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.

Van Der Graaf Generator-Still Life (1976)

"Still Life" was Van Der Graaf Generator's second album following their magnificent return with "Godbluff" a year earlier, and was the sixth album chronologically from the band led by singer, songwriter, and guitarist Peter Hammill. VDGG released two of their best albums after a four-year hiatus, brilliantly showcasing their signature sound once again. However, the organ is much more prominent here than on later albums, and the saxophone becomes a less fundamental instrument than it was on previous releases. Despite this, the music doesn't suffer in the slightest; in fact, it's a subtle and very rewarding change that remains true to their earlier work, allowing them to explore new musical ideas. Peter Hammill's songwriting reached its creative peak during this second period; his lyrical work on this album is absolutely brilliant and metaphorical, as was already the case on their previous five albums. However, here the meanings of the songs are less literal (as literal as Peter Hammill can be). These songs are brilliant observations on humanity, including the quest for immortality, which It eventually strips life of all meaning. The internal struggle that arises when considering destroying friendship for an intimate relationship, and ultimately, where the human race is headed in this era. All of this is magnificently written and supported by glorious music. The opening track, "Pilgrims", ​​with its slow, solemn crescendo and haunting atmosphere; the expansive "La Rossa", where they showcase their affinity for Italian lyricism; and the superb "My Room", featuring excellent work from bassist Hugh Banton, David Jackson's ambient saxophone, and drummer Guy Evans' jazzy texture, along with the chilling and desperate "My Room (Waiting for Wonderland)" and the radiant epic "Childlike Faith in Childhood's End", form a perfect repertoire that could easily be proclaimed one of the best in progressive rock of all time.

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.