Taj Mahal-Giant Step/De Ole Folks at Home (1969)

Taj Mahal is one of the great pillars of the blues, yet he has never achieved the fame or recognition of other more media-savvy bluesmen like B.B. King, John Lee Hooker, or Muddy Waters. Born in the mid-1940s, his artistic beginnings were rather tentative, practicing a style of blues that bore little resemblance to the mainstream, infused with gospel, jazz, swamp, and zydeco sounds. Consequently, purists were among the first to downplay his style at the start of his career. However, all those opinions became outdated when The Rolling Stones themselves invited him to participate in their "Rolling Stones Rock and Roll Circus" show in 1968. This momentous event marked the beginning of a reassessment of his unique style, which would contribute to the widespread dissemination of his work and the recognition of Taj Mahal's early albums from the late 1960s. With his second album, "The Natch't Blues", he gained enough fame to risk releasing a double album that would definitively cement his career among the great bluesmen of the era. Genericly titled “Giant Step/De Ole Folks at Home” (1969), this double album comprised two distinct discs. On the first, “The Giant Step”, Taj Mahal (vocals, harmonica, banjo, and steel guitar), accompanied by the powerful trio of Jesse Ed Davis on electric and acoustic guitar and organ, Gary Gilmore on bass, and Chuck Blackwell on drums, showcases his eclectic blues essence in tracks like the rock and roll “Keep Your Hands Off Her”, the blues classics “Give Your Woman What She Want”, “Good Morning Little Schoolgirl”, and “Bacon Fat”, the southern-tinged “Six Days On The Road”, and the borderland-tinged “Further On Down The Road”. Meanwhile, the second disc is a tour de force of solo performance by Taj Mahal with his guitar, harmonica, and vocals, reviving the primitive blues of the early 20th century with various influences such as gospel and different tribal sounds. With this double album, considered one of the best in the history of blues, Taj Mahal would enter the legend of the genre and, in turn, his career would be revalued, becoming one of the icons of the genre in the following three decades.

Sam Cooke-Live at the Harlem Square Club, 1963 (1985)

For many, this is the best live album of all time, belonging to one of the greatest voices of all time: Sam Cooke. Sam Cooke was a pivotal figure in establishing soul music as a genre. His career, filled with essential songs and albums, demonstrated the enormous talent of this legendary and unforgettable singer. Cooke mastered soul, rhythm and blues, gospel, and rock and roll like no other, and along with Otis Redding and James Brown, he is considered one of the undisputed kings of soul, achieving a staggering fifty hits in just eight years (1957-1965). His death under mysterious circumstances on December 11, 1964, is one of the most tragic dates in the history of popular music. A year earlier, on June 12, Sam Cooke had performed a show at the legendary Harlem Square Club in Miami, which was recorded in its entirety and released many years after his death. That night, Cooke was surrounded by his usual band, comprised of guitarists Clifton White and Cornell Dupree, bassist Jimmy Lewis, drummer Albert Gardner, pianist George Stubbs, and the horn section of King Curtis and Tate Houston. In this live performance, Cooke sheds his elegant composure to become, for one night, a sweaty "soul man", singing and dancing with wild, rhythmic passion to an audience completely devoted to him. From the opening track, "Intro (Don't Fight It) Feel It", to the album's closing song, "Having a Party", Cooke demonstrates his incredible intensity on stage, completely energetic, powerful, and unrestrained, revisiting some of his greatest hits such as "Cupid," "Chain Gang," "Somebody Have Marcy", "Bring It On Home to Me", and "Twistin' the Night Away". “Live at the Harlem Square Club, 1963” is considered one of the 500 best albums in history and a fabulous document of the best soul music ever heard.

Elf-Live At The Bank 1972 (1972)

Elf was a blues and heavy rock band formed in the late 1960s that remained active until the mid-1970s when several of its founding members were recruited by Ritchie Blackmore to join his new project after he left his beloved Deep Purple. These members were singer and bassist Ronnie James Dio, drummer Gary Driscoll, bassist Craig Gruber, and keyboardist Doug Thaler, who, along with guitarist David Feinstein, had released three noteworthy hard blues rock albums by 1975. In 1972, while touring in support of their self-titled debut album, Elf, they performed at a festival in Cortland, New York. This performance was available for many years as a bootleg titled "Live at The Bank, Cortland 1972", and was officially released in 2011, just a year after Ronnie James Dio's death, by the singer's family. With more than acceptable sound quality, this live recording is a historical document showcasing the band's enormous live potential, led by the diminutive singer. Packed with covers, delivered in the group's signature blues and hard rock style, it features a string of classics such as Jethro Tull's "Cross-Eyed Mary" and "Aqualung", Rod Stewart's "An Old Raincoat Will Never Let You Down", Led Zeppelin's "Black Dog", Humble Pie's "Four Day Creep", The Who's "Won't Get Fooled Again" and "Baba O'Riley", and a culminating version of Black Sabbath's "War Pigs".

Rossington Collins Band-Anytime, Anyplace, Anywhere (1980)

Another of the great Southern rock bands was the Rossington Collins Band, formed some time after the tragic plane crash that killed Ronnie Van Zant, Steve Gaines, and his sister Cassie Gaines, while they were en route from Greenville, South Carolina, to Baton Rouge, Louisiana. This band consisted of guitarists Gary Rossington, Allen Collins, and Barry Harwood; Billy Powell on keyboards; Derek Hess on drums and percussion; Leon Wilkeson on bass; and singer Dale Krantz. Their first album, "Anytime, Anyplace, Anywhere", released in mid-1980, was a huge success. This debut featured the Southern rock anthem "Don't Misunderstand Me", as well as the bright and energetic tracks "Prime Time", "One Good Man", "Winners and Losers", and the boogie-rock number "Opportunity". Near the end of the following year came their second album, and ultimately their epitaph, "This Is The Way", where they reinforced their Southern sound with heavier, more powerful elements, highlighting the Southern boogie "Gotta Get I Straight", the beautiful "Tashauna", the gospel-infused "Pine Box", and the rock and roll anthem "Don't Stop Me Now". Once this second album was released, Gary Rossington left the band due to internal disagreements with the rest of the group, a fact that would precipitate the definitive dissolution of the Rossington Collins Band some time later. Several years later, Allen Collins founded the Allen Collins Band, which had a short run due to Collins' own erratic behavior, a consequence of his alcohol addiction. He definitively abandoned the project in 1985 due to a serious car accident that left him practically paralyzed for a very long time.

Firefall-Firefall (1976)

Another legendary country rock and southern rock band was Firefall, who released a series of superb albums in the 1970s that placed them at the top of the genre, almost on par with their most prestigious contemporaries like Lynyrd Skynyrd, The Eagles, and The Marshall Tucker Band. Founded in Colorado in the mid-1970s, their core members were guitarists and founders Jock Bartley and Rick Roberts, who had previously played in the bands The Flying Burrito Brothers and Zephyr. The two musicians, along with bassist Mark Andes, drummer Michael Clarke, and guitarist Larry Burnett, recorded their self-titled debut album in 1976. It featured catchy melodies reminiscent of country pop, such as "It Doesn't Matter", "Love Isn't All", "Dolphin's Lullaby", and "Sad Ol' Love Song". These, in contrast to the country rock tracks "Mexico," "Livin' Ain't Livin' ", and "No Way Out", showcased a diverse and appealing style, reminiscent of the melodic and vocal lines of bands like America and The Eagles. This first album reached a respectable number 26 on the American charts, thanks in part to hits like the enchanting "You Are The Woman", which achieved a top ten hit on the Billboard charts. A year later, the band expanded with the addition of keyboardist David Muse, with whom they recorded their next album, "Luna Sea". This album followed a similar path but featured more sophisticated arrangements thanks to Muse's contributions of synthesizers and electronic keyboards. This second release featured standout tracks such as the addictive country rock song "So Long", the energetic "Sold On You", the southern-tinged "Just Think", the catchy rock song "Getaway", the rhythmic country track "Head On Home", and the powerful "Even Steven". Their characteristic melodic vein was also present in the delightful "Just Remember I Love You" and "Only A Fool". "Luna Sea" would go on to surpass their debut album on the charts, reaching a surprising eleventh place on the Billboard charts. The tremendous success of this second album was mirrored in their third work, "Elan", released in 1978, which contained a repertoire of exquisite country rock tracks such as "Strange Way", "Wrong Side of Town", "Count Your Blessing", "Anymore", and "New Man". But from this point on, the band entered a creative crisis, as evidenced by the uneven "Undertown", the last album recorded with the original lineup, which barely made an impact beyond the American country rock scene. From then on, a constant turnover of new members led Firefall through a period filled with good albums like "Cloud Across the Sun" (1980), "Break of Dawn" (1982), and "Mirror of the World" (1983), but none quite reaching the brilliance of their first three works. 

Foreigner-Agent Provocateur (1984)

Three years after the release of the multi-platinum "4", Foreigner returned with a new album titled "Agent Provocateur", the fifth in the band's career. While not reaching the heights of its predecessor, it still showcased a band in top form, creating iconic songs like the extraordinary "I Want To Know With Love Is", which would soon become one of their most emblematic tracks alongside classics like "Feels Like The First Time", "Cold as Ice", "Hot Blooded", and "Urgent". However, this album didn't just live off the success of such a great ballad; it also features interesting tracks like "That Was Yesterday", another superb mid-tempo song, and the powerful rock tracks "Tooth and Nail" and "She's Too Tough", not to mention the forceful "Strange in My Own House" and the melodic "A Love in Vain" and "Two Different Worlds". Together, these songs form a well-balanced work that would perform perfectly on the charts around the world, achieving five platinum records for its massive worldwide sales and keeping them at the forefront of adult-oriented rock.

Leslie´s Motel-Dirty Sheets (1972)

Another of those obscure and unknown bands from the 1970s was the impressive Leslie's Motel, who played a Southern rock with hints of blues and hard rock. They only had the opportunity to record one forgotten album, which was rediscovered several decades later. Hailing from Kentucky, their original lineup consisted of vocalist and guitarist Bill Tullis, guitarist and vocalist Mike Seibold, keyboardist Richard Bush, bassist Ray Barrickman, and drummer Roy Blumenfeld, the latter a former member of Al Kooper's Blues Project. In 1972, they recorded a series of songs that would later appear on their debut album, "Dirty Sheets", which featured tracks such as the jazzy "Step Down Baby", the frenetic blues-rock "My Sweet Woman", the psychedelic hard rock "Blister", the dusty "Reason Why" and "Windmills", and "Latino Motel", the latter a jam tour de force with clear influences from Santana's Latin sounds. In the following years, the band toured extensively throughout North America with renowned artists such as Harvey Brooks, the Charlie Daniels Band, and Mike Bloomfield, among others, before finally disbanding some time later with little media or commercial impact.

James Taylor-Mud Slide Slim and the Blue Horizon (1971)

James Taylor is one of the greatest singer-songwriters in history. His deeply sensitive, acoustic songs have made him one of the most influential artists of all time. His beginnings were quite turbulent; mental health issues stemming from excessive drug use and a rather unpredictable life marked him for the rest of his life. Musically, his beginnings weren't much better. His first two albums from the late sixties had little impact, and it wasn't until the early seventies, with his second album, "Sweet Baby James", that he achieved recognition from both the public and critics. With a style clearly related to folk, in which he practically used no electronic instruments, Taylor gave much more importance to his voice, his poetic and poignant lyrics, his guitar in the foreground, and minimal but effective percussion. Tracks like the understated “Oh Susannah” (a version of Stephen Foster’s 1848 classic) and the brilliant “Fire and Rain” propelled the album to a surprising third place on the US charts. However, this success would be overshadowed the following year with the release of her next album, “Mud Slide and the Blue Horizon”, which featured a small group of musicians including Carole King (who even contributed the hit “You’ve Got a Friend”), Danny Kortchmar, Joni Mitchell, and Leland Sklar. Following the same musical pattern as her previous album, Taylor presented a series of acoustic songs with minimal accompaniment that reached number two on the Billboard charts and a number one single with the aforementioned “You’ve Got a Friend”, in addition to selling two million copies in the US market.

Queen-Live At Wembley ´86 (1986)

After the massive 1985 concert, "Live Aid," the British band Queen, immersed in a deep creative and internal crisis and facing doubts about their future, persevered, rising from the ashes with their next album, "A Kind of Magic." On the tour following this album, the band performed around thirty concerts throughout Europe, though not in the United States, where they were banned due to their provocative and (in the eyes of the American authorities) obscene promotional video, "I Want to Break Free." On July 11 and 12, 1986, they performed at the legendary Wembley Stadium, and the material from those performances was released later that year as the double live album "Live at Wembley '86." Before more than 150,000 people who filled the stadium during those two days, Queen, with Freddie Mercury at the helm, presented a wide repertoire of their greatest hits such as "Under Pressure", "Another One Bites The Dust", "I Want To Break Free", "Crazy Little Thing Called Love" or "Bohemian Rhapsody", in addition to several songs from the album that motivated the tour such as the eponymous "A Kind of Magic", or other emblematic songs such as "Seven Seas of Rhye" or the infectious "In the Lap of the Gods"; the hard rock "Tie Your Mother Down", "Now I'm Here" and "Hammer to Fall"; or a moving tribute to late 1950s rock and roll with "(You're So Square) Baby I Don't Care," "Hello Mary Lou Goodbye Heart," and "Tutti Frutti," culminating in a thrilling finale with the energetic "Radio Ga Ga" and the unbeatable duet of the iconic "We Will Rock" and "We Are the Champions.". To close, the British anthem "God Save the Queen," with Freddie Mercury dressed in a cape and crown emulating the Queen of England, perhaps the most legendary and memorable image of one of the greatest singers in rock history.

Danny Joe Brown-And The Danny Joe Brown Band (1981)

Danny Joe Brown is best known for his membership in the legendary Southern rock band Molly Hatchet, with whom he recorded six outstanding albums: "Molly Hatchet" (1978), "Flirtin' with Disaster" (1979), "No Guts...No Glory" (1983), "The Deed is Done" (1984), "Lightning Striker Twice" (1989), and "Devil's Canyon" (1996), before leaving the band due to health problems shortly after the release of the latter album. However, he had already temporarily left the band after the album "Flirtin' with Disaster" (Molly Hatchet's biggest commercial success, achieving multiple platinum records) to found his own, The Danny Joe Brown Band. With them, he released the self-titled album "Danny Joe Brown and The Danny Joe Brown Band" in 1981, which became a cult classic of southern rock. Its repertoire was packed with American hard rock anthems like "Sundance", "Nobody Walks on Me", "The Alamo", "Run for Your Life", and in particular, "Edge of Sundown" a superb guitar epic that emerged directly from the depths of southern rock classics like Lynyrd Skynyrd's "Free Bird" and the Outlaws' "Green Grass & High Tides", crafting a tremendous album that rivaled anything from his main band. In 2005, Danny Joe Brown passed away due to problems stemming from diabetes and kidney failure, which he had suffered from since the late 1970s.

Ted Nugent-Ted Nugent (1975)

In 1975, Ted Nugent began his solo career after disbanding his previous psychedelic rock band, The Amboy Dukes. This debut would become one of the most outstanding in the history of American rock, featuring a stellar lineup of musicians led by singer Derek St. Holmes, bassist Rob Grange, and drummer Cliff Davies. On this first album, Ted Nugent delivers an energetic record of pure rock and roll, with Southern influences and hints of blues, achieving a work that is both perfect and superb. From the opening track, "Strangehold", a spectacular piece of experimentation with a tense and hypnotic atmosphere, the album unfolds with a relentless succession of songs that offer no respite. This is followed by the effective and visceral "Stormtroopin' ", the mid-tempo "Hey Baby," a track that provides a counterpoint to the frenetic rhythm, the psychedelic "Just What The Doctor Ordered", and the defiant "Sneakeskin Cowboys", the latter of which concludes the first side of the original vinyl. Side two begins with the frenetic "Motor City Madhouse", followed by the melodic "Where Have You Been All My Life" and "You Make Me Feel Right At Home", before ending with the powerful and potent "Queen of the Forest", thus concluding one of the best American hard rock albums, Ted Nugent's magnum opus, and a true gem of rock music.

Bröselmaschine-Bröselmaschine (1971)

Bröselmaschine was a German band that drew on the influences of American folk artists like Bob Dylan and Phil Ochs. Under the tutelage of acoustic guitar master Peter Bursch, the band formed in 1968 in Duisburg, Germany, with vocalist Jenni Schucker, guitarist and player of other exotic stringed instruments Willi Kismmer, bassist Lutz Ringer, and keyboardist Mike Hellbach. This quintet disbanded after their first and best album in 1971, although they later continued to release albums under the name Peter Bursch und Die Broselmaschine, though these were less impactful and strayed from the musical style of their debut. “Bröselmaschine” was the self-titled album of this band, released in 1971 under the German label Pilz. It contained a delicate and subtle blend of sounds filled with Indian oriental music, featuring instruments such as the sitar, the tabla, and the flute, mixed with traditional British and Irish folk, with progressive and psychedelic touches, and bathed in rich vocal harmonies produced by Jenni Schucker's irresistible whispering voice.

Hölderlin-Hölderlin's Traum (1972)

This band, which borrowed its name from the 19th-century German poet Friedrich Hölderlin, is one of the most underrated in the history of German rock and progressive rock in general. Founded in 1970 in the city of Wuppertal in the Rhineland state of West Germany by brothers Christian and Joachim Grumbkov, highly experienced musicians who came from the band The Beatkids, founded in 1963, the first Hölderlin lineup consisted of singer Nanny DeRuig, drummer Michael Bruchmann, and bassist Peter Kaseberg. Together with the Grumbkov brothers' guitars and mellotrons, they soon distinguished themselves with their British-influenced folk rock blended with classical music. Just three months after forming, the Pilz label signed them and produced their debut album, "Hölderlin's Traum", which was released in 1972 and became one of the biggest milestones in German rock that year. An album containing nine tracks featuring DeRuig's beautiful voice, grand Mellotrons, violins and cellos, sitar, and other instruments, which, in a clever blend of folk, rock, progressive rock, jazz elements, medieval sounds, and a touch of hippie idealism, make this record a minor masterpiece. From its opening track, "Waren Wir", to its closing track, "Traum", the music is dazzlingly beautiful. Three years later came their second album, "Hoelderling", with a more jazzy style and Crimson-esque influences. For their third album, "Clowns and Clouds", the music became much more ambitious with complex arrangements, theatrical elements, and surrealism. From then on, a series of albums focused on melodic rock and much more accessible were released well into the 1980s.

Ikarus-Ikarus (1971)

Ikarus was a short-lived German band formed in Hamburg in the late 1960s. Their roots lay in the cover band Beatique in Corporation, which specialized in versions of rock and pop classics from the 1950s and 60s. After winning an award that included them on the MCA label compilation album "Pop and Blues Festival 70," they changed their name to Ikarus and simultaneously shifted their style towards more experimental territory. Their lineup consisted of singer Lorenz Kohler, bassist Wolfgang Kracht, guitarist and multi-instrumentalist Jochen Petersen, drummer Bernd Schroder, guitarist Manfred Schulz, and keyboardist Wulf Dieter Struntz. The vast majority of these musicians had classical conservatory training. Although Ikarus were German and situated amidst the emerging krautrock movement, they were more in tune with the British scene than with the German movement. Instead of the expansive psychedelic atmospheres typical of krautrock, they sought sounds more oriented towards progressive blues rock. Their only album, released in 1971, contained four long, distinct tracks, demonstrating Ikarus's eclectic musical mastery. The opening track, "Eclipse", is a progressive heavy rock song with a dominant organ, symphonic arrangements, and great guitar riffs. "Mesentery" is much more complex, with passages reminiscent of Van Der Graaf Generator and moments of intense heavy rock. Meanwhile, "Early Bell's Voice" is a more conventional progressive composition with mellotron, drums, and saxophone in a rich instrumental interplay and expansive symphonic developments.

North Star-Feel The Cold (1985)

North Star is one of the best symphonic prog bands in the United States, yet they remain somewhat underrated. This band offered a sound brimming with rich, colorful melodies, full of power and great beauty, featuring the vocals of Joe Newman and the precise keyboards of Kevin Leonard. They possess some of the best characteristics of the finest progressive rock: rapid rhythmic shifts, strange and atmospheric passages, prominent bass lines, and keyboards with solemn sounds. “Feel The Cold”, North Star's second album, released in 1985, is considered a gem within progressive rock circles. It boasts a consistent and solid symphonic sound, excellent keyboard arrangements, and the powerful drumming of the band's third member, Glenn Leonard, brother of keyboardist Kevin. Clearly inspired by the sounds of Genesis during their more baroque era; “Wind and Wuthering” or “And Then There Were Three” contains a “vintage” sound with respect to the large layers of keyboards as demonstrated in the opening “Feel The Cold” or in “Plastic Fantastic”, which followed by the longer piece “Tomorrow Never Comes” and its great instrumental arrangements or the apotheotic instrumental “Finale”, maintain the status of the band at a very high level, showing a great work of symphonic prog of the highest level despite the apparent lack of originality.

Eric Woolfson-Freudiana (1990)

This album is somewhat reminiscent of The Alan Parsons Project's side project, Keats, which was discussed some time ago on this blog. For years, Alan Parsons himself worked on a piece for his band based on the life and work of Sigmund Freud. It's worth remembering that the Alan Parsons Project has consistently been based on concept albums with a strong literary foundation, such as those inspired by Edgar Allan Poe or Isaac Asimov, as well as other concepts, far removed from the purely lyrical but not the musical. Therefore, it was originally an album attributed to The Alan Parsons Project, and it came about when Woolfson presented the idea to Parsons, and the two of them began composing both the lyrics and the music for this work. However, amidst the songwriting process and even the initial recordings, Brian Brolly, a music promoter, entered the picture and convinced Woolfson that his idea was perfect for a theatrical performance. This didn't sit well with Alan Parsons, who left the project when most of the album's songs were practically finished. Despite this, the double LP was eventually recorded and titled "Freudiana", released in 1990. All the songs were recorded with the musicians who were regulars with The Alan Parsons Project: Ian Bairnson, Andrew Powell, Stuart Elliott, and Laurie Cottle. Production was handled by Alan Parsons, with Woolfson himself playing keyboards and vocals. The album also features the voices of Leo Sayer, Eric Stewart, Chris Rainbow, and John Miles (the latter three also frequent collaborators on The Alan Parsons Project albums), among others. The album itself is a testament to The Alan Parsons Project's signature sound, featuring tracks like the epic "The Nirvana Principle", the melodic and impressive "Freudiana", the powerful rock songs "I Am a Mirror" and "You're On Your Own", the electronic pop of "Let Yourself Go", the complex "No One Can Love You Better Than Me", the Beatles-esque "Little Hans", and the vintage "Upper Me". This would be the last album recorded but not officially attributed to The Alan Parsons Project, who bid farewell with a work that wasn't even credited to its creators. Interestingly, it's one of the project's best works, and although not officially credited, it's generally given to the Parsons-Woolfson duo, or, more accurately, to The Alan Parsons Project.

Deodato-Prelude (1973)

Emuir Deodato's career has always been marked by his fantastic 1973 adaptation of Richard Strauss's classic "Also Sprach Zarathustra". But the story of this Brazilian pianist, composer, arranger, and producer, born in 1942, is much more than this splendid version; his career is full of excellent albums and collaborations with other artists. Among his achievements is having launched Milton Nascimento onto the music scene when, in 1967, three of his compositions earned him the International Song Festival prize. That same year, at the invitation of guitarist Luiz Bonfa, he moved to the United States, where he showcased his talent in the jazz scene. Signed to the CTI label, he became a key figure in recordings for artists such as Frank Sinatra, Aretha Franklin, and Stanley Turrentine, in addition to working as a producer and contributing to film soundtracks. But his career truly took off when his 1973 album "Prelude" achieved massive success. Surrounded by great musicians like Ron Carter, Billy Cobham, Stanley Clarke, Ray Barretto, Airto Moreira, and Marky Markowitz, Emuir Deodato left his mark on a fantastic jazz fusion album. Combined with orchestral embellishments and rock elements, it expanded a rich sonic texture, underpinned by funk arrangements and string and wind instruments, and infused his style with a delightful groove. The album's standout track is the aforementioned funk-jazz version of "Also Sprach Zarathustra", immortalized by Stanley Kubrick in the film "2001: A Space Odyssey". But this track doesn't detract at all from the rest of the album, such as "Spirit of Summer", "Carly & Carole", "September 13", and "Prelude to the Afternoon of a Faun", which showcased the Brazilian musician's compositional and instrumental maturity, resulting in a truly timeless work. The album would go on to win awards from various jazz magazines, as well as a Grammy Award for Best Performance, and sell over five million copies, propelling the musician's career worldwide and securing him a prominent place among the greats of jazz fusion of the era.

Dan Fogelberg-Phoenix (1979)

Dan Fogelberg was one of the most exquisite folk and country rock singer-songwriters of the 1970s, with a discography brimming with hits, as evidenced by his first six albums, all of which went platinum and ultimately made him one of the most significant artists of the genre and a true idol in the United States. Dan Fogelberg was also a frequent collaborator on the work of other great artists such as Jackson Browne, Roger McGuinn, and Randy Newman. From his second album, "Souvenirs" (1974), Dan had the support of some members of The Eagles, such as Joe Walsh, Don Henley, and Glenn Frey, as well as other legendary musicians like Gerry Beckley of America, Al Perkins of The Flying Burrito Brothers, and Graham Nash. In the following years, Dan Fogelberg released a series of brilliant folk and country rock albums such as "Captured Angel" (1975), "Nether Lands" (1977), and "Phoenix" (1979). The latter was his greatest commercial success, selling over two million copies and reaching number three on the US Billboard charts. It included "Longer", one of his most iconic songs and a number one hit, as well as other appealing tracks like the country rock songs "Phoenix" and "Face the Fire", the beautiful, intimate folk song "Gypsy Wind", and the irresistible and captivating soft rock songs "The Last to Know", "Beggar's Game" and "Heart Hotels".

Crosswind-Crosswind (1978)

Crosswind was another of the most important Japanese jazz-rock bands, a natural competitor to others like the legendary Cassiopeia or Space Circus. However, Crosswind focused on atmospheric and progressive sounds with intricate compositions far removed from the funk-rock fusion of their contemporaries. Along with another highly popular band like Space Circus, Crosswind was fundamental in the evolution of Japanese rock. They bridged the gap between the era of hard rock and Japanese space rock, exemplified by bands like Flower Travelling Band or Far East Family, and the progressive hard-rock jazz sounds of Kenso or Ain Soph. Formed in the mid-seventies by the virtuoso guitarist Ginji Ogawa, who already had an extensive musical career in bands like Nezuma Kozo, Crosswind had earned a great reputation in the Japanese jazz scene. In 1976, Ogawa recruited bassist Kazou Kobayashi, drummer Souro Toru, and keyboardists Megumi Marou and Fumitaka Anzai, with whom he released his debut album, "Crosswind", two years later. On this first album, the band showcased the virtuosity of their guitarist and the duality of the two keyboardists alongside a powerful and dynamic rhythm section, as demonstrated in the tracks "Ari No Daiido" and "Crosswind", while a fusion influence is present in the relaxed "Neko To Kororin no Fushigina Tabi". On the other hand, the atmospheric and progressive side appears in the evocative "Ryuhyo" and "Yuyake". This first album was followed by “Crosswind II” (1979) and “Soshite Yume No Kumi E” (1982), after which the journey of this formidable band came to an end, with all its members going on to take part in independent projects.

Harvey Mandel-Shangrenade (1973)

A pioneer of modern Chicago electric blues, Harvey Mandel developed and mastered sustained and controlled feedback like no other, showcasing great virtuosity on the electric guitar and creating techniques that were incorporated by countless subsequent guitarists, such as Eddie Van Halen and the two-handed tapping method. Throughout his long career, Harvey Mandel performed alongside blues legends such as Muddy Waters, Buddy Guy, Otis Rush, and Howlin' Wolf, in addition to collaborating on albums by The Rolling Stones and Canned Heat. In 1966, together with the legendary blues harmonica player Charlie Musselwhite, he released the album "Stand Back! Here Comes Charlie Musselwhite's Southside Band", considered one of the most iconic albums in blues and rock and roll. Two years later, Mandel released his first solo album, "Christ the Redeemer", where he confirmed his enormous talent on the electric guitar, presenting a series of blues-focused tracks. The late sixties were a frenetic time for Mandel, as he collaborated frequently with other artists such as Barry Goldberg, Graham Bond, John Mayall, and Canned Heat, with whom he performed at the legendary Woodstock festival, replacing guitarist Henry Vestine. It was during this period that he began his professional relationship with Don "Sugarcane" Harris, who would become a regular collaborator on all his subsequent work. However, Mandel never abandoned his solo career, regularly releasing blues-rock albums such as "Righteous" (1968), "Games Guitars Play" (1970), "Baby Batter" (1971), and "The Snake" (1972). On "Shangrenade", his seventh album, the blues gives way to more jazzy and funky sounds, resulting in a work that is both captivating and evocative, showcasing his six-string technique throughout the entire record. Excellent efforts focused on jazz-funk such as "What The Funk" alternate with others of a clear jazz-rock nature such as "Fish Walk" or "Sugarloaf", approaches to rock such as "Midnight Sun Li" or relaxed jazz fusion tracks such as "Green Apple Quickstep" or "Million Dollar Feeling".

Osibisa-Osibisa (1971)

Osibisa released their debut album in 1971. In this first work, the Afro-British band showcased a brilliant fusion of psychedelic Afro-pop and jazz-rock sounds, magnificently captured by a group of outstanding instrumentalists and vibrant, energetic compositions. Tracks like the beautifully arranged “The Dawan” and the joyful jazz-rock “Music For The Gong Gong” demonstrate the group's sonic diversity, while the superb “Ayiko Bia”, the dynamic “Oranges”, and the sublime “Phallus C”, perfectly encapsulate Osibisa's style with soaring saxophone, organ, and guitar lines, supported by simply masterful percussion. In conclusion, this is undoubtedly one of the best jazz-funk-afro-pop-rock albums ever released and would elevate Osibisa even though in subsequent years they would release other major works such as "Woyaya" (1972), "Heads" (1973), or the magnificent double live album "Black Magic Night; Live At The Royal Festival Hall" (1977).

Starcastle-Fountains of Light (1977)

The second album from this American band, often unfairly compared to the British band Yes, showcases a more polished and refined sound, along with a much more meticulous production, unlike their debut. The vocal harmonies, reminiscent of Jon Anderson's, the excellent bass lines, the driving organ and Moog synthesizer solos, and the brilliant interplay between the two guitarists result in melodic and catchy compositions delivered through energetic arrangements. The orchestral guitar and keyboard combinations during the symphonic passages sometimes evoke the sound of their compatriots Kansas, but with a more commercial edge, leaning towards AOR. Songs like "Fountains", "Dawning of the Day", "True to the Light", and "Diamond Song (Deep is the Light)", reflect these characteristics, while the bucolic "Portraits" highlights the band's folk-rock side. In short, this second album is an excellent continuation of their enormous debut album, which kept Starcastle among the leading progressive rock bands of the late 70s.

Peter Frampton-Frampton Comes Alive! II (1995)

Nineteen years after the multi-platinum "Frampton Comes Alive!" (1976), Peter Frampton released his second live album, a clear sequel to that historic event, and, fittingly, titled "Frampton Comes Alive II". In those nearly 20 years, Peter Frampton had released seven albums, from the successful "I'm In You" to his latest release, "Peter Frampton", which came out a year before this live album. Recorded almost entirely at the Fillmore in San Francisco, Frampton was joined by his longtime collaborator Bob Mayo on keyboards and vocals, as well as John Regan on bass and J.R. Robinson on drums. For the setlist, the blond guitarist opted to steer clear of the original album's greatest hits, including only material from his later albums. However, a subsequent reissue did include several tracks such as "Show Me The Way", "Lines On My Face", and "Do You Feel Like We Do". While it's true that his music has shifted towards a melodic rock and soft rock style, losing the raw power of the 70s sound, the spirit of that era remains very much alive thanks to his obvious skill with the six strings and his muscular, melodic style. Tracks as captivating as "Day in the Sun", "Most of All", "Hang On To a Dream", and "Can't Take That Away", clearly demonstrate that "Frampton Comes Alive II" is a sequel almost as entertaining as its original work, showcasing the great abilities of this legendary guitarist upon which he built a solid and successful career.

V.S.O.P.-Tempest in The Colosseum (1977)

"Tempest in the Colosseum" is a landmark jazz recording by one of the most legendary groups in the genre's history: V.S.O.P., named after a high-quality cognac brandy. This iconic lineup consisted of Herbie Hancock (piano and synthesizers), Wayne Shorter (tenor and soprano saxophones), Ron Carter (bass), Tony Williams (drums), and Freddie Hubbard (trumpet), all former members of Miles Davis's band. This all-star ensemble was primarily a live band, releasing a series of live albums: "The Quintet" (1977), "Tempest in the Colosseum" (1977), and "Live Under the Sky" (1979), as well as one studio album, "Five Stars" (1979). Recorded on July 23, 1977 at the Tokyo Den-En Coliseum, it showcases the excellence of five talented musicians as demonstrated in a repertoire full of jazz emotion, with the enviable instrumental technique of each musician, producing a dense, complex jazz rich in hundreds of nuances, but which at the same time has an amazing accessibility both for connoisseurs of the jazz genre, and for the general public.

Aerosmith-Draw The Line (1977)

Amidst strained relationships within the band due to drug use, Aerosmith released the last great album of their early period. While it lacked the power, swagger, and brilliance of their earlier work, it still possessed considerable quality. Recorded in an old New York convent that was converted for the recording sessions between June and October of 1977, it was produced by Jack Douglas, who had also helmed the previous albums. Highlights of this fifth album include the playful rock and roll title track, the boogie-rock anthem "Critical Mass", the powerful "Get It Up", the heavy hard rock track "Kings and Queens", and the boogie-blues number "Milk Cow Blues". Although it didn't achieve the commercial success of its predecessor, "Rocks", "Draw the Line", reached a respectable number eleven on the Billboard charts and earned several platinum records for its sales in the North American market.

Ash Ra Tempel-Ash Ra Tempel (1971)

The debut album from German band Ash Ra Tempel is a true classic of space rock and krautrock, driven by the exhilarating and experimental onslaught of guitarist Manuel Gottsching and the raw percussion of a very young Klaus Schulze. This first album has a unique, divided personality, featuring two extensive and very different tracks, from the epic opening 20 minutes of "Amboss" to the soaring and serene "Traummaschine". However, both seem to stem from the same cosmic journey that permeates the album's mysticism. "Amboss" is a heavy, acid-tinged space voyage that draws the listener in with a heavy dose of energy, replete with bursts of energy, frenetic guitar sounds, and frenetic percussion accompanied by electronic elements. In contrast to this is "Traummaschine", based on a profoundly spatial climax, with many eerie moments, clearly in tune with the electronic meditation that transports us, with moments of very relaxing calm, to another sonic dimension. For many, this work is the quintessential Krautrock, even though other legendary works from many top-tier German bands arrived in the following years, but none surpass this superb debut from the mythical Ash Ra Tempel in experimentation and originality.

Kossoff Kirke Tetsu Rabbit-Kossoff Kirke Tetsu Rabbit (1972)

Towards the end of 1971, Free, one of the greatest British bands of all time, succumbed amidst internal disputes and drug addiction, the latter primarily due to guitarist Paul Kossoff. Although initially this separation was for a brief period, its members soon embarked on side projects or solo endeavors. Vocalist Paul Rodgers formed the band Peace, bassist Andy Fraser formed another group called Toby, and the remaining members, Paul Kossoff and Simon Kirke, joined bassist Tetsu Yamauchi and keyboardist John "Rabbit" Bundrick. All of these projects shared a common denominator: their short lifespans. This last project resulted in the recording of a single album titled "Kossoff Kirke Tetsu Rabbit", on which the four musicians delivered an outstanding album of the best British heavy blues rock of the decade, which, to some extent, followed a similar vein to Free's. Heavy rock tracks like “Just For the Box” and “Blue Grass” alternate with catchier songs such as “Sammy’s Alright” and “Anna”, funk-rock forays like “Fool’s Life” and energetic blues-rock numbers like “Dying Fire”, “Hold On”, and “I’m On the Run”. Shortly after this release, Free reformed, releasing the decent albums “Free At Last” (1972) and “Heartbreaker” (1973), which marked the end of their run and the band’s history. From their ashes rose another legendary hard rock band of the seventies: the indomitable Bad Company.

Bill Withers-Bill Withers´ Greatest Hits (1981)

This iconic soul and R&B singer and songwriter would go down in history for a series of impactful hits that are among the most successful in both genres, such as the well-known "Ain't No Sunshine", "Use Me", "Lovely Day", and "Just the Two of Us". Bill Withers was born and raised in Virginia in the late 1930s. Years later, after being discharged from the U.S. Navy, he settled in Los Angeles with the intention of launching a music career. For some time, he composed and wrote songs primarily focused on soul and rhythm and blues. His style, based on rich melodies and refined arrangements, caught the attention of Stax Records, the leading label in Black music, who offered him a contract to record an album featuring some of the demos he had composed during those years. Produced by one of Stax Records' legendary musicians, Booker T. Jones, the resulting album, "Just As I Am" (1971), reached number five on the Billboard Black Album charts, while the single "Ain't No Sunshine" became a massive hit, achieving multiple platinum records and reaching number three on the Billboard Hot 100. In the following years, Bill Withers would have other similarly commercially successful hits with songs like "Grandma's Hands", "Lean On Me", "Us Me", "Lovely Day", and "Just the Two of Us", the latter featuring jazz fusion saxophonist Grover Washington Jr. However, his studio albums did not achieve the same level of success, with the exception of "Still Bill" in 1972 and "Menagerie" in 1977, both of which were certified gold. Towards the end of 1981, the compilation album "Bill Withers' Greatest Hits" was released, a superb collection of all his greatest hits, which became his biggest commercial success, selling nearly a million copies and reaffirming the brilliant career of this extraordinary singer and songwriter. Over the years, his popularity has been further enhanced by several popular films and TV series that have included the song "Ain't No Sunshine" in their soundtracks, such as "Third Watch", "Notting Hill", "When We Were Kings", and "Flight".

Sutherland Brothers & Quiver-Reach For The Sky (1975)

The debut of this Scottish quartet in early 1972 catapulted them to fame as one of the most promising folk-rock bands, influenced by a style that inherited the irresistible vocal melodies of The Beatles and the instrumental sound of The Byrds. Formed by brothers Iain and Gavin Sutherland, both guitarists and vocalists, Kim Ludman on bass, and Neil Hopwood on drums, they got their start in the early 70s when they signed with Island Records. With them, they released their first album, "The Sutherland Brothers Band", in 1972, which included the single "Sailing", a song later covered by Rod Stewart, achieving resounding success on the British charts. Shortly after, the band broke up, and the Sutherland brothers decided to continue as a duo, releasing the album "Lifeboat" (1973), which went largely unnoticed. However, in an attempt to diversify their folk-rock style, the duo joined forces with a local rock band called Quiver, which consisted of guitarist Tim Renwick, bassist Bruce Thomas, and drummer Willie Wilson. This collaboration resulted in the albums "Dream Kid" (1973), "Beat of the Street", "Reach for the Sky", "Slipstream" (1976), and "Down to Earth" (1977). With a string of major hits that achieved considerable notoriety, such as "Ain't Too Proud", "Arms of Mary", "When the Train Comes", "Secrets", and "Easy Come Easy Go", the band established itself as one of the biggest sensations of British folk rock in the mid-70s. However, after the album "Down to Earth", the band would eventually disband as some of its members left, including Renwick, who went on to collaborate with Al Stewart, with whom he had already worked in previous years, and Bruce Thomas, who answered Elvis Costello's call to join his group The Attractions. Willie Wilson then became actively involved in the projects of Pink Floyd guitarist David Gilmour.

Savoy Brown-Street Corner Talking (1971)

Savoy Brown were one of the genuine British blues bands, with a clear affinity for the style of Alvin Lee's Ten Years After, but with an instrumental synergy closer to Peter Green's Fleetwood Mac and even John Mayall's Heartbreakers. In 1970, this band, originally from the small town of Battersea in southwest England, faced its first major setback when almost all of its founding members left simultaneously: Lonesome Dave, Roger Earl, and Tony Stevens, who went on to form the boogie-rock band Foghat. Therefore, the sole survivor, guitarist Kim Simmonds, had to reorganize the band, recruiting a completely new lineup, starting with singer Dave Walker, bassist Andy Silvester, and drummer Dave Bidwell, as well as pianist Paul Raymond, all former members of the blues band Chicken Shack. Taking advantage of Walker's fervent vocals, which counterbalanced Simmonds' energetic and robust guitar, this new lineup recorded Savoy Brown's seventh album, "Street Corner Talking", a powerful and solid example of the best British blues rock of the early 70s. Tracks like the elegant versions of Willie Dixon's "Wang Dang Doodle" and the Motown classic "I Can't Get Next To You", plus the dark and sublime "All I Can Do" or the bluesy subtlety of "Tell Mama", are credit enough for an attractive and multifaceted album, where each musician contributes their talent uniformly to the final result, demonstrating that the loss they had suffered did not diminish them in either quality or grandeur.

Camel-The Snow Goose (1975)

Following Camel's magnificent second album, "Mirage", the British quartet released their second consecutive masterpiece: the concept album "The Snow Goose". Based on Paul Gallico's classic novel, Latimer and Bardens wrote a substantial amount of material with the intention of deeply exploring symphonic and classical influences, including orchestral arrangements and contributions. The display of melancholy and introspection is far more prevalent than in their previous work, instrumentally narrating a story literally translated into the language of music. The lyrical "Rhayader" and the expressionistic "Rhayader Goes to Town" are timeless Camel classics, while the majestic title track, the dramatic "Dunkirk", and the heartfelt "Fritha Alone" are crafted to be enjoyed as a harmonious whole. With "The Snow Goose", Camel succeeded in producing an album of highly sophisticated progressive rock, deeply reflective and with perfect, magical, and intelligent instrumentation.

The Nitty Gritty Dirt Band-The Rest Of The Dream (1990)

The Nitty Gritty Dirt Band are one of the legendary American folk and country rock bands, with over thirty studio albums to their name, some of which have won Grammy Awards. They have also been voted the best country band for years and have been inducted into the Country Music Hall of Fame. Formed on the American West Coast in the late 1960s by Jeff Hanna (guitar and vocals) and Jimmie Fadden (drums), they have undergone countless lineup changes throughout their more than 50-year career. With a style that encompassed traditional American sounds such as folk, bluegrass, country, blues, and Cajun, fused with rock, they achieved their greatest success in the 1970s and 80s with songs like "Mr. Bojangles," "House at Pooh Corner", "I Saw the Light", "Dance Little Jean", "Long Hard Road (The Sharecropper's Dream)", "Modern Day Romance", and "Fishin' in the Dark", among many others. Likewise, some of their albums are considered masterpieces of country and folk, such as "Uncle Charlie & His Dog Teddy" (1970), "Will the Circle Be Unbroken" (1972), "An American Dream" (1979), "Plain Dirt Fashion" (1984), "Will the Circle Be Unbroken: Volume Two" (1989), and "The Rest of the Dream" (1990). Focusing on this last one, "The Rest of the Dream", Following the groundbreaking "Will The Circle Be Unbroken Vol. 2", it was quite a challenge to replicate that success. The result was a solid return to genuine country rock, setting aside their roots with classic country, folk, and bluegrass songs. Here, they showcased their more approachable, accessible, and commercial side with a series of pleasant and catchy tracks like "From Small Things (Big Things One Day Come)", "Just Enough Ashland City", "Waiting On A Dark Eyed Girl", and "Blow Out The Stars, Turn Off The Moon". With these songs, they demonstrated that, in addition to their deep roots style, they could also easily create songs for the FM radio stations that broadcast the new country-pop sounds so popular in the late eighties and early nineties.

Faith No More-The Real Thing (1989)

Let's go back to the 80s, that decade where tastes and styles were constantly changing, opening and closing countless musical horizons. Another band categorized as alternative rock and heavy metal was the American group Faith No More. Formed in the late 70s, their main characteristic was their skillful combination of a multitude of styles, including heavy metal, funk metal, rap, and avant-garde hard rock. Their first lineup consisted of Mike Bordin (drums), Billy Gould (bass), Chuck Mosley (vocals), Jim Martin (guitar), and Roddy Bottum (keyboards). After their first and commendable album, "We Care a Lot" (1985), and the more elaborate "Introduce Yourself" (1987), they changed vocalists, a position that would fall to Mike Patton, a figure who would be crucial to Faith No More's successful trajectory. With this new lineup, they released their best work, "The Real Thing", where the Californian band showcased their eclectic style, revealing influences from thrash metal, punk, rap, and more accessible sounds, as demonstrated by energetic tracks like "Epic", "Falling to Pieces", and "Surprise! You're Dead". These were followed by captivating mid-tempo songs such as "Zombie Eaters" and "Underwater", the instrumental "Woodpecker from Mars", and an exciting cover of Black Sabbath's "War Pigs". Together, these tracks formed a superb repertoire that would lead them to achieve multiple platinum records for their multi-million sales worldwide. 

Crosby Stills & Nash-Daylight Again (1982)

In 1982, David Crosby, Stephen Stills, and Graham Nash reunited to record their fourth album in thirteen years, a brilliant work that showcased the unique talent of these legendary American musicians. It was in the late sixties that Crosby was asked to leave The Byrds due to his bandmates' rejection of his countercultural songs, such as the controversial "Triad". Nash, for his part, was quite frustrated by the musical direction his band, the Hollies, was taking, straying from their initial hippie roots. Meanwhile, Stills, having completed his time with the folk-rock band Buffalo Springfield, decided to explore new musical horizons. The union of these three geniuses was considered the first supergroup in history, a feat that would be further solidified in 1970 with the addition of Canadian Neil Young, another of the great geniuses of the late 1960s hippie movement. "Daylight Again" was originally conceived as a Stills and Nash album, for which they enlisted the collaboration of a wide array of renowned artists, including Art Garfunkel, Timothy B. Schmit, and Jeff Porcaro, among some twenty celebrated musicians from the American West Coast. However, due to pressure from Atlantic Records, they ultimately included David Crosby, who joined the project near the end of the album's recording process. "Daylight Again" was originally conceived as a Stills and Nash album, for which they collaborated with a wide array of great artists, including Art Garfunkel, Timothy B. Schmit, and Jeff Porcaro, among some twenty celebrated musicians from the West Coast. While not reaching the heights or creativity of their first three albums, "Daylight Again" is a fine example of American folk and rock, boasting a rich and varied repertoire that includes the opening track, "Turn Your Back On Love", an addictive melodic rock song; the melancholic folk number "Wasted On The Way", the bright and harmonious "Southern Cross", the rock tracks "Into The Darkness" and "Too Much Love To Hide", the rhythmic "Since I Met You", the beautiful "Song For Susan", and the introspective acoustic title track, "Daylight Again". "Daylight Again" was certified platinum for selling over one million copies in the North American market and nearly 800,000 worldwide.

Kandahar-In The Court Of Catherina Squeezer (1975)

We're not going to Belgium; this band, who played a style of progressive jazz-rock, was formed in early 1973 in the city of Ghent. The lineup consisted of Jeff De Visscher (electric and acoustic guitar, sitar, and vocals), Karel Bogard (keyboards and vocals), Jean Pierre Caléis (bass), and Etienne Delaruye (drums and percussion, piano, synthesizer, strings, clavinet, marimba, and vocals). This band released two interesting albums on their own record label, both sharing a clear common denominator: the avant-garde rock of the time and jazz, with influences from the Canterbury sound and certain avant-garde touches. "In the Court of Catherine Squeezer" was their second album, which followed in the footsteps of the jazz-rock of their debut, "Long Live the Sliced ​​Ham" (1974), but displayed greater consistency, solidity, and progressive creativity, leaving behind the bizarre touch of its predecessor. The raspy vocals are the perfect counterpoint to a captivating instrumentation, where synthesizers, organ, subtle guitars, sumptuous saxophones and a precise rhythm section give this album a haunting, alluring and ambient style of the best European jazz rock.

SBB-Ze Słowem Biegnę do Ciebie (1977)

Poland has proven to be one of the most creative countries when it comes to progressive rock. It is also undoubtedly the only country in Eastern Europe that takes pride in this style. Probably the best progressive rock band from Poland has been SBB. This group, formed in the early 1970s in the city of Siemianowice, has had several phases, the first being the most fondly remembered, spanning from 1975 to 1981. “Ze Słowem Biegnę Do Ciebie”, released in 1977, was their third studio album. On it, the lineup of Józef Skrzek (synthesizers, electric piano, Moog synthesizer, clavinet, Mellotron, bass, and vocals), Antymos Apostolis (guitar), and Jerzy Piotrowski (drums and percussion) created a truly substantial and powerful source of eclectic progressive rock, incorporating elements of jazz rock, space rock, and symphonic rock with well-structured, epic compositions that showcased the technical prowess of all three band members. The first side of the original album features the immense, eponymous jazz-rock track, a 19-minute musical epic that blends multiple styles, from energetic moments to more subdued sections. In contrast, "Przed Premiera" is closer to jazz fusion, featuring impressive keyboard and drum combinations with a touch of avant-garde and exploration. Without a doubt, this is one of the best European progressive rock albums, performed by one of the most talented bands ever, and is considered a true masterpiece of the genre.

Buddy Guy & Junior Wells-Play The Blues (1972)

"Play The Blues" is one of the landmark blues albums, a memorable work by two of the genre's greats, Buddy Guy and Junior Wells. This formidable duo contributed timeless moments to the history of the genre with recordings like this one, released in 1972. On this seventh album, released under the name Buddy Guy with Junior Wells, they were joined by legendary musicians such as Eric Clapton, Jim Gordon, Dr. John, A.C. Reed, and members of the J. Geils Band. Comprising original songs by the Guy-Wells duo and covers of some of the greatest bluesmen in history, it was recorded at Atlantic Records studios in New York in October 1970. Classics such as "My Baby She Left Me (She Left Me a Mule to Ride)" by Sonny Boy Williamson, "T-Bone Shuffle" by T-Bone Walker, and "Honeydripper" by Joe Liggins share the repertoire with irresistible blues of their own making, such as "A Man of Many Words", "Come on in This House/Have Mercy Baby", and "This Old Fold", creating an unrepeatable album of the best blues. 

Pretenders-Pretenders (1980)

The Pretenders were one of the most successful bands of the early 1980s, achieving success by rejecting the punk and synth-pop of the era to focus on a simple yet magnificent rock sound. Led by Chrissie Hynde, the Pretenders originated in London amidst the last vestiges of the first wave of punk that swept through the late 1970s and early 1980s. Hynde, an American, had settled in England in 1973 after completing her Fine Arts degree at the University of Kent. During her early years, she combined her passion for singing and guitar with writing for the magazine New Musical Express. In 1978, after several unsuccessful projects, she formed the Pretenders with bassist Pete Farndon, drummer Martin Chambers, and guitarist James Honeyman-Scott. Their debut album, "Pretenders," arrived two years later—a powerful and straightforward rock album with an intricate, solid, and precise sound brimming with personality. Tight rock songs like "Precious", "Tattooed Love Boys", "The Wait", "Private Life", "Kid", and "Brass in Pocket" showcased the excellence of a band that played magnificent, unadulterated rock and roll. Surprisingly, the album achieved extraordinary sales, far exceeding one million copies and reaching number one on the British charts, and number seven on the American charts.

Spin Doctors-Pocket Full Of Kryptonite (1991)

Emerging in the midst of the grunge craze of the late eighties, Spin Doctors had a meteoric rise thanks to a debut album brimming with alternative sounds, funk, rock, and pop. Their laid-back and fun songs led them to earn half a dozen platinum records with their first album, "Pocket Full of Kryptonite", an ironic title that directly references the Superman comics. Founded in New York in 1988, their first and most successful lineup consisted of vocalist Chris Barron, guitarist Eric Schenkman, bassist Mark White, and drummer Aaron Comes. It wasn't until 1990 that they recorded "Pocket Full of Kryptonite" under Epic Records, which was released in the middle of the following year. Composed of a carefree repertoire of songs ranging from pop-rock sounds like "Two Princes" or "Little Miss Can't Be Wrong", to captivating funk-rock tracks like "Come Off My Line" or "What Time Is It?", passing through the tour de force rock "Shinbone Alley/Hard to Exist", the rhythmic "Jimmy Olsen's Blues" or the jazzy "Forty or Fifty."

Miles Davis Quintet-Miles Smiles (1966)

A few years before Miles Davis began exploring the more avant-garde sounds of jazz, fusing it with rock, electronica, and funk, he released another of his legendary albums focused on melodic and somewhat futuristic bebop, anticipating by almost a decade what would later be called jazz fusion. Surrounded by one of his legendary quintets—comprising Wayne Shorter (saxophone), Anthony Williams (drums), Ron Carter (bass), and Herbie Hancock (piano)—Miles Davis favored a jazz style with a clear emphasis on the extended solos of some of his bandmates. The musicians' remarkable flexibility led to fabulous rhythms driven by the flawless rhythm section of Carter and Wayne and the tight exchange of solos between Davis's trumpet and Shorter's saxophone. Hancock's vibrant piano notes, the brilliant percussion, the driving rhythm of the wind instruments, and the inspired notes present in every groove of the record reflect a jazz album at its finest and a true masterpiece of the genre. 

Neil Young-Harvest (1972)

Neil Young's most acclaimed and successful album is also one of his most uneven works, musically speaking. Released in early 1972, "Harvest" is the fourth album by the Canadian singer-songwriter, guitarist, producer, and musician. In addition to collaborations with his former bandmates David Crosby, Stephen Stills, and Graham Nash, other musicians who contributed to its creation include Linda Ronstadt, James Taylor, the London Symphony Orchestra, Jack Nitzsche, and Kenny Buttrey. Positioning a blend of acoustic and rock, Neil Young delivered a work dominated by the album's standout track, the immense and emotive "Heart of Gold", which somewhat overshadows other highly meritorious tracks such as the country-rock anthems "Are You Ready for the Country" and "Alabama", the intricate "Old Man" and the melancholic "The Needle and the Damage Done". However, it is the predictable and out-of-place “A Man Needs A Maid” and the orchestrated “There’s A Word” that somehow leave a bittersweet taste to an album that would reap an irrefutable commercial success with nearly ten million copies sold worldwide.