Various Artists-Bumpers (1970)

In the late 1960s, British record labels began releasing a selection of their artists' material on discs known as "samplers." These weren't intended as anthologies or compilations; their main purpose was to give listeners the opportunity to discover a variety of underground musical styles at a reduced price (also known as mid-priced), particularly artists who lacked a conventional singles market and therefore had limited opportunities for radio airplay on British stations. Around the same time, Columbia and Liberty Records' "The Rock Machine Turns You On" in the United States had already begun this trend with the album 'Gutbucket'. The British response came from Islands Records, producing a series of so-called "samplers," from "Nice Enough to Eat" and "You Can All Join In" in 1969, to "Bumpers" in 1970 and "El Pea" in 1971. "Bumpers" meant "the best choice," and comprised eclectic yet cohesive collections of music on double LP 33 rpm vinyl records. By the late 1960s, the British music scene was remarkably vibrant, and Island Records was arguably the most experimental, innovative, and diverse label, and certainly the most successful independent label before its founder, Chris Blackwell, sold it to A&M Records many years later in 1989. Blackwell had started in the record industry in Jamaica in 1959, promoting the emerging sounds of bluebeat and ska. He had achieved notable success with Millie Small's "My Boy Lollipop" in 1964, at which point he moved his Island label to Notting Hill Gate in 1964. London. The label would expand to include a wide range of styles, from pop and rock to genres like folk, jazz, blues, reggae, progressive rock, underground music, and experimental offerings. It's no surprise, then, that "Bumpers" was a collection of artists who primarily recorded albums, not singles for the charts. "Bumpers" was released in 1970 and contained the label's most acclaimed acts of the time, from Traffic, King Crimson, and Jethro Tull its flagship acts to up-and-coming artists who would later become stars, or established bands like Free, Renaissance, Cat Stevens, Fairport Convention, Bronco, Spooky Tooth, Quintessence, Jimmy Cliff, Mott the Hoople, Nick Drake, and If. With a powerful opening track like Traffic's "Every Mother's Son", this compilation started strong. Spooky Tooth's version of The Beatles' "I Am the Walrus" was one of the highlights. Exciting, while Jethro Tull showcased their folk-rock arsenal with “Nothing to Say”, If, one of the lesser-known acts, revealed their potential in the intricate progressive “I’m Reaching Out On All Sides”, “Cadence and Cascade” displayed the more bucolic side of King Crimson, while Cat Stevens and his “Maybe You’re Right” clearly demonstrated the folk side that would bring him great success shortly thereafter, as did Fotheringay with “The Sea” and Fairport Convention with “Walk Awhile”. However, it was the young Jimmy Cliff with “Going Back West” and the fledgling Renaissance with “Island” who benefited most from this anthological showcase of the power of British music from the late 60s and Island Records in particular.

Colosseum-Those Who Are About to Die Salute You (1969)

Formed from the ashes of John Mayall's Bluesbreakers, Colosseum released their debut album, "Those Who Are About To Die Salute You", in 1968, with a lineup heavily influenced by jazz and blues. Led by drummer John Hiseman and saxophonist Dick Heckstall-Smith, the band also included organist and vocalist Dave Greenslade, bassist Tony Reeves, and guitarist James Litherland. Colosseum's style, while rooted in blues and jazz, also incorporated a significant amount of avant-garde and progressive rock. Tracks like their rhythm and blues version of Graham Bond's "Walking In The Park", the bluesy "Plenty Hard Luck", "Debut", and "Backwater Blues" are filled with passionate saxophone solos from Heckstall-Smith and guitarist Litherland. Others, like "The Road She Walked Before", are more jazz-rock oriented. In all of them, the group moves with considerable fluidity thanks to the eclectic fusion of styles and the musical influences of each member. Released by the Fontana label, this debut album sold a large number of records, leading to countless concerts across Europe and further increasing Colosseum's popularity.

Eric Burdon and War-Eric Burdon Declares War (1970)

Eric Burdon was the greatest singer of the 1960s, thanks to an incredible voice that, even when reciting songs, produced cadence, rhythm, and movement. His legend and his nonconformity are a story apart within history itself, so much so that his career is considered almost an example of progression and evolution in the golden age of rock and pop music. Eric Burdon and The Animals were a major part of the evolution of blues and rhythm and blues in the early years of the beat movement. By the end of the sixties, Eric Burdon already had seven years of professional experience, great success, and numerous projects under his belt, including masterpieces with his band The Animals such as the incredible, now-classic rock singles "The House of the Rising Sun" and "Don't Let Me Be Misunderstood", as well as a series of significant albums. In 1966-67, Eric Burdon and The Animals traveled to the American West Coast and recorded their spectacular album "Wind of Change". In 1970, Burdon announced a new formation, creating a band composed of Black musicians called War. He explained that this change stemmed from his feeling of being Black, because he thought, reasoned, and sang like a Black person. War consisted of half a dozen musicians steeped in blues, soul, and funk. Eric Burdon & War got off to a great start with their track "Spill the Wine", and the album "Eric Burdon Declares War" was a superb blend of blues, psychedelia, funk, and African American music. In addition to the aforementioned "Spill the Wine", the album features standout tracks such as "Tobacco Road" and "Mother Earth", two long, hypnotic, lysergic, and cathartic suites, making this record an instant classic and one of the greatest albums in music history. At the end of that same year, another extraordinary album was released, this time in double LP format entitled "The Black-man's Burdon", another explosion of black music with a mix of funk, soul, rock and R&B with psychedelic touches and where the Stones' version "Paint it Black", the exciting "Bare Back Ride" or the legendary "Nights in White Satin" by the Moody Blues stood out.

Kate Bush-Hounds Of Love (1985)

Discovered by Pink Floyd guitarist David Gilmour, Kate Bush is one of the greatest singers England has ever produced, distinguished by her extraordinary talent for melody and poetic imagery, but above all by her unique and distinctive voice, something never before heard. Her debut album, produced by Andrew Powell and titled “The Kick Inside” (1978), was one of the most captivating records ever written, showcasing with her innocent voice and the vibrant, nuanced arrangements a work that, to some extent, approached progressive rock, with a style that linked her to contemporary bands like The Alan Parsons Project. In her subsequent works, she continued in a similar vein, producing a string of high-quality albums such as the magical and elegant “Lionheart” (1978), the less progressive but more romantic “Never For Ever” (1980), and the more experimental “The Dreaming” (1982). In the mid-eighties came "Hounds of Love", which appears on many lists as one of the best rock albums of all time, published by magazines and music websites. However unreliable those lists may be, in this particular case there is no exaggeration, as Kate Bush's fifth album is an indisputable masterpiece, a near-perfect record that still sounds as fresh today as it did more than thirty years ago. The music here is by turns ethereal, romantic, melancholic, and at times even aggressive and haunting. "Running Up That Hill" opens the album with a strong, almost dance-like electronic beat, against which Kate's dramatic voice soars and stirs emotion. The dark, driving percussion also features prominently in "The Big Sky". The poignant "Mother Stands for Comfort" paves the way for the epic "Cloudbusting", whose video (featuring Donald Sutherland) is as deeply moving and beautiful as the song itself. The second side is entirely occupied by "The Ninth Wave" (the title is taken from a poem by Lord Tennyson), a suite in seven separate movements, based on a fascinating concept: the final hours of a woman trapped under the ice, her thoughts and memories before death. It may sound macabre, but Kate treats this haunting subject with her characteristic lightness. Musically, it is as captivating as the story behind it, with Kate's voice sounding heartbreakingly sweet on the opening "And Dream of Sheep" and "Hello Earth", menacing on the sinister "Waking the Witch", melodic on the traditional Irish "Jig of Life", or melancholic on "Watching You Without Me". On "Hounds of Love," as with its predecessor, "The Dreaming", ethnic instruments blend with the violins and the ever-present Fairlight piano played by Kate herself to create a dazzling musical mix that is both adventurous and soothing to the ear. Without a doubt, a classic album to be appreciated by all lovers of top-quality music, which would achieve half a dozen platinum records and numerous Top Ten hits around the world.

Santana-Borboletta (1974)

In 1972, Santana released his debut album, "Caravanserai", which cemented the American guitarist's worldwide fame after another monumental album, "Abraxas" (1970). But right after that album, the band suffered its first lineup changes. Guitarist Neal Schon and keyboardist Gregg Rolie left to found the progressive hard rock group Journey, while singer Leon Patillo and keyboardist Tom Coster joined, followed by a few short-lived additions for the subsequent album, "Welcome" (1973), such as vocalist Leon Thomas and keyboardist Richard Kermode. However, despite the loss of two of its best members, Schon and Rolie, the band didn't suffer musically, and in 1974 they released their fifth album, "Borboletta", in which Santana achieved another great work of jazz-rock and jazz-fusion that, in some ways, resembled the percussion and atmosphere of the masterful "Caravanserai". Tom Coster, the new lineup's main keyboardist, perfectly filled Rolie's shoes, playing abundant Hammond organ and organ sounds, and occasionally some great electric piano fills. The rest of the band was more or less the same as the one that played on "Caravanserai", with the sole exception of the new lead vocalist, Leon Patillo, who does a great job here. "Borboletta" is another top-notch demonstration of jazz-rock with forays into Latin sounds, featuring powerful emotional sections, all filtered through a funk lens. The album is meant to be listened to in its entirety, without diminishing the value of any single song, because they all flow seamlessly from one to the next, just as they did on "Caravanserai". However, the highlight of Borboletta is undoubtedly the closing track, "Here and Now/Flor de Canela/Promise of a Fisherman", where we hear 13 splendid minutes of Santana at his absolute best. Even so, it's the first part of the album, with the sublime "Spring Manifestations", the brilliant "Life Is Anew", the jazz-rock "Give and Take", and the melodic "Aspirations", that most closely resembles the sound of "Caravanserai". One of the main differences here is the aforementioned new vocalist, León Patillo, who presents a more accessible sound. In addition, there's the occasional appearance of the saxophone, which adds an even more jazzy feel. With “Borboletta” the first stage of Santana came to a close, a stage (1969-1974) in which his most classic works appeared, from here on his sound would evolve towards a more accessible and commercial style, without diminishing the quality of his music.

Edgar Broughton Band-Wasa Wasa (1969)

The Edgar Broughton Band was one of the most original and, at the same time, underrated British bands of the late 1960s. Formed in the British town of Warwick, south of Coventry, they began as a blues band, starting out playing in small local clubs. After settling in London, they secured a contract with Blackhill Enterprise, who put them in touch with Harvest Records, the progressive rock division of EMI Records. After recording a promising single, they released their first album, "Wasa Wasa", which, released in 1969, would be one of the many records that year that raised the bar for progressive rock to new heights. On this debut album, the band consisted of the Broughton brothers: Edgar on guitar and vocals, Steve on drums, and Arthur Grant on bass and vocals. On "Wasa Wasa", the band showcased a very dark progressive style, as demonstrated in the brooding "Death of an Electric Citizen" and the iconic "American Boy Soldier", one of the most powerful anti-war songs against the Vietnam War ever recorded by a British band. The relentless and depressing tone continues with the desolate "Why Can't Somebody Love Me", "Evil", "Crying", and the tremendously complex and challenging "Dawn Crept Away". The final result of this album is one of the most challenging ever composed in England, while simultaneously being one of the most impressive debuts, brimming with powerful vocals and musically ingenious and memorable. After a continuation of their previous sound, "Sing Brother Sing", with a more climate-focused theme, which includes the politically incorrect "Aphrodite", came their third album, and undoubtedly their magnum opus, "The Meat Album" (1971). In this third installment, the band displays a progressive tour de force from beginning to end, from the initial, pulsating and apocalyptic “Evening Over Rooftops”, followed by a repertoire full of songs ranging from blues rock to country rock or approaches to progressive folk, all of them superimposed by Edgar's rough and powerful voice, with an ironic and penetrating wit throughout all his sharp lyrics.

Elliott Murphy-Just A Story From America (1977)

Considered a fringe figure in the American rock scene, Elliott Murphy is one of rock 'n' roll's most sincere singer-songwriters. With over fifty years in the business and nearly forty albums released, he has never been among the most fortunate rockers. Despite his undeniable talent, he hasn't achieved any significant commercial success. After years of touring Europe, where he even appeared in Federico Fellini's film "Roma", he returned to New York and began collaborating with artists like Patti Smith and Billy Joel. His first album, "Aquashow", was released in 1973, featuring powerful rock ballads and showcasing his unique vocal style. Subsequent releases confirmed his immense talent, such as "Lost Generation" (1975) and "Night Lights" (1976), where he received invaluable contributions from musicians like Doug Yule (Velvet Underground) and Jerry Harrison (Talking Heads). In 1977, he released his most critically acclaimed and greatest success, "Just a Story from America". On this occasion, he collaborated with Rolling Stones guitarist Mick Taylor and Genesis drummer Phil Collins. The songs on this album range from rock and ballads to forays into rhythm and blues. Influenced by Bob Dylan's allegorical style and Bruce Springsteen's streetwise objectivity, the work became a raw and vital document of American reality during the bicentennial celebrations of the Declaration of Independence.

Curtis Mayfield-Curtis (1970)

Curtis Mayfield is one of the great soul singers, almost on par with his contemporaries Isaac Hayes, Stevie Wonder, and Marvin Gaye, to name just a few artists from a vast pyramid of essential musicians in this quintessential Black genre, alongside funk, blues, and jazz. His career took shape during the 1950s and 60s with the band The Impressions, with whom he achieved great success thanks to hits like "It's All Right", "Keep On Pushing", and "Amen", all released in the early 1960s. By 1970, tired of the pop-soul he was playing with his band, Mayfield decided to launch his own solo career, creating his own record label, Curtom, and steering his style toward psychedelic territory, with a funk and soul sound that, to some extent, resembled what Isaac Hayes was doing at the time. "Curtis", released near the end of 1970, was his first album showcasing a restrained funk infused with psychedelia and avant-garde elements, as demonstrated in tracks like "Move On Up" and "We People Who Are Darker Than Blue". These frenetic songs feature fuzz guitars, imposing string and wind arrangements, and powerful percussion. However, he didn't completely abandon his soulful side, revealing this facet in more classic tracks like "Miss Black America" ​​and "Give It Up". Lyrically, Mayfield incorporates social and political themes, focusing on issues such as racism and the recurring police violence of the era. "Curtis" is considered one of the greatest albums of all time, a fusion of elegance, lyricism, and musical aesthetics from one of the most important Black artists in the history of popular music.

Rush-Exit...Stage Left (1981)

Rush likes to play live. His first steps recorded on CD (in those years, on vinyl) were captured in the album All The World Is A Stage [1976]. It was not his best show, but they proved to be excellent musicians, who can play a modest setlist to expect more of them.
The idea of ​​"Exit" was to create an additional live disc to disk which had been launched, Permanent Waves [1980]. But until then his manager, Cliff Burnstein, virtually forcing them to enter the studio to record their best album, Moving Pictures [1981], which add more songs to the large repertoire of "Exit" (note that the DVD of the concert has other songs not on the CD).
Let's talk show. It was a tour across the United States, where huge stadiums were needed to accommodate so many people. Nearly 50 thousand people and a euphoric atmosphere gives way to one of the best concerts of the band. 3 musicians: Geddy Lee, Neil Peart and Alex Lifeson, 4 instruments: Drums, Bass, Guitar and Synthesizer. The perfect combination to display a live round from beginning to end, where what matters is the sound, not appearance (in the case of other bands of sand, is just the opposite. Example, Kiss).
Now the CD. What is special about this concert that did not possess any other show? First of all, excellent musicians. Playing 2 instruments at once is complicated, but Geddy Lee was on fire, and he did. Neil Peart was inspired by the batteries, playing solos extensive and complicated, in addition to spice up each song with Microsol as complicated as extended solos. And Alex Lifeson playing as in the study, the guitar solos are great, they sound exactly like his entire discography.
"The Spirit Of The Radio" is an excellent introduction to the concert (on CD in the DVD start with Limelight). Geddy's voice plays with the falsetto as he has been doing in all your disks, in tune. The guitar looks sharp in his ear, while Neil applies its expertise in batteries. Then comes "Red Barchetta" and the audience's emotions begin to feel. "YYZ" is the demonstration of why Neil Peart was considered the best drummer of his time. One almost 3 minutes epic that emulated the late John Bonham, the audience exploded in silence when he finished his demonstration of skills. Have been there to witness this gesture is something that is priceless.
After "Passage to Bangkok" is a classic. "Closer To The Heart", and the public Geddy Korea with the beautiful lyrics of this song, while the musicians play the game. Alex Lifeson's entrance and a short one was required to continue with the environment, and give way immediately to "Beneath, Between and Behind". Again, the audience explodes.
"Jacob's Ladder" is the song that has touched more solid so far (if you are playing as you read the review). All the musicians demonstrating their skills in an intricately epic song, which talks about a battle between two great armies.
"Baron's Bane / Trees" sounds great in this version. Aventuresca, a large section with guitar, energetic musicians playing, the audience crazy. Neil fed to the battery Microsol song, giving way to a small synthesizer solo. We ended up extending a note and live experience. Something hard to do if they have the necessary supplies. "Xanadu" starts with a E issued by the synthesizer, guitar playing very softly, while Neil plays the elements of the battery that had been used in other songs, like bells, Chrimes and congos. The song takes shape when the battery goes strong to break the peace of experimentation. Now after almost 6 minutes of the song, you can hear the first words of Geddy, going to something like Led Zeppelin. The perfect falsetto singing "Xanadu!, Xanadu!" and a great performance make it the gem of the disc.
"Freewill", arguably their best song, was played inspirationally, and almost identically to the version of the LP, taking with appropriate applause. "Tom Sawyer" is known worldwide for the brilliant Neil Peart solo in batteries, and emulating the album version, which played perfectly without miss any percussion.
The album ends with the magnificent performance of "La Villa Strangiato", where it looks like Alex Lifeson want. Only after the guitar solo, not tune anywhere, earnest people to the beat of this song instrumental for almost 10 minutes long end applauding with all his might to Rush, who had presented one of the best concerts of his career.