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".

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.

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.

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.

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.

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.

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.

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".

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".

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.

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.

Megadeth-Youthanasia (1994)

By the mid-nineties, Megadeth were already immersed in the shift that marked their renewal of thrash metal towards a more accessible sound, without completely abandoning that style, but now firmly established within a more conventional heavy metal framework. If the band had already showcased their heavier side on the previous and surprising "Countdown to Extinction", on the following album, "Youthanasia", they went a step further, creating a much more accessible work, slowing down their breakneck speed and featuring more polished and melodic vocals. At that time, the band, led by guitarist Dave Mustaine, consisted of the same lineup as their three previous albums: Marty Friedman (guitar), Nick Menza (drums), and David Ellefson (bass). Before recording this album, the band was under immense pressure, due in part to the success of "Countdown to Extinction" and the almost Solomon-like decisions of their frontman, Mustaine, who maintained near-total control over the songwriting process. Ultimately, all members participated in every song on this new record. "Youthanasia" is a pivotal album in the band's evolution, featuring some great tracks, most notably the thrilling "I Thought I Know It All", the exhilarating "Reckoning Day", the dark "Addicted to Chaos", the commercially appealing "Elysian Fields", the splendid mid-tempo "A Tout Le Monde", and the heavy and powerful "Family Tree".

Majic Ship-Majic Ship (1970)

This is one of those albums that garnered more attention after the band had already broken up than when it was originally released in 1970 on the Bel-Ami label. This was due to the album's limited initial pressing, which meant that only a small audience could acquire this outstanding psychedelic rock release. Maji Ship consisted of singer Mike Garrigan, lead guitarist Phil Polimeni, rhythm guitarist Tommy Nikosey, drummer Rob Buckman, and bassist/organist Gus Riozzi. They hailed from New York City, where they formed in late 1966. However, despite their acclaimed concerts and several hit singles, it wasn't until 1970 that they secured a serious contract with Bel-Ami Records. This debut and only album is dominated by psychedelic rock, hard rock influences, and pop sensibilities, all wrapped in powerful, choppy, fuzz-driven guitar riffs and organ sounds. The powerful “Nightmare”, the vibrant instrumental “Cosmo’s Theme”, the exhilarating “Life’s Lonely Road”, and the jam version of Neil Young’s “Down By The River” are highlights of a release that deserved far more success than it received.

Wild Turkey-Battle Hymn (1971)

In 1970, bassist Glenn Cornick left Jethro Tull, with whom he had recorded the formidable albums "This Was", "Stand Up", "Benefit", and "Living in the Past", and with whom he had played from 1968 to 1971, being considered the best bassist to have ever been part of the legendary British band. In early 1971, he formed his own band, Wild Turkey, in which he moved away from the blues and progressive folk style of the group led by Ian Anderson. For this new venture, Cornick recruited vocalist Gary Pickford-Hopkins, drummer John Weathers, and guitarist Jon Blackmore. However, in the middle of recording their first album, Jeff Jones replaced Weathers on drums, who left to join Gentle Giant. Wild Turkey would go on to release two interesting albums that achieved little commercial success, but their debut was nonetheless a good example of the hard rock being made in the British Isles at the time of its release. "Battle Hymn", as this first album is titled, is a work geared towards the powerful sound of hard rock with certain progressive elements, as demonstrated in tracks like the biting "Twelve Streets of Cobbled Back" and "One Sole Survivor", the passionate "Sentinel", the commendable "Butterfly", the bucolic "To The Stars", and the melodic "Sanctuary" and "Gentle Rain". After this first album, the band released the modest "Turkey", which marked the end of the group's run. Later, some of its members went their separate ways, such as Cornick himself, who would end up joining the German band Karthago, while Gary Pickford-Hopkins would actively participate as a vocalist in Rick Wakeman's albums "Journey to the Centre of the Earth" and "The Myths and Legends Of King Arthur and the Knights of The Round Table", among other collaborations, and finally Jeff Jones would end up joining the psychedelic and avant-garde rock group, Man.

Orang-Utan-Orang-Utan (1970)

Orang-Utan is another of those obscure British bands from the early 70s with a story as bizarre as it is unheard of. Originally called Hunter, this band had built a considerable reputation on the pub and gig circuit in North London in the late 60s. Their lineup consisted of Terry Clark (vocals), Mick Clarke (guitar), Sid Fairman (guitar), Paul Roberts (bass), and Jeff Seopardie (drums). With a style that straddled acid rock and heavy rock, tinged with the prevailing psychedelia of the time, following in the footsteps of leading bands like The Jimi Hendrix Experience, Led Zeppelin, and Cream, they soon attracted attention for their undeniable talent and skill. In 1970, they managed to record a self-financed album, produced by Roy Thomas Baker, a seasoned producer who would later become famous as the sound engineer for albums by Queen, Journey, and Hawkwind, among many others. Once the album was completed, and while waiting for a record deal, the original master tapes were stored in the recording studios for later official release. However, shortly afterward, the original tapes were stolen from the studios where they were stored and ended up in the hands of a man named Adrian Miller, who claimed credit for the album's production and sold the rights to Bell Records for release. Before doing so, he even changed the band's name to Orang-Utan and designed a cover that, frankly, looks like the work of an elementary school child. Shortly after, the band accidentally discovered that their album had been released without their consent and, to make matters worse, under a different name. This strange episode precipitated the group's dissolution shortly afterward, as they received no royalties from the released album and were financially driven to bankruptcy after investing all their money in its recording. This unique and unusual album was released only in the German and American markets, another misfortune for the group, as they couldn't even see it released in their home country. This fact also hampered their attempts to claim the rights to the released material. Musically, this obscure and lost album showcases the great talent of vocalist Clarke, fabulous guitar riffs, and brilliant and effective compositions, as demonstrated in the powerful "I Can See Inside Your Head", with its late-60s psychedelic flavor, the hard blues rock of "Slipping Away", the Zeppelin-esque "Chocolate Piano", the dusty, Southern-rooted "Fly Me High" and "Country Hike", and the experimental "Magic Playground".

Camel-I Can See Your House From Here (1979)

As the 1970s drew to a close, progressive rock wasn't at its peak. Other styles like new wave, punk, disco, and heavy metal were booming, so many of the leading bands in the symphonic genre tried to modernize their style towards more commercial sounds without falling into mediocrity or losing an ounce of their own identity. Camel was no exception to this rule, and with their seventh album, "I Can See Your House From Here", they reinvented themselves by brilliantly blending commercial appeal and virtuosity. By this point, the band had undergone several lineup changes. Pete Bardens and Richard Sinclair were no longer with the band, replaced by keyboardists Kit Watkins and Jan Schelhaas, and bassist Colin Bass, while guitarist Andy Latimer and drummer Andy Ward completed this new lineup. Produced by Rupert Hine, the album also featured collaborations with other musicians, including regular collaborator Mel Collins on saxophone and Phil Collins on percussion. Leaving behind the jazz and Canterbury sounds of yesteryear, the melodies here become more catchy, with great, highly addictive choruses, while retaining the excellent contributions of Latimer's guitar and the superb keyboards of Watkins and Schelhaas. Infectious tracks like "Your Love Is Strange Than Mine" and "Neon Magic" contrast with the frenetic "Wait", the more complex "Survival/Hymn to Her", and the expansive and progressive "Ice", the latter a clear nod to their glorious past. Despite its great diversity and appealing content, the album was rejected by a large part of their more purist fans, who accused them of selling out to the commercial soft pop sounds that were so fashionable in those final years of the 70s.

The Eagles-On The Border (1974)

With their third album, The Eagles wanted to move away from their well-known folk and country influences and delve into more rock-oriented territory; however, the final result was a hybrid of all those styles. While their previous, heavily country-influenced album, "Desperado", showcased their more acoustic side with tracks like the title track, "Twenty-One", "Tequila Sunrise", and "Saturday Night", they also began to show glimpses of their rock side with "Out of Control" and the melodic "Certain Kind of Fool" and "Outlaw Man". For this third album, "On the Border", the band opted for a new producer, replacing the more refined and melodic Glyn Johns with the energetic Bill Szymczyk, although Johns also contributed to the production in a secondary capacity. All of this is evident from the start with the powerful country-rock tracks “Already Gone”, “On The Border”, “James Dean”, and “Good Day in Hell”, which provide the perfect counterpoint and balance to the more melodic and acoustic “Midnight Flyer”, “My Man”, “Ol '55”, and “The Best of My Love”, or the mid-tempo “Is It True” and “You Never Cry Like a Lover”. This progression toward a more rock-oriented sound was further solidified when the album surpassed its predecessor, “Desperado”, on the charts, matching its sales with over two million copies sold in the United States alone.

Thin Lizzy-Fighting (1975)

In 1975, Thin Lizzy focused exclusively on energetic and powerful hard rock, abandoning their eclectic funk rock and blues rock style with the album "Fighting". This album solidified their place among British, European, and North American audiences, thus beginning their golden era. On this fifth album, the band, led by bassist and singer Phil Lynott and supported by guitarists Scott Gorhan and Brian Robertson, along with drummer Brian Downey, crafted what would soon become the distinctive sound of the iconic Irish group. Songs like "Rosalie", a brilliant cover of Bob Seger's original, and thunderous hard rock anthems such as "For Those Who Love To Live", "Suicide", "Fighting My Way Back", and "Ballad of a Hard Man", share the stage with more melodic tracks like "Wild One", "King's Vengeance", and "Spirit Slips Away", all sharing a clear common thread; the powerful sound of Gorham and Robertson's twin guitars.

Led Zeppelin-The Song Remains The Same (1976)

“The Song Remains the Same” was for many years Led Zeppelin’s only official live recording, until the release many years later of the live album “BBC Sessions” (1997) and the subsequent albums “How the West Was Won” (2003) and “Celebration Day” (2012). But going back a bit in history, we find ourselves in the summer of 1975, just as Led Zeppelin were about to begin their world tour promoting their double album “Physical Graffiti”. Tragedy struck: their singer, Robert Plant, and his wife were involved in a serious car accident on the Greek island of Rhodes, where they were spending a few days on vacation, an accident that nearly cost them their lives. That accident and subsequent recovery led to the cancellation of the tour and a long delay of almost a year. Even with Plant still convalescing, recording sessions began for the next album, "Presence", which would be released in mid-1976. Taking advantage of this interruption, Atlantic Records decided to release "The Songs Remain the Same", a live album and film recorded three years earlier, from July 27th to 29th, 1973, at Madison Square Garden in New York City. These shows were part of the tour following the album "Houses of the Holy". However, the laborious process of mixing and recording in the studios delayed its release until just a few months after the release of "Presence". Another reason for the delay was Jimmy Page's dissatisfaction with the quality of the tapes recorded that night, which he felt were not suitable for release. Leaving aside the film, which is essentially concert footage plus an introduction featuring the four band members in various situations from their private and everyday lives, the album contains memorable moments such as the 27-minute "Dazed and Confused", which, given its considerable length, becomes quite tedious at times, or the thunderous "Rock and Roll" and "Whole Lotta Love". Also noteworthy are the classic "No Quarter", the bluesy "Since I've Been Loving You", and the expansive "The Rain Song", not to mention John Bonham's nearly ten-minute drum solo on "Moby Dick". But it is undoubtedly the extended version of "Stairway to Heaven" that stands out as the album's high point, where all the band members deliver outstanding and flawless performances. The album's subsequent reception was a number one hit on the British charts and a number two spot on the Billboard charts, in addition to numerous platinum records for its worldwide sales.

Rush-Signals (1982)

After eight studio albums and two live albums, synthesizers take center stage for the first time, overshadowing guitars on a Rush album, even replacing them in much of this ninth work by the Canadians. On “Signals”, Neil Peart’s signature, immeasurable drumming is still present, but progressive rock and heavy guitars have almost completely disappeared, shifting the style towards new wave sounds, albeit in a rather subtle and complex way, with those intricate, high-class arrangements and the trio’s established personality. Opening the album is one of the best songs of the era, “Subdivisions”, a track that enjoyed considerable chart success and is a true classic in their repertoire, especially its keyboard intro. Also noteworthy are some tracks revived more recently for live performances, such as “The Analog Kid” and “The Weapon”, the latter being the third installment of the “Fear” trilogy. The rest of the album revolves around technological advancements with a modern and futuristic feel, reflected in tracks like "Digital Man", "Chemistry", and "New World Man". The album closes with the fantastic "Losing It", featuring Ben Mink with a spectacular electric violin solo, and "Countdown", which attempts to recreate the experience of a space launch and brings to a close an album that would keep them at the forefront of the rock world, despite the radical stylistic shift the band introduced in this commendable new release, following their album, "Moving Pictures".

Eloy-Ocean (1977)

Eloy is perhaps the best band of German progressive rock, whose musical style includes symphonic rock and space rock, the latter with a higher prevalence in previous albums. Despite their nationality and period of activity, the band is not generally considered krautrock due to their sound, which has much more in common with English progressive rock bands like Pink Floyd, King Crimson and Yes. Moreover, the band that was always considered by the world music critics as the "German Floyd" because of its sound parallel to that of the British in many moments. It is true that sometimes sound similar, but the Germans have their unique sound, mixing rock with symphonic air space memorable.
"Ocean" is the sixth album released by the Germans. It was launched in 1977 and is considered by many their best album, a classic of the genre in Germany. 200,000 copies were sold, making it better than Genesis or Queen in the German charts at that time.

Iron Maiden-The Final Frontier (2010)

"The Final Frontier" is another monumental release from Iron Maiden, an album of biblical proportions in its musical scope, perfectly reflecting the grandeur of this legendary British band. On this occasion, the sextet delivers a sublime work of elaborate progressive structures beneath that mantle of epic and visceral heavy metal, clearly reflected in the cover art, which depicts Eddie evolving into a kind of alien extraterrestrial in a devastated and hostile surreal landscape. These apocalyptic sensations are reflected in tremendously heavy and decadent tracks like the sinister "Satellite 15..." or the experimental title track. Following a similar stylistic pattern are the emotive "Coming Home", the somber "Mother of Mercy", and the refined "Isle of Avalon" and "Starblind". The effective and tremendously vigorous "The Talisman", "The Man Who Would Be King" and "When The Wild Wind Blows", only perpetuate the impetuous tempest of this superb album from one of the greatest bands in the history of heavy metal.

Beckett-Beckett (1974)

This is one of the holy grails of progressive rock, an album as fascinating as it is monumental, from one of the most underrated and unknown bands in the rock music scene, and progressive rock in particular. We've mentioned before that almost everything has already been invented, and that somehow, at some point in history, someone conceived and created (obviously in a more rudimentary way and depending on the technological advancements of the time) something that seems novel today and is attributed to people many years later. This is precisely what happened with Beckett, a formidable band whose spectacular music a hybrid of the progressive pop of The Alan Parsons Project, with its spectacular orchestral arrangements and the dynamic heavy rock riffs that Iron Maiden would later exploit made them ahead of their time and one of the quintessential cult bands. To give a little background, this band was formed in Newcastle in the mid-70s by former Yellow guitarist Ken Mountain, guitarist Ian Murray (brother of Dave Murray of Iron Maiden), bassist Frankie Gibbon, the fantastic vocalist Terry Wilson-Slesser, and drummer Keith Fisher. However, just before recording this single album, Ian Murray left and was replaced by guitarist Arthur Ramm. The album was produced by none other than Family frontman Roger Chapman and released by Island Records, the British label specializing in avant-garde sounds. This self-titled solo album is one of the greatest and most unjustly overlooked records on any official rock music website today, yet it is highly valued by music lovers and collectors of rarities from 1970s progressive rock. This masterpiece begins with the epic intro "Once Upon A Time…The End", which leads into the following track, "Rolling Thunder", where the complex arrangements are reminiscent of what The Alan Parsons Project would later create. The beautiful "Rainclouds" is the prelude to "Life's Shadow", a superb track that Iron Maiden would later borrow musical passages from in "The Number of the Beast", something they would also do with "A Rainbow's Gold" in their song "2 Minutes to Midnight" from their 1984 album "Powerslave". The rest of the album maintains an irresistible blend of complex and sophisticated rock, captivating melodies with rich guitar and mellotron instrumentation, and Wilson-Slesser's immeasurable vocals. Despite its enormous quality, the album went unnoticed, selling little more than a hundred copies. Given the commercial failure, the band dissolved shortly afterwards, with different professional paths for its members. Terry Wilson-Slesser had a more fruitful career, playing alongside Paul Kossoff in the band Back Street Crawler, as an occasional singer in the Michael Schenker Group, and was even a candidate to replace the deceased Bon Scott in AC/DC in the late seventies.

Pat Metheny Group-Pat Metheny Group (1978)

In 1978, Pat Metheny released his first album with his band, simply titled "Pat Metheny Group". On this debut, the excellent American guitarist simply plays guitar in the old-fashioned way, without the technological flourishes that would later appear, such as synthesized guitars, 15-string harps, or the distortion of pure rock riffs, not to mention the Latin percussion and those soft, whispering vocals. Some of the tracks on this first album display a clear symphonic architecture, as is the case with "San Lorenzo" and "Phade Dance", two of the greatest compositions of Pat Metheny's entire career. Besides Metheny's guitar, Mark Egan's languid bass, Dan Gottlieb's subtle drumming, and Lyle Mays' sublime synthesizers and grand piano are also particularly noteworthy. The subtle melodies of jazz fusion tracks like "Jaco", "Aprilwind", and "April Joy" also showcase the melodic and intimate sound that permeates this album. As a counterpoint to these, "Lone Jack" emerges as the most rhythmic and energetic track on the entire album. A well-deserved fifth place on the Billboard Jazz Albums chart would be the prelude to a series of memorable albums that would follow in subsequent years, such as "American Garage" (1979), "Offramp" (1982), "First Circle" (1984), "Still Life (Talking)" (1987), and "Letter From Home" (1989).

Pat Metheny Group-Speaking Of Now (2002)

"Speaking Of Now" contains all the ingredients that have made Pat Metheny one of the great avant-garde musicians of jazz. Here we find everything from futuristic tales of space travel to his haunting pastoral music, along with a fusion of a wide variety of styles blended and embellished with his warm jazz sound. Featuring some of his most iconic band members Lyle Mays (keyboards) and Steve Rodby (bass) Metheny enlisted bassist Richard Bona and percussionist Antonio Sánchez, as well as trumpeter Cuong Vu and renowned percussionist Dave Samuels. Every groove of this release is filled with a wealth of exquisitely structured, memorable melodies, where Metheny's breathtaking guitar solos and Mays's keyboard work leave the listener speechless. Cuts of pure bebop jazz like "As It Is", romantic distant canvases like "Proof", the vocal interludes of Gregorian chant in "Another Life", classic pieces of contemporary jazz like "A Place in the World", and delicate and discreet epics of refined and elegant jazz like "Wherever You Go", are the perfect synthesis of what this, the twenty-sixth album by the American musician, has created during the last 40 years of an exceptional professional career, leaving for posterity some of the most emblematic albums of jazz fusion.

Grateful Dead-Workingman´s Dead (1970)

The Grateful Dead's fourth studio album, "Workingman's Dead" (1970), marked a stylistic shift from the psychedelia of their earlier work, embracing American roots sounds like folk and country. This album also showcased the songwriting talent of the duo Jerry Garcia and Robert Hunter. Echoes of the folk-rock of Crosby, Stills, Nash & Young at the time appear in songs like "Uncle John's Band", a memorable composition brimming with acoustic guitars, rich vocal harmonies, and a rustic, traditional feel. Similar paths are followed by other tracks such as "Casey Jones", "High Time", "Dire Wolf", and "Black Peter", while country rock makes an appearance in "New Speedway", and the psychedelic rock of yesteryear resurfaces in "Easy Wind", the only song that hints at their earlier, more vibrant sound.

Yes-Big Generator (1987)

Following their successful album "90125" and subsequent world tour, Yes returned to the studio to record their next album, "Big Generator", a work that continued the symphonic pop style of their previous release. For this recording, the band retained the same lineup, led by Jon Anderson (vocals), Alan White (drums), and Chris Squire (bass), the only three remaining members of Yes's "classic" lineup, along with Trevor Rabin (guitars, keyboards, and production) and Tony Kaye (keyboards), the latter being one of the group's founding members from the late 1960s. Despite containing a repertoire very similar to the aforementioned "90125", this "Big Generator" is a more solid and consistent work with some reminiscences of the progressive rock of the group's golden age in the 70s. Songs like "Final Eyes", "Shoot High Aim Love", "Holy Lamb" or "I'm Running", recover some of that progressive essence, while others like "Love Will Find A Way" or "Rhythm Of Love" show the more commercial side of the group.