The White Stripes-Elephant (2003)

Spearheading the revival of 1960s garage rock in the late 20th century, the White Stripes established themselves as one of the leading alternative rock bands throughout much of the late 1990s and the first half of the 2000s. Their original musical approach encompassed genres as diverse as blues, hard rock, folk, country, punk, and rock and roll, with a style heavily influenced by the classic sound of the legendary Led Zeppelin, one of the band's main influences. Furthermore, their recordings were characterized by the simplicity of their arrangements and their effective, albeit rudimentary, songs. Formed by the duo Jack White (guitarist, vocalist, and keyboardist) and Meg White (drummer and vocalist), they were active for just over ten years, from 1999 to 2011, when they officially disbanded. During this time, they released six studio albums and several live albums, selling over ten million copies. “Elephant” was the title of their fourth album, released in early 2003, becoming one of their biggest commercial and critical successes. As was typical of their previous albums, the band opted for the analog sounds characteristic of the 1960s, using recording equipment from that era. Musically, with this new album, the White Stripes succeeded in rediscovering for new generations the primal, rootsy sounds of blues and rock, with a series of addictive tracks such as the generational anthem "Seven Nation Army", which would become a classic at sporting events worldwide. In addition to this now-universal track, there's the psychedelic "There's No Home For You Here", the powerful blues-rock "Ball and Biscuit", the dark hard rock "The Hardest Button", and the garage rockers "Girl, You Have No Faith In Medicine" and "Black Math". Meanwhile, the folk, country, and American rock influences are present in tracks like "In The Cold, Cold Night", "I Want To Be The Boy To Warm Your Mother's Heart", and "You´ve Got Her In Your Pocket".

Lou Reed-The Blue Mask (1982)

Once Lou Reed overcame his addictions to drugs and alcohol, a period that marked his most decadent phase but also produced some of his best albums, he returned in 1982 with "The Blue Mask", a magnificent album showcasing a more reflective side of him. Recorded at RCA Studios in New York and produced by Sean Fullen, Reed collaborated with a small group of musicians including Robert Quine (guitars), Fernando Saunders (bass), and Doane Perry (drums). The general tone of this new work (the eleventh chronologically by the American musician) is based on ingenious, easily digestible songs, a concise repertoire dominated by the guitar, which has a great luminous intensity and with a large majority of compositions of relaxed sounds except for the energetic "The Blues Mask", "Average Guy" and "Waves Of Fear", while others such as "My House", "Women", "The Gun", "The Day John Kennedy Died" and "Heavenly Armas", show that complacency, giving great stability to this excellent work.

Lightnin' Hopkins-Free Form Patterns (1968)

Lightnin' Hopkins was one of the greatest bluesmen in history and, at the same time, one of the most influential figures on many rock and blues guitarists. During his career, which spanned from 1940 to the 1980s, he recorded more albums than any other blues guitarist, and he was one of the first inductees into the Blues Hall of Fame in 1980. His distinctive fingerstyle (a technique that involves playing the guitar by plucking the strings directly with the fingertips or nails, as opposed to using a traditional pick) earned him a place among the 100 greatest guitarists of all time. Born in 1912 in Texas, Hopkins began by immersing himself in the rural blues of the American South, teaching himself and gradually evolving towards country blues and electric blues. His first recordings were with jazz pianist Wilson Smith, and he later collaborated with other prominent musicians such as L.C. Williams. His performances throughout the Midwest earned him a large following among African American audiences and blues fans. During the 1950s and 60s, Hopkins recorded a seemingly endless series of albums and singles for major labels such as Gold Star, Folkways, Bluesville, Prestige, Charly, Vanguard, and Polydor. Throughout the 1960s and 70s, he released several albums a year, touring extensively at folk and blues festivals around the world. One of his most popular albums is "Free Form Patterns", on which he was backed by the rhythm section of the psychedelic band 13th Floor Elevators, an album that garnered widespread acclaim as one of the finest expressions of authentic blues. Hopkins died of esophageal cancer in Houston on January 30, 1982, at the age of 69, and several of his guitars are on display in museums in Cleveland and Washington, D.C.

Porcupine Tree-In Absentia (2002)

With Porcupine Tree's seventh album, "In Absentia," the band led by Steven Wilson not only achieved their best work but also the pinnacle of the brilliant composer, singer, and guitarist's creativity undoubtedly one of the most brilliant musicians of the last two decades. While throughout much of the nineties the band built a strong reputation within the progressive rock community with such monumental albums as "The Sky Moves Sideways", "Signify", and "Stupid Dreams", in which they maintained their characteristic progressive sound but fused it with different nuances and more commercial sounds, in "In Absentia" they rationally managed to fuse psychedelic and prog elements with the power of heavy metal, as demonstrated in the opening track, "Blackest Eyes". The rest of the album moves eclectically through various styles, with complex compositions alongside simpler but incredibly addictive ones, as demonstrated in tracks like “Trains”, “Prodigal”, and “Strip The Soul”. Meanwhile, the progressive hard rock vein is very much present in cuts like “Gravity Eyelids” and “Weeding Nails”, in dark and powerful exercises like “The Creator Has A Mastertape”, and in exquisite pieces like “Heartattack In A Layby” and “Collapse The Light Into Earth”. “In Absentia” has become one of the essential works of the new century, not only for its memorable compositions but also for the superb instrumental performance of each band member, as well as the impeccable production by Steven Wilson himself.

Virus-Revelation (1971)

This German band, whose name might sound pejorative by the time we write this post (for obvious reasons that don't need mentioning), was founded in the early 70s and only released two interesting albums, though they had little commercial or media impact at the time of their release. Formed around a core of guitarist Werner Monka and organist Dieter Krahe, the band was rounded out by vocalist and flautist Bernd Hohmann, bassist Reinhold Spiegelfeld, and drummer Wolfgang Rieke. Their style was based on hard rock with psychedelic influences and hints of space rock, a style that could be classified as classic krautrock. Their first album is the most focused on these sounds, with several long, drawn-out tracks that reveal their influences, ranging from the more psychedelic Deep Purple to the more spacey Pink Floyd. Right from the opening track, “Revelation”, the band showcases the lysergic journeys of Phillip Perceptrons, led by Syd Barrett, which surprisingly evolves into a heavy and dark psychedelic version of the Rolling Stones' “Paint It Black”, “Endless Game,” on the other hand, is a dynamic progressive hard rock track with constant tempo changes that ultimately transforms into an extended psychedelic jam. The rest of the album follows similar paths, with tracks like “Burning Candle” and “Hungry Loser”, a clear nod to the sound of Jimi Hendrix, and the psychedelic and progressive “Nur Noch Zwei Lichtjahre”. Shortly afterward, several members left due to musical differences, and the band reformed with new members, releasing their second album, “Thoughts”. This album marked a departure from the musical approach of their debut, leaning towards the more predictable sounds of classic hard rock, a shift that would ultimately cut short the career of this otherwise excellent German band.

Frank Zappa-The Grand Wazoo (1972)

"The Grand Wazoo" was the last of Frank Zappa's instrumental burlesque albums, at least until "Orchestral Favorites" was recorded many years later. Recorded during Zappa's convalescence from injuries sustained when a wild fan stormed the stage during one of his concerts, Zappa ensured that each track on "The Grand Wazoo" retained a distinct stylistic flavor, always within the framework of jazz-rock. This is a purely instrumental album, save for a few vocal parts, where a large group of musicians more than twenty lend it a big band jazz style. Among these musicians were drummer Aynsley Dunbar, keyboardist George Duke, guitarist Tony Duran, percussionists Alan Estes and Bob Zimmitti, and saxophonist Ernie Watts. This release lacks Zappa's usual guitar solos, or at least not as many as in previous and subsequent releases. Instead, a wide variety of wind, brass, and percussion instruments take center stage, making it one of the most purely jazz-influenced works in his entire discography. From the gritty tones of "The Grand Wazoo" to the comical "Cletus Awreetus-Awrightus", passing through the epic riffs of "Eat That Question" or the relaxed "Blessed Relief", Zappa once again demonstrated that he was the absolute master of the bizarre, the anarchic, and everything musically established.

Black Sabbath-Seventh Star (1986)

"Seventh Star" was originally intended to be guitarist Tony Iommi's first solo album, but it was ultimately released under the Black Sabbath name due to pressure from the record label Vertigo, who argued that sales would be higher if the album were released as Black Sabbath. With three-quarters of the original lineup gone, Iommi recruited bassist Glenn Hughes, drummer Eric Singer, and bassist Dave Spitz, while other musicians such as keyboardist Geoff Nicholls and vocalist Ray Gillen also participated in the recording sessions. A far cry from the doom and dark heavy metal sound of Black Sabbath, this album saw the guitarist opting for a more conventional, radio-friendly sound of classic rock and heavy metal. The energetic melodies of Tony Iommi's riffs, backed by Glenn Hughes's soulful vocals, and underpinned by a solid, powerful rhythm section, are the common thread of an album that, while not reaching the heights of the band's best work, remains a worthy heavy metal and hard rock album released in the 80s. It's an album comprised of a solid collection of songs, including the epic title track, the bluesy "Heart Like A Wheel", the powerful ballad "No Stranger To Love", the melodic rock of "Angry Heart", and the mighty heavy rock anthems "In For The Kill" and "Turn to Stone".

Lou Reed-Rock´n´Roll Animal (1974)

In 1972, David Bowie entered Lou Reed's career and became one of his greatest influences. The British singer encouraged Reed to emphasize the ambiguous and provocative nature of his lyrics and performances, characteristics typical of the Andy Warhol factory, from which Reed himself emerged. If, until then, the New York musician had been one of the pioneers in highlighting the negative and unsettling aspects of youth subculture, with Bowie's arrival, he gradually transformed into an androgynous figure, appearing on stage with black eye and lip paint and wearing black velvet suits adorned with faux sequins. Already on his album "Transformer" (1972), he deliberately introduced the themes of homosexuality and cross-dressing, with which Reed had previously maintained a distance through irony and theatricality, but which he suddenly seemed to embrace. Bowie and Mick Ronson's collaboration on production, in addition to their participation in the album's recording, gave a great boost, coherence, and balance to a work that contained captivating songs like "Walk On The Wild Side", "Vicious", "Make Up", and "Satellite Of Love". Thanks to this LP, Lou Reed finally became a rock star; however, his consolidation at the top was cut short by his next work, "Berlin" (1973), which was produced by Bob Ezrin and featured an anthology of musicians, including Steve Winwood, Michael Brecker, Aynsley Dunbar, Steve Hunter, Dick Wagner, and Jack Bruce, among others. However, this album was scorned by the press and lost public interest, undoubtedly due to its strange music, which alternated intense orchestral passages with uneven acoustic guitar and rock sounds, prompting comparisons to the Velvet Underground's first album. Disgusted by that poor reception, Lou Reed formed a powerful and forceful rock band, which included guitarists Wagner and Hunter, plus bassist Prakash John, drummer Pentti Glan, and keyboardist Ray Colcord, and would release the vigorous and immersive live albums “Rock´n´Roll Animal” (1974) and “Lou Reed Live” (1975) in which he reviewed his classic songs in an almost hard rock style; “Sweet Jane”, “Heroin”, “Lady Day”, “Vicious” or “Walk On The Wild Side”, both albums, memorable sonic documents of the best period, at the same time the most turbulent of the American musician.

Allan Holdsworth-Metal Fatigue (1985)

Allan Holdsworth is considered one of the greatest guitarists in history, yet at the same time, he remains unjustly unknown to much of the rock community. His beginnings in the 1970s led him to participate as a member of such iconic bands as Tempest, U.K., Gong, Soft Machine, and Jean-Luc Ponty's band, in addition to numerous collaborations on albums by renowned artists like Stanley Clarke, Jack Bruce, Carl Verheyen, and John Wetton, among many others. In 1976, he released his first solo album, "Velvet Darkness", which already showcased his technique in the service of progressive jazz. With his second album, "I.O.U.", released a few years later, Holdsworth created a work with an unpredictable and surprising sound, replete with a vast array of complex progressions, chords, and atypical tonal scales. In 1983 came "Metal Fatigue", considered one of the best jazz-rock albums of the 1980s, where he demonstrated his exceptional guitar mastery. With this album, he pushed the boundaries of genres and styles, blending an instrumental-oriented sound with vocals in some of the songs. "Metal Fatigue" contains six excellent compositions that straddle the line between rock and jazz, brilliantly performed not only by the brilliant guitarist but also by the musicians who accompanied him on this recording, including drummer Chad Wackerman, bassists Jimmy Johnson and Gary Willis, vocalists Paul Williams and Paul Korda, and keyboardist Alan Pasqua. Impeccably performed tracks such as the superb jazz rock “Devil Take The Hindmost”, “Home” and “Metal Fatigue” or virtuoso exercises like “The Un-Merry Go Round” or the more accessible “Panic Station” and “In The Mystery”, make up a truly excellent jazz rock album, with absolutely fantastic musicality and impeccable instrumental execution.

Eulenspygel-2 (1971)

This is one of the most intense recordings of krautrock and German underground hard rock from the 1970s. Released in 1971, its title "2" refers to the fact that this band, then called Royal Servents, had already released a previous album. Eulenspygel consisted of Detlev Nottrodt (electric guitar and vocals), Matthias James Thurow (electric guitar, violin, mellotron, and sitar), Ronald Libal (electric bass), Mulo Maulbetsch (vocals), Günter Klinger (drums), Cornelius Hauptmann (flute and saxophone), and Karl-Heinz Großhans (Hammond organ). With a style that blends jazz, rock, and avant-garde elements, their compositions are ingeniously arranged, all driven by vibrant guitars and a frenetic organ. Tracks like "Das Lied Vom Ende", "Konsumgewasche", "Strub Auf Deinem Haar", "Son My", and "Till" are imbued with a heavy rock sound and insightful instrumentation. Eulenspygel was also one of the most politically charged bands of the era, with lyrics that were critical and ironic, targeting Western society, environmental degradation, capitalism, and the Vietnam War.

Nektar-Magic Is A Child (1977)

Shortly after releasing their sixth album, "Recycled" (1975), the British band Nektar suffered their first departure. Their principal songwriter, guitarist Roye Albrighton, left the group, refusing to relocate to the United States like the rest of his bandmates. From then on, the band attempted to cling to the progressive and magical essence of their early style with a new guitarist, American Dave Nelson. Nelson, along with Alan Freeman (keyboards, synthesizer, and vocals), Derek Moore (bass and vocals), and Ron Howden (drums), tackled a new album, which also featured Larry Fast on synthesizers, Robert Fripp on guitar, and a string quartet. This new work continued to showcase the band's signature sinuous and ingenious arrangements, exquisite vocal harmonies, atmospheric keyboards, and a harder rock guitar sound than usual. However, the musical direction becomes more accessible, without ever becoming mainstream or commercial, but rather a kind of catchy and appealing progressive rock for a wide audience. Hard rock tracks like "Midnight Lite" and "Train From Nowhere" are followed by intense cuts with progressive elements such as "Listen", "Away From Asgard", and "Magic Is A Child", the latter a beautiful melody featuring a memorable harpsichord and string quartet. With "Magic Is A Child", the British band created another of their memorable albums, adding to their extensive and brilliant discography.

Blind Guardian-Nightfall In Middle-Earth (1998)

The eighth album by the German band Blind Guardian marked the pinnacle of their creativity, while simultaneously being their least accessible and most progressive record. Based on J.R.R. Tolkien's "The Silmarillion", Blind Guardian embarked on their most ambitious work, replete with vocal harmonies and multiple layers of guitars with dense and complex sounds. By the time they recorded this album, the band had gone three years without releasing any new material, years in which they had embarked on several highly successful world tours, performing complex songs from their albums "Somewhere Far Beyond" and "Imaginations From The Other Side". These albums, while not explicitly concept albums, followed a similar pattern with progressive leanings, if not so much musically, then certainly stylistically. “Nightfall In Meddle-Earth” is an exciting album from beginning to end, with great intros, outstanding epic compositions and a clear taste towards rock opera, with narrated parts, countless choirs and sublime instrumentation made up of 22 tracks, half of which are songs and the rest narrated or instrumental interludes.

Lucifer´s Friend-Where The Groupies Killed The Blues (1972)

Following their fantastic debut, the German band Lucifer's Friend subtly moved away from psychedelic heavy metal to delve into the realm of progressive hard rock, following in the footsteps of British bands like Uriah Heep, Deep Purple, and Atomic Rooster. Their style here is based on a perfect blend of blues, rock, jazz, and avant-garde elements. The jazzy touch of bassist Dieter Horns, the sharp heavy rock guitar of Peter Hesslein, the massive and ingenious organ sound of Peter Hecht, and the soaring vocals of John Lawton noticeably enrich the musical palette of this legendary group. On this second album, ironically titled "Where The Groupies Killed The Blues", released by the British label Vertigo in 1972, Lucifer's Friend adopted a more progressive approach, with abundant use of keyboards (piano, Mellotron, Moogs, and Hammond organ), orchestrated passages, and extended instrumental developments. All of this is reflected in tracks like "Hobo", "Rose in the Vine", "Mother", "Where The Groupies Killed the Blues", "Summerdream", and "Prince of Darkness", which also showcase Peter Hesslein's blistering guitar work, giving the album a crushing and heavy final sound. Along with their self-titled debut album and "Banquet," released two years later, "Where The Groupies Killed The Blues" is undoubtedly one of the high points of progressive hard rock.

John Mayall-USA Union (1970)

In the late 1960s, John Mayall moved to the United States, settling in the idyllic Laurel Canyon, California. His album "Blues From Laurel Canyon" expressed his fascination with the place. Influenced by American music, he soon formed a new band composed entirely of American musicians. Among them were former members of the blues-rock band Canned Heat: Harvey Mandel (guitar) and Larry Taylor (bass). Taylor had previously made a brief guest appearance on Mayall's album "Empty Rooms". Also joining the band was violinist Don "Sugarcane" Harris, who had recently played with Frank Zappa. Earlier, on his live album "Turning Point" (1969), recorded at the legendary Fillmore East in New York, Mayall had dispensed with the drums, a decision that would mark a turning point in his career. This shift towards a low-volume blues style, devoid of the heavy guitars and drums that were so popular at the time, seemed like commercial suicide, to say the least. However, with this album and its predecessor, "Empty Rooms" (1970), Mayall created a clever fusion of Latin rhythms, blues, jazz, and boogie, featuring musicians like guitarist John Mark, saxophonist Johnny Almond, and bassist Stephen Thompson, who complemented Mayall's vocals and harmonies. "USA Union", recorded with the Mayall-Mandel-Taylor-Harris quartet, recaptured the solid sound of jazz-rock with freer, ensemble-driven compositions, where Taylor and Mandel made significant instrumental contributions. Mandel added a rich color to the music with his electric guitar solos, which had a more subtle sound than those played by the band's previous incarnations (Eric Clapton, Peter Green, and Mick Taylor). However, the formula of "Empty Rooms" isn't repeated here. Although the original idea is quite similar, the instruments are slightly different (the violin and the electric guitar taking a more prominent role, replaced by the saxophone and flute), significantly altering the character of the music. Another important point is that all the compositions are highly expressive and interwoven. The typically rhythmic blues track "Crying" is one of the album's most memorable songs, with the violin taking center stage and sounding unlike anything Mayall has ever composed. Meanwhile, the jazzy "The Jazz Off The Road", despite its short duration, is a pleasant, relaxed, and easygoing musical journey. In "Nature's Disappearing", Mayall showcases his harmonica skills, complemented by the equally talented performances of the other instrumentalists. The rest of the tracks maintain an acceptable level within this experiment, which, due to the atypical instrumentation of the lack of drums and wind instruments, created a unique and exciting version of the best blues that John Mayall has ever made, something that is very difficult to affirm after so many great works by the so-called father of white blues.

Tangerine Dream-Cyclone (1978)

In 1978, Tangerine Dream released their eighth studio album, "Cyclone". On this new release, the band, led by Edgar Froese and Christopher Franke, introduced several changes compared to their previous albums. The first change involved the lineup: Peter Baumann was no longer with the band, replaced by drummer and percussionist Klaus Krieger and keyboardist, wind instrument player, synthesizer player, and vocalist Steve Jolliffe. The second change concerned the German group's "new" sound, incorporating vocals into their compositions for the first time. This gave them a more conventional style within progressive rock, making this one of their albums most clearly focused on that genre. The 13-minute track "Bent Cold Sidewalk", with its wandering electronic vocals, became one of TD's more conventional progressive rock songs, while their usual spacey and atmospheric style appeared on "Rising Runner Missed by Endless Sender". However, the album's high point is the suite "Madrigal Meridian", where the succession of hypnotic synthesizer sounds and the constant sequenced rhythm create a vaporous atmosphere with a pulsating cadence, transforming it into a true journey through space. Its subsequent reception was met with strong criticism from its most purist fans, something that, nevertheless, did not prevent the album from achieving success on both sides of the Atlantic.

Black Widow-Sacrifice (1970)

Often compared to Black Sabbath due to their name and the satanic lyrics on their first album, Black Widow had released an album under the name Pesky Gee in 1969 before changing their name. However, that comparison was rather unfair, because their style, unlike the gloomy and dark sounds of the band led by Tony Iommi and Ozzy Osbourne, was more boisterous, cheerful, and with proto-progressive elements, albeit with undeniably demonic lyrics. This trend would change on their next two albums, which wouldn't go in that direction, as their style remained within the confines of hard rock and more conventional progressive rock. Hailing from Leicester in the east of England, this band was founded by vocalist Kip Trevor, guitarist Jim Gannon, and keyboardist Zoot Taylor, with drummer Clive Box, bassist Bon Bond, and flautist/saxophonist Clive Jones completing the lineup. Even with their previous band, Pesky Gee, they had garnered considerable attention for their satanic concerts, where they simulated the sacrifice of a naked woman on stage. In 1970, they left Pye Records and signed with CBS, with whom they released their first album under the new name Black Widow. Musically, this debut release is not a funeral dirge despite its controversial lyrics; the melodies are uplifting, with hints of prog folk and some jazz elements, all filtered through the lens of progressive hard rock. The album opens with the progressive track "In Ancient Days", brimming with Hammond organ sounds, Mellotrons, and string instruments. The commercially oriented "Come To The Sabbat" was a surprising hit due to its sinister and diabolical lyrics. On the other hand, the pleasant and more earthy "Seduction" and the extensive and complex "Sacrifice" completed a superb work of the best proto-progressive metal of the early 70s. But from this point on, due to pressure from their own record label and certain very powerful and influential fundamentalist Christian groups, the band stopped including satanic lyrics in their subsequent works.

Eric Quincy Tate-Drinking Man´s Friend (1972)

Another band unknown to the general European public is Eric Quincy Tate, a superb Southern rock group from Texas who had the privilege of sharing a record label and stages for much of the 1970s with the legendary Allman Brothers Band. Although formed in the mid-1960s, it wasn't until the end of that decade that, thanks to the efforts of Tony Joe White, they signed with Capricorn Records, a Georgia-based label specializing in Southern bands. In their original lineup, Eric Quincy Tate consisted of bassist David Cantonwine, guitarist Tommy Carlisle, drummer Donnie McCormick, and vocalist and second guitarist Wayne Sauls. In 1970, they released their self-titled debut album, showcasing an intelligent fusion of rock, funk, blues, and subtle jazz influences. This intriguing debut album opened doors for them to open for The Allman Brothers Band, in concerts where the band showcased undeniable talent for extended, brilliant rock jams with hints of soul, blues, and country rock, as demonstrated in tracks like "Stonehead Blues", "Try A Little Harder", and "Hooker House". Two years later came their second and arguably best work, "Drinking Man's Friend", featuring standout tracks like the rock and roll number "Brown Sugar", the blues rock anthem "Whiskey Woman Blues", and the brilliant "Another Sunshine Song", "Water To Time", and "Texas Sand", all imbued with the swampy, dusty sounds of the southern United States. Later, this band continued to release albums with some frequency, which were well received in the southern rock scene, such as "E.Q.T" (1975) and "Can't Keep A Good Band Down" (1977). The latter served as the band's epitaph until many years later when they returned with the album "Thirty-Seven" (2007), where they revived the attractive sound of southern blues rock with a commendable work that was very well received by their countless fans.

Johnny Winter-Guitar Slinger (1984)

After a four-year hiatus from recording, the albino bluesman Johnny Winter returned in 1984 with his eleventh album, "Guitar Slinger", this time on the blues-focused label Alligator Records. On this occasion, Winter once again showcased his powerful and vibrant blues, featuring a series of covers of blues standards by artists such as Muddy Waters, Al Reed, Earl King, and Lee Baker Jr. With a completely revamped band from his previous work, the album included Ken Saydak (keyboards), Johnny Gayden (bass), Casey Jones (drums), saxophonists Terry Ogolini, Gene Barge, and Steve Eisen, and trumpeter Don Tenuto. In "Guitar Slinger," Johnny Winter treats us to galloping blues-rock tracks like "It's My Life Baby", "Mad Dog", "Boot Hill", and "Don't Take Advantage of Me", as well as mournful blues numbers like "Iodine in My Coffee", showcasing his slide guitar skills, and "I Smell Trouble". He also includes the Texas blues of "My Soul", the rock and roll of "Lights Out", and the soulful "Kiss Tomorrow Goodbye". "Guitar Slinger" would eventually be nominated for a Grammy Award for Best Traditional Blues Album.

Black Hole-Land Of Mystery (1985)

Black Hole was an obscure Italian heavy metal band that released one of the gems of the so-called Doom Metal subgenre in 1985. Their lineup consisted of vocalist Robert Measles, who also played organ and synthesizers, guitarist Nicholas Murray, and drummer Luther Gordon. Their origins trace back to the city of Verona in the early 1980s. "Land of Mystery" was the third album by this Italian band, a raw recording with dark synthesizer and atmospheric organ sounds in the purest style of the early 1970s, haunting vocals sung in English, and powerful, hypnotic, and gloomy guitar riffs. Here, connotations of classic heavy metal appear, such as "Demoniac City", while "Land Of Mystery" is close to heavy and energetic stoner rock. The twisted and eccentric "All My Evil" gives way to the grim "Bells Of Death", which at the same time welcomes the most atmospheric and sinister moments with "Blind Men And Occult Forces", the psychedelic "Spectral World", or the heavy instrumental rock "Obscurity In The Ethereal House", which brings to a close a lapidary and chilling album of surreal and hypnotic heavy metal.

Tramp-Tramp (1969)

Tramp was a blues band comprised of musicians from other groups who worked on this project in parallel, united by their love for the most basic sounds of British rock and blues. Founded by siblings Dave Kelly and Jo Ann Kelly, guitarist and singer respectively, in 1969 they convinced Fleetwood Mac members Mick Fleetwood (drums), Bob Brunning (bass), and Danny Kirwan (guitar), along with pianist Bob Hall (formerly of the Groundhogs), percussionist Ian Morton, vocalist Memphis Lil, and saxophonist Dave Brooks, to record an album, which was released at the end of 1969. This debut album features a repertoire of solid blues and rock tracks, such as the galloping opening track "Own Up", while the instrumental "Hard Work" also follows that rock trend, contrasting with the bluesy and leisurely "Street Walking Blues", the melancholic "Baby What You Want Me To Do", and the funk. The light and catchy “Oh The Scene” is a highlight. The rest of the album leans towards a more eclectic sound, navigating between jazz and R&B, and features dynamic tracks like “Same Old Thing”, the effective “What You Gonna Do When The Road Comes Through”, the boogie-jazz “Somebody Watching Me”, and the elaborate “Another Day”. In short, a fine blues and rock album recorded by excellent musicians, with Danny Kirwan delivering an immeasurable guitar performance that would become the pinnacle of the group's bluesy sound, while also making him the most outstanding of the former Fleetwood Mac members.

Eden-Erwartung (1978)

Eden were a hugely popular German band from the late 1970s and one of the first Christian rock groups in their country. Founded in 1977 in Lüdenscheid, North Rhine-Westphalia, by three members of an organization called the Christian Youth Association Free Community, they drew on a style inspired by folk/rock and classical music and released their debut album, "Erwartung", in mid-1978. However, the album is actually closer to symphonic rock than typical folk/rock, so its style would fit more within the progressive folk genre. "Erwartung" functions as a concept album with a story that begins with God's creation and the life and miracles of Jesus and ends with the resurrection and salvation of humanity. It is filled with magnificent flute, violin, and piano parts that flirt with folk and classical music. The lyrics are sung in German by male and female singers who provide large, gospel-style choruses and multi-vocal sections. The electric guitars also sound incredible, with similarities to contemporary bands like the German groups Eloy and Anyone's Daughter. The flute parts also evoke the sound of bands like the British group Camel, although the overall sound is closer to other German progressive folk bands such as Rebekka or Hoelderlin. The album opens with its least interesting track, "Spatregen", which, while containing most of the elements mentioned above, sounds rather inconsistent, almost like an early composition that should have been more polished before its final inclusion on the album. The remaining tracks, on the other hand, are much more splendid and feature, in addition to the characteristics mentioned above, many flutes, saxophones, acoustic guitars, some strident tracks, and brilliant melodies. The album's high point is the track "Ein Anderes Land", over 16 minutes of sublime symphonic progressive rock, with continuous changes in rhythm and great dynamics, focused on the most intricate and impressive harmonies, as well as the extraordinary technical instrumentation and superb arrangements that culminate in an album considered one of the great works of German progressive rock.

Praying Mantis-Time Tells No Lies (1981)

Praying Mantis is considered one of the leading bands of the New Wave of British Heavy Metal (NWOBHM) scene; however, unlike their contemporaries, they followed a much more melodic and commercial musical direction. Their origins date back several years before the NWOBHM genre was officially established, specifically to the mid-seventies. Founded by brothers Chris and Tyler Toy, on bass and guitar respectively, along with drummer Dave Potts and guitarist Steve Carroll, they released the EP "Soundhouse Tapes" in 1979. The following year, due to their growing reputation, they opened for Iron Maiden and Ronnie Montrose in the UK. Their spectacular concerts opened the doors to Arista Records, with whom they released their first album and, ultimately, their most commercially successful work, "Time Tells No Lies", in 1981. Featuring a spectacular cover by the renowned illustrator Rodney Matthews (a trend that would become a hallmark of all their work), this debut album contained an explosive mix of epic and powerful heavy metal with soaring melodies and intricate instrumentation, as demonstrated in the opening track "Cheated". Their epic side is showcased in the sensational "Lovers to the Grave", and their energetic melodic heavy metal tracks include "Children of the Earth" and "Beads of Ebony". Meanwhile, their furious cover of The Kinks' "All Day and All Out of the Night" adds a touch of commercial appeal. However, the band's instability and poor promotion by Arista hindered their ability to achieve greater success. The following year, the band changed labels, signing with Jet Records and releasing several singles that met with little success, leading to their eventual breakup until their reunion in 1987. However, during those early years, Praying Mantis had amassed a large following in Japan, a country where they were revered and their work enjoyed great success. In recognition of their thousands of Japanese fans, the band reformed in 1990, with former Iron Maiden members Dennis Stratton and Paul Di'Anno joining the lineup for a nostalgic tour of Japan. The Japanese audience responded enthusiastically, which motivated them to release the album "Live At Last" and a new studio album, "Predator In Disguise" (1991), achieving overwhelming sales and critical acclaim. From this point on, the band continued releasing a series of well-received and highly successful albums such as “A Cry For The New World” (1993), “To The Power Of Ten” (1995), and “Forever In Time” (1998), all sharing a common thread: frequent lineup changes. Despite these changes, the quality of their work never diminished. In 2007, they released one of their most celebrated albums, “Sanctuary”, which garnered widespread acclaim and achieved phenomenal sales. The same success followed with their subsequent albums, “Legacy” (2015) and “Gravity” (2018), which garnered them thousands of fans worldwide. Currently, Praying Mantis is one of the few remaining active bands from the NWOBHM movement, having sold over 30 million albums globally after a 40-year career.

Stevie Ray Vaughan and Double Trouble-Soul To Soul (1985)

With his second album, Stevie Ray Vaughan confirmed that the success of his debut was no fluke, showcasing his guitar prowess and genius as one of the greats of modern blues. With his third release, "Soul to Soul", now fully established, he took a risk by infusing his classic blues style with touches of funk, jazz, soul, and rhythm and blues. By then, Stevie had expanded his band, Double Trouble, with keyboardist Reese Wynans and saxophonist Joe Sublett, who joined regulars Chris Layton on drums and bassist Tommy Shannon. Tracks like the soulful "Change It", the jazzy "Gone Home", and the funky "Say What" clearly demonstrate this subtle shift, yet they remain firmly rooted in the essence of the blues. On the other hand, roots blues is present in Hank Ballard's versions of "Look a Little Sister", Earl King's "Come On (Part III)", and Willie Dixon's "You'll Be Mine". With "Soul to Soul", Stevie Ray Vaughan achieved his fifth consecutive platinum record, in addition to reaching the top of the Billboard Blues charts in the United States.

Black Sheep-Black Sheep (1975)

Black Sheep was a short-lived American hard rock and blues rock band from the mid-1970s, based in Rochester, near New York City. They are known for being one of the first bands to feature vocalist Lou Gramm, who would later front one of the greatest melodic rock bands, Foreigner, for the next two decades. But before that, Black Sheep had already released the hit single "Stick Around" in 1974, and a year later their self-titled album, "Black Sheep". They then released the band's epilogue, "Encouraging Words", in late 1975. Lou Gramm did not appear on this last album, having left after being recruited by guitarist Mick Jones to join Foreigner in mid-1976. At that time, Black Sheep consisted of Donald Mancuso (guitar), Larry Crozie (keyboards), Ron Rocco (drums), and Bruce Turgon (bass), in addition to Lou Gramm on vocals. It was in this band that Lou Gramm honed the impressive vocal skills that would later make him one of the greatest vocalists in AOR, as demonstrated on Foreigner's first two multi-platinum albums. In this debut with Black Sheep, Gramm displays evident and impeccable vocal mastery on tracks like "Piano Interlude / Let Me Stay", which helped Black Sheep begin to gain some notoriety in the clubs of Rochester and New York. But in addition to this magnificent piece, the band showcases its talent with high-caliber tracks such as the blues-rock anthems "Payin' Yer Dues", "A Little or a Lot", and "Freight Train", or the melodic "Broken Promises" and "Far Side of the Sun", while the sublime "Woman" is a nod to the powerful sound of the enduring Free. After their second album, Black Sheep disbanded, with Don Mancuso and Ron Rocco joining Cheater, an obscure local hard rock band. Cheater released an album titled "Ten Cent Love Affair" in 1980, which received little media attention. Later, bassist Bruce Turgon played on Lou Gramm's solo albums, "Ready Or Not" (1987), which also featured Don Mancuso, and "Long Hard Look" (1989). In the mid-1990s, Turgon officially joined Foreigner, replacing bassist Rick Willis, and recorded the band's eighth album, "Mr. Moonlight".

Tomita-Firebird (1976)

Influenced by works such as Wendy Carlos's "Switched-On Bach", an album that popularized synthesizer sounds in 1968, Isao Tomita is a legendary and influential Japanese musician who showcased the possibilities of modern synthesizers for reproducing all kinds of sounds worldwide. Born in Tokyo in the early 1930s, he studied composition, orchestration, and music theory, as well as art history, at Keio University in Tokyo. In the mid-1950s, he began his career as a composer for film, television, and theater, including composing the main theme for the Japanese gymnastics team at the Melbourne Olympics. In the 1960s, he developed an interest in electronic music, spurred by the work of Wendy Carlos and engineer Robert Moog. His first electronic music album, "Snowflakes Are Dancing", was released in 1974 and is considered a cornerstone of the genre. Nominated for several Grammy Awards, this would be the definitive boost that launched his career to worldwide acclaim with numerous albums, including soundtracks, television series scores, and solo releases. Many of his albums are electronic versions and adaptations of well-known classical pieces by Igor Stravinsky, Claude Debussy, Modest Mussorgsky, and Gustav Holst. Albums such as "Pictures at An Exhibition", "Holst: The Planets", "Firebird", and "The Bermuda Triangle" are recorded in a highly complex manner using what would be called "Pyramid Sound", a quadraphonic soundscape impossible to encode on a conventional LP. Throughout the rest of his artistic career, Tomita dedicated himself to composing classical pieces, arranging, and producing timeless, innovative, and avant-garde melodies, which remain benchmarks in the music industry today. He received several more Grammy Award nominations and is considered one of the musical pioneers of the digital age.

The Mick Abrahams Band-A Musical Evening With Mick Abrahams (1971)

Mick Abrahams is best known as one of the founders of the British band Jethro Tull in 1967, with whom he released the album "This Was" in 1968. However, Abrahams's musical career had its roots some time before, participating in various R&B bands such as The Hustlers, The Toggerty Five, and Screaming Lord Sutch. By 1968, Jethro Tull had already earned a huge reputation based on Abrahams's distinctive blues guitar and the captivating flute and fierce stage presence of Ian Anderson. Jethro Tull's original blend of blues, jazz, and rock was reflected in the aforementioned "This Was", which achieved almost immediate success on the UK charts. However, the strong charisma of its two leaders and a different musical approach led to Abrahams' departure at the end of 1968. Some time later, Mick Abrahams founded a band of his own making called Blodwyn Pig, where he gave free rein to his passion for authentic blues, leaving behind the forays into folk and jazz sounds of his previous band. With this band, the excellent albums "Ahead Rings Out" (1969) and "Getting To This" (1970) were released. But, as fate would have it, both albums went unnoticed, despite containing an exquisite repertoire of great songs focused on blues, rock, and R&B. After this venture ended, Abrahams founded The Mick Abrahams Band, recruiting drummer Ritchie Dharma, keyboardist Bob Sargeant, and bassist Walt Monaghan. With this new band, he released two more excellent albums, "A Musical Evening With Mick Abrahams" and "At Last", which enjoyed some success on the blues-rock circuit throughout Europe. However, this time, the lack of support from his record label, Chrysalis, hampered his ability to achieve sufficient promotion to secure success in England and the United States. Disillusioned, Mick Abrahams decided to leave the music business in the mid-1970s. Focusing on his album "A Musical Evening With", Abrahams showcased his considerable skills on the guitar, along with brilliant and effective compositions such as the opening track, "Greyhound Bus". In this track, the infectious rhythm of funky sounds, accompanied by soaring guitar riffs, shines alongside Bob Sargeant's dense keyboard work. In "Awake" progressive sounds are faintly foreshadowed by its dark atmosphere, a subdued voice, and the instrumental prowess of the entire band. Meanwhile, the acoustic "Wind Of Change" approaches the folk sounds of CSN with some good vocal melodies. Blues rock peeks through in "Why Do You Do Me This Way" and in the accelerated "Big Queen", to end with the extensive "Seasons", a progressive blues rock where the keyboards, the sharp guitars, and the hypnotic sounds make it the best track on the album.

Van Der Graaf Generator-Godbluff (1975)

After a four-and-a-half-year hiatus, Van Der Graaf Generator reunited and dedicated themselves to composing and recording a series of tracks that would appear on the albums "Godbluff" in 1975 and "Still Life" the following year. This time they moved away from the sonic violence, passionate lyrical imagery, and delirious melodic lines of their previous album, "Pawn Hearts" (1971), and turned towards shorter, more intricate pieces, though retaining the same sonic aggression. Here, too, Peter Hammill's guitar playing becomes progressively more prominent, while Banton, Jackson, and Evans continue to display their jazz leanings in their fluid and precise handling of their instruments. "Godbluff" consists of four tracks, beginning with the crescendoing "The Undercover Man", a solid cut that superbly balances keyboard and horn sounds, making it a great starting point. The following track, "Scorched Earth", displays a more symphonic orientation, with a grand interlude and an incredible final section, which for many is the quintessential VDGG sound. The jazzy tour de force "Arrow" showcases the band's typical aggression, which contrasts with the album's closer, "The Sleepwalkers", a track that displays sustained joy over a martial rhythmic pattern with hints of Latin jazz and rhythm and blues. A year later, the band released "Still Life", which followed a similar stylistic pattern; not surprisingly, it was largely composed at the same time as the material on this anthological and essential album, "Godbluff".

Blue Murder-Blue Murder (1989)

Guitarist John Sykes' contribution was fundamental to the success of Whitesnake's album "1987", a record that would become a landmark in hard rock history. However, after the album's release, Whitesnake frontman David Coverdale dismissed Sykes, and the exact reasons for this decision remain unknown to this day. Almost immediately, the guitarist formed the power trio Blue Murder, alongside the versatile bassist Tony Franklin and the renowned drummer Carmine Appice, two musicians with extensive careers behind them, having worked with legendary bands such as Cactus, KGB, Vanilla Fudge, Glenn Hughes, Jimmy Page, and David Gilmour, among many others. Produced by Bob Rock and released by Geffen Records, this debut album echoes the Whitesnakes of "1987", with guitars that sound identical, a crushing rhythm section, and a series of songs that seem lifted straight from that iconic album. Tracks like the Zeppelin-esque hard rock of "Sex Child", the glorious "Valley of the Kings", the thunderous "Jelly Roll", the powerful "Ptolemy", and the haunting "Black Hearted Woman" are part of an excellent and sweeping album. However, despite achieving gold status in the North American market, the expected success did not live up to the initial expectations placed on this power trio.

Winterhawk-There And Back Again (1979)

Winterhawk was an arrogant hard rock band from the late seventies that had nothing to envy in their more mainstream contemporaries. Hailing from Chicago, this band would only release one album in 1982, but long before its release, they played a series of concerts at Chicago's Aragon Ballroom between 1977 and 1978, which were rediscovered and reissued in 2002 as "There and Back Again". The Winterhawk lineup consisted of guitarist Jordan Macarus, bassist Doug Brown, guitarist Steve Brown, and drummer Steve Tsokatos. During those years, thanks to their incendiary live performances, they were in demand to open for top-tier bands such as Black Oak Arkansas, Steppenwolf, and Budgie, among others. Some of the songs performed at this live show ended up on the aforementioned and only album, released four years later, titled "Revival". This spectacular live recording showcases the immeasurable mastery of Jordan Macarus on the six strings, delivering tons of riffs and guitar solos, while the rest of the band displays a muscular instrumentation of power and force. Powerful and energetic hard rock tracks like "Sanctuary", "In The Wake Of Things Yet to Come", "Hammer And The Axe", "Creatures Of The Sea", and "Off The Bat" make up this colossal recording. "There and Back Again" is, without a doubt, one of the essential albums for all lovers of the dark and forgotten classic hard rock of the 70s.

Wet Willie-Wet Willie (1971)

Wet Willie is another iconic Southern rock band from Alabama. Their beginnings date back to the early 1970s when drummer Lewis Ross brought together several musicians to initially form a band called Fox in Mobile. These musicians were vocalist and harmonica player Jimmy Hall, guitarist Ricky Hirsch, keyboardist John David Anthony, bassist Jack Hall, and backing vocalist Donna Hall. After many months of playing gigs in clubs in their hometown, the band decided to move to Macon, Georgia, the heart of Southern rock and home to the legendary Capricorn Records label. In 1971, thanks to some excellent shows as the opening act for The Allman Brothers Band, Capricorn Records produced their self-titled debut album, "Wet Willie", which showcased their distinctive Southern style infused with funk, gospel, and boogie rock. This first album featured the powerful rock tracks “Dirty Leg” and “Spinning Round,” the commercial and gritty “Low Rider”, the funky “Rock and Roll Band”, and the powerful boogie-rock anthem “Shame, Shame, Shame”. From then on, Wet Willie would go on to record seven more studio albums between 1971 and 1979, achieving a surprising top ten hit with their third album, “Keep On Smilin’ ”, in 1974, in addition to several live albums and compilations. At the end of 1976, Wet Willie received the United States Music Award at the Alabama Music Hall of Fame. Then, in 2014, the band was inducted into the Georgia Music Hall of Fame for their outstanding contributions to rock music, and Southern rock in particular.

John Fogerty-Wrote a Song for Everyone (2013)

More than forty years after leaving Creedence Clearwater Revival, the charismatic John Fogerty returns to the stage with a new album featuring some of his iconic songs alongside the legendary American band. This time, the guitarist enlists a series of renowned singers to create a work that playfully and engagingly revisits contemporary classics such as "Fortunate Son" sung by Dave Grohl (Foo Fighters), "Have You Ever Seen the Rain" with Alan Jackson, "Who'll Stop the Rain" sung by the incomparable Bob Seger, "Lodi" with his sons Shane and Tyler Fogerty, "Born on the Bayou" sung by Kid Rock, and "Bad Moon Rising" with the Zac Brown Band. In each of these renditions, the unique voices of the singers lend a highly personal touch to the songs, yet despite all this, they don't quite surpass the legendary originals.

New age musicians tend to avoid the charts and media attention; their music is generally designed for a small audience seeking profound, minimalist listening experiences. However, some artists have transcended this barrier, achieving worldwide success. Andreas Vollenweider, Nightnoise, David Arkenstone, Michael Hedges, and George Winston, the musician we're discussing today, are prime examples. Winston's formula is simple: his exceptional piano talent and deep emotional sensitivity. His career began in the early 1970s with the release of his debut album, "Piano Solos" (1972), which went largely unnoticed. Years later, a demo tape of his ended up in the hands of William Ackerman, who had founded Windham Hill, a label specializing in new music. Ackerman produced George Winston's second album, "Autumn", which quickly became one of the most successful new age albums of all time. "Autumn" is composed of a repertoire that evokes in the listener moods very close to autumnal melancholy, making it, in a way, a kind of therapeutic album. Two years later, George Winston released "Winter Into Spring" and "December", which completed an excellent trilogy of new age music, and like "Autumn", became resounding worldwide hits and two essential references of this musical genre.

Ashbury-Endless Skies (1983)

Ashbury are another of those forgotten bands, buried in time, who released a legendary debut album in 1983, a true gem for fans of classic 70s hard rock. Related to the epic sound of Wishbone Ash, the vocal melodies of the Eagles or CSN, and the prog-folk mysticism of Jethro Tull, this band was actually a duo founded in Tucson, Arizona by brothers Randy and Rob Davies, both guitarists and singers. They founded Ashbury (not to be confused with the alternative rock band of the same name formed in 2005) after the breakup of the southern rock band Rigid Spur, in which Randy Davies played, in the late seventies. Once Rigid Spur disbanded, some of its members founded Ashbury South, where Rob Davies served as lighting technician. In the following years, the band gained a strong reputation in Arizona, performing in clubs and concert venues, and even winning a prestigious award from a Phoenix radio station for best live band in the entire state. By 1980, the Davis brothers decided to go solo and planned to record an album, using material they had been writing together over the past few years while with Ashbury South. The album that would finally be released in 1983, titled "Endless Skies", earned them another important award. This time, a famous Phoenix radio station proclaimed it the best rock album of 1983. "Endless Skies" is composed of a clever blend of southern rock, hard rock, and sounds very close to heavy metal with slight progressive touches, as demonstrated in "The Warning", where they show their inclination towards the heavier side of Jethro Tull, while in the melodic "Take Your Love Away", the epic, guitar-driven sounds of Wishbone Ash emerge. The heavy rock track "Vengeance", the country rock song "Madman", the epic and progressive "Hard Fight", and the southern-tinged "Mystery Man" make up an album as brilliant as it is classic. Special mention must be made of the title track of the album, a magnificent exercise in progressive and dynamic hard rock, where disparate influences are accommodated, with great vocal harmonies, delicate and melodic moments and the heavy heavy rock of the late 70s.

Atomic Rooster-Made In England (1972)

The fourth album from British progressive rockers Atomic Rooster marked another shift in direction, both stylistically and in terms of personnel. While Vincent Crane remained at the helm, this time the band featured a new vocalist: Chris Farlowe, a singer with a solid background in soul and R&B. Rick Parnell on drums and Steve Bolton on guitar completed the lineup for this new incarnation of the band. Musically, the group took a nearly radical turn towards funk, soul, and hard rock, while remaining true to their signature sound. "Made In England" kicks off with the brutal riffs and frenetic rhythm of the progressive "Time Take My Life", followed by other brilliant tracks such as the spacey "Space Cowboy", the soul-rock anthems "Stand By Me" and "People You Can't Trust", the heavy hard rock "Never To Loss", the southern rock "All In Satan's Name", and the soul-funk rock "Don't Know What Went Wrong". Although they moved away from the progressive influences of their first three albums, "Made In England" remains a highly enjoyable work, offering a diverse selection of songs with occasional progressive elements, but primarily focused on soul and funk rock sounds.

Lowell George-Thanks, I´ll Eat It Here (1979)

Lowell George is undoubtedly one of the icons of American roots music. A singer, multi-instrumentalist, and producer, he rose to fame after his time with Frank Zappa's Mothers of Invention and for leading the enduring Little Feat for almost a decade. Instrumentally, he was known for his skill with the slide guitar, but he also mastered other instruments such as the harmonica, saxophone, flute, and guitar. With Little Feat, he released a series of great works, including his self-titled debut album, and subsequent releases like "Sailin' Shoes", "Dixie Chicken", and "The Last Record Album", not to mention the double live album "Waiting for Columbus", a true classic of live recordings. It wasn't until the late 1970s that he decided to release his first solo album, "Thanks, I'll Eat It Here", showcasing his diverse musical style, alternating original songs with covers of artists like Allen Toussaint and Rickie Lee Jones. "Thanks, I'll Eat It Here" demonstrates the enormous range of Lowell George's musical sounds, as evidenced in the track "What Do You Want The Girl To Do", which confirms his New Orleans influences. His covers of Rickie Lee Jones' "Easy Money," Ann Pebbles' "I Can't Stand The Rain", and Jimmy Webbs' "Himmler's Ring" are brilliantly adapted to his eclectic and versatile style. His own compositions are also captivating, as demonstrated in the tracks "Two Trains" and "Twenty Million Things". For the recording of this album, Lowell George had enlisted the collaboration of some of the cream of the crop of West Coast music, including David Foster, Bonnie Raitt, Nicky Hopkins, Jim Price, Michael Baird, and Jim Keltner, among many others. After the album's release, Lowell George formed a band to promote it with a series of concerts across the United States, while simultaneously announcing the definitive breakup of Little Feat. But he barely had time to begin the tour; on June 29, 1979, he died of a sudden heart attack, leaving an irreplaceable void in American music. Later, a tumultuous tribute concert was held in his honor at the Forum in Los Angeles, featuring his band Little Feat, Bonnie Raitt, Jackson Browne, and Linda Ronstadt, among others. In subsequent years, several tribute albums to Lowell George have been released, such as "Rock'n'Roll A Tribute Lowell George", featuring artists like Randy Newman, Eddie Money, and J.D. Souther, while other artists like The Black Crowes and Van Halen have made reinterpretations of his songs, and others like Christopher Cross dedicated songs to him, such as the famous and well-known "Ride Like The Wind".

The Dirty Blues Band-Stone Dirt (1968)

The Dirty Blues Band was a blues rock band founded in Riverside, California, in early 1967 by vocalist and harmonica player Rod Piazza. They released two superb albums, "Dirty Blues Band" (1967) and "Stone Dirt" (1968), which were highly acclaimed by fans of the genre. This legendary band consisted of guitarist Glenn Roos Campbell, organist Pat Malone, drummer John Milliken, bassist Less Morrison, and steel guitarist Robert Sandell, in addition to the aforementioned Rod Piazza. In 1967, under the Bluesway label, they released their first album, which fused blues with jazz elements and sounds of funk and soul, all underpinned by Piazza's energetic vocals and harmonica playing. That first album featured the blues-funk track "Checkin' Up On My Baby", the jazzy "New Orleans Woman", and magnificent covers of Elvis Presley's "Hound Dog" and Sonny Boy Williamson's "Don't Start Me To Talkin' ". A year later came "Stone Dirt", released by the same record label, which contained an irresistible repertoire including the boogie-blues "Bring It On Home" and "My Baby", the lilting blues (a John Lee Hooker cover) "It's My Own Fault", the rhythm and blues "I Can't Quit You Baby" and "Tell Me", the rock and roll "She's The One", and the hypnotic "Sittin' Down Wonderin' ". After this album, Piazza definitively disbanded the group and formed another similar one called Bacon Fat, with whom he released the monumental "Tough Dude" in 1971, another outstanding example of electric blues, which was duly reviewed some time ago on this blog.

Def Leppard-Pyromania (1983)

This is one of the essential heavy metal and hard rock albums of the 80s, an irresistible blend of metal, pop-rock flourishes, and catchy, utterly captivating sounds. “Pyromania” was the third album by the British band Def Leppard, produced by Mutt Lange and recorded throughout much of 1982 at Park Gates Studios in London. In this new release, the Sheffield band cleverly moved away from the forceful and aggressive hard rock sound of their earlier work, crafting a much more accessible and infectious album of great melodic heavy metal-pop songs. Appealing tracks like the energetic “Rock! Rock! (Till You Drop)”, “Photograph”, “Foolin’ ”, “Rock of Ages”, and “Billy’s Got a Gun” brilliantly and effectively fused pop and metal. Meanwhile, tracks like "Too Late For Love" and "Comin' Under Fire" showcased another of the band's great strengths: creating seductive ballads and addictive mid-tempo songs. These, along with their previous work, were staples on FM radio stations around the world during the 1980s. A number two spot on the Billboard charts and over fifteen million copies sold worldwide confirm this as one of heavy metal's masterpieces.

Pot Liquor-Levee Blues (1971)

Pot Liquor was a short-lived band from Baton Rouge, Louisiana, who released several albums with a distinct boogie blues and southern rock sound during the early 1970s. Their initial lineup consisted of George Ratzlaff on keyboards and vocals, guitarist Les Wallace, drummer Jerry Amoroso, and bassist Guy Shaeffer. After their debut album, "First Taste", released in 1970, which was well-received in the southern states, they released "Levee Blues" a year later. Considered their best work, this album expanded their characteristic southern rock sound with elements of country, blues, and gospel. Ratzlaff's vocals and organ, along with the inclusion of a group of female backing vocalists, lend a unique gospel touch to the album's closing tracks. The lively tracks “Cheer”, “River Jordan”, “The Train”, and “Chattanooga”, along with the heavy, hypnotic blues of “Rooster Blues” and the magnificent covers of The Beatles’ “Lady Madonna” and Linda Ronstadt’s “You’re No Good”, are the highlights of an interesting but forgotten album of the best Southern rock. However, despite its quality and exquisite production, it failed to achieve the desired commercial success. Nevertheless, the band continued to perform concerts for quite some time throughout Louisiana, enjoying a good reception from the public, something that didn't do much to ensure the band's continuation, and Pot Liquor finally disbanded a few years later.

Rainbow-Down To Earth (1979)

After the album "Long Live Rock 'n' Roll", Ronnie James Dio left Rainbow due to disagreements with Ritchie Blackmore (Dio would soon join the reformed Black Sabbath), so the guitarist had to hurry to find another vocalist to continue with his band. The chosen one was Graham Bonnet, an odd choice since he was a very different singer from Dio, with a less diabolical and heavy metal look than the little elf. At this point, Blackmore wanted to enter the new decade with a lighter, less baroque, and more American sound, hence his controversial choice, and Dio's epic voice didn't quite fit that direction. Along with Roger Glover, Don Airey, and Cozy Powell, this lineup recorded the album "Down to Earth", considered by many to be the group's last great work, without in any way diminishing the magnificent "Bent Out of Shape" with Joe Lynn Turner on vocals, released years later. The Glover-Blackmore duo composed all the songs except the hit "Since You've Been Gone", a Russ Ballard composition. The set list includes great tracks such as the superb "All Night Long" with its frenetic riff, making it a lively song and a classic for the band. It is followed by the dense "Eyes Of The World", the spectacular "Makin' Love", the bluesy "Love's No Friend", the addictive "Since You've Been Gone", the commercial hard rock "Danger Zone", and the accelerated "Lost in Hollywood", which close a spectacular album by Ritchie Blackmore and his band.