Mystery Ticket", followed in 1984 by "Mixed Emotions". From this point on, Martin distanced himself from his solo career and dedicated himself to songwriting for other musicians, although he released a few albums in the following decades with little commercial success. Tracks like "Bad Case of Loving You" more than justify why this man went down in pop-rock history. It has all the ingredients of a great song: warmth, rhythm, desperation, a catchy chorus, and unforgettable guitar riffs.

Magna Carta-Lord Of The Ages (1973)

Magna Carta is one of the most talented bands to emerge in the late 1960s amidst the burgeoning British folk progressive movement. Formed in London in 1969 by Chris Simpson, Glenn Stuart, and Lyell Tranter, they quickly became one of the most promising English folk-rock groups, drawing on influences from the American West Coast style of The Byrds and the British folk of Fairport Convention, all wrapped in orchestral arrangements and rich vocal harmonies. Their first albums, "Magna Carta" (1969), "Seasons" (1970), and "Songs From Wasties Orchard" (1971), were released in this stylistic vein. Two years later, the band underwent its first lineup changes, with guitarist Stan Gordon replacing Tranter, and the addition of Dave Peacock on bass, Gerry Conway on drums, Danny Thompson on double bass, and Jean-Alain Roucel on keyboards. With this lineup, they recorded "Lord of the Ages", the album that would definitively establish Magna Carta's reputation. Beneath its enigmatic cover, designed by Roger Dean, this album is Magna Carta's most progressive production, featuring the epic title track nearly ten minutes of sweeping progressive passages the addictive "Wish It Was", the restrained folk of "Two Old Friends", the medieval-tinged "Falkland Green", and the melancholic "Father John". "Lord of the Ages" is a masterpiece of British progressive folk, an album brimming with refined details and, with certain jazz influences, became Magna Carta's debut work.

Irish Coffee-Irish Coffee (1971)

Irish Coffee was a Belgian hard rock band formed in the early 1970s, emerging from the ashes of a cover band called The Voodoo. In their short five-year career, tragically cut short by the death of their drummer in a car accident and serious injuries to another member, they released only one album in 1971. The lineup included singer and guitarist William Souffreau, drummer Hugo Verhoye, keyboardist Paul Lambert, bassist Willy De Bisschop, and guitarist Jean Van Der Schueren. Their generic hard rock style was driven by a heavy Hammond organ, clear psychedelic influences, and a driving rhythm that drew from funk and blues. Heavy boogie-rock tracks like "Can't Take It" showcase the established hard rock formula of the era, where clever compositions become intoxicating pieces, as is the case with the captivating "The Beginning of the End". Funk invades the rhythm of "The Show (Part 1)", while blues does the same for the second part of the same track. But misfortune would prevent this first and only work from having any further release, beyond a series of singles that years later would be included on the CD reissue of this forgotten progressive hard rock album.

Bennie Maupin-The Jewel in the Lotus (1974)

Saxophonist Bennie Maupin is primarily known for his contributions to high-caliber albums such as Miles Davis's "Bitches Brew", Herbie Hancock's "Mwandishi" era (1971-1973), and for being a member of Hancock's band, with whom he recorded "Headhunters" (1973) and "Thrust" (1974). However, his career also includes stellar appearances alongside artists like Horace Silver and McCoy Tyner, in addition to a solid solo career that has produced half a dozen acclaimed albums. One of these was "The Jewel in the Lotus", his solo debut, which featured much of Herbie Hancock's backing band, including Hancock himself on electric piano, as well as Buster Williams on bass, Charles Sullivan on trumpet, and drummers Bill Summers, Billy Hart, and Frederik Waits. With a style that differs substantially from his previous work in various collaborations, Maupin leans towards avant-jazz and experimental free jazz. Featuring intricate sounds, the pieces unfold with a distinctly avant-garde and experimental bent, largely eschewing melodic interpretation, though harmonically it remains brilliant and enjoyable jazz. Eerie passages immerse us in fascinating and addictive atmospheres with rich, atmospheric textures of fluid jazz, replete with psychedelic patterns that are simultaneously abstract and diffuse.

Eric Dolphy-Out To Lunch! (1964)

This is one of the most advanced albums of its time, and even today, fifty years after its release, it remains far ahead of its time. The product of a genius like saxophonist Eric Dolphy, "Out to Lunch" paved the way for future musical experimentation in jazz, an avant-garde approach that musicians like Frank Zappa, along with the Mothers of Invention, knew how to interpret perfectly. From the late fifties to almost the mid-sixties, Eric Dolphy established himself as one of the most respected jazz musicians, as well as one of the most popular in the media. His work with Charles Mingus opened the doors to exploring and fusing jazz with classical music. Recorded in early 1964, Dolphy assembled a formidable band for this recording, composed of bassist Richard Davis, vibraphonist Bobby Hutcherson, trumpeter Freddie Hubbard, and drummer Tony Williams. Months after the release of "Out To Lunch", just as he had finished a European tour presenting this album with Charles Mingus, Dolphy would suddenly pass away in the German city of Berlin.

Fish-Internal Exile (1991)

After leaving Marillion, Fish debuted with "Vigil In A Wilderness Of Mirrors", a work that, in some ways, was very much a continuation of what he was doing with his former band, showcasing a brilliant, reflective, and moving neo-progressive sound. After this first album, it wasn't long before the Scottish giant made another move, releasing his second album, "Internal Exile", just a year later. On this album, he continued in that neo-progressive direction but placed more emphasis on the lyrics and vocals, at the expense of the long instrumental passages, which are shorter and more concise, while still incorporating certain folk and Celtic sounds. Songs like the energetic "Shadowplay" recall Marillion's album "Misplaced Childhood", with its dazzling and precise rhythm, while the uplifting "Credo" and "Tongues" move towards heavy and raw rock. On the other hand, "Just Good Friends" and "Dear Friend" become the most accessible and commercial tracks, contrasting with the moving and powerful "Lucky." In Fish's own words, with this album he wanted to capture "a collection of stories of young people" inspired by his home country, and indeed, his reflective and poetic lyrics are part of the album's appeal and are, without a doubt, small works of art in themselves.

Dream Theater-Systematic Chaos (2007)

It's 2007, and Dream Theater were firmly established as the spearhead of progressive metal. That year, the band, led by John Petrucci and James LaBrie, along with Mike Portnoy, Jordan Rudess, and John Myung, released their ninth studio album, "Systematic Chaos", a work preceded by the phenomenal "Octavarium" from several years prior. While not a fully conceptual album, it explores recurring themes ranging from anti-war sentiment and science fiction to self-confessed vices. Undoubtedly, the most progressive tracks on the album are the expansive and instrumentally intricate "The Ministry of Lost Souls", a dark composition featuring an anthological performance by guitarist Petrucci, and the intriguing "In the Presence of Enemies Part 2", a progressive track divided into four sections with extraordinary work from the entire band. The rest of the album is comprised of intense, harrowing tracks like "In The Presence of Enemies Part 1", vigorous and accessible canvases like "Forsaken", powerful anti-war thrash metal like "Prophets of War", and Pink Floyd-influenced "Repentance". While not reaching the heights of works like "Images and Words", "Awake", "Metropolis Part 2 Scenes from a Memory", or "Six Degrees of Inner Turbulence", with this release Dream Theater continued to explore their majestic progressive structures, sublimely fusing them with heavy metal and a magical, grandiose epic feel.

Matrix-Tale Of The Whale (1979)

Matrix was another of the many second-tier American jazz-rock bands that released four interesting albums between 1976 and 1981. Hailing from Appleton, Wisconsin, their origins date back to 1974, specifically to Lawrence University, where four of its members were students. These were trumpeters and players of other instruments such as percussion and keyboards: Larry Darling, Jeff Pietrangelo, Mike Hale, and Kurt Dietrich. Along with the additions of Michael Bard (saxophone), Randall Fird (bass), Tony Wagner (drums), John Harmon (keyboards), and Fred Sturm (trombone), they gained considerable recognition by participating in various prestigious jazz festivals, such as Monterey and Newport. After two commendable albums clearly oriented towards the brass-rock style that linked them to Blood, Sweat & Tears; Following "Matrix" (1976) and "Wizard" (1978), in 1979, under the Warner Bros. label, they released their best work, "Tale of the Whale", a much more conventional and accessible album aimed at a wider audience. Ambient sounds reminiscent of smooth jazz, new age, and funk jazz-rock vibes are present in most of the tracks on this third album, which features the brilliant jazz fusion "Narouz", the ambient "Nessim" and the title track, the funky "The Fly", and the soaring "Galadriel".

Kaleidon-Free Love (1973)

The excellent Italian pianist Stefano Sabatini founded the Kaliedon project in the early seventies, a brilliant experiment that, despite going largely unnoticed, is a noteworthy work focused on free jazz and low-key jazz-rock, primarily due to the absence of an electric guitar. Its origins date back to the end of the previous decade when Sabatini himself led a psychedelic pop band called Free Love. However, a tragic car accident claimed the lives of two of the musicians, leaving Sabatini seriously injured. Years later, Sabatini formed a new band, which he named Kaliedon, recruiting Massimo Balla (saxophone and flute), Franco Tallarita (bass), and Giovanni Liberti (drums), while Sabatini himself handled the keyboards and electric piano. Their only release, titled "Free Love" as a tribute to his former band and released in 1973, is a true reflection of jazz driven by the sounds of the saxophone and electric piano. Composed of a series of elegant pieces of melodic jazz such as the homonymous "Free Love", the melancholic "Inverno'43" or the jazz fusion "Polvere", demonstrating in all of them the instrumental talent of Sabatini, one of the outstanding keyboardists of European jazz.

Arkus-1914 (1981)

Arkus is a Dutch band that has the distinction of being one of the very first to release a neo-progressive album, a subgenre that emerged in the early 1980s. Formed in the late 1970s by guitarist and singer Frans Smits, bassist John Bouman, drummer Erik Van Duin, keyboardist Jan-Henk Wiggerlinkhuizen, and guitarist Ron Willems, their debut album, "1914", was recorded and released privately by the band and is based on the writings of the renowned Dutch author Bert Voeten. This record is an effective example of early neo-progressive rock, featuring a repertoire full of catchy and cohesive melodies. However, the band's style leans more towards the atmospheric and melodic sounds of late 1970s progressive rock than the pastoral and theatrical style of the early 1970s.

Christmas-Christmas (1970)

Christmas was an excellent Canadian avant-garde psychedelic rock band formed in Ontario in late 1969. Created from the ashes of another Canadian band called Reign Ghost, it consisted of guitarist and singer Bob Bryden, vocalist Lynda Squire, and percussionist Helge Ritcher. However, some time later, Lynda Squire was replaced by guitarist Robert Bulger and bassist Tyler Reizanne, a lineup that solidified and went on to record several highly regarded albums. After a respectable debut release titled "Heritage," they released their best effort, this self-titled work, which, despite a truly horrendous cover, managed to create a record worthy of the best Canadian acid and psychedelic rock bands of the era. Here, the band delivers everything from psychedelic passages like the opening track "Just Suppose," to progressive exercises like "Christmas," and hypnotic experimental endeavors like "Jungle Fabulous," a sublime epic where they unleash their brilliant compositional and instrumental creativity.

Jane-Jane At Home Live (1977)

“Jane at Home Live” is another of those fantastic double live albums released in the 1970s, this one specifically from the legendary German band Jane, a vigorous group that during that decade moved between a fusion of classic rock with hard rock influences and elements of progressive rock. On their early albums, their progressive roots led them to create two superb works: “Together” (1972) and “Here We Are” (1973). On their third and fourth albums, “Jane III” (1974) and “Lady” (1975), they veered towards blues rock and more conventional classic rock, before returning to the progressive path with their next album, “Fire, Water, Earth & Fire” (1976), an effective and excellent concept album. The material for this double live album was captured from the tour following their last concert. In it, the German band delivers an intense and powerful performance of some of their most emblematic songs, such as the space rock epics "Windows", "Hangman", and "Daytime", interwoven with other sublime, avant-garde compositions of hard rock and blues rock. The album also showcases the immense skill of keyboardist Manfred Wieczorke and extraordinary guitarist Klaus Hess. "Live At Home" reflects everything from the virtuosity of its members to the immense instrumental creativity of their powerful progressive rock, as well as the band's remarkable ability to seamlessly transition from highly complex pieces to simpler structures.

This Oneness-Surprize (1975)

This Oneness is another of those thousands of short-lived bands that only released one obscure and little-known album of estimable art rock. Their story is as simple as this: they were "basically" the backing band for singer Olivia Newton-John on a tour of North America in the mid-seventies. At the end of that tour, all the musicians involved decided to try their luck composing and recording the album "Surprise", a record with a multitude of influences ranging from jazz rock to progressive rock, including the more accessible melodies of American rock. The lineup of The Oneness consisted of Dale Strength (vocals and guitars), Robyn Lee (keyboards and vocals), Bernard Pershey (drums), Douglas Nelson (bass), and Greg Inhofer (keyboards and guitars). In their only recording they showcase an eclectic style that moves between complex and spacey pieces like "You Can't Do That/Surprise", to attractive and accessible melodies like "Please Let The Sunshine", passing through thrilling old school Canterbury jazz rock like "In Out In Out" or progressive jazz rock like "Surprise (Reprise/Go In Peace").

The Mahavishnu Orchestra-Between Nothingness & Eternity (1973)

"Between Nothingness & Eternity" was the only live album officially released by the Mahavishnu Orchestra, and it came out amidst strained relations within the band, a situation that would lead John McLaughlin to reform the group shortly after its release. Composed of three extended tracks not included on their studio albums, it was recorded during the summer of 1973 in New York's Central Park and features the original Mahavishnu lineup: John McLaughlin (guitar), Jan Hammer (synthesizers and keyboards), Billy Cobham (drums), Rick Laird (bass), Jerry Goodman (violin), and Sri Chinmoy (vocals). Replete with intense jazz fusion/rock sounds, it showcases the astonishing instrumental mastery of each and every musician in the band, from McLaughlin's virtuosity on the six-string to Cobham's superb skill with the drumsticks, Hammer's powerful Moog synthesizer notes, and Jerry Goodman's tremendous talent on the electric violin. The live performance begins with the exhilarating "Trilogy Medley", a piece where the instrumental chemistry between all the musicians demonstrates they were at a superior level within the jazz-rock of that era. This is followed by "Sister Andrea", which maintains a similar style but slows the frenetic pace of the previous piece, veering towards progressive jazz-rock. The finale is reserved for "Dream", a tour de force of over twenty minutes divided between initial ambient and atmospheric sounds and a fiery jam session in its closing section. As we said at the beginning, this was the last official recording of the original band, a fact that would not surprise anyone due to the talent and individual ego of each of them, so a year later Mahavishnu would return with a completely different lineup except for its leader John McLaughlin.

Cannonball Adderley-Cannonball Adderley Sextet: Planet Earth (1969)

Cannonball Adderley was one of the greatest saxophonists in the history of jazz, a musician with a unique and innate ability to communicate his music to a wide audience and make it incredibly popular. With an established career behind him, in the mid-1950s he moved to New York from his native Florida, where he quickly became a sensation and ended up playing in Miles Davis's band. At the end of that decade, he released some of his masterpieces, such as "Somethin' Else" with Miles Davis, Hank Jones, and Art Blakey. During the 1960s, his soulful hard bop style shone through, and he recorded prestigious albums for the Riverside and Capitol labels, including "Know What I Mean" with Bill Evans and "Accent on Africa". With Capitol Records, his albums shifted towards more mainstream and commercial sounds, as demonstrated by his tremendous success "Mercy, Mercy, Mercy" in 1966. Towards the end of the sixties, the now-defunct Riverside label released the live album "Cannonball Adderley Sextet: Planet Earth", featuring notable collaborations with Joe Zawinul, Louis Hayes, Nat Adderley, Yusef Lateef, and Sam Jones. A technically impeccable album, it included a series of modern jazz compositions such as the soulful "Seventh Son", exotic performances like "Brother John", and intriguing hard bop like "Syn-Anthesia", all reflecting an avant-garde style with clear Eastern influences.

Granada-España, Año 75 (1976)

Granada was a Spanish symphonic rock band that, with a very particular and unique style, released three magnificent albums in the 1970s. Led by multi-instrumentalist Carlos Cárcamo, the band also included drummer Juan Bona, bassist Antonio García, and guitarist Michael Vortreflich. In 1975, the group released their debut album, "Hablo de una Tierra" (I Speak of a Land), an eclectic work that fused different styles such as blues and rock, always through a progressive lens. On this debut, the sound of the sharp guitars and the omnipresent Mellotron take us on pleasant journeys with a Mediterranean and Andalusian flavor. A year later came their second album, "España Año 75" (Spain Year 75), an ironic title for a crucial year in Spanish history. The entire album is full of magnificent displays of symphonic progressive music with abundant folkloric allusions. The jazzy nuances and Mediterranean atmospheres, along with the atmospheric and tranquil passages, are the highlights of an album that features standout tracks such as the epic "El Calor que pasando este verano" (The Heat We Experienced This Summer), the atmospheric "Septiembre" (September), and the progressive folk songs "Noviembre Florido" (Flowery November) and "Ahora vamos a ver que pasa (vámonos para el Mediterráneo)" (Now Let's See What Happens (Let's Go to the Mediterranean)). With this album, Granada and Spanish progressive rock in general demonstrated the solid style that the Spanish music scene was producing during the musically fertile 1970s.

Rose´s Pawn Shop-Dancing On The Gallows (2010)

Rose's Pawn Shop are a band that gave a breath of fresh air to the American sound in 2005, when they were founded (this does not mean that there are not many others that have also contributed to keeping the legacy alive). They make everything from classical music ("classical" if you were born in the southern United States), from bluegrass to country to folk, rock and blues.
"Dancing On The Gallows" was the second album by this magnificent band released in 2010. By then the band consisted of Paul Givant, vocalist, guitar and banjo, Tim Weed, Mandolin, fiddle and vocals, John Kraus, banjo, mandolin and guitar, Stephen Andrews, bass and drums, Christian Hogan, Debtors of the sounds that The Byrds or The Band created in the sixties, Rose's Pawn Shop manifest their style in superb songs like "Strangers", "Debt Collector" or "Pine Box", themes that if they had been published in the 70s, we would speak of a jewel of the genre.

Spooky Tooth-The Mirror (1974)

The origins of this important British blues-rock band with progressive influences date back to late 1964, when a band called The V.I.P.'s released several singles with little success. These singles paved the way for Spooky Tooth, specifically for a group called Art, who released the album "Supernatural Fairy Tales" (1967). Just a year later, singer Mike Harrison, keyboardist and vocalist Gary Wright, guitarist Luther Grosvenor, bassist Greg Ridley, and drummer Mike Kellie officially formed Spooky Tooth, releasing their first album, "It's All About a Roundabout" (1968), on the Island label. On this first album, the psychedelic influences of their predecessor, Art, are quite evident, but the blues-rock sound that would later become the band's hallmark is also timidly emerging. The album alternated between covers and original songs, but it ultimately met with little fanfare. The same could not be said for their second album, the magnificent "Spooky Two" (1969), which managed to carve out a place for itself on the British and American charts, thanks in part to tracks like "Evil Woman" and "Waitin' For The Wind". After the album, Greg Ridley left the group to join Humble Pie. With a new bassist, Andy Leigh, they released "Ceremony" (1970), which, due to the shift towards a more electronic sound, suffered a monumental failure and precipitated the general exodus of almost all the band members. From this point on, Luther Grosvenor joined Stealers Wheels and Gary Wright founded Wonderwheel. In the middle of that same year, the group reformed with the addition of some members of Joe Cocker's Grease Band, such as Chris Stantion, Henry McCulloch, and Alan Spenner, but they were unable to revive the group's career with the recording of the album "The Last Puff" (1970). This latest failure led to the band's disbandment in late 1970. But three years later, Spooky Tooth resurfaced with a harder rock sound. The return of keyboardist Gary Wright and Mike Harrison, along with new members like singer Mike Patto, guitarist Mick Jones, drummer Bryson Graham, and bassist Ian Herbert, seemed to breathe new life into the group. With this lineup, they released the albums "You Broke My Heart So I Busted Your Jaw" (1973) and "Witness" (1973), achieving respectable sales and even better reviews, marking the band's peak period. On "The Mirror" (1974), the group recruited new members, including former Van Der Graaf Generator bassist Keith Ellis. However, despite containing strong tracks like "Kyle", "Fantasy Satisfier", "The Mirror", and "The Hoofer", it failed to achieve the desired success. In 1974 the band officially broke up, although this didn't prevent the occasional reunions with some of the original members. A year later, Island Records released the compilation album "The Best Of" (1976). Subsequently, some of the members went on to join bands such as Foreigner (Mick Jones) and The Alvin Lee Band (Bryson Graham).

Manfred Mann´s Earth Band-Angel Station (1979)

As we've mentioned before, the 1980s marked a turning point for all those bands that had achieved creative and commercial success during the 1970s. Manfred Mann's Earth Band was no exception, adapting to the changing times while preserving their original musical philosophy. It was in this context that the band, led by keyboardist Manfred Mann, released their ninth album, "Angel Station" (a title referencing a London Underground station). Mann, along with Chris Thompson (vocals), Geoff Britton (drums), Pat King (bass), and Steve Waller (guitar), created a solid work that displayed certain new wave influences and commercial sounds within their usual progressive framework. That commercial appeal is evident in the opening track, "Don't Kill It Carol", a thunderous classic rock song driven by bass, guitar, and keyboards. Another rock classic appears in their version of Bob Dylan's "You Angel You", which showcases the band's knack for performing such successful covers. On the other hand, the hypnotic and sublime "Angels at My Gate", the bluesy "Belle of the Earth", the sarcastic "Resurrection", the epic and iconic "Waiting for the Rain", and the somber "Hollywood Town" complete an album that is as enjoyable as it is commendable, at a time in history when artists had to tread carefully to avoid musical bankruptcy.

Aragorn-The Suite (1973)

Aragorn's short career lasted only a few months, just enough time to record an album that was initially released in a limited edition of fifty copies, until many years later it was rediscovered and reissued on CD. This Australian band was led by a talented classically trained musician named Oleg Dietrich, who in 1967 had begun composing a work called "The Suite", influenced by the book "The Lord of the Rings". Years later, he finished most of the composition and formed a band called Aragorn to record and officially release it. With a fully established lineup, they recorded "The Suite", a record that draws directly from the roots of British progressive rock with echoes of medieval folk and jazz. The work displays great intensity, with a sober and complex composition, featuring dense passages in a series of fluid, separate pieces that result in a hidden masterpiece of progressive rock.

Premiata Forneria Marconi-Jet Lag (1977)

With their eighth album, "Jet Lag", the Italian band Premiata Forneria Marconi forged a new musical path, abandoning their poetic lyrics and singing in English without the involvement of lyricist Peter Sinfield, who had translated the albums "Per Un Amico" (released as "Photos of Ghosts") and "L'Isola Di Niente" (released as "The World Became the World"), both for the English-speaking market. This time, the band focused primarily on the ambitious North American market, producing a work closer to the jazz fusion/rock style so popular in the late seventies. The interplay of the rhythm section, composed of Franz Di Cioccio and bassist Jan Patrick Djivas, is truly electrifying and complex, while the absence of the usual horn section, due to Mauro Pagani's departure, is compensated for by Gregory Bloch's excellent violin. Special mention must be made of Franco Mussida's guitar, displaying an unusual intensity with dizzying riffs reminiscent of hard rock. From the incredible title track, a superb progressive jazz-rock composition, to the pastoral and instrumental "Peninsula", the Italian band delves into and finds an unclassifiable sound within progressive rock, always remaining true to the essential Italian progressive approach. The vocals perfectly complement the overall musical philosophy, and while they don't quite reach the eloquence of their emblematic works, they still retain moments of grandeur. The rest of the repertoire consists of pieces that navigate between pure progressive rock ("Traveler"), highly talented instrumental exercises ("Meridiani"), and avant-garde explorations like the energetic "Left-Handed Theory". Without a doubt, "Jet Lag" is another essential work from Premiata Forneria Marconi, despite the substantial stylistic shift from their initial sound.

The Next Morning-The Next Morning (1971)

The Next Morning was a short-lived American band founded in New York City by Trinidadian guitarist Scipio Sargeant, who had emigrated to the Big Apple in the late 1960s. Once settled in the city, he formed a close friendship with guitarist Bert Bailey, and together they decided to create a band in the style of the Jimi Hendrix Experience's hard rock and psychedelic, acid blues rock. To this end, they recruited drummer Herb Bailey, organist Earl Arthur, and singer Lou Phillips. After a series of concerts in various New York venues, the band garnered significant media attention and was signed to a subsidiary of Rhino Records. With the support of this label, they recorded their first and only album at Electric Lady Studios in New York City. The final result of this album is a clear example of Jimi Hendrix's tremendous influence on the band, who, driven by a dizzying and strident organ and fuzz guitars, left a repertoire full of psychedelic and hard rock sounds, with hints of funk and soul as demonstrated in the tracks "Jam Of Love", "Life Is Love", "The Next Morning", "Changes of the Mind" or "Back to the Stone".

Frank Marino & Mahogany Rush-What´s Next (1980)

At the start of the 1980s, Canadian guitarist Frank Marino released his seventh album with his inseparable band Mahogany Rush, this time with the addition of Vince Marino (Frank's brother) on second guitar. The rest of the lineup remained the same: bassist Paul Harwood and drummer Jimmy Ayoub. Despite the growing emphasis on melody and the ubiquitous keyboards that were beginning to take hold in rock music during those years, Frank Marino was still determined to expand his powerful 1970s hard rock sound, as evidenced by "What's Next", with a repertoire packed with tremendous songs like "Loved By You", "Finish Line", "Something's Comin' Our Way", and powerful covers such as the traditional blues "Rock Me Baby", Bob Diddley's exhilarating "Mona", and The Doors' frenetic "Roadhouse Blues".

Asia Minor-Between Flesh And Divine (1980)

Asia Minor was a French band that emerged as the golden age of progressive rock was ending and the European neo-progressive movement was beginning to take hold. Formed by several musicians of Turkish and French descent, they released two magnificent albums that are among the finest recordings of the European avant-garde genre. Influenced by the atmospheric and symphonic sound of Camel, their debut in the late seventies showed great promise thanks to their exuberant symphonic style. However, all their creativity and immense talent would be fully realized on their second full-length album, "Between Flesh and Divine", considered one of the jewels of French progressive rock. It features highly musical compositions brimming with intricate interplay between all the instruments, as exemplified in tracks such as the harmonious "Nightwind", the bucolic "Northern Lights", the dark psychedelic "Lost in a Dream Yell", and the dynamic "Dreadful Memories". However, the lack of media recognition, both commercially and critically, would precipitate the dissolution of Asia Minor some time after the release of this second album. 

Electric Light Orchestra-Eldorado (1974)

In 1974, Electric Light Orchestra was still in the midst of a perfectionist process, searching for a distinctive style that blended progressive rock with the pop melodies inherited from The Beatles. That same year saw the release of "Eldorado", the band's fourth album, where frontman Jeff Lynne began exploring how to make his progressive and complex sound both addictive and popular. Conceived as a concept album about dreams and the magic of humankind, this new release features a 30-piece orchestra conducted by Louis Clark, in addition to Lynne's own band, comprised of Richard Tandy (keyboards), Hugh McDowell (cello), Bev Bevan (drums), Michael Edwards (cello), Mike Kaminski (violin), and Mike de Albuquerque (bass). This arsenal of musicians and instruments transforms the album into an uplifting torrent of grandiose progressive pop. This grandiosity is reflected in the opening "Eldorado Overture" and the closing "Eldorado-Finale". Here also appears one of the band's iconic pieces, the exuberant pop "Can't Get It Out Of My Head", a clear indication of what was to come in the following years. The poignant "Boy Blue", a classic piece featuring prominent brass instruments and string interludes, the melodic "Laredo Tornado", the rocking "Poorboy", the ingenious "Nobody's Child", and the brilliant "Eldorado" showed that Jeff Lynne was on the right track, gradually developing the characteristic sound of Electric Light Orchestra, a distinctive style that would later bring them definitive acclaim.

Beyond-O-Matic-Sonic Reclaimator (1996)

Beyond-O-Matic was an interesting American space rock band that released four noteworthy albums between 1994 and 2010. In 1996, with their second album, "Sonic Reclaimator", this band comprised of Peter Fuhry (vocals, guitar, accordion, flute, and clarinet), Glenn Wilcox (drums), and Kurtz Stenzel (keyboards), demonstrated the compositional maturity that had been somewhat lacking in their first and commendable release, "The Flight of Luis García" (1994). On this album, their brilliant approach, featuring expansive tracks, atmospheric and relaxed passages under the ever-present ambient synthesizers, and hard rock influences, makes this release one of the best American progressive efforts of the 1990s.

Flame Dream-Out In The Dark (1981)

In the 1980s, among the hundred or so progressive rock or art rock bands, few adhered to the avant-garde philosophy of the 1970s. However, several dozen maintained the germinal spirit of the genre's beginnings in the late 1960s. One of these was Flame Dream, a Swiss band that drew from the classic symphonic rock of Yes and Genesis during their golden age. Their style, driven by Ronald Ruckstuhl's keyboards, clearly displays these influences but with an added accessibility for modern audiences. The addition of wind instruments like the flute and saxophone broadens their musical palette, making them much more than mere imitators. Formed in 1977 in Lucerne, they released five superb albums over ten years, highly regarded today by proghead fans. "Out In The Dark", released in 1981, was the third album by this Swiss band, comprised of Roland Ruckstuhl (keyboards and synthesizers), Peter Wolf (wind instruments and vocals), Urs Hochuli (bass and vocals), Peter Furrer (drums), and Dale Hauskins (guitar). Tracks like "Wintertime Nights", "Nocturnal Flight", and "Strange Meeting", with their vintage Genesis influence, along with the elaborate instrumental "Kaleidoscope", make up a work that both revived and maintained a musical essence that seemed somewhat outdated in the early 1980s.