Taste Of Blues-Schizofrenia (1969)

Taste of Blues was a Swedish band formed in the late 1960s in Malmö. Their style, a blend of the psychedelic sound of the era with elements of German krautrock and subtle Eastern influences, earned them a strong reputation within the European progressive rock scene. The original lineup consisted of vocalist Anders Stridsberg, guitarist Fred Rolf Berg, bassist Robert Moller, drummer Patrick Erixson, and keyboardist Claes Ericsson. In 1969, they recorded their only album, "Schizofrenia", which featured the departure of Stridsberg, who was replaced by African-American singer Don Washington. This album is considered a cult classic of 1960s psychedelia, and its title track, "Schizofrenia", is an epic seventeen-minute journey through cosmic sounds, brass, frenetic grooves, and hypnotic, apocalyptic music. The rest are more conventional exercises based on psychedelic blues, including a cover of John Mayall's "Another Kinda Love". After recording this album, some members left to form the hard rock band Asoka and the rock group Lotus, thus ending the adventure of this magnificent Swedish band.

From-0611 Cat Quarter (1971)

From were an obscure progressive jazz-rock band that emerged in Germany in the early 1970s, influenced by the eclectic sounds of Miles Davis, fused with the Canterbury School of British jazz. The band consisted of bassist Dieter Von Goetze, drummer Kurt Bong, saxophonist and wind instrument player Gustl Mayr, and keyboardist Klaus Göbel. They caused a sensation at the 1970 Frankfurt Jazz Festival, leading to the release of their debut album, "0611 Cat Quarter", a year later, followed by "Power On!" the next year on CBS. Both albums are considered hidden gems of early fusion rock with progressive elements. Their style is a progressive jazz, very lively and pleasant to listen to, and their instrumental developments demonstrate the virtuosity of all its members, from Mayr who sets parameters very much in the vein of the aforementioned Miles Davis, to the organist Göbel, with a spectacular use of the electric piano and the Hammond organ, while the drummer Bong extracts sounds very close to classic jazz.

Gentle Giant-Octopus (1972)

Leaving behind their energetic progressive rock style of earlier works like "Three Friends" (1972), Gentle Giant tackled their fourth album, "Octopus", released months later, delving into more complex and sophisticated structures. This album defined their original style, infused with sublime and meticulously crafted sounds, where dynamic progressive pieces and infectious melodies combined to create one of the most iconic art rock albums of the 1970s. Songs like the formidable "The Advent of Panurge" are interwoven with somber compositions such as "A Cry For Everyone", the musical experiments of "Knots" and "Dog's Life", rhythmic tracks like "The Boys in the Band", and poignant songs like the beautiful "Think of Me with Kindness". With this fourth record, Gentle Giant took a giant leap forward, transcending conventional progressive rock to establish a true avant-rock masterpiece.

Renaissance-Scheherazade and other stories (1975)

This concept album is part of the glory of Renaissance stage , ( and partly unknown to new generations addicted to progressive rock ) and is truly extraordinary from start to finish . The dumbbell who managed John TOUT (keyboards, vocals), Annie Haslam (lead vocals ), Jon CAMP (bass, pedals, vocals), Terrence Sullivan (drums , percussion, vocals) and Michael DUNFORD (acoustic guitar , vocals), managed to this one of those that are unique and essential discs, valued for their fabulous design and implementation . Instead of using electric guitar or electric keyboard , this work goes down the more symphonic side and also with the participation of the London Symphony Orchestra , giving much originality and great instrumentation. There are very good orchestral arrangements that are perfectly matched with the smooth voice of Annie Haslam feature in fact goes far beyond the common progressive rock , standing even among the albums of the 70's that were the golden age of the genre.
An album where you can hear tales beautifully told Scheherezade King Shahriar , supposedly compiled by the Arab writer Abu abd -Allah Muhammed el- Gahshigar became the Western tradition in the early eighteenth century , with all her adulteries and murders properly filtered by European translators .
Definitely an album of delicate melodies , tender arrangements, perfect voices, harmonious music and amazing ... a legend epic prog rock .

Paul McCartney & Wings-Back To The Egg (1979)

A true icon, Paul McCartney has been the most successful ex-Beatle. He has created some of the most important works in music history and, like no other, has maintained the essence of his original band for five decades. By the late 1970s, Paul McCartney had released eight albums, divided between his solo work and his albums with Wings. Most of them were absolute hits, such as his debut album, "McCartney" (1970), and the subsequent "Ram" (1971), both solo releases, as well as those released with Wings: "Red Rose Speedway" (1973), "Band of the Run" (1973), "Venus and Mars" (1975), and "Wings at the Speed ​​of Sound" (1976). Amidst the prevailing disco, punk, and heavy metal sounds of the late 70s, he released his seventh and ultimately final album with Wings, surrounding himself with a stellar lineup of musicians including Tony Ashton, David Gilmour (Pink Floyd), Hank Marvin (The Shadows), Pete Townshend and Kenny Jones (The Who), Gary Brooker (Procol Harum), John Paul Jones and John Bonham (Led Zeppelin), and Ronnie Lane (Small Faces), in addition to his own band members, starting with Denny Laine, his wife Linda McCartney, Laurence Juber, and Steve Holley. This seventh album, titled “Back To The Egg”, contains an irresistible collection of songs, such as the Beatles-esque tracks “Getting Closer” and “Baby’s Request”, the rock anthems “So Glad To See You Here”, “To You”, and “Rockestra Theme”, and the melodic “After The Ball/Million Miles” and “Arrow Through Me”. Despite fierce criticism from the British press accusing it of an eclectic sound and a lack of inspiration, the album would achieve a top ten in the North American and British charts, several platinum records and a Grammy for the song "Rockestra Theme".