Brian Auger´s Oblivion Express-Live Oblivion (1974)

Former jazz pianist Brian Auger rose to fame in the mid-1960s as a rhythm and blues organist thanks to his exceptional technical skill on the Hammond organ. After playing with guitarist John McLaughlin, Auger found success with the group Steampacket in 1965. Alongside him were Long John Baldry, Rod Stewart, and Julie Driscoll, forming a formidable vocal trio. In 1968, he left the band to form The Trinity with Julie (who was his wife at the time). This marked Auger's greatest success, thanks in part to their hit cover of Bob Dylan's "This Wheel's On Fire", which climbed the charts worldwide. In 1970, Auger founded Oblivion Express with Jim Mullen and Robbie McIntosh. The style of this new group moved away from the jazz-rock sound of his earlier work, focusing instead on more powerful and progressive music. His first two albums, released in 1971, "Brian Auger's Oblivion Express" and "A Better Land", leaned towards complex funk-rock sounds. However, the true strength of Brian Auger and his band lay on stage, where they conveyed a power and emotion that weren't captured on their studio albums. That's why, in 1974, the triple live album "Live Oblivion", recorded at the famous Hollywood venue, the Whisky a Go Go, was released, finally bringing him the success that his studio recordings had eluded him.

Rush-Caress of Steel (1975)

Seven months after the release of their second album, the Canadian band Rush released their third full-length album, "Caress of Steel", where they boldly and daringly showcased their evolution towards progressive sounds, while still retaining their nascent hard rock style. Meanwhile, Neil Peart became definitively involved in the lyrics and epic, fantastical stories, giving free rein to his fantasies about Middle-earth, ancient times, and tales of warriors and monsters. Purely rock tracks like "Bastille Day", "I Think I'm Going Bald", and "Lakeside Park" coexist with the more complex and epic "The Necromancer" and the mini-suite "The Fountain of Lamneth", demonstrating the band's virtuosity and tremendous effectiveness. However, this also placed them in a precarious position due to the album's subsequent mediocre commercial reception. Despite the ultimatum from Mercury Records, the band remained committed to their musical philosophy and took it seriously with their next album, "2112", when they would achieve resounding success and their definitive consecration worldwide.

Johnny Winter-Johnny Winter And (1970)

Johnny Winter joined the select group of white musicians who were developing a new vein of electric blues. By then, Al Kooper, John Mayall, and Mike Bloomfield, among others, had already transcended the limited conception of the blues as racially exclusive music and were popularizing it among white audiences. Johnny Winter's first album, self-titled "Johnny Winter", was recorded in Nashville in 1969. His brother Edgar supported him, as did some legendary bluesmen like Willie Dixon and Sharkey Horton. A year later, "Second Winter", a double album that curiously only had three sides recorded, was released. Here, in addition to the blues, Winter demonstrates his affinity for all the popular music of the time, performing rock 'n' roll songs by Chuck Berry and Little Richard, and delivering a personal and superb version of Bob Dylan's "Highway 61 Revisited". In 1971, "Johnny Winter And", his best work, appeared, featuring rapid and visceral forays into the repertoire of other musicians such as "Jumpin' Jack Flash" by the Rolling Stones and "No Time To Live" by Traffic. This first recording period culminated in the live album "Johnny Winter and Live" (1971), recorded at the Fillmore East in New York. However, this live album was released after Winter had already retreated to rural areas for a detox program following the excesses of drug abuse that, incidentally, had led him in such a short time to become a legend of blues guitar. Two years would pass before he released any new material, and in 1973, with the help of his friend, guitarist Rick Derringer, he made a triumphant return with the album "Still Alive and Well". This album contained exceptional tracks such as the blistering "Rock 'n' Roll" and "Silver Train", composed by the Jagger-Richards duo, as well as a cover of the legendary "Let It Bleed". This comeback album for the albino guitarist climbed the charts and won back the hearts of his fans. From then on, Johnny Winter's artistic output remained high despite the rise of new musicians and styles. Winter is an admirable performer who, although his style might seem repetitive, always managed to surprise everyone.

Deep Purple-Shades Of Deep Purple (1968)

Deep Purple's debut album would foreshadow the band's promising future, despite still displaying a nascent and somewhat vague style. The original Deep Purple lineup included Jon Lord (Hammond organ), Ritchie Blackmore (guitar), Ian Paice (drums), Rod Evans (vocals), and Nick Simper (bass). Although the production of this first recording leaves much to be desired, the future potential of Deep Purple is already evident in various passages, thanks to a high level of musicianship and accomplished arrangements driven by Jon Lord's blistering organ playing and Blackmore's neoclassical touch on electric guitar. However, the group's hard rock style here is infused with many psychedelic elements, featuring numerous sound effects and ingenious overdubbing. Composed mostly of covers, it also includes some songs written by the band themselves, which would soon become classics such as "Mandrake Root", a veritable mini-epic of psychedelic hard rock. Other tracks, like the ambitious "Prelude: Happiness/I'm So Glad", showcase the band's progressive side, especially thanks to Lord's lavish keyboards, while the powerful "Hey Joe" also reveals the roots of their signature style. On the other hand, there's a Deep Purple classic, a brilliant cover of Joe South's "Hush". ​​However, the rest of the album is somewhat inconsistent, with tracks like the lackluster Beatles cover "Help!", the disposable "Shadows", and the mediocre psychedelic pop song "One More Rainy Day". Ultimately, with this first release, the synergy between Lord and Blackmore was beginning to take hold, and although they were still far from perfect synergy, this was a very promising start.

Yes-Time and Word (1970)

Yes' second album represented their firm musical proposal based on orchestral arrangements, predominant keyboards and an eclectic mix of sounds that distanced themselves from the classic rock of the time, which was based on the thousands of volts of distorted electric guitars and powerful hard rock. Recorded with the same lineup as their self-titled debut (Anderson-Squire-Kaye-Bruford-Banks), the album's repertoire consists of covers and original compositions. Among the former are Richie Havens' iconic "No Opportunity Necessary, No Experience Needed", a Woodstock anthem, and Stephen Stills' "Everydays". On the other hand, the songs written by Jon Anderson and Chris Squire are the album's highlights, such as the atmospheric "Astral Traveller", the celestial and complex "The Prophet", and the deeply poetic melodies of "Clear Days" and "Time and Word". Anderson's emotionally charged vocals, along with Squire's aggressive bass, Bruford's persistent and jazzy drumming, Tony Cox's precise orchestral arrangements, and Kaye's baroque keyboards, are the most noteworthy aspects of an album that, despite its undeniable quality, was still far from Yes's best work.

Steve Winwood-Nine Lives (2008)

In 2008, five years had passed since Steve Winwood released his superb "About Time" (2003), an album that contained the keys to this legendary musician's greatness: his prodigious, soul-infused voice, his rich blend of blues, soul, and jazz, and his talent with the Hammond organ, among other instruments. Five years later, the man considered one of the greatest talents in the history of British rock returned with another admirable album. On "Nine Lives", Steve is joined by his old friend and former Blind Faith bandmate, Eric Clapton, who lends his innate talent to the guitar on the brilliant "Dirty City". Displaying a special chemistry, Winwood presents his eclectic side with compositions stripped of unnecessary embellishments, yet brilliantly arranged. Songs like "I'm Not Drowning", "Fly", "Raging Sea", "We're All Looking", "Hungry Man", "Secrets", "At Times We Do Forget" or "Other Shore", demonstrate that his legacy continues to be a source of inspiration for hundreds of artists and millions of listeners alike.

Joe Cocker-With Little Help From My Friends (1968)

In 1968, Joe Cocker recorded his first album, "With Little Help From My Friends", under the supervision of Denny Cordell. The album featured collaborations with excellent musicians from the British music scene of the time, including Jimmy Page, Albert Lee, Steve Winwood, Tony Visconti, Chris Stainton, and Matthew Fisher, among others a skillful selection that contributed to the power of the final result. For some time, Cocker had been performing in Great Britain and France with his Joe Cocker Big Blues Band, where they primarily played covers of black music, including blues and R&B classics. The arrival of musician and arranger Chris Stainton in Cocker's life was vital to the future of the Sheffield singer. Cocker's soulful and blues-infused style was based on his unconventional, gesticulating manner and unmistakable, frenetic stage presence, which contrasted sharply with his apparent fragility and his powerful, raspy voice. At the helm of his new band, The Grease Band, Joe Cocker toured England in support of his debut album. The following year, he performed at the Woodstock festival before a crowd of three hundred thousand, who enthusiastically applauded Cocker and his band's antics on stage. Shortly afterward, in Los Angeles, and with the invaluable assistance of Leon Russell, he recorded his second album, "Joe Cocker". Russell taught Cocker how to modulate the heavy tones of spoken-word blues and provided him with the unforgettable hit "Delta Lady". Russell oversaw the recording of this new album, which reflected a change of country and atmosphere. There was a different agility compared to his first album; it was less rough and bluesy, revealing more eclecticism and a willingness to embrace country melodies. With this renewed atmosphere, Russell's choice of musicians for the album recording greatly contributed to the success, all of them belonging to the best of the country-rock and folk groups, bands like The Byrds and The Flying Burrito Brothers. However, this stylistic diversity between the first two albums highlights Cocker's main problem: his spontaneity, his lack of calculation or astuteness, which, while it can be a merit, ultimately becomes a dangerous flaw. This flaw lay in his inability to develop his own musical strategy, leaving him at the mercy of arrangers and composers. And unfortunately, not everyone is like Chris Stainton or Leon Russell. After the breakup of The Grease Band, Russell concocted a mega-tour with 42 musicians, which would later be released as "Mad Dog and Englishmen", a double live album featuring a repertoire full of covers of other artists such as Bob Dylan, The Beatles, The Rolling Stones, and Traffic, and four tracks from Joe Cocker's first two albums.