Lady Lake-No Pictures (1977)

This Dutch group was founded in 1973 in Daventer, at the height of the progressive rock movement. The band consisted of Leendert Korstanje on keyboards, Eddie Bakker on bass, Joop Van Leeuwen on drums, and guitarist Fred Rosenkramp. In late 1977, they recorded their debut album, "No Pictures", in a limited run of 1500 copies, many of which ended up in other northern European countries such as Sweden, Norway, and even Germany, which is why they are now considered a cult band in those countries. On this debut album, Lady Lake showcases a wide range of influences, from prog rock with jazzy touches and psychedelic hints, to the more bucolic and melodic British progressive rock of bands like Camel and Genesis. Their original style features pleasant and melodic atmospheres that at times recall the Canterbury sound. "No Pictures" is a masterfully executed and perfectly crafted album with exquisite arrangements. After this release, the band disbanded until several decades later when they reunited sporadically. During one of these reunions (2005), they recorded their second album, "Supercleandreammachine", which received very positive reviews in European progressive rock circles.

Ian Gillan Band-Live At The Budokan (1978)

After leaving the legendary Deep Purple, singer Ian Gillan decided to move away from hard rock and steer his new project, the Ian Gillan Band, toward the realm of energetic jazz rock. Following the release of three magnificent albums "Child In Time" (1976), "Clear Air Turbulence" (1977), and "Scarabus" (1978), the iconic singer brought this venture to a close with the live album "Live At The Budokan", recorded during the promotional tour for "Scarabus" in Japan. The Ian Gillan Band consisted of several highly experienced American and British musicians: former Quatermass bassist John Gustafson and former ELF drummer Mark Nauseef, along with former Spencer Davis Group guitarist Ray Fenwick and keyboardist Colin Towns. Recorded at the Budokan Hall in Tokyo on September 22, 1977, the repertoire for this album is mainly composed of songs from his three albums, plus several Deep Purple covers such as "Smoke on The Water", "Child In Time" and "Woman From Tokyo", performed in a jazzy style, while the infectious rhythms of "Clear Air Turbulence", "Twin Exhausted" and "Over The Hill", would constitute one of the last and most memorable concerts of the Ian Gillan Band before their final demise some time later.

Triumph-Just A Game (1979)

Thanks to their first two albums, the Canadian trio Triumph was on an upward trajectory. Their album "Rock & Roll Machine" had launched them into the global spotlight, and their reputation as one of the emerging hard rock bands of the late seventies was steadily growing. However, constant comparisons to their contemporaries and fellow countrymen Rush would eventually stifle their progressive creativity, as they were labeled mere clones of the band comprised of Lifeson, Lee, and Peart. These accusations from the specialized press led them to focus on hard rock and melodic rock at the expense of their aforementioned avant-garde sounds. In this third release, they move away from the complexities of their earlier work, showcasing a more direct and accessible style. Even so, Rik Emmett's guitar virtuosity shines through, demonstrating with his heavy riffs and dizzying solos that he was on par with the best hard rock guitarists. Songs like "Lay It On The Line" , "Hold On", "American Girl", "Just A Game", "Suitcase Blues" or "Young Enough To Cry", are performed sublimely under careful production, thus taking the resounding step to find the definitive sound that differentiated them from their compatriots Rush.

Nazareth-Malice In Wonderland (1980)

In 1980, Nazareth were overwhelmingly immersed in the typical sounds of melodic rock, a fact confirmed by their eleventh album, "Malice in Wonderland". For this new record, the lineup remained unchanged since the previous album, "No Mean City", consisting of Dan McCafferty, Zal Cleminson, Darrell Sweet, Manny Charlton, and Pete Agnew. They had solidified their quintet configuration with the addition of guitarist Cleminson a year earlier. Despite being categorized as one of their AOR-focused works, "Malice in Wonderland" actually deviated significantly from the prevailing style of the time. They were characterized by an original sound with diverse musical nuances, which they fused with their distinctive hard rock, resulting in a highly appealing and high-quality sound. From the initial and tremendously commercial “Holiday”, through the powerful “Turning a New Leaf” or “Showdown At The Border”, the addictive “Talkin’ on One of The Boys” or “Fats Cars” and the melodic and attractive “Ship Of Dreams”, “Heart’s Grown Cold” or “Fallen Angel”, the Scots left an album with which they continued to remain at the top of hard rock and their status as a great band intact.

Triumph-Rock & Roll Machine (1977)

Perennial runners-up to their compatriots Rush, this Canadian band has left behind a series of superb and surprising albums of vibrant and powerful hard rock with some progressive influences. While they never reached the magnitude and excellence of Rush, they certainly occupy a place of honor in rock history. This power trio consisted of guitarist and vocalist Rick Emmett, drummer Gil Moore, and bassist and keyboardist Michael Leviney. Their beginnings date back to 1975 in Toronto, where they started performing in clubs and venues until late 1976 when they released their first album, "Triumph", on the Attic Records label. On this debut, the band still displayed an undefined sound; however, their influences from iconic British bands like Led Zeppelin were more than evident, thanks to powerful tracks like "Let Me Get Next To You". In 1977 came their second work “Rock and Roll Machine”, where they began to show an interest in progressive sounds that are reflected in the suite “The City” or in “New York City Streets”, while on the other hand the trio continues to show their more forceful side with the powerful “Rock and Roll Machine”, “Little Texas Shaker” or “Takes Times”, and they even dared to do the excellent version of Joe Walsh's song “Rocky Mountain Way”, masterfully executed with a sound close to blues rock.