Epitaph-Epitaph (1971)

During the first part of the 1970s, many German bands were influenced by British hard rock. Groups like Led Zeppelin, Groundhogs, Black Sabbath, Uriah Heep, Nazareth, and Deep Purple faced serious competition, primarily in Germany, from their German contemporaries such as Frumpy, Epsilon, Armageddon, and Anyone's Daughter, among many others. As a general rule, German bands used English, and some even had their own British vocalists. Epitaph was one such band, featuring singer and guitarist Cliff Jackson. Founded in Dortmund in the late 1960s, Epitaph, in addition to Jackson, consisted of bassist Bern Kolbe and drummer Jim McGillivray. In 1971, this power trio began recording material for their debut album in Essex, England, but for unknown reasons, they finished the album at Windrose Studios in Hamburg, where guitarist Klaus Walz joined for the final recording. Finally released under the Polydor label near the end of 1971, this self-titled debut album featured five tracks with a heavy prog sound similar to British bands, particularly Uriah Heep. It included superb pieces such as the hard rock tracks "Moving To The Country" and "London Town Girl", progressive heavy rock tracks like "Hopelessy" and "Little Maggie", and psychedelic rock exercises such as the expansive "Early Morning". In 1972, Epitaph recorded their second LP, "Stop, Look And Listen", in Berlin, with a style very similar to their first album. With these two promising works, the band had a bright future ahead, leading the American company Billingsgate to sign them and invest considerable time and money in recording their third album, "Outside The Law" (1974). On this new record, the sound was much cleaner, abandoning the progressive style for a harder, more direct hard rock sound. After an extensive and expensive tour across the United States promoting their latest album, Billingsgate Records went bankrupt, and the band was forced to disband in 1975, primarily to avoid assuming the debts of their record company. By 1976, the band had reappeared, recording a series of albums focused on hard rock and heavy metal and touring extensively in Europe with considerable credibility and moderate success, which has kept them among the most respected German hard rock bands of the early 1970s.

Vangelis-Blade Runner (1994)

"Blade Runner" was the first of two soundtracks Vangelis would compose for director Ridley Scott; the other was "1492: Conquest of Paradise", both excellent and successful examples of the Greek musician's genius and talent. However, the "Blade Runner" soundtrack wasn't officially released until many years after the film, and to compensate for this, a reinterpreted version by the New American Orchestra was released. Twelve years later, in 1994, the original version was finally released, and a few years later, in 2007, an extended version was released, which also contained a series of cuts not included in the official theatrical release. For the music, Vangelis brilliantly uses a perfect fusion of futuristic, ambient, and traditional sounds. With each track, Vangelis transports the listener to a distant future (nowadays, not so distant thanks to current technological advancements), embellishing the music with strange effects, Eastern influences, and the sounds emanating from his multiple synthesizers, keyboards, and other electronic and acoustic instruments. Among his magnificent passages are the heart-wrenching "Memories of Green", the Eastern influence of "Damask Rose" and "Call Out The Dogs", the blues-tinged "Blade Runner Blues", the pacifist ambient "Rachel's Song", the smooth jazzy touch of "Wait for Me", the epic "Blade Runner (End Titles)", and the grandiose and comforting "Love Theme".

Klaus Schulze-Blackdance (1974)

The third solo album by German synthesizer wizard Klaus Schulze is a kind of transitional record between the avant-garde "Irrlicht" and "Cyborg" and the more accessible "Timewind" and "Mirage". "Blackdance" was originally released in 1974, but due to printing errors in the date on the album covers, it was for some time believed to be the fourth album after "Picture Music" (1975), and was erroneously listed as the fourth album on a number of more recent CD reissues. However, its chronological order has now been correctly restored. On "Blackdance", Schulze crafts incredibly dark, immersive, and abstract space music, and for the first time uses the human voice on one of his albums. To achieve this, the keyboardist recruited vocalist and percussionist Ernst Walter Siemon, who delivers operatic vocals in the first six minutes of the hypnotic and dark suite "Voices of Syn". Other highlights include the spacey and psychedelic flourishes of "The Ways of Changes" and the recurring minimalist electronica of "Some Velvet Phasing". However, despite being one of his most distinctive and interesting works, this third album by Klaus Schulze is often overshadowed by more mainstream releases like "Mirage", "X", or "Timewind".

Frank Zappa-Joe´s Garage Acts II & III (1979)

The second and third parts of Frank Zappa's satirical rock opera "Joe's Garage" showcase the American musician's extraordinary guitar skills, featuring some of his best riffs and solos, along with spectacular percussion masterfully executed by Terry Bozzio and Vinnie Colaiuta, and excellent interplay among all the musicians involved, including Patrick O'Hearn, Warren Cucurullo, Ike Willis, and Peter Wolff. While musically it displays a wide variety of styles, lyrically Zappa's sarcastic commentary and biting humor about much of American society remain ever-present. Zappa leaves his mark of genius on this album with excellent guitar performances as demonstrated in "He Used to Cut the Grass", "Keep It Greasey" or "Packard Goose", while on the other hand the reggae "Sy Borg", the exotic "Watermelon in Easter Hay" or the carefree "A Little Queen Rosetta", add a touch of color to a formidable and truly enjoyable work despite its enormous complexity.

Farm-Farm (1971)

Farm were a Southern blues rock band from the late 1960s. Hailing from the U.S. state of Illinois, their discography consisted of only one album, which, to make matters worse, had a very limited run of just 500 copies. The lineup included guitarist Del Helbert, drummer Mike Young, bassist Jim Elwyn, and singer/guitarist Gary Gordon, who, with the help of percussionist Steve Evanchik, recorded a demo at Golden Voice Studios in South Perkin. This demo eventually became a self-titled album released in 1971. On this record, Farm showcased their influences from Southern rock, acid rock, blues, and boogie rock. Their repertoire was based on original songs and covers, including the instrumental blues track with prominent guitar parts, "Jungle Song", the blues rock song "Cottonfield Woman", the boogie rock song "Let The Boy Boogie", and their version of The Allman Brothers' "Stateboro Blues". In short, a great forgotten and obscure album, with great sharp guitar sounds, very solid rhythms, skillful interludes, and a predominant organ sound that layers the developments of the five pieces of this superb work of blues from the southern states of America.

Player-Player (1977)

Player was an exquisite soft rock band that blended the vocal harmonies of bands like America with the musical excellence of Steely Dan, in a style close to melodic rock. Player was founded in Los Angeles in 1976 by bassist Ronn Moss, who already had extensive experience in the city's music scene. The rest of the band consisted of British guitarist Peter Beckett, keyboardist and guitarist J.C. Crowley, and drummer John Friesen. For a time, they performed concerts as the opening act for Gino Vannelli, gaining a strong reputation on the California rock circuit. Even then, they were performing what would later become their big hit, "Baby Come Back". In addition to their concerts, the band dedicated themselves to composing songs intended for recording an LP, featuring a smooth and elegant rock sound with a strong emphasis on melodic vocals, guitars with a clear rock accent, and passages of synthesizers and keyboards. For this last endeavor, they enlisted the help of keyboardist Wayne Cook, who joined the band, though not officially. With enough material composed, they began searching for a record label to produce an album. Ultimately, RSO financed the release of their first album, which hit the market on September 1, 1977. Almost simultaneously with its release, and thanks to the song "Baby Come Back", the band achieved resounding success, reaching number one on the Billboard charts and remaining there for an astounding 32 consecutive weeks. But this debut album wasn't solely focused on the excellence of "Baby Come Back". The rest is an irresistible collection of unpretentious melodies, elegant rock with high-level pop touches, as reflected in the charming "Come On Out", "Goodbye (That's All I Ever Heard)", "Every Which Way", and "Love Is Where You Find It", the captivating rock of "Cancellation", the funky "Movin' Up", and the sublime ballad "Tryin' To Write A Hit Song", all of which together form one of the best debut albums in recent memory. A year later, Player released their second album, "Danger Zone", with some of the same characteristics as their debut, although featuring a more aggressive sound. While it didn't achieve the same level of success, it still earned a gold record for sales and spawned several impactful singles such as "Prisoner Of Your Love" and "Silver Lining".

Indian Summer-Indian Summer (1971)

This is one of the hidden gems of English proto-progressive rock, a spectacular and magnificent work that was the sole legacy of the British band Indian Summer. Formed in Coventry in 1968 by drummer Paul Hooper and singer/keyboardist Bob Jackson, both musicians had already played in various Coventry bands such as The Rochester Beaks and This That And The Other. The band was completed by guitarist Roy Butterfield and bassist Alan Hatton. Indian Summer initially opted to be a cover band, but this trend was short-lived, as the talent of its members soon led them to create their own music. In the midst of a period of great creativity, guitarist Butterfield left the band and was replaced by Steve Cottrell just as they were discovered by talent scout Jim Simpson, a renowned promoter who at the time was managing bands such as Earth, who would soon become Black Sabbath. After several lineup changes, they signed with Vertigo Records and entered Trident Studios in London to record their first album in 1971. This self-titled debut featured Hooper and Jackson, along with new members Colin Williams on guitar and Malcolm Harker on bass. The album is packed with rhythmic sounds and expansive musical passages, emphasizing keyboards and guitars, and possessing a certain dark atmosphere. The opening track, "God Is The Dog", stands out as a superb composition that highlights Bon Jackson's deep vocals and organ sounds, while progressive passages like the excellent "From The Film Of The Same Name", "Black Sunshine", and "Half Changed Again" are on par with any of the leading bands of the era. The rest of the album is of exceptional quality, achieving sublime moments of great symphonic rock. The band's limited commercial success led to its dissolution, with each member pursuing different solo projects or focusing on other professional matters.

Dixie Dregs-What If (1978)

Influenced by bands like Return to Forever and the Mahavishnu Orchestra, Dixie Dregs was one of the most interesting bands to combine jazz-rock with progressive sounds and country with elements of cutting-edge classical music. Formed in 1970 in Georgia by guitarist Steve Morse and bassist Andy West, it wasn't until the middle of that decade that they released their first album, "The Great Spectacular" (1976), which already showcased their skillful blend of styles. "What If", their third album, was released in 1978, and here the band ventured even further into harder territory with hints of hard rock, while maintaining their original style of progressive rock, jazz fusion, and influences from traditional American music. For this album, in addition to Morse and West, the band included Allen Sloan on violin, Rod Morgenstein on drums, and Mark Parrish on keyboards. Tracks like the huge “Take It Off The Top”, “Ice Cakes” or “Night Meets Light” placed Dixie Dregs at the forefront of progressive jazz rock in the late 1970s.

Atlas-Blå Vardag (1979)

Another interesting Swedish band was Atlas, who, with only one album released, achieved cult status within the European progressive rock scene. Founded in Malmö in 1974, their lineup consisted of keyboardists Björn Ekborn and Erik Björn Nielsen, Micke Pinotti on drums, Uffe Hedlund on bass, and Janne Persson on guitar. Their style was primarily focused on a meticulously crafted symphonic rock with elements of fusion and expansive instrumental passages, featuring numerous interplay between guitars and keyboards. To some extent, they drew on the progressive influences of the British band Genesis, the Canterbury sound of Camel, and the understated style of their compatriot Bo Hanson. Their only album, "Blå Vardag", released in 1979 by the Swedish label Bellatrix, was highly praised by critics and well-received by the progressive rock community. The entire album is remarkable, but it is undoubtedly the expansive "På Gata" that best encapsulates the band's excellence with an exquisite exercise in bizarre progressive rock, featuring layers of mellotrons, synthesizers, organ, and piano, with dense yet subtle sounds interwoven with energetic guitars. The remaining tracks maintain a very similar style, with echoes of jazz-rock at various points and some bucolic, pastoral sounds, always bathed in torrential curtains of keyboards and guitars.

Kenny Burrell-Midnight Blue (1963)

Kenny Burrell is one of the most important figures in jazz, an enormously versatile musician, considered one of the greatest guitarists of the genre and an icon of the Blue Note label. He has left behind essential works, both in his solo career and as a musician for other jazz artists. From a very young age in the 1950s, he recorded his first albums, showcasing his most notable influences, ranging from Charlie Haden to Django Reinhardt, and including one of his idols, West Montgomery. In the early 1960s, he recorded one of his most remarkable albums, this time focused on the blues, where he was accompanied by saxophonist Stanley Turrentine, percussionist Ray Barretto, bassist Major Holley, and drummer Bill English. The album "Midnight Blues", released on the Blue Note label, is an exquisite journey through the relaxed sounds of blues and jazz, showcasing Burrell's dazzling guitar technique and the brilliance of the rest of the band, especially Turrentine's saxophone. Lustful tracks like "Chitlins con Carne", the pleasurable "Mule", the melancholic "Soul Lament", and the exuberant "Midnight Blue", demonstrate Burrell's impeccable guitar mastery on an album as masterful as it is essential to the history of jazz.

Ray Owen´s Moon-Moon (1971)

In 1970, guitarist Ray Owen left Juicy Lucy, with whom he had recorded their debut album a year earlier, to begin his solo career. He founded Ray Owen's Moon with guitarists Dick Stubbs and Les Nicol, bassist Sid Gardner, and drummer In McLean. That same year, they were invited to perform at the Isle of Wight Festival and shortly afterward at the Midnight Sun Festival in Sweden, alongside Elton John, Blue Mink, Chuck Berry, Canned Heat, and Hawkwind. In 1971, they released their only LP, titled "Moon", which, like Owen's subsequent solo career, faded into obscurity. However, in the following years, Owen actively collaborated with the band Killing Floor, with Vincent Crane, and in the mid-1990s, he resurrected Juicy Lucy, with whom he recorded several albums during that decade. In "Moon", Ray Owen presented a psychedelic rock sound with blues and funk influences, full of great riffs, at times quite saturated due to the sound of the three guitarists (Owen, Gardner, and McLean). The funk-rock track "Talk To Me" combines all of the above with a funky bassline. In contrast, the hypnotic and atmospheric "Don't Matter" provides a moment of respite from the album's frenetic pace, which resumes with the powerful funk of "Ouiji" and the psychedelic-tinged hard rock of "Hey Sweety". The album concludes with the acid-tinged cover of Jimi Hendrix's "Voodoo Chile". one of the highlights of a work considered by the prestigious magazine Classic Rock to be a lost gem of rock.

Camel-A Nod And A Wink (2002)

Three years after the spectacular "Rajaz", in 2002 Andy Latimer reunited his band Camel to record their next official album, "A Nod and a Wink". Following a similar path to its predecessor, this new album showcases Andy Latimer playing sublime guitar solos in reflective and consciously nostalgic atmospheres. For this occasion, Latimer was reunited with bassist Colin Bass, after many years away from the band, as well as drummer Denis Clement and keyboardist Guy LeBlanc. Here, the sound approaches their essential style, sharing its glorious past with Latimer's flute, which transports us to magical passages, enhanced by some moving solos and revitalizing instrumentation. The ambient sounds of the opening track, "A Nod and a Wink", already hint at the direction this album will take, with its neo-progressive undertones. Other tracks like "Boy's Life", "The Miller's Tale", "Simple Pleasure", "Squigely Fair", and the emotionally charged "For Today" are steeped in sophisticated atmospheres with a strong bluesy feel. Ultimately, with this album, Andy Latimer firmly established his unparalleled ability to create music that is both admirable and pleasing.

Sebastian Hardie-Four Moments (1975)

This Australian band pioneered the progressive rock genre in their country and was originally called the Sebastian Hardie Blues Band. Founded in 1967, the band underwent several lineup changes over the years until well into the 1970s, when the classic lineup emerged, consisting of vocalist and guitarist Mario Millo, keyboardist Toivo Pilt, drummer Alex Plavsic, and his brother, bassist Peter Plavsic. In 1975, under the Mercury label, they released their debut album, "Four Moments", by which time they had adopted the definitive name Sebastian Hardie. On this debut album, the band makes no secret of their strong influence from the British band Yes, with a greater emphasis on Mellotron keyboards than those typically used by Rick Wakeman. The vocals are also prominent, featuring deep and powerful tones. The first side of the album focuses on vibrant sounds with funky undertones and expansive instrumental passages in "Glories Shall Be Released" and "Dawn of Our Sun", while "Journey Through Our Dreams" is much more atmospheric, featuring outstanding guitars and frenetic rhythmic shifts. The beautiful instrumental "Rosanna" serves as a prelude to "Opening", which closes the album with excellent interplay between the four band members in a superb mini-suite of progressive rock in the purest style of classic Camel. "Four Moments" was a great success, and the track "Rosanna" won an award for best instrumental single. Their next album, "Windchase", was released in 1976, and both albums are considered by critics to be progressive rock classics, particularly within the Australian symphonic rock scene. Shortly after the release of their second album, the band broke up. Millo and Pilt adopted the name Windchase and released an album. "Symphinity" in 1977, which stayed close to the sound of Sebastian Hardie, but did not find the same success or recognition as that of his parent band.

Iron Maiden-Fear Of The Dark (1992)

In the early 1990s, Iron Maiden was experiencing a somewhat uncertain period. The rise of grunge and alternative rock, among other genres like the resurgence of classic hard rock and neo-progressive rock, were challenging and calling into question the traditional heavy metal bands of the previous decade. To make matters worse, their last album, "No Prayer for the Dying", had shown an alarming lack of ideas. Therefore, for their next album, "Fear of the Dark", Steve Harris and company pulled out all the stops to address the dissatisfaction their previous work had caused among their millions of fans. However, "Fear of the Dark" doesn't actually stray far from its predecessor, replacing lyrics inspired by fantasy and literature with others more focused on social and everyday themes. Musically they continue to showcase epic heavy metal but without the complexities of yesteryear; even so, we can still find great heavy metal anthems like "Be Quick Or Be Dead", "From Here To Eternity", "Fear Of the Dark" or "Wasting Love", while the rest are compositions with a more sinister and dark tone but of little creative intensity.

Rush-Permanent Waves (1980)

At the dawn of the 1980s, Rush released the album "Permanent Waves", in which they began to gradually move away from the progressive sounds of previous works such as "2112", "A Farewell to Kings", and "Hemispheres". While not entirely abandoning that genre, they delved into more accessible and mainstream sounds, always maintaining the framework of complex compositions with high-quality instrumentation. "Permanent Waves" was the most evident work of this transition, showcasing both Rush's most epic and progressive side and their most accessible. Tracks like the lengthy and experimental "Jacob's Ladder" and the epic and sublime progressive "Natural Science" are combined with clearly commercial tracks like "The Spirit of Radio" and "Freewill", featuring deep mid-tempo grooves and impeccable technical and instrumental execution. Many of the tracks here have a more realistic theme, unlike the splendid science fiction narratives of their previous albums, where philosophical reflections are bathed in epic yet more earthly details. The revealing dreams of a prophet ("Jacob's Ladders"), the critiques of the system ("Natural Science"), and those dealing with the affirmations of individuals and their relationships, such as "Different Strings" and "Entre Nous", are clear examples of this. In contrast to the aforementioned, more addictive, AOR-influenced tracks "The Spirit of Radio" and "Freewill". Ultimately, this seventh album from the Canadians was one of their finest achievements, in which they masterfully combined echoes of the past with the most modern sounds, a style they would soon reflect in their subsequent albums, such as the monumental "Moving Pictures" released a year later.

Billy Cobham, Steve Khan, Alphonso Johnson, Tom Scott-Alivemutherforya (1978)

In 1975, Billy Cobham left Atlantic Records to sign with Columbia. With this new label, the drummer debuted with the album "A Funky Thirst of Sings", featuring collaborations with musicians such as John Scofield, Randy Brecker, Michael Brecker, and Alex Blake. This album received positive reviews in jazz-rock circles; however, his subsequent efforts were more of a continuation of that style without much impact. It wasn't until the album "Magic", released in 1977, that he achieved his best work for the Washington-based label. Shortly afterward, Columbia encouraged Cobham to record a live album at their studios on 30th Street in New York City, which would be titled "Alivemotherforya". This was one of the most prestigious studios in the city, but nevertheless, it was an unusual venue for recording a live album. For the recording, some of the heavyweights Columbia Records had on its roster of jazz artists at the time joined forces, including guitarist Steve Khan, bassist and keyboardist Alphonso Johnson, and saxophonist Tom Scott. Interestingly, none of them had participated in the album "Magic". After recording "Alivemutherforya", the sound engineers noticed a significant lack of applause, which wasn't surprising given that the studios only had room for a small auditorium. But desperate times call for desperate measures, and they soon found an effective solution: they added applause and the ambient sound from some live performances by the band Chicago and Laura Nyro. With a bit of creative mixing, it sounded as if Cobham, Khan, Johnson, and Scott were playing to a huge, appreciative audience. This solved the problem, and the album was released in mid-1978. The result of this live "improvised" recording is essentially a repertoire of jazz-funk tunes with a fair amount of electronics, showcasing the talent of all four musicians. Due to its variety and spontaneity, it proved to be a project far superior to the individual work of each musician at that time. Highlights include the opening track, "Anteres", featuring superb saxophone work by Scott; the melodic jazz fusion "Shadows"; the vigorous jazz-funk rock "Some Punk Funk"; and "On A Magic Carpet Ride" a jazz-rock exercise that highlights the strengths of each member of the group. "Alivemutherforya" was very well received by critics and even sold reasonably well, but below the expectations of CBS Columbia, who never attributed this album to Billy Cobham's official record label, which would lead, after the release of one more album, to the termination of the contract by both parties.

The Rolling Stones-Some Girls (1978)

The end of the 1970s was characterized by the explosion of new musical movements that drew a segment of the public to them, such as disco and new wave. Within this context, The Rolling Stones released one of the most varied albums of their entire career. "Some Girls" was preceded by a series of scandals involving their guitarist Keith Richards, who a year earlier had been accused of drug possession in Canada, and to top it all off, had a subsequent affair with Margaret Trudeau, the wife of Canadian Prime Minister Pierre Trudeau. Amidst all these scandals, Mick Jagger was the main songwriter for the new album, which reflects the singer's musical tastes at the time. Released in mid-1978, the album revolves around the super hit "Miss You", a funky, bluesy track that opens the album spectacularly, while still maintaining a quintessential Stones sound. The rest of the album comprises a vibrant and exceptional repertoire of outstanding tracks, such as the rock 'n' roll anthem "When The Whip Comes Down", followed by the incendiary "Lies" and "Respectables", two of the hardest-hitting songs on their entire discography. They also venture into soul with "Just My Imagination (Running Away With Me)", country with "Far Away Eyes", and the then-fashionable punk of "Shattered", concluding with the quintessential Stones ballad "Beast Of Burden". All of this demonstrates that intelligence and creativity remained hallmarks of the best rock and roll band on the planet. "Some Girls" achieved six platinum records in the United States alone and worldwide sales exceeding 8 million copies.

Wishbone Ash-Nouveau Calls (1987)

For the first time in many years, the original Wishbone Ash lineup returned in 1987 to create one of their most experimental albums, while subtly recapturing the signature sound that had brought them so much success in the 70s. Martin Turner, Steve Upton, Andy Powell, and Ted Turner crafted a completely instrumental album, even incorporating additional instruments they hadn't used before. Although criticized by some of their most devoted fans, the group aimed to showcase a musical evolution that, while misunderstood by many, remains a kind of avant-garde album, adding touches of Eastern, jazz, and Caribbean influences. Tracks like "Tangible Evidence", "Clousseau", "Real Guitars Have Wings", "Arabesque", "The Spirit Flies Free", and "Johnny Left Home Without It", however, still bear the unmistakable mark of the twin guitars and precise rhythm section of this popular British group, despite all the criticism.

Trace-Birds (1975)

Trace was a Dutch band from the city of Haarlem, founded by keyboardist Rick van der Linden in 1974. For several years, they enjoyed a remarkable career, releasing several albums of excellent progressive rock. From a young age, Rick van der Linden had taken piano lessons, undoubtedly influenced by his father, who was also a pianist. Later, he learned to play the organ and eventually enrolled in the conservatory in his hometown. From there, the young Rick joined various local bands, playing in nightclubs. Even then, his style was based on the influence of keyboardists such as Brian Auger and Keith Emerson. In 1974, he founded Trace with bassist Jaap van Eik and drummer Pierre van der Linden, both of whom had extensive experience playing in bands like Solution, Focus, and Living Blues. With Trace, Rick was able to develop his own ideas, creating a symphonic rock sound dominated by keyboards. That same year, thanks to the Dutch label Philips, they released their first album, "Trace", already showing similarities to early Emerson, Lake & Palmer. Both this debut and its follow-up, "Birds" (1975), offered a sumptuous and exciting symphonic rock sound, driven by Rick's wide range of keyboards (Hammond B3, ARP synthesizers, and Mellotron), with a primarily instrumental style where the aforementioned Mellotron and Hammond sounds are majestic, supported by a powerful rhythm section. A testament to this band's potential is the epic "King-Bird", a track from their second album, a progressive exercise in dazzling keyboard work, rhythmic shifts, electric guitars, and dynamic interplay. "The White Ladies", the third and final album released a year later, showed a lack of ideas. Despite being conceived as a concept album, it was a discreet continuation without the excellence of its predecessors, which would prematurely end the adventure of this formidable Dutch band.

Vangelis-Chariots Of Fire (1981)

This is the most accessible and successful album by the Greek keyboard wizard Evangelos Odysseas Papathanassiou, better known as Vangelis. For millions of people around the world, this was their introduction to Vangelis's music, thanks to the enormous popularity of the film "Chariots of Fire" and its instrumental accessibility. Unlike much of Vangelis's work, the music on this album is not overly complex, presenting a romantic and sensitive atmosphere in its piano and synthesizer melodies. The main theme is a beautiful, majestic symphonic piece and boasts one of the most recognizable melodies ever written. This theme, along with the entire repertoire of the album's first part, unfolds with epic mastery, reaching an emotional climax in the final epic an extensive suite of unparalleled atmospheres, melodies, and grandeur. Four Oscars, including Best Picture and Best Original Score, and over three million copies sold, attest to this fundamental work by Vangelis and to electronic music in general.

Caravan- If I Could Do It All Over Again, I'd Do It All Over You (1970)

Masters of the Canterbury sound, Caravan created absolute masterpieces with their first four albums, not only of that quintessentially British style but also of progressive rock in general. Their second album is a truly rewarding musical journey, brimming with addictive atmospheres, vibrant jazz sounds, flawless vocals, and superb instrumental performance. Here, the lineup of Pye Hastings (guitars and vocals), Richard Coughlan (drums and percussion), David Sinclair (organ and keyboards), Richard Sinclair (bass and vocals), and Jimmy Hastings (saxophone and flute) wove a complex musical tapestry where precise rhythmic sections stand out, all under a distinctly avant-garde musical spirit. From the monumental and flawless jazz-rock track "Can't Be Long Now/Françoise/For Richard/Warlock", a tremendous 15-minute whirlwind of catchy choruses, exhilarating rhythms, and outstanding keyboards, to the crescendoing "And I Wish I Were Stoned-Don't Worry", and the progressive experiments of "With an Ear to the Ground You Can Make It/Martinian/Only Cox/Reprise", Caravan positioned themselves at the forefront of the Canterbury scene with this album, crafting a record that would astonish everyone and become one of the gems of rock history.

Mike Bloomfield & Al Kooper-The Live Adventures of Mike Bloomfield and Al Kooper (1969)

This is a historic album, one of those magical evenings of wonderful jam sessions featuring two of the greatest icons of American music: Al Kooper and Mike Bloomfield. For three consecutive nights, September 26, 27, and 28, 1968, these two legendary musicians recreated the magic that had been born on the acclaimed album "Supersession" a few months earlier. The venue chosen for these concerts was the already legendary heart of the Californian music scene, the Fillmore West in San Francisco. With only a few days of rehearsal, the two musicians, along with drummer Skip Prokop and bassist John Khan, delivered concerts filled with superb renditions of blues and rock classics, interspersed with their own compositions. During these concerts, one of the most curious moments occurred: Bloomfield decided to take the microphone and debut as a singer. The legendary guitarist had never before assumed that role in his already extensive career. However, on the third night, Bloomfield was unable to perform due to several nights of partying without sleep. Al Kooper had to improvise, replacing the guitarist with two young musicians who were already beginning to make a name for themselves in the music world. These two young men were Carlos Santana and Elvis Bishop (the latter being Bloomfield's bandmate in the Paul Butterfield Blues Band). The result was a powerful testament to the formidable chemistry between these rock legends, beginning with Bob Dylan's classic "Highway 61 Revisited", followed by a wide variety of melodies, including Kooper and Bloomfield's song "Her Holy Modal Highness", and a repertoire of covers such as Paul Simon's "The 59th Street Bridge Song (Feelin' Groovy)", Elvis Presley's classic "That's All Right", The Band's "The Weight", Booker T. and the MG's "Green Onions", and Albert King's "Don't Throw Love on Me So Strong". These concerts were so acclaimed and important that they had to repeat the performances on an intense tour of different North American cities, concluding the tour at the other iconic venue of the era, the Fillmore East in New York, on December 12th and 13th of the same year. For these last two concerts, they were also joined by Johnny Winter on B.B. King's "It's My Own Fault", which he performed as a duet with Mike Bloomfield. Many years later, the original tapes were rediscovered and released as "The Lost Concert Tapes". From this point on, the careers of both are well known. Al Kooper continued as a producer and collaborator with greats such as The Who, The Rolling Stones, Jimi Hendrix, Blood, Sweat & Tears, Bob Diddley, The Tubes, Roger McGuinn, and Neil Diamond, among many others, in addition to being responsible for discovering the legendary Lynyrd Skynyrd. For his part, Mike Bloomfield continued with a fruitful career, until his death in 1981, contributing his magic with the six strings on his own and other people's albums, collaborating on records by Janis Joplin or Muddy Waters, or publishing the meritorious "If You Love These Blues, Play 'Em As You Please" (1976) or "Between A Hard Place and the Ground" (1979), leaving his legacy to the legend that has made him one of the great guitarists in the history of rock.

The Blues Project-Reunion In Central Park (1973)

In 1973, The Blues Project reunited after a six-year hiatus. This took place at the Schaffer Festival in New York's Central Park. The Blues Project had formed nine years earlier in the city of skyscrapers by guitarists Steve Katz and Danny Kalb, along with drummer Roy Blumenfeld, bassist Andy Kulberg, and singer Tommy Flanders. Al Kooper joined in 1965, arriving in time for the recording of their first album, "Live At The Cafe Au Go Go" (1966). From there, the band toured extensively across the United States, subsequently releasing their second album, "Projections". After this album, departures began, the first being Al Kooper, followed by other members. Despite this, the remaining members released two more albums, "Live At Town Hall" (1967) and "Planned Obsolescence" (1968). After this last album, there was a general breakup, until in 1970 some of its former members, such as bassist Don Kretmar, along with guitarist Kalb and drummer Blumenfeld, joined guitarist Bill Lussenden and keyboardist Gabriel Mekler and revived The Blues Project, releasing the albums "Lazarus" (1971) and "Blues Project" (1972). Then in 1973, at the aforementioned Schaffler Festival, the original members of the band were reunited, with the exception of singer Flanders. In a memorable and historic performance, the band played an excellent repertoire of blues, rock and country, including versions of the blues classics “Louisiana Blues” by Muddy Waters and “Caress Me Baby” by Jimmy Reed, the country songs “Steves Song” and “Fly Away”, the melodic folk song “Catch The Wind”, the jam blues song “Wake Me, Shake Me” and the superb and hypnotic blues song “Two Trains Running”.

Toe Fat-Toe Fat (1970)

Let's return to the topic of obscure bands from the late sixties, and this time it's Toe Fat's turn. This short-lived group included future Uriah Heep members Ken Hensley and Lee Kerslake. Another notable member was John Glascock, who would later join Ian Anderson's Jethro Tull, and the lineup was completed by vocalist Cliff Bennett. Their first album was released by Parlophone, an EMI subsidiary, in 1970, and despite its commercial failure, it garnered considerable praise from critics and fans alike. This led to them being hired as the opening act for Eric Clapton, Dave Mason, and Duane Allman's band, Derek and The Dominos, on a US tour for several months in 1970. After this tour, Hensley and Kerslake left Toe Fat to form Uriah Heep and were replaced by guitarist Alan Kendall and drummer Brian Glascock, with whom they released the band's second and final album, "Toe Fat Two", at the end of that same year, 1970. Focusing on their first album, with its striking cover art by Hipgnosis, Toe Fat showcased an energetic hard rock sound with bluesy touches and certain progressive influences, reminiscent in some ways of early Uriah Heep. Energetic proto-hard rock tracks like the opening "That's My Love For You" contrast with the bluesy "Bad Side of the Moon" and the lysergic, heavy "Nobody", while "The Wherefores and the Why" is a melodic, psychedelic composition. Other standout tracks include the hard rock "But I'm Wrong", the folky boogie "Just Like All the Rest", and the rhythmic, acid-tinged "I Can't Believe". After the second album, the band broke up, and some members went their separate ways. Guitarist Kendall joined the Bee Gees, and drummer Glascock, after a brief stint with Rod Evans's former Deep Purple band, Captain Beyond, joined The Motels and later collaborated with artists like Iggy Pop and Joan Armatrading.

Aum-Bluesvibes (1969)

Aum was a psychedelic blues-rock band that emerged during the vibrant flower power era in San Francisco, but their career was short-lived, releasing only two interesting albums of great blues-rock. It was 1968 when guitarist and lead vocalist Wayne Ceballos founded Aum with Kenneth Newell on bass and Larry Martin on drums. They managed to get Bill Graham, the producer and owner of the legendary Fillmore West, to hire them as the opening act for bands like Creedence Clearwater Revival, among others. Their style, steeped in the traditional sounds of San Francisco's burgeoning hippie movement, was influenced by blues with gospel influences and the prevailing psychedelia. They quickly gained recognition thanks to their engaging live performances, which included typical jams with their powerful blues-rock sound. This caught the attention of Sire Records, a subsidiary of Polydor, which offered them a recording contract. On their debut album, "Bluesvibes", the band showcased their perfect affinity for West Coast-influenced blues, immediately establishing their credentials: a great guitar, backed by a solid rhythm section and a fine harmonica, with a repertoire brimming with feeling and rich instrumentation. This debut opened with a fantastic cover of the classic "Tobacco Road", but it was their own original songs that truly shone, such as the fast-paced blues "You Can't Hide", the soulful blues "Chilli Woman", and the lilting "A Little Help From You" and "Movin' Man". That same year, 1969, they released a second album, "Resurrection", featuring a harder sound but still firmly rooted in the blues. Then, after barely two years, they vanished from the music scene forever.

Motörhead-Ace Of Spades (1980)

In the midst of a particularly prolific period, Motörhead released their fifth studio album, "Ace of Spades", another impressive showcase of their frenetic, abrasive, ferocious, and dizzying style of heavy metal punk. This time, their sound was more refined than their previous raw and gritty albums, yet retained their primal essence. Led by the cavernous Lemmy, whose gravelly, somber vocals, machine-gun-like, killer bass, and master-of-ceremonies demeanor surrounded a band of colossal musicians including the blistering drummer Philthy "Animal" Taylor and Eddie Clarke's superb guitar riffs and solos they left behind a monumental work of furious and ruthless heavy metal. Songs like the title track foreshadowed what would soon arrive in the world in the form of thrash metal, here disguised as punk rock. Other tracks like the immense "Love Me Like A Reptile" and "Live To Win", the brutality of "(We Are) The Road Crew" or the overwhelming "Bite The Bullet", "Dance" and "Fast And Loose", make up a sweeping and monolithic album that is an essential masterpiece in the history of rock.

Zomby Woof-Rinding On A Tear (1977)

Zomby Woof was a German symphonic rock band that took its name from a song by Frank Zappa and The Mothers from their album "Overnite Sensation". The band was formed in 1971 by guitarists Henrich Winter and Udo Kreuss, along with bassist Frank Keinath and drummer Thomas Moritz. After several lineup changes, keyboardists Matthias Seelman and Matthias Zumboich joined, bringing about a substantial change in their sound, heavily influenced by the symphonic style of Procol Harum. In 1974, the band performed alongside established acts Kraan, Birth Control, and Embryo at the Hayinger Festival. After some time trying to secure a record label to release their debut album, the German label Jupiter signed the band, and they entered Olympia Music Studios in Munich. There, they discovered a Mellotron, which they would later use extensively during the recording of their first album. Finally, in the autumn of 1977, the LP “Rinding On A Tear” was released by Jupiter and distributed nationally by BMG Ariola. Sales are estimated to have eventually reached 5,000 copies, an astonishing figure for an unknown band with minimal promotion from the record label. This first and only album boasts an absolutely stunning symphonic sound, a superb work by a fully accomplished band. From the well-developed melodies to the rich interplay of organ, bass, and solid vocals in correct English, the excellent instrumental development that Zomby Woof delivers on this album places them somewhere between the symphonic sounds of Nektar and the progressive hard rock of Eloy. “Rinding On A Tear” is considered by many critics to be one of the finest works of German symphonic rock.

Mike Rutherford-Smallcreep´s Day (1980)

Once Genesis had finished their world tour promoting the album "...And Then There Were Three...", its three members, Phil Collins, Mike Rutherford, and Tony Banks, decided to take a break from the band to pursue their solo projects. Thus, in 1980, Mike Rutherford released his first solo album, "Smallcreep's Day", for which he collaborated with his former Genesis bandmate, Anthony Phillips, who handled keyboards (a departure from his usual guitar), drummer Simon Phillips, percussionist Morris Pert, and singer Noel McCalla, while Rutherford played guitar and bass. Recorded at Polar Studios in Stockholm, it was produced by David Hentschel, the engineer who had worked on Genesis's later albums, in the final months of 1977. With "Smallcreep's Day", Mike Rutherford demonstrated his enormous talent for composing great pieces with excellent progressive melodies, alongside others with a clear symphonic pop feel. Instrumentally, the choice of the almost unknown McCalla was a wise decision, with very emotive and convincing vocal performances, while Anthony Phillips does an excellent job with an instrument that is not his usual one, while the rest show the perfect solidity for the execution of the pieces on this album. The album has two quite distinct parts. The first is composed of progressive and symphonic sounds, featuring the extensive suite "Smallcreeps' Day", divided into seven parts. While it's certainly more focused on individual pieces than a concise, cohesive theme, it boasts a wide variety of progressive rhythms, styles, and atmospheres, with numerous 12-string guitar passages, electric guitar solos, and sublime synthesizers and mellotron. All of this is supported by the magnificent work of a powerful rhythm section and the vocals of Pert and McCalla, which perfectly complement the album's musical philosophy. It culminates in the wonderful melody "At The End Of The Day", an epic song worthy of any of their main band's greatest hits. The second side has a much more commercial orientation with a symphonic undercurrent, featuring powerful tracks like "Moonshine", the passionate "Time and Time Again", and the progressive "Romani". This is undoubtedly one of the best solo albums by one of the members of Genesis and one of the great albums of the eighties, where you can still hear the echoes of such emblematic works as "A Trick Of The Tail", "Wind & Wuthering" or "...And Then There Were Three...".

Jethro Tull-Crest of a Knave (1987)

With this work, the sizzling Jethro returned to find the right path that had separated slightly mid 80 discs as loose as "A" or "Under Wraps" discs too "electronic" and uninspired. However, and without Peter-John Vetesse (whom I consider guilty and a bad influence musically Anderson) getting both synthesizer, the great Ian Anderson finally managed to become close to classic and traditional sound of the band and produce a handful of great songs, as always superbly accompanied by his faithful squire Martin Barre, who also performs work as always very noticeable on guitars. Surprisingly is appreciated resemblance to Dire Straits on tracks like "Budapest", "Said she was a dancer" or "The Waking Edge" especially in the vocal aspect, as Anderson suffered a throat operation and closely resembles vocal that of Mark Knopfler. This work received a Grammy for best album of Hard Rock-Metal in 1989, I think more in recognition of his long career, which was relaunched and strengthened. In short, it's a very appealing, with that exquisite style as always, mixing elements of Blues, Hard Rock and Folk to create a delicious work.

West, Bruce & Laing -Why Dontcha (1972)

Mountain were one of the most important bands in the development of American hard rock, comprised of two legends: Leslie West and Felix Pappalardi. They released two superb albums considered fundamental to the development of heavy metal: "Climbing!" (1970) and "Nantucket Sleighride" (1971). After releasing the latter album in 1971, the band broke up due to Pappalardi's health problems. However, Leslie West decided to continue and called on former Cream member Jack Bruce, who, along with his former Mountain bandmate Corky Laing, founded the band West, Bruce and Laing. Essentially, West aimed to continue the Mountain sound, with a style that drew from blues and Southern sounds, focusing on powerful, dense, and distorted hard rock. Thanks to the managers of Jack Bruce and Leslie West (Robert Stigwood and Bud Prager, respectively), they secured a lucrative contract with CBS/Polydor for one million dollars to release three albums. But before entering the studio, the band toured extensively, performing Cream and Mountain songs as well as covers of rock and blues classics. In 1972, they released their first album, and ultimately their best work, titled "Why Dontcha". It featured standout tracks like the psychedelic "Out Into The Fields" and "Pollution Woman", the rock and roll anthems "The Doctor", "Pleasure", and "Shake Ma Thing", and the blues rock tracks "Turn Me Over" and "Love Is Worth The Blues", all of which combined to create a superb record of the best American hard rock.

Sweet Smoke-Just A Poke (1970)

Just as happened with other bands like Nektar or Barclay James Harvest, who had to emigrate from England to Germany to achieve mainstream success, Sweet Smoke moved to Germany to gain widespread recognition. Sweet Smoke was founded in the United States in the late 1960s by a group of young musicians based in New York: Andy Dershin on bass, Jay Dorfman on drums, Marvin Kaminowitz on vocals and guitar, Michael Paris on saxophone and vocals, and Steve Rosenstein on guitar. Their style was one of the loosest and most elaborate in psychedelic rock. Their first album, "Just A Poke", was released by the German subsidiary Columbia in 1970. It contained only two tracks, one on each side of the LP. The tracks were "Baby Night" on side A and "Silly Sally" on side B; however, due to a manufacturing error, they were pressed in that order. Both tracks exceed 16 minutes in length. The first, "Silly Sally", is a kind of psychedelic jam with a medieval-sounding, jazzy opening and a prominent flute, gradually building to an extended jam with guitar riffs and a powerful, frenetic, acid-tinged rhythm section. "Baby Night", on the other hand, is dominated by groove and blues sounds, featuring a great drum solo, various percussion elements, and powerful guitar riffs and wind instruments. Due to their location, where they first gained recognition, this band was categorized within the Krautrock genre; however, they never sounded like that German movement, primarily due to the absence of keyboards, with guitars and wind instruments dominating Sweet Smoke's music. Some time later they would release two more albums "Darkness To Light" (1973) and "Live" (1974), before finally disbanding, eventually returning to the United States in the mid-1970s.

The Chick Corea Elektric Band-The Chick Corea Elektric Band (1986)

Nearly ten years after Return to Forever's last album, Chick Corea founded a new band, almost identical to its predecessor but with new members, a new (and not so new) style of jazz, and a different approach to a genre in which he was a consummate master. It was the mid-eighties, and the Massachusetts-born pianist formed The Chick Corea Elektric Band with guitarist Scott Henderson, bassist John Patitucci, and drummer Dave Welck, releasing their self-titled album, "The Chick Corea Elektric Band", in 1986. This first album did not yet feature the more classic lineup that would later include Welck and Patitucci, as well as guitarist Frank Gambale and saxophonist Eric Marienthal, in addition to, of course, Chick Corea himself. Unlike the style of Return to Forever, this "electrified" version of the band didn't showcase the avant-garde jazz-rock sounds of RTF, although it did retain, to some extent, the experimentation so characteristic of almost all of Corea's work. On this debut, the Latin jazz track "Rumble" stood out, with Welck and Patitucci delivering superb work on the rhythm section while Corea emulated the style of Joe Zawinul. The jazz fusion "Cool Weasel Boogie", the jazz-rock "King Cockroach", the hypnotic "Side Walk", and the guitar-driven "Go Match?" featuring a Welck in top form, give way to the more solemn "India Town", with its exotic sounds and ambient synthesizer passages.

Rainbow-Rising (1976)

A Ritchie Blackmore, the man in black, one of the geniuses of Deep purple (because in that mythical charanga, which is not an absolute genius owed to steal collejas and snack), perhaps the most famous guitarist of unbearable that rolled balls at the time, was put in in 1975 cataplines get out the map and form their own group, called Rainbow. Among cheers and sighs of the audience, tried to lift the Purple head who was supposed to replace irreplaceable, but everything went smoothly until the mid-80s, joined again around diva of yore and the ship refloated with the great album Perfect strangers. All these factors should contribute to swell more Blackmore's chest, peacock whose tail was no longer fit through the doors. Fortunately for the cosmic order, after his final departure in 90, came and stayed the incredible Steve Morse, proving once and for all that no one is irreplaceable in this world.
But let the parentheses at hand, which in this talk about the Olympian gods is hard not to be cumbersome. Our man reunited with each other, firing and hiring people again and again with the ease of a Burger King. The first singer was none other than He (who thereafter would not leave and the well deserved fame), and he recorded a few albums. Rainbow Rising is the one I like by far, it is a piece of music full of both Dio and Blackmore, accompanied by a rhythm both luxury among which I can not but highlight the impressive Cozy Powell. The album was produced by Martin Birch and is, as usual, amazing, but perhaps was a little less planted than at other times. They are worthy to hear the flanger churretones that gave the battery spectacular chunky Cozy Powell, so explosive, so "touched by hand". What in other producer could have gone down in history as an experiment Excessive or reloaded, it has remained as one more example of their mark, like when Picasso was put in use many blues cataplines. To see who rechista.
The Rainbow rising environment, but also momentous and solemn, it is much more festive, breathable and livable than monastic sobriety Purple ecstatic. Less pain in the ass, if I lovers of all these "metal Ribera del Duero". He always knew, with just sing a couple of syllables, both permeate the air of elegance and seriousness as vital blast of pure sincere, sociable and outgoing. First entroncaba very well with his new "foreman", the second good kick to it made him. Especially when, as is the case, he made himself comfortable continuously and made room for one of their (real good) alone for several minutes. Why go alone piece of this album, as dirty and "easy" for any kid who stand around with your technique within the current heavy, but so inspired, melodic and unique, always with that big sign in every note that reads: "Ole my balls". And ever so long, after hearing one of these verbal diarrheas guitar masters, Dio's voice came again as an oxygen tank, like a St. Bernard in the snow.
The album comes to kill with Tarot woman, who after a long career He can hear now, and with good perspective, as a song of many that has lent his amazing voice and his style can not be imitated, but I I get that once more had to leave one speechless. Produce an injection of optimism and strength able to convince a suicidal not to jump (or well, maybe it is decided during the solo, but if it survives expect a euphoric final stanza yet).
Continue the ride with three great songs: Run with the wolf, Starstruck and Do you close your eyes, all energetic and happy also to a greater or lesser extent. The second one has a certain atmosphere Purple Strange kind type of woman, but in the hands of these songs Dio make Gillan's voice, by inevitable comparison, seems a sort of Gregorian chant and elegantly pale sad. I really like Dio, do not know if I've said already.
Side B arrives and scares one. There goes two eight-minute songs. Not sure you throw yourself off the cliff, but once you decide it takes half a minute to get convinced by Stargazer: a monumental and epic unnerving is undoubtedly one of the first manifestations, if not the first, of something I like to call " Heavy cardboard ". I mean those songs mythical, long, featuring some remote fact real or imagined but always heroic ... and that given the time they were composed film associate the type inevitably Ben Hur, Cleopatra or Spartacus (the movie, not the bullfighter). Stargazer can almost be listening to on the couch with a big bowl of popcorn, enjoying extensive repetitive riffs. This time, only the corresponding massive melts a particularly happy with the other elements of the structure.
And another long song, A light in the black, finally closes with a hard fast pace that if other people had done, would have been pretentious or a bit heavy. But done by those who did, and also in 1976, has left to posterity as a unique and magical work, apart from being one of the most valuable and exemplary germs of heavy metal.

After Crying-After Crying 6 (1997)

This is one of those "weird" bands that are too progressive for mainstream rock fans and too strange for progressive rock fans. After Crying makes prog rock so complex and inaccessible to the average listener that it's difficult to find a middle ground in their music, at least without giving their albums many careful listens. One of their main attractions is precisely their refusal to get stuck in a defined style, so they are constantly experimenting with new ideas and reconfiguring their sound. This Hungarian band was formed in the mid-eighties and was still active in 2017. It comprises a group of musicians who use all kinds of instruments, almost all of them members of the Brussels Symphony Orchestra. With such a varied style, it's no wonder that their extensive discography is full of albums of different kinds, some more conservative and others more experimental. However, their main influences are 70s progressive rock, folk, classical music, pop, and almost every other genre. Their first album was released in 1990, and far from being symphonic, it's more of an avant-garde record. The lack of a consistent melody is the defining characteristic of this release. The eclectic use of themes gives it a more avant-garde than symphonic feel. In 1997, they released "After Crying 6", one of their more "accessible" works, featuring elements of jazz, powerful drums, pastoral passages, sinister vocals, and sublime keyboards in the purest Keith Emerson style. Although they still sound eccentric, their music becomes more melodic and even addictive in certain parts of the album. They also have more conventional progressive rock albums like "Struggle For Life" (2000) and "Show" (2003).

Toto-Kingdom Of Desire (1992)

The eighth album by Californian band Toto, titled “Kingdom of Desire”, marked a radical departure from their previous work, shifting their usual melodic rock style towards a more forceful and powerful form of hard rock. On this release, Steve Lukather took over vocal duties, adding his unmistakable guitar style with a more aggressive edge to his riffs. The departure of keyboardist Steve Porcaro left David Paich as the band's sole keyboardist, while the core lineup of bassist Mike Porcaro and drummer Jeff Porcaro remained. Although the album's overall tone is hard rock, as demonstrated by the dense tracks "Gypsy Train", "How Many Times", "Wings of Time", and "Never Again", it also features mid-tempo tracks such as the funk-infused "She Knows The Devil", the pop-rock "Kick Down The Walls", the melodic "The Other Side", and the jazz-rock "Jake to the Bone".

John Denver-An Evening With John Denver (1975)

In 1975, John Denver was at the peak of his career. Since his third album, "Poems, Prayers & Primises" (1971), this legendary singer had been a fixture on the folk and country charts, and all his releases had achieved gold or platinum status. With the success of previous albums ("Rocky Mountain High" and "Farewell Andromeda"), Denver had gained the confidence to believe in his own compositions great acoustic songs born from his days of solitude in the open spaces of the Colorado mountains, where he often lived. On "Back Home Again" (1974), John Denver offered a series of highly inspired, joyful, and lyrically ingenious songs, with arrangements that were instrumentally executed beautifully by his band, skillfully blending folk with touches of country. His backing band at that time consisted of excellent musicians such as drummer Jim Gordon, harmonica player Hal Blaine, pianist Glenn Hardin, and bassist David Jackson, among others. Among the 12 songs on this album, the humorous “Grandman’s Feather Bed”, the moving “Matthew”, and the cheerful “Thank God I’m a Country Boy” stand out. However, it would be the song dedicated to his wife Annie, “Annie’s Songs”, a tearful ballad that would become one of his best compositions. For the second side of the album, Denver gave us another series of great tracks such as the melodic “Cool an’ Green an’ Shady”, the gentle “Sweet Surrender”, and the melancholic “This Old Guitar”. That same year, 1975, saw the release of the double live album "An Evening With John Denver", recorded live at the California Universal Amphitheatre on the night of August 26, 1974. Featuring a full orchestral accompaniment, John Denver was in top form, perfectly blending light pop with folk and subtle country sounds. This would become his biggest commercial success and also one of his masterpieces, a double album that offers an excellent retrospective of the best of his career up to that point, including "Farewell Andromeda (Welcome to My Morning)", "Rocky Mountain Suite", "Take Me Home", and "Take Me Home, Country Roads".

Lynyrd Skynyrd-One More From The Road (1976)

Lynyrd Skynyrd's "One More From The Road" is another of those legendary double live albums in rock history. Recorded entirely at the Fabulous Fox Theatre in Atlanta in July 1976, it faithfully documents the Jacksonville band at the height of their popularity. By the time this album was released, Lynyrd Skynyrd had already put out four superb studio albums and even had three successful singles on the Billboard charts: "Sweet Home Alabama", "Free Bird", and "Saturday Night Special". These tireless troubadours of the road earned a vast legion of loyal fans across the United States, elevating them to the status of an iconic and media-savvy band. With a style that borrowed from the Southern rock of The Allman Brothers, fused with subtle doses of gospel, the swampy sound of Creedence Clearwater Revival, the unabashed blues of the Rolling Stones, and the hard rock of Steppenwolf, Lynyrd Skynyrd managed to create a unique and accessible melodic rock. At that time, they had to contend with giants like Led Zeppelin, Deep Purple, Gran Funk, Foghat, Aerosmith, and Blue Öyster Cult, among many others, all of whom featured a strong emphasis on guitars. However, thanks to their talent, drive, and determination, Lynyrd Skynyrd emerged victorious. "One More From The Road" is the sonic confirmation of their explosive live performances, their energetic shows, with an overwhelming sound that absorbs sweat and enthusiasm, featuring guitar jams, beautiful piano passages, and captivating choruses that permeate this live recording. From the raw and energetic ode of "Workin' For MCA", the somber feeling of "Tuesday's Gone", the fun Southern groove of "Gimme Three Steps", the greasy rock of "Whisky Rock 'n' Roller", and the scorching covers of Robert Johnson's "Crossroads" and J.J. Cale's "Call Me The Breeze", Lynyrd Skynyrd devour them all with ferocious hunger. To culminate the album, the band vibrantly tackles the classics "Free Bird", "Sweet Home Alabama", and "Saturday Night Special", leaving us with an absolutely incredible and masterful live performance. The album's reception was phenomenal, earning triple platinum certification almost ten years later. A year later, fate struck the band with tragedy; On October 20th, singer Ronnie Van Zant, guitarist Steve Gaines, and singer Cassie Gaines died in a tragic plane crash, while the surviving members were seriously injured. Some time later, and despite these horrific losses, the band continued recording albums and performing massive concerts across the United States, a practice that continues practically to this day. “One More From The Road” represents the golden age of this unsurpassed and legendary Southern rock band.

Steely Dan-Aja (1977)

Steely Dan's sixth album, "Aja", was the New York band's most meticulous work to date, both in its recording process and sophistication, and in the elegance of its compositions and the astonishing arrangements created by Donald Fagen and Walter Becker. The recording sessions took nearly a year to complete, involving a vast array of musicians, all among the cream of the crop of American music, in various studios located in New York, Burbank, and Los Angeles, throughout much of 1976 and 1977. This impressive lineup included Larry Carlton, Victor Feldman, Tom Scott, Joe Sample, Rick Marotta, Steve Khan, Michael McDonald, Paul Griffin, Steve Gadd, Timothy B. Schmit, and Jim Kelner. Heavily influenced by funk, jazz, and rock, its grooves contain a series of addictive and catchy songs, astonishingly complex yet remarkably accessible. Tracks like "Black Cow", "Aja", "Deacon Blue", "Peg" or "Josie", summarized a refined album, which became the pinnacle of the band, managing to reach the top positions on the charts on both sides of the Atlantic and four platinum records for its sales.