Peter Gabriel- III (1980)

After leaving Genesis, Peter Gabriel took several years off from the music world, seeking new horizons and inspiration to reignite his enthusiasm for his solo career. He opted for a style far removed from the progressive rock sound of his former band, exploring more experimental and creative sounds without sacrificing commercial appeal in his first four albums, all of which were essential to his public recognition and subsequent chart success. 

Peter Gabriel III, released in 1980, and as its name suggests, was his third album and the best of all the solo albums released by the members of Genesis. For this album, Gabriel collaborated with Phil Collins, Kate Bush, Robert Fripp, David Rhodes, Larry Fast, Paul Weller, Dick Morrissey, Tony Levin, Jerry Marotta, and others, and was produced by Steve Lillywhite. 

With this stellar lineup, Gabriel created his finest work, perfect from beginning to end, where everything from the haunting "Intruder" to the politically charged "Biko" are sublime and legendary creations. But Gabriel also knows how to move towards more melodic and commercial sounds, as in the impressive "I Don't Remember", "Games Without Frontiers", and "Not One Of Us", while the more experimental sounds of "No Self Control", the equally melancholic and epic "Family Snapshot", and the more conventional "And Through The Wire" make up a superb work of full compositional maturity from this brilliant, timeless musician.

Elton John-Captain Fantastic and the Brown Dirt Cowboy (1975)

In 1975, a triumphant and exuberant Elton John released his ninth album. By this point in his career, his hits were pouring in, achieving countless top ten hits on both sides of the Atlantic and selling millions of records worldwide. His creativity, alongside his inseparable collaborator Bernie Taupin, seemed boundless, and in fact, that same year, 1975, they released two albums: "Captain Fantastic and the Brown Dirt Cowboy" and, a few months later, their tenth, "Rock of the Westies". Focusing on the former, Elton John created his most epic work, which, combined with its dynamic range of styles, resulted in an evocative, elegant, and captivating album. Attractive tracks such as the title track or “Tell Me When The Whistle Blows”, “Tower Of Babel”, “Someone Saved My Life Tonight” or the powerful “(Gotta Get A) Meal Ticket”, demonstrated the full compositional maturity of one of the best British duos of the seventies.

Jethro Tull-A (1980)

Conceived by Ian Anderson as a concept album exploring the turbulence and tensions of modern society, with the intention of releasing it as a solo project, the mere fact that it ended up being released as a Jethro Tull album condemned the band's thirteenth album, titled "A," to be highly controversial among their most purist fans and many critics of the time. Much of this controversy stemmed from the heavy use of synthesizers, courtesy of Eddie Jobson, and the synthpop-like sounds so fashionable in the 1980s. For this new venture, Anderson dispensed with much of Jethro Tull's classic lineup. With the exception of guitarist Martin Barre, keyboardists John Evan and David Palmer, bassist John Glascock, and drummer Barriemore Barlow were absent, replaced by the aforementioned Jobson, percussionist Mark Craney, and bassist Dave Pegg. However, despite the tremendous backlash it received from some fans, "A" is crafted in an experimental style, incorporating voice synthesizers and an interesting mix of avant-garde electronica, rock, folk, and even Eastern influences, as evidenced in the track "Uniform". The album's strength is clearly demonstrated in tracks like the funk-tinged rock song "Crossfire", the progressive electronic track "Fylingdale Flyer", and the mini-epic "Black Sunday", undoubtedly the album's most accomplished and progressive composition. The remaining tracks are considerably weaker, adhering to the typical pop-rock formula, though still undeniably talented, such as the sarcastic "Batteries Not Included", and the infectious blues-rock "4.W.D. (Low Ratio)". In short, “A” is one of the best examples of the evolution of progressive music in the 1980s, which marked the failure of many of the great bands of the 1970s who were unable to adapt to the new sounds and musical tastes of a new, more technological era.

Tangerine Dream-Encore (1977)

Tangerine Dream's career is divided into several periods. The first, known as "The Pink Years", was characterized by a sound clearly inspired by early Pink Floyd, with a distinctly psychedelic feel where keyboards and sound effects were the common denominator of their style. From this era, the albums "Alpha Centauri" (1971), "Zeit" (1972), and "Atem" (1973) stand out, all works brimming with an electronic, spacey symphony that even included some tribal elements and bordered on the progressive krautrock scene. The second stage, known as "The Virgin Years", spanning from 1974 to 1983, is considered the group's peak. This period marked a radical shift in Tangerine Dream's sound, returning to long suites but acquiring its own identity, making greater and more effective use of keyboards and synthesizers, and adopting a more accessible approach, though still remaining experimental. From this period stand out the monumental albums “Phaedra” (1974), “Rubycon” and “Ricochet”, both from 1975, “Stratosfear” (1976), “Encore” (1977), and “Force Majeure” (1979). During the second half of the seventies, Tangerine Dream's live concerts were unique and spectacular. Due to the limitations of analog equipment, the German trio improvised a new show each night, adopting the main features of long concerts where sequential fury supported the ferocity of the synthesizers, keyboards, and Mellotron, as well as Froese's rock-oriented guitar work. “Encore” is surely one of the best examples of this. “Encore” was Tangerine Dream's second live album. This time, it's a double album recorded during the band's North American tour, from March to April 1977. But unlike their previous live album, "Ricochet", which is technically a live recording without an audience, "Encore" features the audience's presence at certain moments, giving the recording a proper live feel. Composed of four long tracks, this double album begins with "Cherokee Lane", undoubtedly the most conservative of the four in terms of replicating their earlier work. Mellotrons are everywhere, creating that hauntingly beautiful and mystical mood. The following track, "Monolight", provides the most complex moment, weaving together major and minor keys with the main melody based on the mini-moogs. "Coldwater Canyon" is the title track where Edgar Froese shines. An intense, upbeat, and rocking suite, it showcases Froese in top form on electric guitar, displaying his skill and improvisational prowess. Even though it's an avant-garde track, it departs from the band's usual repertoire. The final track, "Desert Dream", encloses the album in a purely atmospheric style, moving from dark and experimental passages to beautiful and ethereal parts with tons of mellotrons and an oriental touch that fits the track's title, which ends reminiscent of the vaporous sounds of "Invisible Limits" from "Stratosfear".

Muddy Waters-The London Muddy Waters Sessions (1972)

To speak of Chicago blues is to speak of Muddy Waters, who, firmly rooted in the deep blues of the Mississippi Delta, always kept the essence of the genre alive through all the musical trends of his time, from rock and roll to the folk boom, passing through flower power, psychedelia, and the sounds of 1960s British pop. Born and raised in the Mississippi Delta in 1913, he began his career alongside bluesmen of the caliber of Son House and Robert Johnson in the mid-1930s. In 1947, he signed with the blues-focused label Chess Records, with whom he began recording alongside Little Walter, Jimmy Rogers, and Otis Spann. After an endless succession of singles and albums, he recorded "The London Muddy Waters Sessions" in 1972, with a number of highly acclaimed white musicians. These musicians included Rory Gallagher, Georgie Fame, Rick Grech, Steve Winwood, and Mitch Mitchell, among others. This legendary recording yielded some breathtaking blues sessions, such as Willie Dixon's versions of "Young Fashioned Ways", "Walkin' Blues", and "I'm Ready", and Big Bill Broonzy's "Key to the Highway". "The London Muddy Waters Sessions" is a landmark document of the blues and is considered one of the genre's high points.

The Pretty Things-S.F. Sorrow (1968)

The Pretty Things were one of the pioneering groups to develop the psychedelic sound in England in the early 1960s. In 1964, thanks to press articles highlighting their lysergic stage presence, they had the opportunity to enter the studio and record their first song, "Rosalyn", achieving meteoric success on the British charts. This placed them at the top of the British groups during those years of great beat music dominance. The Pretty Things revolved around their leader and vocalist, Phil May, supported by Dick Taylor (guitar), Wally Waller (bass), Twink (drums), and keyboardist Jon Povey. "Don't Bring Me Down", released a few months later, surpassed their debut album, reaching the top ten. From then on, their albums continued to perform well on the charts, and their fame gradually grew, although it remained largely confined to the UK, without much impact beyond the British Isles. After a string of successful singles and several albums that met with mediocre reception, in 1968 they released their masterpiece, "S.F. Sorrow", a pinnacle of psychedelia and, for many, the first rock opera in history. In "S.F. Sorrow", The Pretty Things narrate the life of Sebastian F. Sorrow, a fictional character created by guitarist Phil May. Structured as a cycle of songs, his life unfolds from birth to old age, encompassing love, wars, tragedies, and madness. The final result is a lysergic journey brimming with Eastern sounds, horn sections, mellotron, and a torrent of psychedelic pop-rock, all delivered with remarkable compositional and instrumental creativity. From here other bands borrowed this idea and would publish a series of works following a similar pattern, such as The Who and their rock opera "Tommy" or The Kinks and their "Arthur Or The Decline and Fall of the British Empire" both from a year later, among many others released in the subsequent decade of the 70s.

Dire Straits-Making Movies (1980)

Dire Straits' third album, "Making Movies", is the darkest and, at the same time, most reflective work of the band led by Mark Knopfler. With somewhat introspective ideas, they imbued the music with a series of astonishing nuances, making it clear that Knopfler himself, with his poignant sensitivity, could leave even the most discerning listener speechless with melodramatic themes. This is also the period in which Knopfler himself became a troubadour and novelist, and despite not being a great singer, he could suggest and express a great deal with his peculiar voice, with that laconic way of singing that, while he sang, told stories. 

The first song to emerge from this album is none other than “Tunnel of Love”, a spectacular eight-minute track and perhaps the best composition of Knopfler's entire career. It's also one of the most monumental songs in rock music, eight minutes brimming with evocative instrumental passages, tempo changes, and a catchy, agile melody, all bathed in Knopfler's voice, which envelops and envelops every phrase. Yet, beneath it all lies a great deal of irony about relationships and passion. 

The fragile and innocent “Romeo and Juliet” is both captivating and sweet. 

The following track, “Skateaway”, seems to lessen the emotional weight of the previous two with its direct and somewhat carefree sound. Halfway through the album comes another highlight with the catchy and infectious "Expresso Love", a clear statement of intent from Mark Knopfler foreshadowing what would come a few years later with his acclaimed "Brothers in Arms". Following the folk-tinged, Dylan-esque "Hand in Hand", comes "Solid Rock", where the band abandons their typically British reserve and restraint to unleash a powerful track very much in the arena-rock vein. The album concludes with the melancholic and tranquil "Les Boys", which brings to a close an album that outsold its predecessor, "Communiqué", achieving half a dozen platinum records, although still falling short of the commercial impact of their enormous and superb 1978 debut.

Genesis-Foxtrot (1972)

Genesis truly impressive levels elevate his bombast, complexity and expressiveness with this album, pulling the sleeve of one of the best albums of all time, only surpassed by his successor "Selling England by the Pound". The Lp was really significant and instrumental progressive rock as a genre, is also one of the greatest landmarks. The final maturity as musicians did not reach it without further with "Selling England By The Pound", reaffirms for me and with this album, which serves as a harbinger for the next. Like its predecessor, this is a disc with halftime and stops, but the difference is that here everything is clean and memorable, the amazing star complex issues contrasts perfectly with the irresistible short pieces and delicate in their path in half.
The band further increases its share of theatricality and leads to a level that goes beyond the music, translating this into his live, because with the launch of this board Peter Gabriel was starting out on stage dressed facing numerous multifaceted characters and interspersed even within the same subject in one of the cases, such as in "Supper's Ready", as if the deployment of mastery and brilliance that transmitted aurally with that court was not already too dazzling alone.
The curtain rises the wonderful "Watcher of the Skies", a topic with a lot of potential, announcing the opening of the play with a mellotron gives supreme airs. The song is the most robust and accurate, with bitter dark overtones, but sublime.
"Time Table" is even better, a love song for his pace and excellent and outstanding performance of Peter Gabriel, showing off and excelling in a dramatic and poignant at the same time. The chorus is the best and it's hard not to try to corearlo. The passages of Tony Banks on keyboards shine.
The thing going to become more intense with "Get Em Out by Friday", curious song that allows Gabriel exhibit their wild and crazy side. Abrupt changes considerably with advancing the theme and instrumental arrangements more complex than capable of misleading anyone in this magnificent piece without waste.
Returns the delicacy and beauty in the melodies with "Can-Utility and the Coastliners", a knot of instruments that together form an impenetrable fortress, recreating an atmosphere masterful. Tony Banks returns to capture bright and moderate rhythms Steve Hackett has its fleeting moments.
There comes a time more intimate, delicate disc: "Horizons", a tune that was unlikely to Genesis and a considerable simplicity and brevity yet achieved its goal: Wrap and make the listener to travel to the state of deep relaxation. Fulfilling a role Fluff basically the same as in the "Sabbath Bloody Sabbath", this issue is a real pleasure to hear, as if the music we coined.
The end is evident and to close the masterpiece we have which is nothing more and nothing less than the best song of Genesis, the vast, unique and brilliant "Supper's Ready", an epic piece tinged apocalyptic reflected concerns love and that nothing else can do justice to itself and its grandeur. Praise fall short for this 23-minute suite of enormous complexity where the band reaches the summit and take off in a true journey of sensations and feelings crossed that allows all members of the band shine on his own. The impressive and legendary number moves us restless, makes us laugh, feel euphoria and excitement and even gets to hypnotize all in a flurry of greatness stamped rhythms deployed in a few less than half an hour. Peter Gabriel gets us more than ever and recites some of his most memorable and iconic verses: And it's hello babe with your guardian eyes so blue, Hey my babe do not you know our love is true, A FLOWER?. The issue is so complex and has so much to make juice that is almost impossible to adequately summarize its contents, you can only say that it is extremely emotional, intense, outrageous, energetic and magical.
This is one of the greatest songs of all time, no more.
"Foxtrot" is one of the largest samples of progressive rock, and its closure can always leave the stamp of quality. This was truly committed Genesis music and with intentions of passing something really big. A timeless gem but simply unrepeatable.

Anyone´s Daughter-Adonis (1979)

Anyone's Daughter is an excellent German band that was still active well into the 21st century. Founded in 1972 in Stuttgart, their early period was defined by the progressive sounds of the 1970s, with complex music, intricate arrangements featuring melodic guitars, powerful drums, and sophisticated bass lines. Their lineup consisted of bassist and vocalist Harald Bareth, guitarist Uwe Karpa, keyboardist Matthias Ulmer, and drummer Kono Konopick. In 1979, they released their first album, "Adonis", on the German progressive label Brain. On it, the band showcased a melancholic progressive rock sound similar to that of the British band Camel. The four-part suite "Adonis" features a delightful symphonic style with soaring guitar solos, rich keyboard textures, and intricate arrangements. The rest of the album is a perfect combination of Moog solos and guitars, such as "The Blue House" or the sophisticated and fast-paced "Anyone Daughter's". During the following years, they continued to release very interesting works such as "Piktors Verwandlungen" (1981), "In Blau" (1982), and "Neue Sterne" (1983).

Various Artists-Picnic-A Breath Of Fresh Air (1970)

“Picnic - A Breath of Fresh Air” was another promotional album that record labels released at a fairly affordable price to showcase part of their artist catalog. This particular one was released by Harvest, the progressive rock branch of EMI Records. In a way, besides promoting their artists, the release of these samplers was intended to rival contemporary labels such as Deram from Decca Records or Vertigo from Mercury Records, among others, which were also focused on the most avant-garde sounds of the late 60s and early 70s. The diversity of this album reflects the different types of bands and styles that flew under the Harvest banner, giving the listener a kind of historical document. Composed of the label's most promising bands, it includes everything from the dark and avant-garde; From Quatermass, Pete Brown and Piblokto, Third Ear Band, The Pretty Things or The Greatest Show on the Earth, to the more media-savvy and established like Deep Purple, Pink Floyd, Edgar Broughton Band, Syd Barrett, Roy Harper, Kevin Ayers or Barclay James Harvest, passing through other lesser-known ones like Forest, Tea and Symphony, Bakerloo, or Shirley & Dolly Collins, forming with all of them a diverse mix of folk, hard rock, blues & jazz rock and heavy prog.

Kiss-Alive II (1977)

Two years after Kiss's first double live album, "Alive II" arrived, a natural sequel to the iconic original. "Alive II" was recorded during the "Love Gun World Tour" in August and September of 1977 in Los Angeles, New York, and Tokyo. The setlist for this live album draws from the band's three most recent albums: "Destroyer", "Rock and Roll Over", and "Love Gun". As with the previous live album, this one was remixed and produced by Eddie Kramer at Electric Lady Studios in New York. However, only three sides of this double album feature live recordings, while the fourth side is dedicated to five previously unreleased songs, including the noteworthy "Rocket Ride" and Dave Clarke's original version of "Any Way You Want It". But it's the live repertoire that elevates this superb live album. Hit hard rock and heavy metal songs like "Detroit Rock City", "Love Gun", "Shock Me", "Calling Dr. Love", "Ladies Room", and "Beth", are part of a selection from this legendary double live album, although it falls somewhat short of its predecessor. A seventh-place finish on the US Billboard charts and over two million copies sold only served to increase the success and popularity of the flamboyant and famous American band.

David Crosby-If I Could Only Remember My Name (1971)

David Crosby is an icon of American music, a formidable pioneer of folk and country sounds, as demonstrated by his superb albums with The Byrds: “Mr. Tambourine Man”, “Turn! Turn! Turn!”, “Fifth Dimension”, “Young Than Yesterday”, and “The Notorious Byrd Brothers”, all fundamental works of the genre released in the late 1960s. After leaving The Byrds, Crosby joined forces with former Buffalo Springfield member Stephen Stills and former Hollies member Graham Nash to form CSN. With them, he recorded the seminal self-titled album “Crosby, Stills & Nash” in 1969 and “Déjà Vu” a year later, featuring Canadian guitarist Neil Young, thus forming one of the greatest and most acclaimed supergroups in the history of rock music. In early 1971, David Crosby was going through a difficult time due to his addiction to marijuana and other substances, and the tragic death of his girlfriend in a car accident. The result of all this was his first solo recording, "If I Could Only Remember My Name", released in February 1971. It featured collaborations with his former bandmates Graham Nash and Neil Young, singer Joni Mitchell, Jefferson Airplane guitarist Jorma Kaukonen, and Grateful Dead frontman Jerry Garcia, among many others. "If I Could Only Remember My Name" is crafted from brief bursts of musical mastery, with rich vocal harmonies and a strong political and social dimension, representing diverse styles such as flower power and psychedelic folk. Filled with profound songs like the intoxicating “Music is Love”, the a cappella “I’d Swear There Was Somebody Here”, the angelic “Orleans”, the acoustic “Traction In The Rain”, the philosophical “Laughing” or the tour de force “Cowboy Movie”, they make up a somewhat chaotic but at the same time absolutely brilliant album.

Emerson, Lake & Palmer-Emerson, Lake & Palmer Box Set (1982)

This compilation box set, initially released only for the Spanish-speaking market, was a clever marketing move by Manticore Records, the label owned by Emerson, Lake & Palmer. It was intended to compensate for the international release two years prior, also titled "Emerson, Lake & Palmer". The key difference between the two lies in the fact that the first box set, released in early 1980 for the rest of the world, contains only tracks from their four most recent albums: one from their self-titled debut, two from their fifth album, "Works Vol. 1", one from their sixth album, "Works Vol. 2", and six from their seventh release, "Love Beach". Consequently, albums like "Tarkus", "Trilogy", "Brain Salad Surgery", and the live album "Pictures at an Exhibition" were incredibly absent. In contrast, this edition, distributed by the Spanish label Ariola, includes their first four original albums that is, all those not included in the previous version: "Emerson, Lake and Palmer" (1970), "Pictures at an Exhibition" (1971), "Tarkus" (1971), and "Trilogy" (1972). It quickly became a collector's item for the trio's most purist fans. With this box set (actually a collector's edition), Manticore Records sought to rectify the strange and incomplete previous compilation, which had disappointed fans and been a disastrous commercial move by the record company. This new release also completed another incomplete compilation released by the multinational Atlantic Records, titled "The Best Of EL&P", which had been released as a single album in late 1980.

East Of Eden-Snafu (1970)

East of Eden was a fascinating progressive rock band worthy of mention, boasting a long career spanning almost two decades. Formed in Bristol, UK in 1967, the lineup consisted of Dave Arbus (electric violin, flute, saxophone), Ron Caines (alto saxophone), Geoff Nicholson (guitar and vocals), Steve York (bass), and Dave Dufont (drums). In 1969, they signed with Decca Records, releasing their first albums, "Mercator Projected" (1969) and "Snafu" (1970). Both are excellent works, showcasing a powerful sound of electric violin, flute, and saxophone combined with Béla Bartók and other classical, Eastern, and even Gypsy melodies, all set against a hard rock foundation. "Snafu" continued the musical direction begun with their debut album, featuring a more solid sound that blended blues rock, psychedelic music, and fusion. Although labeled proto-prog like other contemporary bands, they showed less interest in sophistication and classicism, focusing instead on rougher, more complex sounds. This is evident in tracks like the catchy blues-rock "Have To Whack It Up", the exotic "Leaping Beauties For Rudy/Marcus Junior", the complex "Xhorkhom" and "Ramadhan", both with Arabic influences, and the jazz-blues "In The Snow For A Blow". The band continued releasing albums until 1978 when they disbanded, only to reunite in 1996.

Triode-On N´A Pas Fini D´Avoir Tout Vu (1971)

Triode was a French band about which very little information is available. Formed in the early 1970s, they managed to record only one album under the Futura Red label, which is now highly sought after by progressive rock fans. This sole album, released in 1971, is "On N'A Pas Fini D'Avoir Tout Vu", composed entirely of instrumental tracks and dominated by the excellent flute playing of Michel Edelin, with a style very close to Ian Anderson of Jethro Tull and indebted to the Canterbury sound. The flute interludes and the instrumental progressive elements lean more towards jazz with psychedelic guitar tones. It's a very rhythmic and versatile album where none of the tracks are filler, featuring lively instrumentations that demonstrate the full potential of a talented band with great musical ideas. Their version of The Beatles' "Come Together" is simply original and perfectly executed with a high-level psychedelic and progressive sound.

Donovan-A Gift From A Flower To A Garden (1967)

It was during the popular British television program "Ready Steady Go!" that a disheveled young man, sporting a Bob Dylan-esque cap, with a rhythmic voice and accompanied only by an acoustic guitar and harmonica, captivated millions of viewers in early 1965. This young man, Donovan Leitch, a Scot by birth, grew up surrounded by disaffected post-beat poets and the pre-hippie movement in his hometown of St. Albans. His clear Dylan influence and his natural talent caught the attention of Pye Records, thus beginning his long and meteoric artistic career. That same year, 1965, he released his first albums, "What's Bin Did and What's Bin Hid" and "Fairytale", featuring covers of folk classics and melancholic original songs. This young man, Donovan Leitch, a Scot by birth, grew up surrounded by dissatisfied post-beat poets and the pre-hippie movement in his hometown of St. Albans. From this point on, a series of singles conquered the charts, tracks like “Mellow Yellow”, “Sunshine Superman”, and “There Is A Mountain”, and albums like “Sunshine Superman” achieved resounding success on both sides of the Atlantic. Some of the musicians who participated in the recordings of these albums were young talents who would soon become stars, such as Jimmy Page and John Paul Jones (Led Zeppelin) and Jack Bruce (Cream). Although psychedelic sounds and flower power were in vogue in the latter half of the sixties, Donovan continued with his vague aspiration for the spiritual happiness of folk, with a style that still maintained captivating poetic lyrics. However, Donovan would eventually succumb to the musical status quo of the time and embark on an ambitious double album titled “A Gift From A Flower To A Garden” (1967), which reflected a certain affinity with flower power sounds and Celtic poetic songs. Ultimately, this would be his best commercial and artistic record, even though in subsequent years he would publish works of enormous quality such as "The Hurdy-Gurdy Man" (1968), "Barabajagal" (1969), "Open Road" (1970) or "7-Tease" (1975).

Quatermass-Quatermass (1970)

For fans of progressive rock is a must have album Quatermass unique, especially for those who like where the keyboard is the dominating style that thrived in the early 70s. Although the band had only three members, their stories are as colorful as the music they produced. Pete Robinson (keyboards) and Johnny Gustafson (bass) joined Mick Underwood (drums) and founded Episode Six, a band that included Ian Gillan who later became the voice of Deep Purple. Underwood was also involved with The Outlaws and The Herd, only a few years before Peter Frampton arrived. When the band finally formed Quatermass in 1970, they had set eyes on a format where the energy used in their Robinson keyboard would give them the sound. Both issues, "Black Sheep" and "One Blind Mice", were released as singles, but fell on deaf ears, but the sound of the band was equally moved as the repertoire of The Nice. The Quatermass sound is far from being a hollow sound isolated and without direction. After this album the band split, with Gustafson later doing session work for Kevin Ayers, Steve Hackett, and Ian Hunter and others, while Robinson found new life in the progressive jazz band Brand.

Exmagma-Goldball (1974)

This power trio, formed in the early seventies, was part of the Krautrock genre, specifically its progressive jazz-rock subgenre. They released two exciting and explosive albums before disbanding in the mid-seventies. Comprised of keyboardist Thomas Balluff, guitarist, bassist, and saxophonist Fred Braceful, and drummer Andy Goldner two Germans and one African American they recorded their self-titled debut album in 1973. On this first release, the powerful trio showcased an experimental jazz-rock sound infused with psychedelic elements, featuring standout tracks like the captivating “The First Tune” and the epic 19-minute jam “Tripping With Birds/ Kudu/ Horny”. A year later their second and final album, the one we are discussing, “Goldball”, would appear. It is a less dark and more accessible work where they continue with that energetic and experimental jazz, but introduce elements of acid rock and atmospheric sounds such as the epic “Marylin F. Kennedy”, jazz and rock improvisations “Adventures With Long S. Tea” and “25 Two Seconds Before Sunrise” or clearly avant-garde cuts such as “Groove Tango Wolperaiso” and “Greetings to the Moroccan Farmers”.

Five Day Rain-Five Day Rain (1970)

Five Day Rain was a British psychedelic and prog rock band that emerged during the transition of those sounds in the late sixties and early seventies. Formed by guitarist Rick Sharpe, bassist Clive Shepherd, and drummer Dick Hawkes, who were already performing as Iron Prophet, they recruited organist Graham Maitland and named this new group Five Day Rain. Their only album, recorded and released in 1970, featured additional guitarist John Holbrook, as well as singer Sharon Tandy and members of the band America, who contributed vocals and backing vocals on the folk-influenced tracks "Goodyear" and "Sea Song". The album is notable for the powerful and psychedelic sounds of "Mariés A Woman" and the expansive instrumental "Rough Cut Marmalade", with its abrasive, distorted guitars and sharp, stellar Hammond organ sounds. Originally released as a limited edition, it wasn't until almost 20 years later that the original pressing of the album was discovered and bootleg editions began appearing, targeting the collector's market. Years later, the Italian label Nightwings released a remastered edition with the participation of the band's original members.

The Web-I Spider (1970)

The Web are another one of those obscure bands, little known to the general public, who today are among the most coveted by collectors and, at the same time, deserve to be rescued from oblivion. Their beginnings date back to the late 1960s as a band associated with the jazz and blues genres, with certain influences of proto-progressive rock. Their first two albums featured the powerful voice of African-American singer John L. Watson and those of their two guitarists, John Eaton and Tony Edwards, who provided the band's signature muscular sound. These first two works, titled “Fully Interlocking” (1968) and “Theraposa Blondi” (1969), despite their undeniable quality, went somewhat unnoticed by fans of the time, a fact that led to a reorganization of The Web with the departure of singer Watson and bassist Dick Lee-Smith and the addition of keyboardist and singer Dave Lawson. This would prove decisive in the band's progressively deeper sound, which is reflected in their third and final album, "I Spider." Here, they offered a powerful benchmark for the subsequent evolution of progressive rock in the jazz-rock realm. Energetic bass lines, organ, and percussion are supported by soaring guitar and saxophone melodies, all accompanied by their characteristically passionate vocals. The five-part suite "Concerto For Bedsprings", along with the instrumental "Ymphasomniac", the relaxed "Love You", and the hazy jazz of "Always I Wait", are highlights of an album as captivating as it is brilliant.

Odyssey-Setting Forth (1969)

Hailing from New York, this band has the honor of having recorded one of the most interesting psychedelic albums ever made. This little-known band, formed in the late 1960s on Long Island, consisted of Fred Callan (guitar), Vincent E. Kusy (organ and keyboards), Jay Sharkey (drums), and Louis Yovino (vocals). Their discography is limited to this sensational album, "Setting Forth", which is brimming with energetic heavy rock guitar sounds, screeching organs, piercing vocals, and electrifying drums. Their repertoire is simply devastating, starting with the pulsating, fuzz-infused "Angel Dust", the jazzy "Church Yard", the hard rock "Got To Feet It", the psychedelic "Tied By A Rope", "St. Emo's Fire", and "Come Back," and the bluesy boogie "Denky's Boogie". The limited promotion of the few copies that were put on sale and the apathy on the part of the record company, more interested in other more media-savvy bands, would cause this superb album to sadly disappear into oblivion, until it would be reissued years later, becoming another of those records coveted by collectors of psychedelic rarities from the 60s.

Van Der Graaf Generator-The Least We Can Do Is Wave To Each Other (1970)

The start of the successful career of the British band Van Der Graaf Generator didn't begin with the psychedelic, still rather rudimentary, and to some extent baroque "The Aerosol Grey Machine" (1969), but thanks to their second release, "The Least We Can Do Is Wave to Each Other", the band gained significant prominence in the world of rock with an album that paved the way for them in the early 70s progressive scene. This second release contrasts dark landscapes like the demanding "Darkness (11/11)" with David Jackson's incisive saxophones almost on the verge of suffocation, or the bewitching "White Hammer" and its disconcerting ending, with sublime moments of luminous fragility like the beautiful and unmissable "Refugees", where an emotional Peter Hammill, without falling into sentimentality, caresses the verses instead of singing them. But it's not until the album's final track that VDGG's full-fledged progressive influences emerge, with the expansive and intricate "Alter the Flood". Here, Hugh Banton's keyboards and David Jackson's saxophone intertwine in an intense, otherworldly layering, while Hammill subtly accompanies them with acoustic guitar and his distinctive vocal style. "The Least We Can Do Is Wave to Each Other" is not only a spectacular album but also the cornerstone for the band's future sound. From this point on, VDGG would prioritize the development of expansive works infused with jazz elements, frenetic avant-garde improvisations, and sublime melodies, all set to sophisticated and intelligent lyrics the product of the brilliant mind of the unique and irreplaceable Peter Hammill.

XII Alfonso-Charles Darwin (2012)

For two years, the musical project ALFONSO XII were composing, arranging, recording and mixing their new album. Composed of 3 CDs of one hour each, devoted to the life and work of historical biologist and researcher Charles Darwin, eternal curious, who loved life in all its forms and who tried, until the day he died, to decode the mysteries of it. These 3 CD's recount, in chronological order, the most important events of his life. With 22 songs and 30 instrumental pieces, XII ALFONSO try to illustrate his biography with different notes and styles, tones, sounds, rhythms, atmospheres and words. All topics we talk about their beginnings, youth, home, dreams and doubts. The instrumental pieces are an attempt to reflect the most important concepts of his thoughts: 'The coral of life', 'Descent with modification' Struggle for Existence ',' On the origin of species' ...
In this album, besides paticipating a lot of great musicians like John Helliwell, Supertramp saxophonist, Maggie Reilly, singer Mike Oldfield, Tim Renwick, Pink Floyd guitarist, Mickey Simmonds (keyboards), Terry Oldfield and John Hackett (flute ), Raphael Ravenscroft (sax), Robin BOULT FISH guitarist, guitarist Ian Bairnson Alan Parsons and Kate Bush, David Paton, bassist Alan Parsons Project, FISH and Kate BUSH, Francis Dunnery, It Bites guitarist, Elliott Murphy (voice ), Huong Thanh (vocals), her husband Hong NGUYEN (zither), Ronnie Caryl (guitar, vocals), Amy Keys, Alistair Gordon, Jayney Klimek, Gerard Lenorman and Freegh (vocals) and Ton KAYAK SCHERPENZEEL more keyboards. This is the sixth official studio album of French XII ALFONSO, group led by brothers Philippe (bass, guitars) and François CLAERHOUT (keyboards), who joined Thierry Moreno (drums) and Stéphane Ducasse (flutes), achieving between them, the musicians mentioned above and a few other less known but proven worth, an ambitious album inspired by the life and work of Charles Darwin.
For 15 years, XII ALFONSO unclassifiable has composed music that is not jazz or rock, progressive or classical, traditional nor This group has been characterized from the beginning by his imaginative musical approach (progressive symphonic as one of the best references to what do), and on this record homered. His musical style is everything they say it is not very varied thanks to the intervention of different musicians and singers in every song and every issue, but mostly thanks to a supplementary instrumentation deviates frankly than usual. A acoustic and electric guitars are added mandolins, bouzouki and Vietnamese instruments like koto or give bao (string lute), Madagascar instruments as vali (zither-bagpipe) or kraar Ethiopia, balafon, xylophone, harp Burkina Faso straw, drums, ptithécophone (monkey skull) and dolphinophone, (dolphin bones), theremin, E-Bow, rain stick, etc.

Eminently romantic life and legacy of revolutionary scientific DARWIN told in the style that has always distinguished humanist aesthetics ALFONSO XII, a melting pot of cultural influences and traditions from around the world

Metamorfosis-Papallones I Elefants (1982)

This Spanish band was founded in Tarragona in 1979, though they were originally called Companyia Oliva Negra, later changing their name to Metamorfosis (there are two other bands with the same name, one Czech and one Swiss). The lineup consisted of keyboardist and main composer Jaume Montcusi, guitarist Luis García, guitarist and percussionist Joan Ramos, bassist Jordi Papaseit, and drummer Joan Grimau. Metamorfosis released only one album in 1982, titled “Papallones i Elefants” (Butterflies and Elephants), which was entirely instrumental. Their style was an interesting hybrid of jazz-rock and jazz fusion with progressive elements, featuring competent and well-executed instrumentation, with Montcusi's keyboard work being particularly noteworthy. After this album the band broke up and Montcusi himself would dedicate himself to producing other bands throughout Catalonia, participating in albums by regional groups, while guitarist Joan Ramos would go on to join the band UCCAT.

Ry Cooder-Paris,Texas-Original Motion Picture Soundtrack (1985)

Ry Cooder will never be famous for the usual tally of millions of records sold, but he is nonetheless renowned as one of the great craftsmen of rock music, delving into hybrid and experimental sounds and exploring the deepest roots of American music. His discography is extensive and rich, ranging from his numerous film scores to his solo projects and his work with other artists. Winner of six Grammy Awards, as well as other prestigious accolades such as honorary doctorates from Queen's University in Canada and the California College of the Arts, Cooder has left behind a legacy of monumental works considered fundamental to the development of contemporary music. One of them is the soundtrack to Wim Wenders' film, "Paris Texas", a memorable journey through the Texan landscapes where he imprints on his guitar those arid and dusty sounds typical of the southern United States, in an album as exciting as it is brilliant and with which his popularity would skyrocket even more, demonstrating his enormous talent and genius.

Sea Level-Sea Level (1977)

Sea Level was a magnificent American band that had considerable impact in the mid-1970s. It was formed by some former members of The Allman Brothers Band, including keyboardist Chuck Leavell, drummer Jai Johanny Johanson, and bassist Lamar Williams. However, even before leaving The Allman Brothers Band, these three musicians had already formed the side project We Three, with whom they even opened for their main band during the North American tour promoting the album "Win, Lose or Draw", playing in both bands each night. Following the Allman Brothers' initial breakup in late 1976, the three musicians, along with guitarist Jimmy Neals, decided to continue as Sea Level, signing a contract with Capricorn Records, who produced their self-titled debut album, "Sea Level", in 1977. The style of this new band wasn't too far removed from their Allman Brothers sound, featuring southern rock with noticeable influences of jazz and funk. This first album comprises an irresistible collection of dazzling tracks, such as the jazz-rock instrumental "Tidal Wave", the jazzy "Shake Leg", the brilliant "Rain in Spain", the funk-infused "Country Fool", and the southern rock anthems "Just a Good Feeling", "Nothing Matters But the Fever", and "Grand Larceny". After receiving a warm reception from both the public and critics, the band continued to release a series of interesting albums, including "Cats On The Coast" (1977), "On The Edge" (1978), "Long Walk on a Short Pier" (1979), and "Ball Room" (1980). Later, Chuck Leavell joined the Rolling Stones as a session and backing musician, a position he held from 1983 until 2016, leading to the band's final breakup in mid-1982.

Triumvirat-Old Loves Die Hard (1976)

In 1976, the German band Triumvirat released their fourth album, "Old Loves Die Hard", which would ultimately be their last great work before veering towards the more predictable and commercial sounds of their subsequent releases. On this new album, the band introduced two new official members: for the first time, they had a vocalist, the Englishman Barry Palmer, and a new bassist, Werner "Dick" Frangenberg, who replaced Helmut Köllen. However, despite containing some great and brilliant moments throughout the album, "Old Loves Die Hard" falls far short of their excellent predecessors, such as "Illusion On A Double Dimple" (1974) and "Spartacus", released a year later, both considered masterpieces of 70s progressive rock. Created in the image of their contemporaries Emerson, Lake & Palmer a fact that would bring them considerable criticism throughout their career for being considered mere clones of the British trio Triumvirat's greatest asset was its leader, the virtuoso keyboardist Jürgen Fritz, thanks to his lavish arrangements and original style as a composer and instrumentalist. Composed of seven tracks, "Old Loves Die Hard" is distinguished above all by the complex mini-suites "A Day In A Life", "The History of Mystery", and "Panic on 5th Avenue", where the clear influence of EL&P is more than evident, but brilliantly crafted with grand and splendid symphonic arrangements. The rest is equally commendable, but lacks the excellence of the aforementioned tracks, such as the pompous "I Believe" or the melodic "A Cold Old Worried Lady". From this point on, Fritz's inspiration began to wane, resulting in a series of mediocre works: "Pompeii" (1977), "A La Carte" (1978), and "Russian Roulette" (1980), which failed to gain public traction, a fact that precipitated the band's definitive breakup at the end of 1980.

Osiris-Osiris (1981)

There are things that, if someone had told me 40 years ago, I would have dismissed the person telling them as fanciful or a liar. This brings me to one of the bands that emerged in the Middle East (there are quite a few more, however strange that may seem to us today) in the 1970s. Well, one of them is Osiris, formed in Bahrain in the late 70s and composed of a group of young people open to Western musical culture, mainly British and European. Their initial lineup consisted of Mohamed Al-Sadequi on guitar and vocals, Mohamed Abdul Razak-Aryan on keyboards, Nabil Alsedeqi on drums, Sabah Alsedqi as lead vocalist, Abdul Razzak Arian on keyboards, Nader Sharif on keyboards, and Ali Knonji on bass. It's striking that this band had three keyboardists in its lineup, something that, on the other hand, somehow gave their progressive style a solid sound. Their output isn't exactly top-notch, but we can't expect much more considering their origins. Musically, it's clear that Camel records were readily available in their country, given that their influences were largely from the legendary British band. Their debut album was released in 1981, and on it, the group alternates excellent guitar solos and fast, exciting keyboards with complex and striking organ and synthesizer arrangements. It's remarkable how a band from that remote part of the world at that time could create such incredible and superbly composed music.

America-Hearts (1975)

The first half of the 1970s was the most fruitful period for the Anglo-American band America. However, with three albums released and a number one hit with "A Horse With No Name" (1971), the single from their debut album, they decided to make a complete about-face in 1974. They chose the legendary George Martin, famous for his work with the Beatles, as their producer, and he would go on to produce their next seven albums. By that time, the band had positioned themselves at the forefront of folk rock alongside contemporaries like CSN&Y, Bob Dylan, The Byrds, and Simon and Garfunkel. The second album produced by Martin was "Hearts" (the first being "Hat Trick" in 1974), recorded in Sausalito, California, and released in 1975. These were times when bands released an album every year, something unthinkable today. It included the band's second number one hit, "Sister Golden Hair", which has since become one of their most iconic and famous songs of all time, and was written by Beckley. In addition to "Sister Golden Hair", the singles "Daisy Jane" and "Woman Tonight" propelled the album to number four on the Billboard charts and earned it a gold record for sales in the United States.

The Smashing Pumpkins-Siamese Dream (1993)

Officially categorized as part of the grunge movement, The Smashing Pumpkins never quite fit in with their contemporaries in the same genre. Their style was actually more oriented towards alternative rock, both in terms of their experimentation and the diversity they showcased throughout their work. Formed in Chicago in the late 1980s, their second album, "Siamese Dream", achieved the success necessary to be considered one of the best and most influential bands of the 1990s. This album contains an interesting mix of styles while still maintaining their nascent alternative sound. Tracks like the brilliant "Cherub Rock", with its highly addictive, crushing riffs, and "Today" demonstrate their purest rock side, while the orchestrated "Disarm", with its dark and somber tone, and the punk-infused "Geek U.S.A.", along with the acoustic "Spaceboy" and the powerful "Soma", are among the most compelling tracks on an album that ranks among the best of the entire 1990s.

Megadeth-Peace Sells...But Who´s Buying? (1986)

Megadeth's "Peace Sells...But Who's Buying?" is considered, along with Metallica's "Master of Puppets" and Slayer's "Reign in Blood", all released in 1986, to be the pinnacle of American thrash metal. Focusing on the former, "Peace Sells...", we are faced with one of the most monstrous and fastest albums ever recorded, driven by the blistering and ferocious guitar riffs of Dave Mustaine and Chris Poland and the relentless, angry rhythm section of David Ellefson and Gar Samuelson. Songs like "Peace Sells", "Wake Up Dead", "My Last Words", "The Conjuring", "I Ain't Superstitious", and "Devil's Island" are all masterpieces of instrumental execution and speed, marking an unforgettable era in heavy metal in general and thrash metal in particular.

Grand Funk-Shinin' On (1974)

By the time Grand Funk released "Shinin' On", their creative and commercial decline was more than evident, despite continuing to produce quality albums that nevertheless lacked the musical excitement and energy they had displayed on their first seven records. With production by the iconic Todd Rundgren, the band led by Mark Farmer ended up getting lost in more commercial musical meanderings, without the risk or energy of their initial output. Even so, the instrumentation remained impeccable, as is evident in tracks like the title track, the hypnotic "Carry Me Through", the exhilarating "Please Me" and "Gettin' Over You", and the hard blues rock "Little Johnny Hooker". However, songs like the less successful "To Get Back In", the mediocre pop-rock version of the classic "The Loco Motion", and the predictable bluesy "Mr. Pretty Boy" show that, in a way, the group was beginning to rest on its laurels.

Canamii-Concept (1980)

This project was inspired by the musical "theme" of The Alan Parsons Project, where, together with session musicians, they created an album of exceptional musicianship. Canamii was founded in South Africa by British descendants Phil Nel (keyboards) and Claire Whitaker (vocals), who, along with guitarist Paul Woodley, created their first and only album. Released in 1980, while the overall concept is symphonic progressive rock, they are actually better suited to a crossover sound. The music could be categorized as a hybrid of baroque and symphonic sounds, with a strong classical influence. The power of this group lies in Whittaker's voice (with a timbre very similar to Annie Haslam's of Renaissance), featuring pleasing and excellent vocal layering, as can be heard in the track "The Jester". Other tracks like "Spiral" evoke a prog jazz feel, "Afrok" is the epitome of the group's sound, while the melancholic and hypnotic "Rain" and "Feelings" showcase the rich keyboard sound and the singer's melodious voice. Their more progressive side is evident in the tracks "And The Moon Be As Bright", "Children" and "Tri".

Free-Heartbreaker (1973)

“Heartbreaker” would be the seventh and final album by Free, one of the most iconic blues-rock bands of the early 70s, composed of four outstanding musicians who left behind memorable albums such as “Fire and Water” (1970), “Free At Last” (1972), and the one we're discussing here today. By the time the band entered the Islands Records studios in London in late 1972, bassist Andy Fraser was no longer with them, having left shortly after the release of “Free at Last” due to disagreements with guitarist Paul Kossoff. His place was taken by Tetsu Yamauchi, and the band was further expanded with the addition of keyboardist John “Rabbit” Bundrik. They also featured guest appearances by Traffic percussionist Kwaku Baah of Rebop and guitarist W.G. Walden, who takes center stage at many points on the album, overshadows an apathetic and increasingly drug-addicted Paul Kossoff. The majestic rock track “Wishing Well” opens this monumental work with evocative riffs from Kossoff, followed in a similar vein by the blues-rock “Come Together In The Morning” and the exuberant “Heartbreaker”. The rest of the album showcases a band brimming with emotion and feeling, featuring heavenly blues-rock tracks like “Muddy Water”, “Easy On My Soul”, and “Seven Angels”, which close an album that couldn't have a more fitting epitaph for the immortal farewell of this fabulous British band.

Try-Just A Try (1980)

Try emerged from the collaboration of German musicians Amadeus Reineck (guitars and strings) and Michael Lapp (keyboards and guitars), who became friends in 1976 and, along with bassist Dieter Bauer, formed the short-lived folk-rock band Marzipan. In 1980, they tried again with Try, this time with a more progressive approach, fusing acoustic and electronic elements, a clear example of what artists like former Genesis member Anthony Phillips and Cluster were doing at the time. Their only album is one of the lesser-known gems of pastoral progressive rock, particularly for its more bucolic sounds and powerful electric guitar moments. It's a fine blend of symphonic, folk, and electronic elements. Both Reineck and Lapp had extensive experience in studio engineering in Berlin, which resulted in an exquisite production that still sounds amazing today. Compositions like the lengthy "Wreck On The Wire", with the enchanting voice of singer Carolyne McCombs and aggressive guitars, demonstrate the quality of this band that after this album would definitively dissolve, leaving behind a career that could have been much more promising and interesting.

Wishbone Ash-Wishbone Ash (1970)

In 1970, Wishbone Ash burst onto the world stage with their formidable debut album, "Wishbone Ash", released on the MCA label and produced by Derek Lawrence. This first release saw the band, who popularized twin guitars in rock, deliver a work featuring some of their most iconic tracks, such as "Blind Eye", "Lady Whiskey", and "Phoenix". Recorded by their most iconic and successful lineup Andy Powell (guitar and vocals), Ted Turner (guitar and vocals), Steve Upton (drums), and Martin Turner (bass and vocals), the album showcases an intriguing blend of blues, jazz, folk, progressive rock, and psychedelic improvisations, all underpinned by captivating and emotive vocal harmonies. From the classic rock of "Lady Whiskey" and "Queen Of Sorrow", to the refined "Errors Of My Way", passing through the blues-tinged epic "Phoenix" and the boogie blues "Blind Eye", they complete a fascinating classic rock album, while at the same time very accessible to the general public.

Manuel Göttsching-Inventions For Electric Guitar (1975)

Manuel Göttsching is one of the great musicians of krautrock and a pioneer of electronic music, influencing generations of musicians with emblematic pieces like "Inventions for Electric Guitar". Founder of the legendary bands Ash Ra Tempel and Ashra, he began his career alongside Klaus Schulze and Harmut Enke, creating psychedelic and cosmic sounds within the krautrock genre. "Inventions for Electric Guitar" was his second solo album, though he credited it to Ash Ra Tempel as the band's sixth album. In this ambitious work, Manuel Göttsching conducted a minimalist experiment with the guitar, highly advanced for its time. Released in 1975, it's a work in which the musician explores all the possibilities of the instrument, employing countless effects such as echoes, double speeds, and loops, achieving hypnotic and immersive sounds with an astonishing and even majestic result. An album that is undoubtedly a work that is still totally relevant today due to its originality and its importance as a historical document.

Jimmy Page & The Black Crowes-Live At The Greek (2000)

“Live At The Greek” is a double live album released in 2000, featuring the American hard rock/blues band The Black Crowes, joined by Jimmy Page, as a tribute to Led Zeppelin and other blues greats. In 1999, The Black Crowes and Jimmy Page embarked on a months-long tour, performing not only Led Zeppelin songs but also blues and rock classics, interspersed with their own material. However, Columbia Records, The Black Crowes' label, was not happy about their songs sharing the same stage time as Led Zeppelin's, and this led to The Black Crowes' songs being removed from the setlists of the recorded concerts. This displeased the Georgia band, who nevertheless continued to fulfill their contractual obligations for the tour. This “Live At The Greek” was recorded at the legendary Greek Theatre in Los Angeles on October 19th and 20th, 1999. The repertoire consists of covers of Led Zeppelin and blues greats such as B.B. King, Peter Green, Sonny Boy Williamson, Elmore James, Willie Dixon, and Jimmy Rogers, as well as The Yardbirds' classic “Shapes of Things”. On this double album, the Robinson brothers' band managed to make the covers their own, imbuing the music with their unmistakable style of hard rock and blues, adding their unique nuances while still respecting the original spirit of each song. Jimmy Page, for his part, demonstrates peak form, rejuvenated and incredibly energetic, proving why he is one of the guitar greats, especially in his musical heaven. “Live At The Greek” would once again bring them glory and millions of copies sold. A double album of the best rock performed by a group of talented musicians who know how to perceive the color and smell of the best rock music.

Tony Joe White-Black and White (1969)

Tony Joe White, one of the great standard-bearers of swamp rock, nicknamed "The Swamp Fox", always possessed the skill and talent to write songs that conveyed the idiosyncrasies and racial tensions of the American South. Many of his songs are now universal classics and have been covered by great artists such as Rod Stewart, Ray Charles, Rory Gallagher, Elvis Presley, and Tina Turner. Born and raised in a small town in southern Louisiana, he grew up harvesting cotton and corn and soon showed an interest in the blues and Southern sounds such as Cajun, zydeco, folk, and country. All of this inspired him to write songs, and after meeting a talent scout who saw in him a nonconformist genius, he secured a contract with the Nashville-based label Monument Records in late 1967. However, his early songs had little media or commercial impact until one of his tracks, "Polk Salad Annie", reached the top 40, mainly because Elvis Presley himself began including it in his concerts in the late 1960s. When "Polk Salad Annie" began receiving massive airplay on radio stations across much of the United States, many initially believed it was a new Creedence Clearwater Revival song, as its style was very similar to that of John Fogerty and company. However, Tony Joe White was actually a native of the swamps, while Creedence was from California. “Black and White”, released in mid-1969, was his first full-length album, showcasing his mastery of fusing blues, zydeco, and hillbilly rock. It features a wide array of tracks that even approach soul sounds, all delivered with that deep, highly personal voice that at times sounds almost like a Black person's. Tracks like “Don’t Steal My Love”, “Who’s Making Love”, and “Scratch My Back” reveal that profound Black sensibility, while race relations, explored in a funky style, are present in tracks like “Soul Francisco”, the luminous “Willie and Laura Mae Jones” and his splendid covers of other artists such as “Little Green Apples” and “Wichita Lineman”. All of these elements combine to form a superb debut, representing the best of the music of the American heartland.

Holding Pattern-Holding Pattern (1981)

Holding Pattern was a progressive symphonic rock band founded in 1981 in Connecticut, USA, under the guidance of guitarist Tony Spada. Alongside Spada were the expert drummer Robert Hutchinson, a veteran of the North American progressive scene who had played in bands like Elysin Field, bassist Jerry Lalancette, and keyboardist Mark Tannenbaum. This band showcased a strong symphonic progressive sound, a powerful melodic quality in their compositions, and high-energy live performances. Spada was the driving force, writing virtually all the compositions. However, although his guitar was always present, the sound was based on the interplay of keyboards and guitars, strongly supported by a solid rhythm section. Their melodic approach was influenced by groups like Camel, post-Gabriel Genesis, and bands like Happy the Man. Their only album was released in 1981, although it was actually an EP with four extended tracks. On this album, the instrumental prowess is excellent, with crisp, polished touches, but it suffers from a lack of quality production. The powerful "Another Point Of View" is a song with a complex structure. The haunting, melancholic "Honor Before Glory" possesses the characteristic sound that Steve Hackett presented on his albums from the late 70s. The agile "Jigsaw Dream" moves between funk cadences and highly dynamic symphonic developments. Meanwhile, in the closing epitaph, "Out Of The Tunnels", we find subtle Crimson-esque sounds as well as Holding Pattern's rockier side.