Toots & The Maytals-Funky Kingston (1973)

Toots & The Maytals were one of the first groups to popularize reggae internationally in the late 1960s and early 1970s. Formed in 1963, this group, led by Frederick "Toots" Hibbert, built a strong reputation in Jamaica throughout the rest of the decade, thanks to a long string of locally successful recordings. The rest of the lineup consisted of Jackie Jackson, Hux Brown, Paul Douglas, and Rad Bryan. Their style was steeped in multiple influences that somewhat deviated from the established norms of Jamaican music, fusing jazz, R&B, ska, and rock, resulting in what would later be called reggae. In 1966, the group triumphed at the Jamaica Song Festival with the song "Bam Bam", further boosting their already immense popularity. New songs like "Pressure Drop", "Monkey Man", "54-46 That's My Number", "Sweet and Dandy" and "Pomps and Pride" established them as one of the most influential reggae groups. Their appearance in the 1972 film "The Harder They" catapulted them to international stardom. During those years, they signed with Island Records, and under the production of Chris Blackwell, they released the successful albums "Funky Kingston" and "Reggae Got Soul". In the latter half of the 1970s, their popularity gradually declined, although they remained active and released albums fairly regularly, some of them highly significant, such as "True Love" (2004) and "Light Your Light" (2007). For many years, the band was a regular fixture at reggae festivals. On September 11, 2020, Toots Hibbert passed away at the age of 77, exactly one year after his death. Later, the group would win the Grammy Award for Best Reggae Album for "Got to Be Tough".

Body-The Body Album (1981)

Body was an interesting British progressive rock band formed in the early 1970s. However, it wasn't until 1981 that they released their only album, "The Body Album". This album is now acclaimed as an impressive and essential work within neo-progressive rock, space rock, and late psychedelic sounds. Hailing from Liverpool, the band consisted of brothers Gary and Tony Allison (drums and guitars respectively, as well as vocals), bassist Ronny Nelson, and keyboardist John Bleasdale. In the early 1980s, the group traveled to London to try their luck in search of a record deal, but after some frustrating results, they decided to self-finance their debut album. On this single album, the references to the more psychedelic sounds of Pink Floyd and the long, spacey explorations reminiscent of Hawkwind are more than evident, but framed within a very defined synth-pop sound, making them one of the seminal bands of the so-called Neo-Progressive movement, alongside Twelfth Night. The 15-minute progressive and spacey suite "Andromeda" is the standout track, while the shorter "Cheater", "Lights Out", and "Brave New World" are more commercially oriented, with a musical structure somewhere between Neo-Progressive and Symphonic Rock and electronic elements akin to the synth-pop of the era.

Little River Band-Little River Band (1975)

In late 1975, the Australian band Little River Band released their self-titled debut album, which quickly drew comparisons to bands like The Eagles, Poco, and America, thanks to their vocal harmonies and versatile compositions brimming with addictive country-rock sounds and irresistible rock riffs combined with catchy pop melodies. On this first release, the band consisted of Beeb Birtles on lead vocals and guitar, Ric Formosa on lead guitar, Graham Goble on rhythm guitar and vocals, Roger McLachlan on bass, Derek Pellici on drums, and Glenn Shorrock on vocals and harmonica. Among the tracks on this first album, the mid-tempo song "Emma" and the melodic and commercially successful "It's A Long Way There" and "Curiosity (Killed The Cat)" stand out, the latter becoming their biggest hit in the Australian market. The country rock track “Lady and Me”, the powerful “Statue Of Liberty” and the tender “I Know It” complete an outstanding debut that would allow them to get their first world tour, initially as support for Queen and later for the Average White Band, achieving great recognition in North American lands, a success that would soon be reflected in their next three works “Diamantina Cocktail” (1977), “Sleeper Catcher” (1978) and “First Under The Wire” (1979), achieving with all of them several gold records and three platinum records for their enormous sales in the North American market alone.

Marillion-Seasons End (1989)

Fish vs. Hogarth: this is undoubtedly one of the biggest catalysts for any discussion among Marillion fans, to the point that some online forums about the band categorically forbid even mentioning a comparison between these two singers, for fear of an electronic war that will clog up servers and computers. Beyond this exaggerated claim, it's relevant to the departure of the towering Fish and the arrival of Steve Hogarth as his replacement, and what Hogarth brought to Marillion, which was immense (and still is). Although the band's purists blame Hogarth for the group's musical shift towards a more pop-oriented sound, at the expense of the progressive grandeur of their early albums, the truth is that if there's one thing both sides agree on, it's his powerful voice, with its excellent range, and his talent as a great lyricist who invites reflection. All of this is clearly demonstrated on much of Marillion's first album after Fish and their first with Hogarth in the band, "Seasons End" from 1989. This was the first real testament to what the singer accomplished with Marillion as a band, and having said all that, "Seasons End" sounds brilliant and is undoubtedly an excellent and worthy successor to the superb album that preceded it with Fish in the lineup, "Clutching At Straws", released several years earlier. Right from its opening track, the incredible "King Of Sunset Town", it demonstrates the peak at which Marillion burst onto the scene and rise triumphantly, ready to begin another chapter, thus dispelling the doubts of those who predicted their downfall and eventual demise. The beautiful "Easter" is the singer's first major contribution to the group's repertoire, a track featuring one of Steve Rothery's best solos of his entire career and a rhythm as captivating as it is brilliant. The slow and mysterious “Seasons End” concludes with an epic and hypnotic finale that showcases the band's instrumental prowess. In “The Uninvited Guest”, we can already sense the direction of their new venture, a track that leans towards rock and commercial sounds with powerful guitar and bass lines. The melodic and heartfelt “Holloway Girl” is one of the album's lesser moments, while the nostalgic “Berlin” is a palpable demonstration of Hogarth's vocal excellence, a song as melancholic as it is dark, which, as it progresses, transforms into a powerful track with a stunning ending. After the short, acoustic “After Me”, comes the powerful, commercially oriented rock track “Hooks In You”, before concluding with the exquisite and progressive “The Space”, one of the album's most memorable moments and a fitting finale to Steve Hogarth's first major contribution to the Marillion universe.

Little River Band-Sleeper Catcher (1978)

In the late 1970s, the Australian band Little River Band was at the height of its popularity and commercial success. Their first three albums had garnered commendable sales and were the perfect draw for North American audiences, thanks to their exquisite country-influenced soft rock and brilliant, harmonized vocal harmonies. However, it was with their fourth album that they achieved true glory, delivering a memorable work that followed the stylistic path already established in its predecessor, "Diamantina Cocktail", released the previous year. The Australian group's refined style was further enhanced by brilliant compositions that linked them to their North American contemporaries America, The Eagles, and Poco. Exquisite tracks like "Fall From Paradise", "Lady", "So Many Paths", "Shut Down, Turn Off", and "One For The Road" share the repertoire with more ambitious pieces such as the expansive, progressive-tinged "Light Of Day" and the splendid "Take Me Home". A top 20 on the Billboard charts and three platinum records were the well-deserved recognition of this excellent fourth work by the Australians.

Jason Becker-Perpetual Burn (1988)

Jason Becker is one of the so-called heroes of 1980s neoclassical guitar. Considered one of the most talented guitarists in a long line of the genre, including Yngwie Malmsteen, Marty Friedman, Tony MacAlpine, and David Chastain, he began his career alongside Marty Friedman in the band Cacophony, recording the albums "Speed ​​Metal Symphony" and "Go Off!". In 1988, Becker released his only solo album, "Perpetual Burn", a massive showcase of his guitar prowess. His dizzying solos and riffs, descending and ascending scales at breakneck speeds, make us wonder if this musician is actually human or an alien. Songs like "Altitudes", "Perpetual Burn", "Mabel's Fatal Fable", and "Air" demonstrate the enormous complexity and astonishing mastery of this guitarist. A year later, he was voted Guitarist of the Year by the readers of Guitar Magazine. Having become a rock superstar, this album opened doors for him, leading to David Lee Roth inviting him to replace Steve Vai on the album "A Little Ain't Enough" (1991). However, shortly before recording the album, he was diagnosed with amyotrophic lateral sclerosis (ALS), a disease that, over the years, has ravaged his body to the point of complete immobility, preventing him from playing guitar. In the following years, despite being confined to a wheelchair, Becker continued to release a series of albums comprised mainly of demos and rehearsals recorded in the 1980s in his own studio and reinterpreted for the occasion by guitarist Michael Lee Firkins.

Thin Lizzy-Shades Of A Blue Orphanage (1972)

The second album from Irish band Thin Lizzy is a clear evolution from their underrated debut. Here, the band, led by bassist and singer Phil Lynott, creates a rich tapestry of styles and sounds ranging from hard rock and folk rock to semi-progressive and psychedelic flourishes. Featuring the same lineup as their debut album, in addition to Lynott, the excellent guitarist Eric Bell and the energetic drummer Brian Downey are also present, while keyboardist Clodagh Simmonds handled the mellotron and harpsichord. This strange combination of styles and sounds is reflected in the funk rock of "The Rise and Demise of the Funky Nomadic Tribes", the evocative folk rock of "Buffalo Gal", the acoustic ballad "Sarah", the heavy folk of "Brought Down", the psychedelic hard rock of "Baby Face", nods to 1950s rock and roll with "I Don't Want to Forget How to Jive", classic rock anthems like "Call the Police", and the soul/folk of "Shades of a Blue Orphanage". Considered a mere transitional album, it reflects Thin Lizzy's search for their own original style at that time, and this musical offering resulted in one of the most interesting albums of 1972.

10cc-Sheet Music (1974)

With their second release, 10cc reaffirmed their status as one of the pop-rock sensations of the early 70s, with an album as masterful as it was ingenious and diverse. The musical balance of its four members, all renowned instrumentalists and excellent songwriters, is perfect on this release. With its ironic and intelligent lyrics, Stewart's brilliant and powerful guitar work, and the beautiful vocal and instrumental harmonies of the rest of the band, the result is a captivating album. Each member interchanges instrumental roles, from Eric Stewart on guitars, mellotron, keyboards, and vocals, to Kevin Godley on drums, percussion, and vocals, and including guitars, keyboards, percussion, synthesizers, bass, tubular bells, and countless other instruments, in addition to vocals, performed by Graham Gouldman and Lol Creme. Here, the band showcases their best qualities with wonderful musical lines, as demonstrated by the irresistible songs "The Wall Street Shuffle", "The Worst Band in the World", "Hotel", "Silly Love", "Somewhere in Hollywood", and "The Sacro-Illac". With this recording, 10cc confirmed their status as one of the most innovative and original bands, a position they would solidify in the following years with the release of a series of gems such as "The Original Soundtrack" (1975), "How Dare You!" (1976), "Deceptive Bends" (1977), and "Bloody Tourists" (1978).

Freddy Lindquist-Menu (1970)

Despite not being widely known outside of Norway, Freddy Lindquist was considered one of the best Norwegian guitarists, a position he shares with another great compatriot, Terje Rypdal. Born in Oslo in 1946, his passion for music began in childhood, fostered by his parents, both musicians. After playing in numerous local bands, he released his only solo album, "Menu", in 1970. Following this release, the guitarist began working as a session musician and producer. On this album, Lindquist also plays bass, flute, and percussion, in addition to guitar. Accompanied by various Norwegian musicians, the repertoire ranges from the avant-garde sounds of the era, such as "Sellers Sundae", to the progressive rock of "The Green and Pink Little Man", smooth instrumental pieces like "Sharako", and the jazz and blues of "Join In and Freak Out".

Charlie Parker-Charlie Parker With Strings (1955)

Charlie Parker is one of the ten greatest artists in the history of jazz, on par with geniuses like Louis Armstrong, John Coltrane, Dizzy Gillespie, Duke Ellington, and Miles Davis. Known as "Bird", he is one of the finest alto saxophonists, a self-taught musician with serious self-destructive tendencies. Born in Kansas City in 1920, he played in countless jam sessions during his short career before officially recording with Jay McShann's band in 1941. His eloquent playing attracted considerable attention in the seedy bars frequented by the mob and in the jazz clubs of Kansas City. Influenced by saxophonists like Lester Young and Ben Webster, he was already an accomplished musician by the age of 17. But in addition to his talent, he struggled with persistent problems stemming from his addictions to drugs and alcohol. His music featured innovative melodic lines, with a sound radically different from anything established, and his style evolved with the use of dissonant upper intervals beyond the octave. Along with Dizzy Gillespie, he was a driving force behind the bebop movement, a sound that would radically transform the way jazz was heard, characterized by a faster tempo, harmonic refinement, and great virtuosity. In the late 1940s, the impresario and manager Norman Granz, who at the time represented Ella Fitzgerald and Oscar Peterson, among others, redirected Parker's career, which from then on would gain him considerable renown. From those years come the recordings that were included in the legendary "Charlie Parker With Strings", which was released in 1955. But his addictions were becoming increasingly urgent and on March 12, 1955, he died in New York at the age of 34, as a result of severe hemorrhage and a bleeding ulcer due to the advanced cirrhosis he suffered from.

Nicholas Greenwood-Cold Cuts (1972)

Nicholas Greenwood was a member of legendary bands such as Crazy World of Arthur Brown, alongside keyboardist Vincent Crane, and Khan, with whom he released the seminal album "Space Shanty" in 1972. Following this latter venture, Greenwood formed a band and recorded the album "Cold Cuts," considered one of the hidden gems of 1970s progressive rock. This band consisted of drummer Eric Peachy, also from Khan; keyboardist Dick Henningham; guitarists Bryn Howarth and Chris Pritchard; and Frank Zappa's former Mother of Invention member Bunk Gardner on wind instruments. Greenwood himself played bass and sang lead vocals. The rest of the lineup included violinists Janet Lakatos, Margaret Immerman, and Margaret Shipman; cellist Nils Oliver; and the vocal group The Teardrops. "Cold Cuts" is composed of a diverse amalgamation of sounds, which, without quite reaching the level of strict progressive rock, incorporates elements of psychedelic rock with passages of progressive jazz and blues rock. The album begins brilliantly with "A Sea Of Holy Pleasure Parts I, II, III", a three-part composition with superb arrangements that showcase the excellence of its talented musicians: a heavy Hammond organ, a delightful flute, effective bass lines, and exquisite drumming, all bathed in addictive vocals. The overall sound is further enhanced by subtle string and brass arrangements, which amplify the dynamism and diversity of the track and add progressive depth to its three segments. Other highlights include the bluesy "Big Machine" and "Melancholy", or the psychedelic "Hope / Ambitions" which coexist with more accessible and catchy pieces like "Lead Me On", and "Close The Doors", or the dark "Promised Land", which contrast totally with the deep and introspective "Corruption", the ambient jazz rock "Images" and the dramatic "Realisation And Death".

Eurythmics-Revenge (1986)

In the mid-eighties, Eurythmics, the duo of Annie Lennox and Dave Stewart, were firmly established within the global synth-pop scene thanks to hits like "Sweet Dreams" and "Here Comes the Rain". However, with their fifth album, "Revenge", they moved significantly closer to mainstream rock, although Lennox's powerful vocals and Stewart's distinctive guitar work remained fundamental to their characteristic sound. With the invaluable assistance of arranger Michael Kamen and other prominent British session musicians, the duo gave greater prominence to powerful guitar riffs, energetic sounds, and more pronounced melodies. Songs like "Thorn In My Side" and "When Tomorrow Comes" are clear examples of this. Meanwhile, the ballad "Miracle Of Love" leans towards melodic rock with its catchy tune, while the intense "Missionary Man" showcases that energetic rock guitar sound. Although they would not achieve the same success as previous works, "Revenge" achieved half a dozen platinum and gold records around the world.

Vinegar Joe-Rock´n´Roll Gypsies (1972)

Vinegar Joe were another of those great, short-lived British bands of the 1970s who made a name for themselves with just three albums released. Formed in 1970 under the name Dada, their initial lineup consisted of a dozen musicians, including vocalist Elkie Brooks, guitarist Pete Gage, bassist Steve York, drummer Conrad Isidore, keyboardist Dave Thompson, and saxophonist Dave Brooks.With this lineup, they recorded their self-titled album, "Dada", in 1970 for Atlantic Records, a work brimming with jazz, soul, psychedelia, and blues sounds, influenced by the soulful style of artists on the American label Stax Records. After a long tour of the United States, the band returned to the UK and changed their name to Vinegar Joe, also restructuring the lineup with the addition of singer Robert Palmer, keyboardist Tim Hinkley, and drummer Rob Tait. With a new contract, this time with Islands Records, they recorded their first album under their new name, titled "Vinegar Joe", which became one of the best albums of 1972 in the British Isles. But after this album, there were further lineup changes, with guitarist Jim Mullen, keyboardist Mike Deacon, and former John Mayall drummer Keef Hartley joining the band. With this new lineup, they recorded their second album, "Rock 'n' Gypsies", where the band's usual soul and blues style was reinforced by a greater emphasis on rock elements. Tracks like the bluesy "Angel", a cover of a Jimi Hendrix song, and brilliant rock anthems such as "So Long", "Buddy Can You Spare Me A Line", "Falling", and "It's Getting To The Point", make up an outstanding work. In addition to the superb vocal performances of Elkie Brooks and Robert Palmer, the band is supported by an excellent band in extraordinary form. After a successful tour of North America, the band released their third and final album, "Six Star General", which lacked some of the energy and creativity of their first two works. Some time later the band finally dissolved, with almost all of its members dedicating themselves to their solo careers, most notably Robert Palmer, who achieved remarkable success with some of his albums such as “Secrets” (1979), the multi-platinum “Riptide” (1985) and “Heavy Nova” (1988), or Elkie Brooks, who would begin a long and very prolific career, managing to place herself among the best British singers of all time.

Jeff Beck-Beck's Guitar Shop (1989)

No one doubts that Jeff Beck was one of the greatest guitarists in history. However, his star status was always a step below that of other, more media-savvy artists, partly due to his more collaborative approach to his work rather than focusing on his individual virtuosity on the six strings. In the late eighties, Beck ventured into familiar territory with him: straightforward rock, after significant recordings in jazz rock and blues rock. Albums like "Truth" (1968), "Beck-Ola" (1969), "Blow By Blow" (1975), and "Wired" (1976) are essential references in electric guitar history. In 1989, he released his twelfth album, his fifth under his own name, and one of his most energetic releases. "Guitar Shop" returns Jeff Beck to his natural element, showcasing a dramatic increase in quality compared to its predecessor, "Flash", an album clearly geared towards commercial success. On "Guitar Shop", Beck is supported by the tremendous poise of drummer Terry Bozzio and the virtuoso Tony Hymas on keyboards. Packed with vibrant riffs, the album unfolds through a solid and heavy repertoire of tracks, including standouts like "Savoy", "Sling Shot", "Big Block", "Stand On It", and "Guitar Shop". Beck also showcases his melodic side with a series of more hypnotic songs such as "Behind The Veil", "Where Were You", and "Two Rivers", displaying his virtuosity with smooth, ambient guitar solos. "Guitar Shop" won the Grammy Award for Best Rock Instrumental Performance, becoming his second award at that time, out of a total of eight he would achieve throughout his career.