Comus-Firts Utterance (1971)

Comus are another of those very strange British bands from the early 70s, so much so that it's almost impossible to compare their style with other contemporaries due to their unique and original themes, which made them part of the dark scene of that period. Even so, Comus are one of the most interesting bands to emerge from the progressive folk scene. If one were to draw a comparison, one could say they are a disturbed and experimental version of Jethro Tull; however, this ambiguous comparison wouldn't do them justice. Comus was formed in Kent in 1967 by guitarist and vocalist Roger Wootton, bassist Andy Hellaby, violinist Colin Pearson, drummer Bobby Watson, flautist Rob Young, and guitarist Glen Goring. Their only album, not a conventional concept album, speaks of the fragility of innocence when confronted with abusive power (violence, rape, and shock therapy). That said, their music often ranges from idyllic passages to the strangest tribal sounds, accompanied by brutal and highly graphic lyrics. Their first album, and ultimately a monumental creation, was "First Utterance" (1971), considered by prog rock fans to be a stunning work and one of the best progressive folk albums of the 70s. It features demonic and dark lyrics alongside acoustic and at times pastoral music, a stark contrast to their earlier work. Here, paganism, brutal murders, gothic eroticism, and mental illness are all mixed together, described with unsettling frankness. Their music is a rare amalgam of psychedelic folk, with hints of classical music and unclassifiable sounds.

The Carpenters-Close To You (1970)

This famous American vocal duo was, for much of their career, one of the most successful pop-rock acts in the world, achieving nearly twenty platinum records and a similar number of gold records, in addition to numerous top positions on charts around the globe, and certified sales of over one hundred million records worldwide. Formed in Los Angeles by siblings Karen (lead vocals and drums) and Richard Carpenter (vocals and keyboards), they began their artistic career in the mid-1960s, although it wasn't until 1969, after signing with A&M Records, that they released their first album, "Ticket to Ride". Thanks to songs like "Get Together", "All of My Love", and "Nowadays Clancy Can't Even Sing", they gained some recognition, which helped them achieve extraordinary commercial success a year later with their second album, "Close to You". On this second album, they continued in a similar vein to their debut: simple songs with perfect production, precise arrangements, idyllic and peaceful lyrics, and Karen's magnetic voice. Brilliant compositions like "We've Only Just Begun", "Baby It's You", "(They Long To Be) Close To You", and "Reason to Believe" gave them their first major hit, the first of many more that would follow throughout the 1970s and early 1980s. In 1983, Karen died from complications of anorexia, cutting short the meteoric career of this essential duo in American and international pop-rock.

Jan Dukes de Grey-Mice And Rats In The Loft (1971)

This band was one of the most original to emerge from the British progressive folk scene of the early seventies. Formed in Leeds in 1968, its core members were saxophonist and wind instrument player Michael Bairstow and guitarist and multi-instrumentalist Derek Noy. This duo initially played folk with acid tones and were one of the main competitors of the band Tyrannosaurus Rex. They were one of the last progressive-style bands to sign with Decca in 1969. Their debut album, "Sorcerer" (1970), featured eccentric folk with some progressive influences. The two musicians used an arsenal of wind and percussion instruments, maintaining an acoustic style throughout the recording, which captured the hippie spirit of the era with engaging narratives and the musicians' interwoven vocals. A year later came the brilliant "Mice and Rats in the Loft", featuring the addition of drummer Denis Conlan, in which the band broadened their horizons with more complex and daring sounds. Here they delved into extensive instrumental developments and passages that were at times epic and symphonic. With only three tracks, this release opened with the epic "Sun Symphonica", 20 minutes in which they embodied all the excellence of Jan Dukes de Grey. It was a brilliant track with a multitude of sounds, employing a wide array of instruments and even incorporating an orchestra, with atmospheric, strange, and sinister passages, and an ending with improvised sounds. Meanwhile, "Call of the Wild" utilizes multi-voiced harmonies to create a haunting sound, with distorted acoustic guitars, improvised riffs, and brilliantly executed atmospheric solos. The final track is the title track, a masterful exercise in musical psychology, with a guitar in the purest Hendrix style that takes the sound towards the realms of psychedelia, while narrating a chilling story of religious sacrifices, which enhances the musical passage in very intense and atmospheric sounds. 

Swans-Children Of God (1987)

Swans are a highly respected New York band, renowned for their visionary and experimental style, which has resulted in a series of revolutionary and avant-garde works spanning several decades. Led by Michael Gira, a musician and composer who masters a wide range of instruments and, in addition to his work as a producer, possesses an extraordinary talent for creating strange, overwhelming, and cutting-edge musical landscapes. Founded in the early 1980s, their early years saw them produce a series of high-quality works that remain cult classics for connoisseurs of the most unusual and daring sounds. However, it was with their fifth release, "Children of God", that the band truly blossomed creatively with a work that was both unsettling and accessible. The lineup that recorded this album consisted of Jarne Jarboe (vocals and keyboards), Norman Westberg (guitars), Algis Kizys (bass), Theodore Parsons (drums), and Michael Gira (vocals, keyboards, and guitars). Here you'll find everything from their industrial style "New Mind" to the audacious "In My Garden", passing through the intense blues-influenced "Our Love Lies", the chilling "Blood And Honey", the exquisite "Blackmail" or the ostentatious "Beautiful Child", all of them under multiple emotions and atmospheres, adorned with powerful guitar riffs and a dark and daring instrumentation.

Steve Cropper, Pop Staples & Albert King-Jammed Together (1969)

In 1968, Stax Records, one of the most successful R&B, gospel, soul, and funk labels, ceased to be under the wing of the giant Atlantic Records. At that time, Stax sought ways to expand its catalog beyond the release of singles, most of which were hugely successful, and focused on what was proving most productive at the time: albums. Thus, one of its first releases was a collaboration between three of Stax's best guitarists: Steve Cropper, a prestigious session musician who played with bands such as the iconic Brooker T. & The MG's; Albert King, one of the greatest bluesmen in history; and Pop Staples, leader of The Staples Singers. Considered one of the greatest guitar tours de force ever recorded, it was released alongside the legendary "Super Sessions", featuring Mike Bloomfield, Al Kooper, and Stephen Stills, which had been released the previous year. Driven by a rhythm section of Stax musicians, including drummer Al Jackson and keyboardist Isaac Hayes, as well as a horn section, this is an excellent showcase of three distinct guitar styles. The album's repertoire consists primarily of instrumental versions of blues, soul, and gospel standards such as Ray Charles' "What'd I Say", John Lee Hooker's "Tupelo", Eddie Floyd's "Knock on Wood", and Jimmy Reed's "Baby, What You Want Me To Do", in which this impressive trio of guitarists delivered some of the most memorable guitar jams ever recorded.

Fleetwood Mac-Rumours (1977)

With over 45 million records sold, this fantastic album, "Rumours", is not only one of the best-selling albums in the history of popular music, but also one of the most impressive albums ever made. 

An album that transcends its era thanks to a combination of harmonies and melodies that are almost inimitable.

Recorded amidst the tumultuous romantic troubles of the Buckingham-Nicks and Perfect-McVie couples, these breakups would ultimately become the key source of inspiration for such a masterpiece.

All the tracks on the album could easily have been hit singles, but those chosen reached the pinnacle of success, such as the dynamic "Don't Stop", the rocking "Go Your Own", and the delightful "Dreams".

However, it is the sublime "The Chain" that sums up this album, for its originality, simplicity and at the same time sober composition that made this "Rumours" one of the 25 best albums in the history of rock without qualification and of contemporary music of the 20th century.