Czar-Czar (1970)

Such are the vagaries of the music business that incredible talent doesn't always guarantee success or lasting recognition. This was the case for this British band, founded in 1966 as Tuesday's Children, who changed their name to Czar in 1970. In their early days, this English quartet stuck to the parameters of pop rock, with some flirtations with progressive rock, and during the late 1960s they were regulars at various London clubs like the Marquee and toured with The Moody Blues, The Nice, The Troggs, and King Crimson. Their lineup consisted of guitarist and vocalist Mick Ware, keyboardist Bon Hodges, drummer Derrick Gough, and bassist Paul Kendrick. Now as Czar, they entered the recording studio and poured their talent into their self-titled album, released in 1970. This work leaned more towards progressive and avant-garde sounds, with extensive use of the Mellotron, thus diminishing the pop influences of their earlier period. On this first and only album, standout tracks include the audacious, progressive-jazz-tinged "Tread Softly On My Dreams", a clear example of the influence of the early King Crims. This is followed by the epic symphonic "Cecilia", and the first side of the album closes with the vigorously progressive "Follow Me". Side two features the intense "Dawning Of A New Day" and the brilliant "Beyond The Moon" and "A Day In September", which serve as the culmination of this interesting album by this magnificent and now-forgotten band. As would happen to so many others, Czar failed to achieve the desired success, a fact that precipitated their demise a year later. In 2007, this unique album was reissued with extra material that was intended for the recording of a second album that was never released.

Dio-Dream Evil (1987)

"Dream Evil" was another major contribution to classic heavy metal from Ronnie James Dio. Although this fourth album from the diminutive vocalist doesn't surpass his first two works, "Holy Diver" (1983) and "The Last In Line" (1984), it is superior to his third, "Sacred Heart", an album that displayed a certain lack of creativity and was merely a logical but ultimately unsuccessful continuation of the style of his previous two albums. Guitarist Vivian Campbell no longer appears on "Dream Evil", having accepted David Coverdale's invitation to join Whitesnake. His place was taken by Craig Goldy, while the rest of the lineup remained unchanged with bassist Jimmy Bain, drummer Vinnie Appice, and keyboardist Claude Schnell. It was undoubtedly Goldy's contribution that rejuvenated the band's sound, showcasing ingenious riffs and guitar solos. Tracks like the opening "Night People" lay the foundation for how the rest of the album will unfold, while other pieces like the melodic "I Could Have Been a Dreamer", the dark "Faces In The Window" or the powerful heavy rock "All The Fools Sailed Away", "Dream Evil" and "Sunset Superman", complete a brilliant album, where Dio's accessible and melodic side is predominant in practically the entire repertoire.

Demon Fuzz-Afreaka! (1970)

Another of those magnificent, short-lived bands was the Afro-British Demon Fuzz, composed of descendants of South Africans who had emigrated to England after World War II, taking advantage of the labor shortage in British industries caused by the loss of thousands of men in that tragic conflict. This unique band was part of a diverse style that fused Latin rhythms reminiscent of Santana, the Afro-rock of Osibisa, and elements of jazz and funk blended with progressive jazz. Their lineup consisted of eight members: five formed the standard rock section drums, bass, Hammond organ, guitar, and vocals, and the rest were wind and percussion musicians. After touring for several years in various London clubs, they secured a contract with Dawn Records, releasing their only album, "Afreaka!", a magnificent work where the rhythm and energetic music captivate the listener from the opening and exhilarating "Past Present And Future", a splendid nine-minute instrumental brass rock track. The jazz-rock vein is evident in "Disillusioned Man", where they approach the musical styles of bands like Chicago or Blood, Sweat & Tears. In the exotic "Another Country", the band showcases their eclectic side with a gritty yet elegant track. The second side features their most progressive moments with the haunting "Hymn To Mother" and the psychedelic and dynamic "Mercy (Variation No. 1)". Following the album's release, the group embarked on an extensive UK tour alongside other bands from the same label, such as Camus and Heron, as well as making a guest appearance on the BBC. The recording of a subsequent maxi-single would be the band's last official release, as they disbanded some time later due to a lack of success despite their immense talent. Their only album, with the addition of some previously unreleased tracks, has been repeatedly reissued in recent years in the British, North American, and Japanese markets, generating considerable enthusiasm among fans of the darker sounds of 1970s progressive rock.

Nobody´s Business-Nobody´s Business (1978)

Nobody's Business is one of those rare bands that, formed as a supergroup, barely lasted beyond a single, engaging hard rock album, released only in Japan, and a few months of sporadic promotional tours. Formed in 1977, the members boasted impressive resumes, starting with Tony Stevens, bassist for Foghat and former member of Savoy Brown; Bobby Harrison, singer and drummer for the legendary Procol Harum; Joe Jammer, guitarist for the Olympic Runners; and renowned session drummer Jerry Frank. Their only album is an appealing fusion of rock sprinkled with blues and funk. However, it was a style they released when blues rock and proto-rock sounds were somewhat outdated, only experiencing a revival in the early 1990s. This single album, self-titled “Nobody’s Business”, was released in 1978 and contains an attractive repertoire of addictive tracks such as the somber “Losing You” or the menacing “Unsettled Dust”, two perfect examples for AOR fans, while the harder rock side is present in the manifest “Cut In Two” and “Bleed Me Dry” or in the cheerful funk rock “Living Up To Love” and “Doing The Best I Can”, while the title track is a powerful rock song that leaves us with a taste of the most forceful Humble Pie.

Dark-Dark Round The Edge (1972)

"Dark Round The Edge" is another one of those 1970s albums highly coveted by collectors. Of this first and only album by the British band Dark, only about fifty copies were released; most of them ended up with friends and family of the band, and only a few were officially sold. In the mid-2000s, this album was listed as the seventeenth most valuable record of all time, with some collectors paying astronomical sums for an original copy, reaching a price of £2500 on one occasion in the mid-1990s. Dark was a psychedelic rock band founded by guitarist Steve Giles, who, along with drummer Clive Thorneycroft, bassist Ron Johnson, and second guitarist Martin Weaver, recorded a dark and powerful rock album under the production of Alan Bowley. The album featured a strong emphasis on visceral and psychedelic guitar riffs in the purest style of The Jimi Hendrix Experience or Grand Funk Railroad. The album contains powerful hard and heavy blues rock tracks such as "Darkside", "Maypole", "Live For Today", "Cat", and "Zero Time", but despite their enormous quality, they were relegated to obscurity due to poor post-production planning and a complete lack of promotion by the band. Due to the significant demand this album has generated in recent years, it has been reissued several times on vinyl and CD.

Iron Maiden-A Matter Of Life and Death (2006)

Considered by many critics and fans to be one of their most powerful and complex albums, "A Matter of Life and Death" saw the British sextet Iron Maiden continue their exploration of progressive heavy metal with one of their densest and darkest works. Here, the band seems to have attempted to continue the epic sound they had established with their album "Seventh Son of a Seventh Son", released almost twenty years prior. That formula consisting of slow intros, dizzying rhythms, sophisticated instrumental developments, great dynamism, and epic grandiosity reappears on this fourteenth album by the group. Composed of a repertoire of songs, most of which exceed six minutes, it is a work as solid as it is enjoyable, despite a sound that may be somewhat inaccessible to the uninitiated. Despite not being a typical concept album, war is the album's central theme, and thunderous sounds appear throughout, as demonstrated by tracks like the complex "Brighter Than A Thousand Suns" and "These Colours Don't Run". More conventional heavy metal is also present in the rock-oriented "Different World" and "The Pilgrim", while "Out Of the Shadows" becomes the album's catchiest and most commercially viable track, standing apart from the intricacies of the other songs. Complex and sophisticated structures return with the memorable "The Reincarnation Of Benjamin Breeg", the impulsive "For The Greater Good of God", and the progressive "The Legacy", the latter a sublime epic with tremendously powerful vocals and instrumentation.

Jean-Michel Jarre-The Concerts in China (1982)

The Concerts in China (or Les Concerts en Chine), is an important part of the history of modern music. So are 800 million people (!!!) who followed the live concerts or radio. And it is that nobody wins Jean Michel Jarre you great mass gathering of people for a single concert, remember 2 million in Paris in 1990. The musical content of the double album is a selection of songs from the last two albums of previously edited Jarre (no Deserted Palace and Les Granges Brulees), plus a few new songs that either were made specifically for the tour (The Overture , Arpegiator, Laser Harp, Night in Shanghai, Orient Express) were either traditional (Fishing Junks at Sunset) or were only included on the disc a posteriori (Souvenir of China). Something to keep in mind is that the issues were very strictly selected for editing, since not all the concerts-given the special circumstances that Jarre had to count on such a juncture, and later explain the why-they had a perfect sound quality. Probably Jarre was asked that he should put special attention to the staging (lasers and others) rather than music, as this surely would sound very strange to the Chinese and had to give them a show if or if. But do a little history ... The French musician went out (and almost ruined) for being the first Western musician to play in post-Mao China. The experience was chaotic and unforgettable, but likely to be worsened. In mid-December 1979, Jean Michel Jarre received a call from the secretary-general of UNESCO, the Senegalese Amadou-Mathar M'Bow. The Chinese Government would be interested in Hua Guofen Jean Michel Jarre travel to Beijing and formalize a series of concerts in communist China, just three years after the death of Mao. Amadou-Mathar had studied in Paris and felt a very special affection for France. At the meeting of the UNESCO headquarters, Secretary General tells Jarre to Radio Beijing has begun to radiate their albums, from 'Oxygene' to the last 'Magnetic Fields'. Jarre almost jumped for joy, because it was a year and a half insistence to the Chinese Embassy in Paris to approve his concerts, at the same time that there was astonished. Moreover, it was clear who was handling all the threads of the recent Chinese Communist economy was Deng Xiaoping. That same month, China had purchased several planes to Boeing and Coca-Cola announced the opening of a factory in Shanghai ... something was changing in the most isolated country in the world, or so it seemed at first glance. The July 13, 1980, the following year, Jean Michel Jarre and his wife Charlotte Rampling reach Beijing. His first meeting with the Chinese authorities occurs at the Conservatory of Music in Beijing China, located in one of the adjacent streets of Tien An Men Square. Jarre had taken the precaution of taking a couple of synthesizers to let them show the Chinese what electronics had changed the face of music. Chinese hallucinated with new sounds. They are excited with all the 'currencies' Western. Jarre himself was surprised at the Conservatory that not a single acoustic piano is not found. During the Cultural Revolution, the piano had been convicted of Western musical decadence. It seems that throughout Beijing, at most, there were only two pianos and controlled cultural apparatus of the communist regime. That evening, Jean Michel and Charlotte attend a concert of Chinese symphonic music. Jarre recorded on a cassette music to compose something about Chinese musical idea, but with synthesizers. At night, dine with Madame Wuang, director of the national radio. The ruling says that over half a million Chinese already know Jarre's music, because he has given orders that are heard as disturbing technological innovation in the culture of a new country, developing. As everything becomes eternal by the civil service, Jarre does not return to that country until February 1981. It flies in the same Concorde, with François Mitterrand, who is about to be president. The presidential candidate says he will talk with the Chinese to get to act, at least in Beijing. Jean Michel tells the president that his idea is to adapt some traditional theme of Chinese classical music with synthesizers and adapt. Something difficult to solve, because in Chinese classical music are not interpreted scores memory and hearing. In June, Jean Michel back again Beijing. last technical details with the huge workforce of Chinese officials, unable to understand each other. The meetings almost mad French artist. Nearly a week after the discussions, it is on the verge of aborting the project, to abandon the business. Charlotte explains that these concerts will be more difficult to achieve a concert at the far side of the moon. And precisely for that time, Jean Michel is impressed by the staging of 'The Wall', the magnum opus of Pink Floyd. So hires Mark Fisher to achieve spectacular staging. The signing of Mark for the project raises morally Jarre, who agreed with the Chinese finally two concerts in Beijing and three in Shanghai. Finally, on October 15, 1981 Paris off a special plane to Beijing. Transported 15 tons of material with boxes labeled 300 and 70 people on board. The plane arrived in the capital 30 hours after China. In the airport, the Chinese authorities forced him to formalize and sign a kind of contract. But soon they begin endless problems, since the decline of the Chinese Communist apparatus causes chaos in the expedition. For starters, the authorities had not provided many rooms in the hotel where they stay. To the extent that Dominique Perrier, one of the technical loses his wife for many hours lost in one of the hotels that have enabled the fly in some remote part of the huge city. But the worst is yet to come. Arrived at Beijing Sports Palace, Jarre team is stumped. No electrical outlets and no electricity no concert, after long talks with Chinese-French translators do not translate well, you have to step in China's Ministry of Industry to solve the problem. Every Frenchman has a Chinese technician available, although in some ways are their caretakers and guardians of the Chinese Communist apparatus. Another problem is that the Chinese back their crazy coffee machines that have installed the French team. In a couple of days, there is no 'stock' or coffee or sugar. Who said that Chinese like tea? Dictated by unscrupulous authorities, there are two general technical inspections every day. The first at 11.30 am and the second at 17:30 pm. Jean Michel Jarre talks to the 'bureau' communist and requires them to be free tickets. You receive an insolent no for an answer. They say the tickets are very cheap. 30 cents more expensive and the cheapest 18 (change) cents. But keep in mind that China's average wage was only four hundred and eighty cents (just about five dollars). A Jarre has no choice but to swallow left. As few tickets sold are sold, Jean Michel, with his partner Dreyfuss ensure buy and give away 180,000 tickets three days of performances in Shanghai. A view of the business, the Chinese charge six cents each entrance faces tax issue, they say. Fortunately, the rest of the material, synthesizers and set design time have come to Hong Kong. Comes the big night, on October 21, 1981. Most were soldiers and public officials. In the end, the regime had given the inputs. Like everything is going to film and will have a global propaganda, the regime installed as president of the Palacio de los Deportes in Beijing to Panchan Lama Ederni, which had been the collaborationist Tibetan leader, the friend who had been cast as vice president National Assembly to show that China is crushing the Tibetan people. Jarre premiered in Beijing on Fairlight, the new instrument could sequence and sample any sound. But the Fairlight fails because of the continuing brownouts in electricity. Worse, Frederic Rousseau is wrong to shoot sequences and ends nagging. A musical chaos. The sound is a disaster. After the concert, Jarre learns that more than two near the Palacio de Deportes neighborhoods have been dark for the French to have their electricity. Jarre is also demoralized because, as the concert progressed, people were leaving the premises. Officials say it was because he did not want to lose the last public vehicles only means to return home. Actually, everything is a whimsical game advertisements. A Jarre drove him crazy, excited him become the first Western artist who played in China. For the Chinese regime was widely publicized show the world that were not closed to the world. Quite the opposite. They were the more modern village, open to the Marco Polo mail with a society open to the latest music technology. Pure marriage of convenience. The truth and the only truth was that the Chinese did not understand at all Jarre's music. And neither the lasers, the overwhelming sound and paraphernalia staging of Mark Fisher made them out of indifference. They were forced to concerts, like the entire French team were guarded in a special way. The concert of the second day was much better. In addition, Jean Michel Jarre could play with the Beijing Symphony Orchestra small one of the most famous pieces of traditional Chinese music, 'Fishing with reeds at sunset'. Quite an achievement, but everything sounded out of tune. Chinese-government daily, the next day, Jean Michel Jarre called "the magician of sound and light," the "great master of electricity." But its electronic circus has to travel to Shanghai. We expect three concerts, on 26,27 and 28 October. As had happened in Beijing, a large district of Shanghai remains without light for feeding electricity to the stadium of 60,000 spectators. Or giving away the tickets, the stadium is completed to fill any of the three days. Yes, the public hallucinating with portable synthesizer Jarre and even his famous harp electronic works in Shanghai. Beijing had failed to install due to technical problems. Besides the China National Radio broadcast live across the country each and every one of the concerts. In the end, there is a general feeling happy. All concerts have had great impact worldwide. Jarre had invited more than 20 journalists from many countries. The Chinese offered the possibility of a sixth concert in Beijing before the propaganda success in the world. But Jean Michel prefers to buy a motorcycle to a police officer in Beijing for three thousand francs and return to Paris after the Chinese nightmare. On the plane back, Jarre write the topic of their double album 'The concerts in China'. He calls 'Souvenir de Chine'. A week later, Jarre and his musicians all come into the studio to select the items to be recorded on the disc. For the rest of the five nightmares in China can only assert the footage shot on film. Dreyfuss Jarre and his partner had lost 5 billion francs-about a nearly 400 thousand euros of today on the trip to China. It took nearly five years to recover the money from the venture. Interestingly, Jean Michel back to China in March 1994. Thirteen years later. But what was even more chaotic, because the concert was made in Beijing's Forbidden City. This was even worse than the first adventure. The Chinese had lost oppression of the communist regime and just enjoyed the money. Jarre learned much from a Chinese proverb which read: "The wise man can sit on an anthill, but only the fool is sitting in it." Sure you associated with his second trip to China.

The Climax Blues Band-Tightly Knit (1971)

We turn our attention once again to the English band The Climax Blues Band, a popular group that emerged during the height of the British blues-rock craze of the late 1960s. "Tightly Knit", released in 1971, was the third album by this beloved band, led by bassist and singer Pete Haycock, who, along with Colin Hooper, Derek Holt, Richard Jones, Arthur Wood, and George Newsome, were among the leading figures of the movement. In this release, they continue to embrace blues-rock but with a greater degree of eclecticism and more refined instrumentation and production. They also become more accessible to a wider audience, crafting a catchier and more appealing work. Infectious boogie-blues tracks like "Hey Mama" and "Toward The Sun" alternate with purely bluesy cuts such as "Come On In My Kitchen" and "Bide My Time", the jazzy "Who Killed McSwiggin' ", and the blues-rock tour de force "St. Michael's Blues".

Steve Khan-Tightrope (1977)

Greatly admired by his peers, virtuoso guitarist Steve Khan is one of the jazz musicians who has most frequently participated in recording sessions for other artists. In the past, Khan was a permanent or occasional member of legendary groups such as Weather Report, Blood, Sweat & Tears, Steely Dan, Elements, and Caribbean Jazz Project. His impressive resume also includes hundreds of recordings for artists of the caliber of the Becker Brothers, George Benson, Billy Cobham, Aretha Franklin, Bob James, Billy Joel, Lou Rawls, and Grover Washington Jr. On his own, he has released around thirty albums, beginning with "Two For The Road" in 1977, a magnificent duo album with guitarist Larry Coryell, featuring a repertoire of jazz standards. Later that same year, Steve Khan released one of the best jazz fusion/rock albums of the 1970s. On "Tightrope", Khan enlisted various musicians from the New York jazz scene, including the Brecker brothers, Randy and Michael, David Sanborn, Ralph MacDonald, Steve Gadd, David Spinozza, and Will Lee, in addition to Bob James' production. This album is a perfect treatise on jazz fusion, where Khan's virtuosic guitar playing blends seamlessly with the instrumental contributions of all his talented collaborators. The album's repertoire ranges from jazz-funk pieces like "Some Punk Funk" to smooth jazz tracks such as "Darlin' Darlin' Baby (Sweet Tender Love)", as well as the jazz-rock of "Tightrope", the West Coast jazz of "The Big Ones", the elegant melodies of "Soft Summer Breeze", and forays into avant-garde jazz with "Star Chamber".

Warhorse-Red Sea (1972)

“Red Sea” was the second and final release from the British band Warhorse, one of the most promising progressive hard rock bands of the seventies, who had the misfortune of competing with contemporaries like Uriah Heep and Deep Purple, among many other bands of the era. Their leader, bassist Nick Simper, came from the latter, and was, predictably, expelled by Ritchie Blackmore. Even from their impressive debut, this band possessed all the elements for guaranteed success: the raw sound of Creedence Clearwater Revival, the feeling of the Allman Brothers, the magic of Led Zeppelin, and the virtuosity of ELP. Their continued success was a palpable demonstration that with different luck and a better vocalist, they could have gone much further. For this second album, the band still consisted of Ashley Holt on vocals, guitarist Peter Parks, keyboardist Frank Wilson, drummer Mac Poole, and the aforementioned Nick Simper on bass. At the time, there was much debate about why they never achieved the success they deserved. Perhaps part of it was the insufficient promotion by the record company Vertigo, which was more interested in promoting other bands on its roster. However, it's also true, considering the time of its release, that there were dozens of bands then that were competitive and incredibly creative enough to surpass or equal them with their interesting approach, without resorting to the same old clichés. Even so, Wilson's raw and gritty organ, Simper and Poole's firm and precise rhythm section, Parks' sweet guitar harmonies, and Holt's tense and vibrant screams carried the band through the series of high-quality songs that make up this album, as demonstrated by the hard rock tracks "Back In Time" and "Mouthpiece", both with that unmistakable Deep Purple style, the blues rock "Confident But Wrong", the laid-back "Feeling Better", the rhythmic "Sybilla", and the progressive "I (Who Have Nothing)". “Red Sea” would be the culmination of a band that in its early days showed itself to be one of the most precocious formations of the best hard rock, even almost on par with Deep Purple themselves, but for different reasons they did not get past the starting line and fell into complete oblivion, despite creating two fantastic albums that today are considered an essential part of the evolution of proto-hard rock.

Lift-Caverns Of Your Brain (1977)

Hailing from North America, Lift was a prodigious and enthusiastic old-school progressive rock band that released their only album in 1977, featuring a repertoire of songs composed and assembled several years prior. Their style was based on the influences of British bands like Yes and Nektar, with dark atmospheres reminiscent of Pink Floyd's early psychedelic era. Their ideas were more centered on classical symphonic musical dynamics, which set them apart from their contemporaries like Kansas and Journey, bands that infused progressive rock with typical American rock elements. Lift, on the other hand, delved into robust instrumental jams in a more structured way, providing ample space for each band member to shine. Formed in the early 1970s by keyboardist Chip Gremillion, bassist Cody Kelleher, and drummer Chip Grevemberg, they later recruited guitarist Chris Young and vocalist Courtenay Hilton-Green. After some time, Richard Huxen took over as guitarist following Young's departure. With this lineup, the band gained a large following thanks to their performances throughout the southern United States, especially at university concerts. In 1974, the band entered the studio and recorded a series of unreleased songs, remaining in storage. They also recorded several live performances that were never officially released. A year later, they moved to Atlanta and then to Philadelphia, where they re-recorded the previously recorded material. This material was later officially released as "Caverns of Your Brain" by Brian Records, after Lift had already disbanded. On this unique album, keyboardist Gremillion is the band's instrumental leader, thanks to his orchestral keyboard arrangements and synthesizer and organ solos, but the other musicians also demonstrate great skill on their respective instruments. Chris Squire's influences are evident in the bass playing, while the drummer's swinging touch provides very interesting sounds in each track. The opening track, "Simplicity", is a cheerful yet complex composition, while "Caverns" is more solemn, with thick layers of mellotron and synthesizers. "Buttercup Boogie", as its name suggests, is the only concession to the American sound, with a boogie-rock track built on a very bluesy organ and a frenetic rhythm. But it's the mini-suite "Trippin' Over the Rainbow" that stands out, alternating serene and atmospheric passages with more rock-oriented moments in a very balanced way. "Caverns of Your Brain", while not groundbreaking for its time (somewhat late for that progressive style), is a collector's item for purist progressive rock fans and a small, lost gem of the genre.

George Benson-Breezin' (1976)

"Breezin'" was George Benson's first album for Warner to reach number one on the pop, jazz, and rhythm and blues charts. Released in 1976, "Breezin'" was chronologically his fifteenth album, a release that brought George Benson true worldwide fame. Here, the guitarist cleverly fused his signature rhythm and blues style with funk, jazz fusion, and mainstream music. Certified multi-platinum and winner of the Grammy Award for Best Instrumental Performance, this is one of the most successful jazz albums of all time. The group that accompanied Benson on this album consisted of Ronnie Foster (keyboards), Harvey Mason (drums), Ralph McDonald (percussion), Jorge Dalto (piano), Phil Upchurch (rhythm guitar), and Claus Ogerman (orchestral arrangements). The entire album is a true instrumental delight, with a repertoire made up of catchy smooth jazz songs like the title track, or the seductive "The Masquerade", "Six To Four", "Affirmation", "Lady" and "So This Is Love".

Iron Maiden-Iron Maiden (1980)

This is one of the gems of heavy metal, yet simultaneously undervalued by the newer Iron Maiden fans of the era when Bruce Dickinson was frontman. Considered one of the seminal works of the so-called "NWOBHM" (New Wave of British Heavy Metal), this debut album showcased all the qualities of the movement, with the added touch of punk influences seasoned with more complex and epic sounds. The band was still in the process of solidifying its most classic, successful, and enduring lineup, comprised at that time of bassist Steve Harris, guitarists Dave Murray and Dennis Stratton, drummer Clive Burr, and vocalist Paul Di'Anno. This lineup would undergo significant changes starting with their third album, including the addition of Bruce Dickinson, and a year earlier, guitarist Adrian Smith, followed later by drummer Nicko McBrain in other words, their most classic and long-lasting lineup. But focusing on this first, seminal album, these young musicians demonstrated great instrumental virtuosity and very clear preconceived ideas, all revealed in the powerful "Prowler", the epic instrumental "Transylvania", the marathon progressive "Phantom of the Opera", the visceral and punk-infused "Running Free" and "Sanctuary", and the glorious "Iron Maiden". From here began the legend of a band as iconic as it is fundamental to the history of heavy metal and rock in general.

Journey-Frontiers (1983)

Journey's eighth album, "Frontiers", marked a shift towards a harder sound compared to its predecessor, the more melodic "Escape", while still retaining the band's distinctive harmonic and melodic style. However, before this album, Journey faced the daunting challenge of at least matching the five million copies sold of "Escape" at the time (a figure that now approaches twenty million). With this in mind, the band opted for an album packed with energetic tracks, such as the opening "Separate Ways (Worlds Apart)", which quickly became a classic. This is followed by the melodic and sentimental "Send Her My Love", where they once again demonstrate why Journey have been true geniuses at composing beautiful and irresistible ballads. The powerful rock of "Chain Reaction" leads into the melodic AOR track "After the Fall", while the enchanting ballad "Faithfully" adds another admirably melancholic moment. From this point on, virtually all the remaining tracks are the hardest on the album, such as the powerful “Edge Of The Blade” and “Back Talk”, or the melodic mid-tempo tracks “Ask The Lonely”, “Frontiers”, and “Troubled Child”, where they combine energy and melody simultaneously. The addictive “Only The Young”, one of the album's hits, deserves special mention. As expected, “Frontiers” didn't reach the astonishing heights of “Escape”, although it did reach number two on the US charts and achieved global sales that far exceeded 7 million copies.

Grannie-Grannie (1971)

This is one of those strange and obscure limited-release albums, originally appearing only as a promotional disc, with an official run of just 100 copies and a stark, handcrafted cover. This British band was formed by guitarist Phil Newton in the late sixties. Little else is known about the history of this short-lived group, who privately recorded an album in 1971 without a label to finance them, only to vanish shortly thereafter. Grannie was initially a cover band that played in various London venues such as The Marquee and The Roadhouse. Besides Phil Newton, the band consisted of singer Fred Lilly, flautist Jan Chandler, bassist Dave Holland, and drummer Johnny Clark. Taking advantage of an advertisement offering eight hours of studio time, a master recording, and an album for £99, Newton began composing his own songs for the group to include on the recording. The result was an album composed of six tracks of avant-garde and progressive rock, featuring heavy guitars and catchy melodies, as demonstrated in songs like "Coloured Armageddon", "Saga of a Sad Star and Leaving", "Romany of Return", and the acoustic "Dawn". After recording this album, the band suffered the theft of all their equipment before one of their performances, including their first and expensive Mellotron, effectively erasing all trace of the band. In the 1990s, the prestigious magazine Record Collector included this album among the 100 most valuable records of all time due to its high quality, rarity, and limited pressing.

Jimmy Page & Robert Plant-No Quarter (1994)

In 1994, the long-awaited reunion of some of the legendary Led Zeppelin members finally took place, thanks to the live album recorded by Jimmy Page and Robert Plant titled "No Quarter". The tracks on this live album were taken from various performances in London, Wales, and Morocco during mid-1994. Featuring Arabic orchestration on several tracks, the repertoire was based on a more traditional folk and blues style. Despite being quite different from the hard rock and blues rock of their parent band, this new album became a magnificent work and a huge commercial success. Composed of covers of Led Zeppelin classics, along with some new songs, the album showcases the more traditional folk and blues side of Page and Plant, styles that were always a prominent aspect of Led Zeppelin's career, all seasoned with subtle Arabic influences. Listening to tracks like "Nobody's Fault But Mine", "Thank You", "Since I've Been Loving You", and "Kashmir" in an acoustic format, with occasional appearances of electric guitar and Page's unmistakable riffs and guitar solos, is a true delight for the ears of all fans of the band and music lovers in general. These tracks contrast with the more exotic "Friends", "City Don't Cry", and "Wah Wah", while cuts like "That's The Way" and "Gallows Pole" are the most powerful on this outstanding live album from two of the greatest legends of rock music.

Grateful Dead-Grateful Dead (Skull And Roses) (1971)

The Grateful Dead were undoubtedly one of the most intriguing and unique bands in rock. Their mind-blowing live shows made them the epitome of a live band. In 1971, the Grateful Dead were at the height of their success, and it was in that year that they decided to release the self-titled double live album "Grateful Dead", also popularly known as "Skull and Roses". This became their second live effort after the monumental "Live/Dead", released several years earlier. Released in late September 1971, this was the band's seventh album chronologically. On this live recording, the band performed many of the tracks that have become classics in their repertoire over the decades. At that time, the Grateful Dead consisted of Jerry Garcia on lead guitar and vocals, Bob Weir on second guitar and vocals, Ron McKernan on organ and harmonica, Bill Kreutzmann on drums, and Phil Lesh on bass, plus keyboardist Mel Saunders on several of the tracks featured here. While the previous live album showcased expansive, distorted guitar solos influenced by psychedelic rock, blues, and folk rock, this album prioritizes the arrangements of simpler compositions, with Jerry Garcia opting for a low profile in contrast to the band's prominence. This tendency to emphasize the songs themselves over lengthy, drawn-out arrangements is evident in tracks like "Bertha" and "Mama Tired", which barely exceed four minutes. However, there are also moments of frenetic energy, clarity, and instrumental virtuosity, as in "The Other One", an almost 20-minute epic jam that stands as one of the Dead's iconic songs. The rest is a succession of tracks ranging from the free-flowing improvisations of "Wharf Rat" and "Not Fade Away/Goin' Down the Road" to the catchy, more conventionally lengthy rock of "Me and My Uncle", "Big Boss Man", and "Me and Bobby McGee".

Al Jarreau-Breakin´Away (1981)

This extraordinary singer of soul, pop, and smooth jazz has transcended all musical barriers throughout his career, reaching a wide audience thanks to his unique and exquisite vocal technique. Having honed his skills for years in Los Angeles nightclubs, he was discovered performing in 1975 by a Warner Music talent scout who immediately offered him a contract, financing his first album, which was released some time later. This debut album, titled "We Go By", received high praise from both critics and the public, showcasing a musician who moved with astonishing ease from one style to another with complete naturalness, possessing a technique that even allowed him to perfectly imitate guitars and percussion, all delivered with the warmth of his voice and his joyful compositions. From this point on, Al Jarreau's career experienced a meteoric rise, releasing a series of albums that garnered widespread acclaim, such as "Glow" (1976), "This Time" (1980), and "Breakin' Away" (1981). With this last album, Jarreau achieved his greatest commercial success and his best work, a small gem of the finest jazz-soul-pop, with a repertoire brimming with enchanting songs like his version of Dave Brubeck's "(Round, Round, Round) Blue Rondo à la Turk," the captivating "Breakin' Away", and the sensitive pop song "We're In This Love Together". However, much of the album's merit lies in the exquisite production of Jay Graydon and a roster of musicians that included George Duke, David Foster, Steve Lukather, Bill Champlin, Tom Scott, and Jeff Porcaro, among other renowned session musicians from the American West Coast. Over time, Al Jarreau would go on to win nine Grammy Awards with his subsequent albums in the categories of jazz, pop and rhythm and blues, becoming the only artist to achieve such a feat.

Anderson Bruford Wakeman Howe-Anderson Bruford Wakeman Howe (1989)

In the late 1980s, the British band Yes was mired in a kind of structural chaos. While some original members, such as Chris Squire, Alan White, and Tony Kaye, were working in New York on a new album under the official name Yes, along with other former members like Billy Sherwood, the remaining members Jon Anderson, Bill Bruford, Rick Wakeman, and Steve Howe were doing the same in London. However, the two groups were not interested in joining forces, and in fact, it was this second group that unilaterally released the self-titled album "ABWH" under their initials. Although the album was initially conceived as a solo project by Jon Anderson, who asked the aforementioned former bandmates to collaborate on the recording, it ultimately ended up being credited to all four members as the ABWH project. In those years, there was enormous anticipation to see what this disguised "Yes" would sound like without Chris Squire, and the album would also feature production and cover art by Eddie Offord and Roger Dean, regulars on previous Yes albums, respectively. This album, which seemed destined to become one of their most memorable works, nevertheless suffered from a lack of creativity, the necessary balance, and a certain inconsistency in the final result, despite sounding reminiscent of classic Yes at times. The final result is a kind of hybrid sound, a blend of the original Yes, the band Asia, elements of world music, and hints of new age. This is partly due to Rick Wakeman's innovative keyboard work, Bill Bruford's unusual electronic drumming, the orchestrations of guest keyboardist Matt Clifford, and the exotic guitar touches of Steve Howe and Milton McDonald, another of the musicians who collaborated on the album. Special mention must be made of Tony Levin's bass playing, which undoubtedly makes him one of the most outstanding instrumentalists on this album, noticeably influencing the aforementioned new age and world music sounds with his distinctive style. Even so, there are other remarkable moments such as the symphonic "Fist of Fire", the atmospheric "Brother of Mine", the ambient "Birthright", the spacey "The Meeting", and the progressive "Order of the Universe", a track with a sound reminiscent of Yes at their peak. Shortly after the album's release, the two factions reached an agreement and together, in an extravagant manner, recorded the inferior "Union", which featured a recording process as surreal as it was almost absurd, with two separate working groups (actually there were three): on one side there was ABWH, on the other were Chris Squire and his collaborators, and finally Trevor Rabin also appeared with different musicians in a crazy and chaotic job in six different recording studios, spread between New York, Los Angeles, and Paris.

Marillion-Fugazi (1984)

Marillion's second album, and the first where they truly showcase their own style, moving away from the obvious Genesis influences of their debut. However, despite the band developing highly avant-garde instrumental sections characteristic of their own school, they don't lose sight of the classic sound that was present in their earlier work. For this new album, the band introduced a new drummer, Ian Mosley, who would fit perfectly into the instrumental cohesion of his bandmates. Furthermore, Fish's lyrics are more dynamic, and his vocal style doesn't delve into the vocal intonations of Peter Gabriel. The opening track, "Assassin", represents, in a way, Fish's particular vision of Eastern music an uplifting and energetic song with vigorous drumming, bass interludes, and great guitar riffs. The powerful “Punch and Judy” stands out as one of the most commercially viable yet hard-hitting tracks the band has ever recorded, brimming with powerful riffs, fabulous melodies, and a catchy hook that makes it utterly irresistible. Perhaps “Jigsaw” is the song that most closely resembles the Genesis style, a dark track with soaring passages and sublime guitar solos from Rothery. The superb “Emeral Lies”, with its sinister atmosphere and poetic lyrics, gives way to the brilliant and melodic “She Chameleon”, where the organ takes center stage. To finish the dynamic and progressive track, “Incubus”, which with smooth transitions between the different melodies within the same theme, makes it a superb and brilliant track and one of the fans' favorites in the group's live performances, and the more intimate and delicate “Fugazi”, a worthy conclusion to an extraordinary neo-progressive album, considered one of the masterpieces of the genre.

Bruce Springsteen-The River (1980)

By the late 1970s, Bruce Springsteen had reached the maturity necessary to create a body of work far removed from the youthful dreams of his early albums. However, Springsteen faced a new decade immersed in a creative and personal crisis. The desire to deliver a new album that would meet the expectations of the public and his own record label kept him under constant physical and psychological pressure, and as a result, he discarded a series of tracks intended for an album that was ultimately rejected by the singer himself, who felt they lacked sufficient cohesion and quality for release. Some time later, he returned to the recording studio to tackle his most ambitious project, the one that would simultaneously cement his status as one of the world's leading rock stars. Recorded during the middle months of 1979 at Power Station Studios in New York, Springsteen once again collaborated with his band, The E Street Band, which, curiously, is not credited on the album cover. Released as a double LP, it contains 20 tracks in which the New Jersey musician addresses themes such as coldness, loneliness, melancholy, and attachment to family, but also topics related to youth, as in "Independence Day". Musically, "The River" is a journey through everything Springsteen had done up to that point, with that raw, uncompromising rock fused with hints of country, blues, soul, and folk, all backed by a flawless band, sounding solid and intense, yet vibrant and addictive.

Golden Earring-Eight Miles High (1969)

The fifth album by the Dutch band Golden Earring marked a turning point for their future in terms of quality. It already hinted at the future and characteristic style of progressive hard rock they would develop in the following years. Released in 1969, it was launched by Polydor in Europe and by Atlantic Records in North America. The band that recorded this album consisted of guitarist, singer, and flautist Barry Hay, drummer Sieb Warner, lead guitarist and singer George Kooymans, and bassist and organist Rinus Gerritsen. The album's high point is undoubtedly the monolithic version of the Byrds' "Eight Miles Eight", presented here in a 19-minute whirlwind of hard rock and progressive rock, a truly impressive tour de force showcasing the quartet's power and talent. The rest of the album follows a similar musical path, with tracks like the psychedelic hard rock of "Landing", the pulsating "Song of a Devil's Servant", and the progressive blues rock of "Everyday's Torture". From here on, the group's golden age would begin, creating large-scale media works such as "Seven Tears" (1971), "Together" (1972), "Moontan" (1973) and "Switch" (1975).

Focus-Hamburger Concerto (1974)

This legendary Dutch band revolutionized the world of rock in the early 70s, largely thanks to the unparalleled talent of Jan Akerman and Thijs Van Leer. Akerman is one of the greatest guitarists in history, both electric and acoustic, as well as a master of the medieval lute, while Van Leer is an accomplished keyboardist on the harpsichord, piano, and Hammond organ, and is considered one of the best flautists in contemporary music. Before the release of "Hamburger Concerto", Focus had released several works oriented towards progressive jazz, featuring extensive jams, tracks brimming with blistering instrumentation, and an impressive interplay between the organ, flute, and a remarkable guitar. This fourth release showcases pure progressive rock, as demonstrated by the title track, an expansive piece that occupies the entire second side, where Jan Akerman and Thijs Van Leer share the lead vocals on a track built upon a foundation of classical music. While side A features the Renaissance-inspired "Delitiae Musicae", the enchanting "La Cathedrale de Strasbourg", the powerful "Birth", with one of the most legendary solos in history by Akkerman, and the forceful progressive jazz track "Harem Scarem". "Hamburger Concerto" is the greatest achievement in Focus's career and one of the high points of the progressive rock genre in the 1970s.

Black Sabbath-The Eternal Idol (1987)

While Black Sabbath's career in the 1970s was filled with great works, establishing the Birmingham band as one of the greatest in the history of heavy metal, with a stable lineup of Tony Iommi, Ozzy Osbourne, Bill Ward, and Geezer Butler, the following decade was quite turbulent, marked by numerous lineup changes. First, former Rainbow vocalist Ronnie James took over as lead singer, followed by former Deep Purple member Ian Gillan, and finally, a then-unknown Tony Martin, who ushered in the second most stable period in the band's long history. Further changes were still to come, but with albums like "The Eternal Idol", the band reaffirmed their commitment to high-quality heavy metal, nearly reaching the heights of some of their most iconic works. An album that doesn't lack progressive tendencies, as seen in "Ancient Warrior", "Nightmare", and "The Eternal Idol", while the powerful hard rock/heavy metal, replete with Iommi's incredible and memorable guitar riffs, is present in "Hard Life To Love", "The Shining", "Glory Ride", and "Born To Lose". Although Martin's voice is slightly bluesier and more nuanced than Osbourne's and Dio's, his contribution breathed new life into the career of the iconic British band.

Bodkin-Bodkin (1972)

Bodkin were a short-lived Scottish quintet who released a superb progressive heavy blues album in 1972, but then vanished without a trace. Related to the heavy, dark style of bands like Nosferatu, Atomic Rooster, and Bram Stoker, their sound was based on energetic rock where powerful guitars and a prominent organ created a very appealing mix of dark rock and heavy blues rock, with progressive elements and a certain psychedelia imbued with passages related to the occult and Satanic, but very far removed from the general (literary) concept of bands like Black Sabbath or Black Widow. Their origins date back to 1971 when keyboardist Doug Rome recruited guitarist Mick Riddle and vocalist Zeik Hume, forming the core of Bodkin. Later, bassist Bill Anderson and drummer Dick Sneddon joined them. With this lineup, they entered the studios of producer Jim West, who also owned the independent record label West. He produced and released their self-titled debut album in mid-1972. This single album features five tracks, beginning with the suite "Three Days After Death", which is divided into two parts. The first is highly dynamic, blending heavy rock sounds with subdued passages of atmospheric organ, while the second is more progressive and rhythmic, with sounds reminiscent of Uriah Heep's hard rock. In a similar vein is "Aunt Mary's Traschan", the longest track, which throughout its development leaves us with that scent of classic Deep Purple, while the remaining tracks, "After Your Lumber" and "Plastic Man", being shorter pieces, have less room for progressive moments and are more focused on heavy rock with sharp guitars that remind us of early Black Sabbath.

Michael Sembello-Bossa Nova Hotel (1983)

Although the name Michael Sembello may not ring a bell for many, this multi-instrumentalist, singer, and songwriter is the author of "Maniac", one of the most famous songs of all time. Years earlier, Sembello had worked with Stevie Wonder, participating in the recording of several of his albums, such as "Fulfillingness' First Finale" and "Songs In The Key Of Life", both from the mid-70s. In the following years, he also actively participated in projects for artists like The Temptation, David Sanborn, Donna Summer, and George Benson, among many others. In 1983, Sembello released his first solo album, "Bossa Nova Hotel", which included "Maniac", a song featured on the soundtrack of the film "Flashdance", reaching number one on the Billboard charts and winning an Academy Award for Best Original Song that year. This song, written in collaboration with Dennis Matkosky, definitively launched Michael Sembello's already prolific career. For the recording of "Bossa Nova Hotel", Sembello assembled a stellar lineup of musicians, including bassist Nathan Watts, drummers Vinnie Colaiuta and Carlos Vega, and keyboardists George Duke and Don Freeman. The album's repertoire is a fusion of synth-pop and smooth jazz with bluesy undertones, featuring not only the exhilarating and infectious "Maniac", but also other undeniably high-quality tracks like "Cadillac" and "Automatic Man". From this point on, Sembello dedicated himself almost exclusively to composing film scores for movies such as "Summer Lovers" (1982), "Gremlins" (1984), "Cocoon" (1985), "The Monster Squad" (1987), and "Independence Day" (1996), in addition to sporadically releasing a series of solo albums that remain largely unknown outside of North America.

Winterhawk-Revival (1982)

Winterhawk's only studio album, "Revival", is considered by many to be one of the most outstanding guitar-driven hard rock albums of all time. This Chicago-based band is frequently compared to the Canadian band Rush due to the similarity in their instrumental patterns and Doug Brown's vocal timbre, which bears a striking resemblance to Geddy Lee's. However, musically, Winterhawk's style leaned towards the primitive roots of American hard rock, unlike the Canadian band, which was more influenced by British blues-rock, a style inherited from bands like Led Zeppelin, and which they already showcased in their first three albums: "Rush", "Fly By Night", and "Caress of Steel". Nevertheless, there is no doubt that the shadow of the Canadian trio is evident in many of their instrumental passages, as demonstrated by the title track, the dynamic "Sanctuary", and even the progressive-tinged hard rock of "Period of Change". On the other hand, “Ace In The Hole” showcases the group’s diversity with a muscular piece of instrumental jazz rock, while the Southern rock track “Can’t See The Forest For The Trees” and especially the legendary jam “Free To Live” demonstrate the dazzling talent of their guitarist Jordan Macarus with his dizzying and arabesque solos on the six strings, making it clear that he is one of the great and at the same time unknown guitarists of seventies hard rock.

George Hatcher Band-Dry Run (1976)

George Hatcher is one of the greatest unsung heroes of southern rock, one of those musicians who exude genius and creativity in equal measure. He had to emigrate to Europe in the mid-70s to achieve some recognition with his band, the George Hatcher Band. Originally from South Carolina, George Hatcher had already explored his musical talent in several local groups that came and went without much fanfare, such as Frantic and Flatrock. In 1974, he decided to try his luck in England, where he formed the short-lived band Stark Naked and the Car Thieves with former Curved Air members Stuart Copeland (later famous for founding The Police) and Darrel Way. They toured the country for a while. After this short-lived venture, he founded the George Hatcher Band, initially enlisting guitarist John Tomas and former Renaissance drummer Terry Slade. Shortly after, bassist Harris Joannou, guitarist Phil Swan, and keyboardist Steve Wren joined, completing the band's lineup. Thanks to the United label, they released their first album, "Dry Run", a work oriented towards southern sounds with hints of boogie rock, as demonstrated in the opening track, "Lucky Guy". Other standout tracks include "All Night Gambler", "Rockin' in the Morning", "First Thing Smoking", and "Good Friend", where we find a style influenced by country rock and southern blues that at times recalls the Allman Brothers Band. During the following years, the band continued to release great works such as "Talkin' Turkey" (1977), "Rich Girl" (1978), and "Coming Home" (1980), all of which received significant media attention, leading to appearances at the Reading Festival and opening slots for artists like AC/DC, Ted Nugent, Aerosmith, and Molly Hatchet in the UK. Back in the United States, in 1985 they released their last album, "Hindsight", resuming activity well into the 1980s. In the 2000s, they played a series of concerts with a completely reformed band, touring with leading bands such as Molly Hatchet, Cheap Trick, Black Oak Arkansas, The Outlaws, Black Sabbath, and Scorpions, or performing as the main act for large audiences of up to 80,000 people alongside the 38 Special, such as the one held in 2002 at the famous Speed ​​Street festival in Charlotte.

The Clash-Sandinista (1980)

In 1980, The Clash released their fifth album, "Sandinista!", a triple album whose cover perfectly reflects the image of its four members with their backs to a wall, as if about to be executed an image that perfectly captures the last vestiges of punk. When it was released, this overwhelming collection of songs surprised no one. A year earlier, they had already done something similar with the double album "London Calling", a work brimming with rock 'n' roll anthems, as evidenced even by its iconic cover, a clear nod to Elvis Presley's famous first album. "Sandinista!" consists of 36 songs, not all of them of exceptional quality, but as is to be expected with such a large number of compositions. Ironically, despite being a deeply anti-American album, "Sandinista!" was a huge commercial success in the United States, thanks in part to the diverse styles and sounds it encompasses, from rap and blues to dub and rock. Stylish tracks as disparate as the rockabilly of "The Leader", the epic ballads of "The Magnificent Seven", and the reggae of "Junco Partner" alternate with truly surprising and high-quality compositions such as "Somebody Got Murdered", "The Call Up", "Washington Bullets", "Police on My Back", and "Rebel Waltz". Even with such a profusion of songs, "Sandinista" is not an easy album; its development is quite erratic and its repertoire is excessively disconcerting and disordered, something very common in the punk philosophy, and this album in particular would stage the biography of an entire generation on the threshold of a new decade and the subsequent decline and fall of a genre that almost at the same time as Macío was devoured by its own image.

J.Geils Band-Live Full House (1972)

This led Peter Wolf on vocals and guitar J.Geils band was a real steamroller of rock'n'roll, soul and a lot of rhythm & blues. The truth is that to begin to taste this excellent band material, I can not think of anything else to start this direct published in the year 72. Previously, they had already released two albums that seem formidable me as essential and this recording was not more than the culmination of a perfect trilogy.
But what we were, which is nothing but this live recording at the Cinderella Ballroom in Detroit on April 72, consisting of only 8 songs, but enough to get into orbit from the first second. It is true that the recording can cross a somewhat shorter in duration, when at that time the band offered their fans directly twice typical fall of ass. But, what the hell !, this work sounds like a runaway locomotive without brakes. All exercise of power, passion and joined the unlimited talent musicians energy off his hat. There is little of their own as they only include tremebundo "Hard driving man", but versions that are marked "First I look at the purse" Smokey Robinson, "Homework" Otis Rush or immeasurable "Serves you right to suffer "by John Lee Hooker, to give some examples, are powerful tools to put this live on an altar reasons. And to show a button relative to the strength and intensity that emanated from these guys live with "Looking for a love" ... overwhelming!


   

Randy Crawford-Best Of (1996)

Thanks to her impeccable and refined voice, Randy Crawford is one of the great soul/jazz and rhythm and blues singers of the late 20th century. Randy rose to fame when she lent her vocals to the song "Street Life" on the album of the same name by the jazz fusion group The Crusaders in the late 1970s. From then on, her collaborations with keyboardist Joe Sample, as well as her solo albums, earned her the reputation of being one of the divas of Black music. Albums such as the exuberant "Secret Combination" (1981), "Nightline" (1983), "Abstract Emotions" (1986), and "Feeling Good" (2006) were chart hits around the world. A highly versatile singer, she has also collaborated with other artists such as former Genesis guitarist Steve Hackett and Australian rocker Rick Springfield, among others. In 1996, his compilation album "Best Of" offered a meticulous review of some of his best songs, an album featuring elegant compositions with grand and magnificent arrangements of refined smooth jazz & soul and R&B such as "Give Me The Night", "Street Life", "Imagine", "Who's Crying Now" or "Knockin' On Heaven's Door".

Bob Marley And The Wailers-Natty Dread (1974)

Although Bob Marley's previous album, "Burnin' ", was released internationally in England and the United States, this would be the first to be distributed globally, introducing him and his band, The Wailers, to the world. That year, Peter Tosh and Bunny Livingston, two of the original members of The Wailers, had left the group due to the pressures of constant touring and their growing popularity. With a reformed lineup featuring guitarist Al Anderson, bassist Aston Barrett, and organist Jean Roussel, Bob Marley undertook the recording of this seventh album, which would achieve unprecedented success in the Jamaican musician's career up to that point. Somewhat softening the political message of his earlier works, Bob Marley approached this project with a profound spiritual and emotional intensity. The powerful rhythm section of drummer Carlton Barrett and his brother, bassist Aston Barrett, along with Anderson's riffs and Marley's subtle guitar work and soulful, African-tinged vocals, drive an album brimming with African-American sounds adorned with reggae rhythms. "Takin' Blues", "Them Belly Full", and "Rebel Music (3 O'Clock Roadblock)" are clearly geared toward that antisocial message, while the rebellious "Lively Up Yourself" and the glorious "No Woman No Cry" complete one of Bob Marley and The Wailers' finest albums.

Thin Lizzy-Bad Reputation (1977)

Thin Lizzy are considered today one of the greatest hard rock bands in history, but this wasn't always the case. For much of their career, they were consistently undervalued and panned by the British press compared to other contemporary bands. Led by Irishman Phil Lynott, their early years saw several lineup changes. From the first lineup, which released their first three albums, featuring guitarist Eric Bell and drummer Brian Downey, along with Lynott on bass and vocals, to their final album released in 1983, illustrious guitarists such as Gary Moore, Scott Gorham, Brian Robertson, Snowy White, John Sykes, and keyboardist Darren Wharton all played with the band. "Bad Reputation" was their eighth album, preceded by the commendable "Johnny the Fox", an album that didn't achieve the same acclaim as its predecessor, "Jailbreak", partly due to its conceptual experimentation. For "Bad Reputation", the band, in addition to Downey and Lynott, featured guitarists Robertson and Gorham, and it was produced by Tony Visconti, who had previously produced David Bowie's "Heroes" album that same year. This is undoubtedly Thin Lizzy's hardest and most aggressive work of their entire career; however, all that power is not without its captivating melodies, as demonstrated by the thrilling "Soldier of Fortune". Besides this iconic song, other highlights include the hypnotic "Southbound", the irresistible "Dancing in the Moonlight" with its pop rhythm, the raw "Bad Reputation", the frenetic "Killer Without a Cause", the mid-tempo "Downtown Sundown", and the enormous "Opium Trail", resulting in an album as brilliant as it is essential within the hard rock genre.

Grand Funk Railroad-E Pluribus Funk (1971)

In 1971, Grand Funk were at their peak. Their fourth album, "Survival", released in April of that year, catapulted them to the forefront of American rock. Seven months later, the trio of Mark Farmer (guitars, organ, and vocals), Mel Schacher (bass), and Don Brewer (drums) returned to Cleveland Company Studios in Cleveland to record their fifth album, "E Pluribus Funk". Produced by Terry Knight, it continued their triumphant run with another anthological work of energetic hard rock. However, this new album already hinted at more melodic nuances, with the band taking a step back from the accelerator pedal of its frenetic songs. Here we find one of Grand Funk's anthems, the galloping "Footstompin' Music", a track that navigates between hard rock and psychedelia. As a counterpoint to this appears the soul rock "People, Let's Stop The War", a track with a clear allusion to the Vietnam War, followed by the frenetic with a funk rhythm "Upsetter", the heavy and forceful "I Come Tumblin' " or the dark "Save The Land" which together with the epic with progressive touches "Loneliness" is the repertoire of a superb work of the best hard rock to come out of the United States in the 70s.

Hawkwind-Warrior On The Edge Of Time (1975)

With their fifth album, Hawkwind continued their progressive and lysergic journey, which they had begun with their previous album, "Hall of the Mountain Grill". "Warrior on the Edge of Time" brought together everything that had captivated Hawkwind up to that point. It's all present here, brimming with pure (and perhaps even exaggerated) poetic lyrics, tracks overflowing with flutes, echoes, saxophones, sharp, lysergic guitars, hazy bass lines, and diverse electronica with overwhelming synthesizers and mellotrons everywhere. It's an astonishing concept album based on tales of wizards and space wars, all bathed in psychedelic music. But in addition to the band's ever-intricate style, there were their frequent lineup changes, and this album was no exception. Keyboardist Del Dettmar left, and a second drummer, Alan Powell, joined, a factor reflected in the powerful and varied percussion sounds throughout much of the album. The opening track, indebted to the best of krautrock, “Assault & Battery/ The Golden Void”, immerses us in a complex composition with a stormy barrage of mellotron sounds combined with a heavy rhythm featuring flutes, organs, and a powerful bass line. “The Wizard Blew His Horn” is essentially an introductory piece by science fiction writer Moorlock, set against a backdrop of strident, surreal sounds, and serves as a prelude to the hypnotic, spacey “Opa-Loka”. This is followed by the frenetic, progressive “Magnu”, with its excellent riffs and powerful percussion, leading into the more spacey and electronic “Spiral Galaxy 28948”. The album concludes with the more purely rock tracks “Dying Seas” and “Kings of Speed.” “Warrior on the Edge of Time” is considered one of Hawkwind’s greatest contributions to history and a minor masterpiece of space rock. From here on, and following the trail of continuous defections, bassist Lemmy Kilmister would leave the band (he was actually expelled for drug smuggling and for his clashes with the rest of the members over musical differences), to later found the iconic heavy metal band, Motorhead.