The Keith Reid Project-The Common Thread (2008)

Keith Reid is best known as the co-writer of one of the most famous songs of all time, "A Whiter Shade of Pale", and for writing most of the original songs for the legendary Procol Harum during the 1960s and 70s. In mid-2008, he founded The Keith Reid Project, releasing the album "The Common Thread". Reid composed and wrote all the songs, as well as producing them, and the album features a stellar lineup of musicians including John Waite (Bad English), Chris Thompson (Manfred Mann), Barry Goldberg (The Electric Flag), Terry Reid, Southside Johnny, Bernie Shanahan, Michael Saxell, Chaz Jankel, and Steve Brooker. The resulting album is an excellent collection of high-quality songs that explore the sounds of melodic soft rock with elegant, laid-back rhythms and refined arrangements, undoubtedly destined for the enjoyment of even the most discerning listeners.

Go-Go Live From Paris (1976)

Stomu Yamashta, who in the early 1970s explored avant-garde and modern classical music, performing compositions by Toru Takemitsu and Hans Werner Henzel, had a chance encounter in 1970 with drummer Morris Pert, which set Yamashta on the path of jazz and rock. He then joined Pert's band, Come to the Edge. The track "One Way" from their ambient album "Music" is a good example of Yamashta's ability to create ambient pieces. In 1972, he became involved with film scores, beginning with Robert Altman's "Images", composed by the renowned John Williams. The soundtrack was nominated for an Oscar, partly due to Yamashta's contributions and his atonal sounds scattered throughout the film. A year later, he formed East Wind with keyboardist Brian Gascoigne, a band that also included the iconic Canterbury scene bassist Hugh Hopper. From this point onward, with a style difficult to categorize, percussionist and keyboardist Stomu Yamashta left his distinctive mark on a dozen works in the 1970s, showcasing a skillful blend of smooth, atmospheric jazz and rock developments. His music was highly enjoyable, featuring vital and accessible jazz-rock elements, but also darker and more unusual soundscapes. In 1975, Stomu formed the supergroup Go, composed of Steve Winwood, Klaus Schulze, Al Di Meola, and Michael Shrieve, and recorded the albums "Go" (1976), "Go Live From Paris" (1976), and "Go Too" (1977), considered masterpieces of modern music. Like most supergroups, Go's history is short. Such a collective of talented musicians from different parts of the world, each with their own busy recording and touring schedules, can only happen when the stars align and there's a fleeting moment of opportunity. Most of the musicians involved were in a state of transition at the time, and over a period of approximately a year, they produced spectacular music together. A band formed by former members of Blind Faith, Traffic, Santana, Tangerine Dream, and Return to Forever could easily have clashed over egos and artistic differences, ending the project before it even began. However, a shared interest in a new musical experience created something that, in fact, sounds like a hybrid of all these bands. After releasing a studio album, Go reached its peak during a short tour in 1976, which produced one of the most spectacular live recordings of all time: the excellent double album "Go Live From Paris". On June 12, 1976, at a packed Palais des Sports in Paris, this supergroup performed before an euphoric audience. Their relaxed and inspired performance featured a unique blend of styles, from soul (Steve Winwood) to electronic rock (Klaus Schulze and Stomu Yamashta) and jazz fusion (Al Di Meola). Michael Shrieve, former drummer for Santana, performs as the renowned and accomplished percussionist. Also noteworthy are the brilliant vocal exchanges between Steve Winwood and Karen Friedman. The band that presented the studio album "Go" live was almost the same but expanded, with Jerome Rimson on bass, Brother James on percussion, and Pat Thrall as second guitarist. The double album consists of six tracks, longer than the original studio versions, some with a jam session feel, interspersed with spacious electronic breaks and piano interludes. Long and developed pieces like "Man Of Leo", full of rhythms and intense solos by Di Meola, instrumental improvisations like "Windspin" with a funk bass taking the lead in a sublime way, outstanding jazz rock like "Ghost Machine", or funk/soul exercises like "Time Is Here", complement an anthological performance, where Stomu Yamashta holds back on his instrumental virtues to allow the other members to shine with their instruments.

Black Stone Cherry-Folklore And Superstition (2008)

"Folklore and Superstition" is the second album by Black Stone Cherry, a band based in Edmonton, Kentucky. Released in 2008, this album by the group comprised of Chris Robertson (vocals and guitar), Ben Wells (guitar), John Lawton (bass), and John Fred Young (drums) continues to embrace their hard rock sound infused with Southern rock, but with improved production, better arrangements, and a greater commercial appeal compared to their debut album released two years prior. Hits like "Blind Man", "Reverend Wrinkle", "The Bitter End", "Ghost of Floyd Collins", and "Long Sleeves" revisit that American hard rock style, clearly influenced by boogie blues and Southern rock, while other tracks, such as the more subdued "Thing My Father Said" and "Peace Is Free", offer a more relaxed feel.

Gamma-Gamma 1 (1979)

After his time leading the band Montrose, guitarist Ronnie Montrose ventured into a solo career, releasing "Open Fire" in 1978. However, shortly after, the legendary guitarist decided to form a new band called Gamma. For this project, he recruited vocalist Davey Pattison, drummer Skip Gillette, bassist Alan Fitzgerald, and keyboardist Jim Alcivar. Due to his growing popularity as a guitarist, they soon secured a contract with Elektra Records, with whom they released their debut album, "Gamma 1" in 1979 a solid work of American hard rock with blues influences and melodic rock sounds. With a basic formula of Alcívar's compelling keyboards and synthesizers, backed by Montrose's magnificent guitar work, along with the excellent vocals of Davey Pattison, it was clear that Ronnie Montrose had made the right choice in selecting this new vocalist, replacing his previous frontman, Sammy Hagar. Heavy hard rock tracks like the crackling "Thunder & Lightning", the rocking feel of "Fight to the Finish" and the exhilarating "Ready for Action", the appealing AOR tracks "I'm Alive" and "No Tears", the bluesy "Wish I Was", and the semi-progressive "Solar Heat" complete an elegant album and another of Ronnie Montrose's great contributions to the world of rock.

The Quireboys-Homewreckers & Heartbreakers (2008)

The Quireboys are one of the bands most faithful to their honest style, showcasing from their beginnings a rock sound brimming with catchy melodies that are both intense and powerful. They started by breaking into the charts with their debut album, "A Bit Of What You Fancy" (1990), a record that propelled them to an incredible number two on the British charts thanks to its rich influences from 70s rock bands like The Faces and the Rolling Stones. In the following years, they released several impressive albums, including the fantastic "Bitter Sweet & Twisted" (1993) and "This Is Rock 'n' Roll" (2001). By the time they released their fifth album, "Homewreckers and Heartbreakers", only two of the original members remained in the band: frontman and singer Spike, and guitarist Guy Griffin. The rest of the lineup consisted of bassist Jimi Crutchley, drummer Pip Mailing, keyboardist Keith Weir, and rhythm guitarist Paul Guerin. Touches of American roots rock and their basic British rock and roll are present in tracks like "Take A Look At Yourself", the honky-tonk "Louder", the energetic "Love This Dirty Town", and the exuberant "Hall of Shame". Without a doubt, this is another stimulating work from one of the most respected bands on the rock scene of the last 35 years.

Leadbelly-Negro Sinful Songs (1939)

Huddie William Ledbetter, better known as Leadbelly, was the quintessential chronicler of rural blues, folk, and gospel music. Like the troubadours of the Middle Ages, he traveled extensively throughout rural America, spreading traditional American music. Born in 1889 in Louisiana, he began his career playing the accordion, enlivening neighborhood dances. Over time, he moved on to guitar, piano, and violin, entertaining at parties and gatherings across much of the southern United States. During one of these rural tours, he was accused of killing a man after a fight and sentenced to more than fifteen years in prison. However, his time in prison, punctuated by several periods of parole, allowed him to record some of his songs for the Library of Congress songs that dealt with prison life. Although his recordings were never commercially successful, his extensive repertoire includes more than a hundred songs, from his earliest known recordings in 1935 until almost the end of the 1940s. Leadbelly died on December 6, 1949, at the age of 61 in New York City. His legacy and influence have been felt for the last seven decades by musicians such as Bob Dylan, The Animals, Creedence Clearwater Revival, Johnny Cash, Van Morrison, Elvis Presley, Ry Cooder, and Johnny Rivers, among many others. In 1988, Leadbelly was inducted into the Rock and Roll Hall of Fame, and in 2008 into the Louisiana Music Hall of Fame.

Rick Derringer-Knighted By The Blues (2009)

This is the second album from the tireless rock and blues artist Rick Derringer to appear on this blog; the first was the seminal "All American Boy", his 1973 debut. This time, we bring you his thirteenth album, "Knighted By The Blues", which, as the name suggests, is oriented towards blues rock. This work contains an inspired repertoire of tracks that showcase the virtuosity, blues feeling, and talent of this phenomenal guitarist. Tracks like the boogie-blues version of Ray Charles' "Mess Around", the powerful blues-rock numbers "Sometimes" and "If 6 Was 9", the jazzy "Cat On A Hot Tin Roof", and the slow, atmospheric blues numbers "My Gal's Kinda Crazy" and "Knighted By The Blues" place this album among Rick Derringer's most outstanding. Sadly, Derringer passed away in 2025, at the age of 77, due to serious heart problems.

Nazareth-The Fool Circle (1981)

Nazareth's twelfth studio album is one of their most abrasive yet eclectic works. On "The Fool Circle", the British band continues to blend their diverse influences with their signature hard rock sound. This time around, the group comprised of Dan McCafferty (vocals), Manny Charlton (guitars), Pete Agnew (bass), and Darrell Sweet (drums) along with guest appearances by Zal Cleminson (guitars), John Locke (keyboards), and Jeff Baxter (synthesizers and production), incorporates addictive 80s commercial sounds like reggae, which permeate several of the album's tracks. Songs like the lively rock "Dressed To Kill", the peculiar reggae "Let Me Be Your Leader", the pop rock "Little Part Of You", the catchy "Victoria", the refined ballad "Moonlight Eyes", the AOR "Another Year" or a reggae version of the classic song "Cocaine" by J.J. Cale performed live, make up one of their most harmonious albums, but at the same time it is unfairly one of the most underrated in their entire discography, despite achieving great acceptance in many European countries and in Canada.

The Kenny Wayne Shepherd Band-How I Go (2011)

Kenny Wayne Shepherd is one of the youngest bluesmen on the current scene. Born in the late seventies, his solo career began when he was just eighteen, releasing his first full-length album, "Ledbetter Heights" (1995). However, at only thirteen, he participated in several events alongside bluesman Bryan Lee, a fact that caught the attention of talent scouts who waited until he came of age to sign him to a record deal. From that moment on, Kenny Wayne Shepherd was in demand by many bluesmen of the era, playing with artists such as B.B. King, Clarence "Gatemouth" Brown, and Jonny Lang, among many others, and opening for Aerosmith, The Eagles, Bob Dylan, Lynyrd Skynyrd, and The Rolling Stones. A five-time Grammy nominee, he has won several of the most prestigious awards in the blues music industry. "How I Go", released in 2011, is his sixth album, steeped in the dusty sounds of the American South. On tracks like "Cold", Wayne demonstrates that he has little to envy in his contemporary blues guitarists, showcasing an enviable technique on the six strings. In his version of the classic "Oh, Pretty Woman", the guitarist delivers a track brimming with blues passion, and on other songs like the rocking "Come On Over" or the blues-rock "Never Lookin' Back", Wayne also makes it clear that he knows how to rock like few others. The more serene blues ballads are present in the radiant "Show Me The Way Back Home", "Anywhere The Wind Blows", and "Who's Gonna Catch You Now", where singer Noah Hunt also shines.

Gamma Ray-Land Of The Free (1995)

Taking inspiration from the iconic 1970s German progressive rock song Birth Control, guitarist and composer Kai Hansen formed Gamma Ray, a band that followed the same musical principles as his previous band, Helloween. After three albums of tremendous power metal, in 1995 they released one of the cornerstones of epic and grandiose metal with "Land of the Free." On this album, Hansen himself took over vocals from former vocalist Ralf Scheepers, while the rest of the lineup consisted of Dirk Schlächter (guitar), Jan Rubach (bass), Thomas Nack (drums), and Sascha Paeth (keyboards), in addition to a guest appearance by his former Helloween bandmate, Michael Kiske. Composed of a series of extensive compositions full of dynamism, power and epicness, here are cuts such as the thrilling "Rebellion In Dreamland", the incisive "Man on A Mission", the emotional "Farewell" or the brilliant "Time To Break Free", resulting in an essential album within the epic heavy metal of the nineties.

Second Movement-Blind Man´s Mirror (1976)

Second Movement were one of those strange and obscure cult bands of the early 70s who refused to completely abandon the psychedelia of the 60s and the hard rock of the early 70s, but who were always influenced by the pompous and complex sound of baroque keyboards and symphonic structures. Their beginnings, dating back to 1971 in Coburg, Germany, are often labeled as Krautrock. The music of their first mini-LP is characterized by a distinct symphonic style in its two songs, "Fool's Dance" and "Rainbow". This was followed by a full album, which they attribute to the progressive genre, titled "Blind Man's Mirror", with a repertoire of tracks exceeding nine minutes in length. The backbone of the band is formed by the excellent keyboardist Siggi Zeidler and the singer Harald Kesselhack, whose vocal timbre is reminiscent of Greg Lake (with a lower register). And last but not least, Thomas Möck's brilliant acoustic guitar solos create mystical atmospheres and flamenco flashbacks interwoven with frenetic, distorted electric guitar passages all of them simply exceptional musicians. “Blind Man’s Mirrors” opens with “Strange Shore”, a stunning introduction where Manni Greiner (bass) and Matthias Helk (drums) take the lead, with a lush development of guitar solos and passages of jazz and ambient sounds a perfect blend of genres, styles, and moods. The following track, “Blind Man’s Mirror”, is a 12-minute mini-epic that begins with the entire band playing a fluid musical section featuring lush keyboards, frenetic percussion, and acoustic guitar 12 minutes of pure prog rock with clear symphonic tendencies. “Shanghai” is a festival of sounds with heavy guitars combined with lush keyboard passages clearly inspired by Rick Wakeman. “Back in Town” is another long song (9.05 minutes), but for the first time they fully embrace a pure symphonic style. This extraordinary album closes with the mysterious “Different Autumn”, the icing on the cake, which ranges from medieval folk sections to vibrant and heavy passages, all enhanced by a baroque organ that keeps them firmly in symphonic territory. It's worth noting that only 700 copies of this album were pressed, and it was followed in 1981 by their second album, “Movements”, which represented a subtle stylistic shift, shedding the symphonic progressive elements to adopt a more conventional 80s prog sound, but with equally brilliant results.

Jethro Tull-Rock Island (1989)

In 1989, Jethro Tull had just won the Grammy for Best Hard Rock Album for their brilliant "Crest of a Knave", an award that surprised everyone and sparked considerable controversy. The oddity of this award lay in the fact that it was given to a band primarily known for their progressive folk rock sound, and who, with the exception of a few specific moments in their career, had never ventured into the hard rock genre enough to be categorized as such. So, with their next album, released at the dawn of the 1990s, Jethro Tull ironically embraced hard rock with "Rock Island", abandoning the "technological 80s" and giving Martin Barre and his powerful hard rock guitar riffs center stage, partly setting aside their usual pastoral sounds and acoustic guitars of British folk. Lyrically, Ian Anderson continues with his metaphorical lyrics, this time addressing the loneliness of modern society, among other recurring themes such as home and family. Although his characteristic folk sensibility appears at various points, it is the vibrant and energetic sounds that permeate this eighteenth album from the British band, as evidenced in tracks like “Kissing Willie”, “The Rattlesnake Trail”, “Rock Island”, “Big Riff and Mando”, and “Heavy Water”, while in “Ears of Tin” and “Another Christmas Song”, they return to their peculiar and captivating style. On the other hand, “The Whaler’s Dues” and “Strange Avenues” are the most progressive tracks on the album.

Hogjaw-Sons Of The Western Skies (2012)

Another of those devastating albums of Southern rock and 21st-century American rock is the one released by Hogjaw in 2012, a band formed in 2006 in Arizona. On this release, aptly titled "Sons of the Western Skies," this group comprised of Jon Boat Jones (vocals and guitar), Craig Self (lead guitar), Elvis DD (bass), and J. Kowalski (drums) delivers everything from pure Southern bangers like "Midnight Run to Cleator", "Dirty Woman", "Spoonfed", "Hells Half Home of Mine", and "Road of Fools", to bluesy tracks like "Mainstream Trucker" and "The Sun of All Things", and swampy cuts like "Everyone's Goin' Fishin' ". Without being entirely original, Hogjaw retain their own personality, rescuing with their music and their southern spirit, the enormous legacy left by the great bands of the golden age of American roots rock.

Squackett-A Life Within A Day (2012)

At this point, we're hardly going to discover who Steve Hackett and Chris Squire are: two of the greatest musicians in progressive rock worldwide. Hackett, a guitarist and fundamental figure in Genesis' golden era with Peter Gabriel at the helm, and Squire, a founder and co-leader alongside Jon Anderson of the iconic Yes. In 2012, both musicians spearheaded the Squackett project to release a single album titled "A Life Within A Day". On this album, the guitarist and bassist enlisted other musicians such as Roger King, Jeremy Stacey, Dick Driver, and Amanda Lehmann, resulting in an excellent work that, in many passages, captures the progressive essence of Yes and the melodic rock of GTR and Asia. Here, Hackett showcases his immense personality in his riffs and guitar solos, while Squire's incisive work is ever-present in every track. Likewise, the rich vocal harmonies shine, as demonstrated in the melodic "Sea Of Smiles" and "Can't Stop The Rain". On the other hand, the progressive vein can be found in "Last Train to Istanbul", "Tall Ships", "Aliens" or "Stormchaser".

The Groundhogs-Who Will Save The World? The Mighty Groundhogs (1972)

Inspired by the work of illustrator Neal Adams, The Groundhogs dared to challenge their rich British blues-rock past, and on their fifth album, they delved into experimentation, crafting their most avant-garde and progressive work. "Who Will Save The World? The Mighty Groundhogs", another Martin Birch-engineered masterpiece, was recorded at De Lane Lea's Studios in London and features a diverse collection of tracks brimming with allegorical themes, science fiction messages, and ecological statements. Musically, Tony McPhee's prominent guitar takes a backseat to the Mellotron. Even so, his driving riffs and guitar solos remain the hallmark of this legendary British band's sound. Songs like "Earth Is Not Enough", "Body in Mind", "Death Of The Sun" or "The Grey Maze", present a more heterogeneous musical panorama than the more recent past of this spectacular power trio formed by Tony McPhee, Pete Cruikshank and Ken Pustelnik.

Nazareth-Close Enough For Rock´n´Roll (1976)

With “Close Enough For Rock 'n' Roll”, the seventh album by the Scottish band Nazareth, they began to move away from their eclectic rock and roll and hard rock sound, venturing into the melodic rock that was so fashionable in the year of its release (1976). While their previous album, “Hair of the Dog”, overflowed with the energetic progressive heavy rock that would lead them to achieve a platinum and a gold record, this album lacked almost entirely that same punch and energy, with the exception of the vibrant “Telegram”, the boogie-rock track “Lift The Lid”, and the vigorous cover of Jeff Barry’s “You’re The Violin”. Harmonious and dynamic sounds took over with the silky “Homesick Again”, the rhythmic “Vancouver Shakedown”, the playful “Born Under The Wrong Sign”, and the melodic rock songs “Loretta” and “Carry Out Feelings”. Despite the risk involved in their radical change of style, the band managed to pull it off, producing an album that was well received by fans and decently maintaining their status among the top of the world's hard rock scene.

Syd Arthur-Sound Mirror (2014)

Founded at the beginning of this century, Syd Arthur is a British progressive and psychedelic rock band from Canterbury. The band consists of Liam and Joel Magill (guitar and bass, respectively), drummer Fred Rother, and keyboardist Raven Bush. With their debut album, released in 2006, the band showcased their immense potential with a work that draws on a wide range of influences, from jazz and rock to blues and folk. Evoking the sounds of the great bands of the seventies (Camel, Jethro Tull, Genesis, and King Crimson), this quartet continued to evolve, producing another superb, dynamic, and versatile album in 2014. Psychedelic tracks ("Chariots"), progressive folk ("Backward Stepping"), intricate pieces of progressive rock ("Singularity"), mainstream rock ("Hometown Blues"), and relaxed, accessible tracks ("All And Everything"), combine to create an elegant and enjoyable album of contemporary progressive rock.

Grand Funk Railroad-On Time (1969)

Grand Funk Railroad rose from the ashes of a local band in Flint, Michigan, called Terry Knight & The Pack, which included guitarist Mark Farner, drummer Donald Brewer, and singer Terry Knight. In 1968, Farner and Brewer recruited bassist Mel Schacher, thus forming the first lineup of this power trio, while Terry Knight took on the role of manager. Knight himself secured the band a performance at the prestigious Atlanta Pop Festival in mid-1969, achieving overwhelming success that earned them a contract with Capitol Records. Shortly after, they made their recording debut with their first album, "On Time", in which they superbly showcased their credentials with a vigorous and powerful style of hard rock with hints of blues and soul. Composed of ten songs, some featuring extensive instrumental passages like "Into the Sun", "Heartbreaker", and "T.N.U.C.", melodic and dynamic hard rock tracks like "Are You Ready?", intense blues rock like "Time Machine", and forays into the psychedelia prevalent at the time with the frenetic "Anybody's Answer" and "High on a Horse". A top ten hit on the Billboard charts and over a million copies sold made it one of the best debut albums in late 1960s rock music.

Walter Trout-Unspoiled by Progress: 20 Years of Hardcore Blues (2009)

Walter Trout is one of the most dedicated disciples of John Mayall, the father of British blues, who invited him to join his Bluesbreakers in the mid-1980s. However, prior to that, Walter Trout already had an extensive career as a blues guitarist, collaborating with artists such as John Lee Hooker, Percy Mayfield, and Canned Heat. In the late 1980s, Trout began his solo career, releasing his first album, "Life In The Jungle" (1989). Since then, he has released around thirty albums, both solo and with his various bands: Walter Trout Band, Walter Trout and The Free Radicals, and Walter Trout and The Radicals. "Unspoiled by Progress: 20 Years of Hardcore Blues" is an essential historical document that captures a significant part of his career, featuring fourteen tracks, some of them previously unreleased, that perfectly define his trajectory, showcasing some of his intense blues and his immense feeling and talent on the six strings.

Ken Hensley-Blood On The Highway (2006)

In 2006, the former Uriah Heep keyboardist and guitarist released his fourteenth solo album, "Blood On The Highway", conceptually based on his autobiographical book of the same name, in which he extensively recounts his history with Uriah Heep. The result is a kind of compilation of all his previous styles, from hard rock to progressive rock. For this album, Hensley enlisted guest musicians such as John Lawton, Glenn Hughes, Eve Gallagher, and Jorn Lande, among others. For many, this is his best solo work, brimming with energy, flawlessly performed, and imbued with feeling in every groove. A repertoire composed of magnificent sonic canvases such as "(This Is) Just the Beginning", "Blood on the Highway", "You've Got It (The American Dream)", "There Comes a Time", "The Last Dance (El Gitano Viejo)" or "It Won't Last", make up an excellent and rewarding album from one of the true talents in the history of rock.

Lionel Hampton-You Better Know It!!! (1964)

Lionel Hampton was a virtuoso jazz vibraphonist, as well as a talented drummer, pianist, and singer facets perfectly complemented by his spectacular stage presence. Born in 1909, he rose to prominence as a member of the orchestras of Louis Armstrong and Benny Goodman during the 1930s and 40s. In the mid-1940s, Hampton formed his own big band, achieving immense popularity and featuring many of jazz's greatest musicians, including Wes Montgomery, Fats Navarro, Charles Mingus, and Dexter Gordon. His immense popularity led him to continue leading his own orchestras well into the 1990s. During the 1950s, with his vibrant orchestras, he recorded some of the finest jazz and rhythm and blues tracks ever made. From the 1950s onward, he dedicated himself to sharing his music throughout Japan, Australia, the Middle East, and countless other countries around the world. In the 1960s, despite the decline of big bands, he continued touring the world, performing at numerous jazz festivals. Throughout his life, Hampton was actively involved in the construction of many public housing projects and founded the Lionel Hampton Development Corporation, contributing to the development of affordable housing across the United States. A Grammy Lifetime Achievement Award winner, among many other accolades, Hampton passed away on August 31, 2002, at the age of 94.

Revolution Saints-Light In The Dark (2017)

The alliance formed by Jack Blades (Night Ranger), Doug Aldrich (Whitesnake), and Deen Castronovo (Journey), under the name Revolution Saints, was formed in late 2014, releasing their self-titled debut album a year later. Three years later, they delivered "Light In The Dark," defining their style and far surpassing its predecessor. On this release, Castronovo handles vocals with great personality and energy, in addition to his exceptional talent with the drums, while Aldrich's ferocious guitar and Blades' powerful bass create a stunning sonic tapestry. Following the stylistic path of its members' former bands (Journey, Whitesnake, Bad English, Hardline, Night Ranger, Damn Yankees, and House of Lords), but with an added edge of melodic hard rock, we find tracks of the caliber of "Ride On", "Light in the Dark", "Freedom", "Don't Surrender", "Another Chance", and "Running on the Edge", all brimming with powerful guitar riffs and infectious vocal choruses. Power ballads like "I Wouldn't Change a Thing", "Falling Apart", and "Can't Run Away from Love" are also present.

Dixie Peach-Dixie Peach (1975)

Dixie Peach were another of the forgotten bands of the 70s, who, despite showcasing great southern rock and blues rock, disappeared due to indifference and a lack of promotion from their record label. Formed in Dayton, Ohio in 1972, their core members were singer and guitarist Ira Stanley and bassist Mike Rousculp "Roscoe", who, along with keyboardist Steve Williams, drummer Jerry Barnhart, and rhythm guitarist Tony Paulus, honed their skills in various parts of the Eastern United States for three years, building a large and devoted fanbase. This success encouraged them to sign a contract with Raintree Records, and under the production of Tom Weisser, they recorded their self-titled debut album in 1975. On this first album, the band doesn't hide their Southern influences from bands like The Allman Brothers, showcasing a brilliant collection of songs that navigate between the dusty rock of Southern bands, seasoned with jazz, blues, and hard rock sounds. Exciting covers are interspersed with original tracks, such as their cover of Tal Mahal's "Paint My Mailbox Blue", a track where the duality of the powerful guitars stands out, or the brilliant blues-rock song "Going Down", a Don Nix cover, while Ennio Morricone's classic "The Good, The Bad & The Ugly" is interpreted in a blues-rock jam style, where they venture into jazz territory. Among their original tracks, the melodic "Out Of Money…Out Of Gas" stands out, a song that clearly demonstrates their musical roots; the funky, groove-laden "Keep on Waitin' ", the rhythmic "(So) Take A Look Around", and the dynamic, jazzy "I'll Be Gone". This album overflows with catchy, brilliant melodies and addictive guitar textures, with ever-present keyboards in short, another rare gem from the 70s that unfortunately went completely unnoticed. After the album's limited impact, the band disappeared until almost 40 years later when they reunited to record their second full-length album, "Blues With Friends" (2013).

Transatlantic-Bridge Across Forever (2001)

As their name suggests, Transatlantic is a supergroup formed by four of the greatest musicians of the late 20th century: Marillion bassist Pete Trewavas, Flowers Kings guitarist Roine Stolt, Spock's Beard keyboardist Neal Morse, and Dream Theater drummer Mike Portnoy. These four seasoned musicians conceived the project in the late 1990s to satisfy their diverse progressive rock sensibilities, inherited from the genre's golden age of the 1970s. Their varied influences range from the baroque grandeur of Yes and the space rock of Pink Floyd to the musical theatricality of Genesis, the sonic intricateities of King Crimson, and the accessibility of pop. After a stunning debut, "SMPT.e", released in 2000, they returned with their second album, "Bridge Across Forever", a year later. In this second album, the group showcases its captivating modern sound rooted in the avant-garde music of the 70s, with sublime instrumentation. Powerful guitar riffs, an explosive Hammond organ, perfect vocal harmonies, grandiose melodies, and superb instrumental passages make this album one of the best contributions to the progressive rock genre in the last 30 years. From the solemn and dynamic "Duel With The Devil", an extraordinary 27-minute epic of virtuosity from all four musicians, to the memorable half-hour progressive epic "Stranger In Your Soul", and including the rhythmic hard rock "Suite Charlotte Pike" and the ethereal "Bridge Across Forever", this powerful album culminates in a climax as breathtaking as it is apotheosis.

Gregg Allman-Low Country Blues (2011)

With his seventh solo album, Gregg Allman moved away from the Southern rock sounds and instrumental jams of his original band, The Allman Brothers, to pay tribute to some of the greats of Chicago blues, such as B.B. King, Otis Rush, and Muddy Waters, as well as lesser-known artists like John Adams Estes, Willie James Mabon, and Junior Wells. Recorded at Village Recorder in Los Angeles and produced by T Bone Burnett, Gregg surrounded himself with a stellar lineup of musicians, including Dr. John (piano), Dennis Crouch (bass), Doyle Bramhall (guitar), Mike Compton (mandolin), Jay Bellerose (drums), and T Bone himself (guitar). The result was a serene blues album with impeccable production, in which Gregg, with his distinctive voice and the masterful sound of the Hammond organ, revisits such evocative pieces as B.B. King's "Please Accept My Love", Magic Sam's "My Love Is Your Love", Muddy Waters' "I Can't Be Satisfied", Otis Rush's "Checking on My Baby", and Nehemiah "Skip" James' "Devil Got My Woman". Gregg Allman himself contributes "Just Another Rider", composed with his Allman Brothers Bandmate, Warren Haynes. A number one hit on the Billboard Blues charts and a well-deserved Grammy nomination for Best Blues Album attest to this extraordinary work by one of the legends of American music.

Kamelot-The Black Halo (2005)

Kamelot are another of the great American progressive metal bands of the last 30 years, always showcasing a balanced blend of musical power and force with orchestrated and grandiose soundscapes. Formed in the early 90s in Florida by vocalist Mark Vanderbilt, guitarist Thomas Youngblood, bassist Glenn Barry, percussionist Richard Warner, and keyboardist David Pavlicko, they underwent their first lineup changes shortly after their second album, released in 1997. Roy Kahn and Casey Grillo replaced Vanderbilt and Warner. From this point on, they shifted their style from power metal to melodic progressive metal, releasing a series of albums such as "The Fourth Legacy" (1999), "Karma" (2001), and "Epica" (2003), which cemented their status as one of the leading bands in the avant-garde metal scene. Several years after the latter came one of their masterpieces, "The Black Hole". Crafted as a concept album, it completes the circle they began with "Karma", forming an excellent trilogy that perfectly blends the power of metal with symphonic and progressive rock. While they began incorporating operatic and classical symphonic elements with their 1998 album "Siège Perilous", this trend intensified with each subsequent release, as evidenced by the rich and vibrant musical textures, all while maintaining a firm metal foundation. Tracks like "The Haunting (Somewhere in Time)", "March of Mephisto", "Moonlight", "When the Lights Go Down", the hauntingly beautiful "Abandoned", and the title track, "The Black Halo", complete an absolute masterpiece of progressive metal and an unforgettable musical experience.

3rd Ear Experience-Stones Of A Feather (2016)

3rd Ear Experience is considered one of the most creative bands of the 21st century within experimental, psychedelic, and space rock. Led by guitarist Robbi Robb and keyboardist Amritakripa, the band's permanent members, their base of operations is located in the heart of the Joshua Tree Desert in the United States, a magical place where some of the members and collaborators of this excellent group reside. Their improvisational style departs from formal musical arrangements, delving into unpredictable rhythms, bold improvisations, and dynamic beats within the realm of space rock and psychedelic music. They began their journey in 2012 with the release of their debut album, "Peacock Black", and several years later came the album we're discussing here, "Stones of a Feather", the band's fourth chronologically. On this album, the duo is joined by Alan Swanson (keyboards) and Dug Pinnick (bass). In addition, half a dozen collaborating musicians also participated, including Chris Unck, Joshua Adams, Bobby Furgo, Craig Else, Steve Howells, John Whoolilurie, Kyle Hanson, John Smolinski, Richard Stuverud, Roger Arnold, and Damian Lester. "Stones Of A Feather" is a record that stands out primarily for its rich musical textures, with certain delirious atmospheres and multiple sonic layers. From contemplative pieces like "Return of the Peacock" to the enigmatic forays of "Chungo", passing through the hypnotic canvases of "Flight of the Annunaki" or approaches to psychedelic hard rock with the hallucinogenic "The Balladeer's Tale".

Queen-A Day At The Races (1976)

In 1976, Queen were at the height of their creativity and popularity, having just achieved an undeniable number one hit with their previous album, "A Night at the Opera", a work that definitively cemented their place in the annals of rock music. Their next album, "A Day at the Races", released a year later, followed the path of its predecessor, as its title suggests, taking its name from another Marx Brothers film. Like "A Night at the Opera", "A Day at the Races" showcases an energetic, versatile, and theatrical sound. The opening hard rock track, "Tie Your Mother Down", became a worldwide radio hit and a staple of their subsequent concerts. It was followed by the beautiful ballad "You Take My Breath Away", featuring a vibrant Freddie Mercury delivering one of his most extraordinary musical performances. "Long Way" is a track that could be considered a kind of contrast to "39" from the previous album, or the epic "The Millionaire Waltz", which follows the same path as the immortal and wonderful "Bohemian Rhapsody", making it the high point of this work. The acoustic "You And I," and especially the ubiquitous "Somebody To Love", also represent Queen at their most grandiose and at their peak, with grand harmonies, complex guitars, and a sublime gospel choir. To close the album, we find four songs that further solidify the overall quality of this outstanding record: the hard rock "White Man", the music hall "Good Old-Fashioned Lover Boy", the sugary "Drowse", and the extravagant "Teo Torriate (Let Us Cling Together)".

Fresh Blueberry Pancake-Heavy (1970)

Fresh Blueberry Pancake was a powerful power trio from Pittsburgh, Pennsylvania. Formed in late 1968, it consisted of bassist and singer Tony Impavido, guitarist John Behrens, and drummer Geoff Rydell. This band honed their craft for several years, playing numerous concerts throughout Pennsylvania, building a large following and accumulating enough original material to record a demo. In 1970, they released a limited edition of fifty copies of the album "Heavy" for promotional purposes, which they self-produced. On this single album, the energetic power trio navigated a range of styles, from heavy acid rock, as heard on tracks like "Clown On A Rose" and "Hassles", to psychedelic blues rock, as seen on "Being In Town" and "Where's The Sun", and even forays into folk rock, as demonstrated on "Bad Boy Turns Good". After the release of this demo, the band shortened their name to Pancake, and some time later they would finally disband. This is another record highly sought after by collectors, with exorbitant sums being paid at various auctions for one of the original copies. However, many years later, more specifically in 2003, the German label Shadock Music recovered the original demos and reissued them on CD, with a new full-color cover design, replacing the austere and minimalist original sleeve.

Dave Pike-Noise Silence-Gentle Noise Featuring Volker Kriegel (1969)

To the general public, Volker Kriegel is virtually unknown. However, in the late 1960s, he was a very popular guitarist in Germany and much of Europe thanks to his self-taught skills on the six-string guitar and other instruments like the Indian sitar. In fact, he is considered one of the fathers of European jazz-rock. A sociologist by profession, he played in various jazz bands and even released several solo albums, as well as contributing to albums by other artists, such as Don "Sugarcane" Harris's "Keep On Driving" (1971). One of his greatest contributions was to vibraphonist Dave Pike's band on the excellent album "Noisy Silence", which had a major impact in the late 1960s. This album offered a sweeping exploration of jazz through the avant-garde sounds of the time, including a dazzling version of Frank Zappa's "Mother People". However, it is the track "Mathar" that stands out on this album, a strange sitar-rock-jazz fusion that elevates the visionary nature of this LP. Later, Kriegel would found his own band, the Orchestra Mild Maniac, with whom he recorded several well-received albums. In the following years, he formed other bands and collaborated with prestigious musicians, recording dozens of excellent albums, until years later he retired to found his own record label and collaborate with the band Passport. He also directed films, ran radio stations, wrote, and illustrated children's books, among other activities. Volker Kriegel based his style on fusing different musical frameworks from various cultures, a style that could be classified as progressive jazz.

Spock´s Beard-Brief Nocturnes and Dreamless Sleep (2013)

"Brief Nocturnes and Dreamless Sleep" was the first album by the American band Spock's Beard after the departure of Nick D'Virgilio and Neal Morse. Their replacements were Jimmy Keegan on drums and Ted Leonard on lead vocals and guitar. It is precisely Leonard who decisively influences this eleventh album, contributing moments of vocal brilliance. This, combined with Alan Morse's guitar virtuosity, Jimmy Keegan's driving drumming, Dave Meros's tireless bass playing, and the essential contribution of keyboardist Ryo Okumoto, elevates this album to the status of a modern progressive rock classic. In keeping with Spock's Beard's characteristic sound and their pleasing interpretation of contemporary progressive rock inherited from the 70s, this release skillfully blends rich instrumentation, achieving moments of immense clarity, with irresistible and masterful melodies, adorned with memorable choruses. Tracks like "Hiding Out", "Submerged", "Something Very Strange" or the grandiose "Waiting For Me", make this record a truly captivating experience, while at the same time managing to create another masterpiece from this essential band of modern progressive rock of the 21st century.

Ambrosia-Road Island (1982)

Ambrosia is one of the most exquisite bands on the rock music scene. Their irresistible vocals and catchy melodies earned them a place among the best American bands for a decade. Formed in the early seventies in California, this band emerged during the golden age of progressive rock and amassed a huge following thanks to their creativity and fantastic arrangements. With their debut album, "Ambrosia", they rose to fame with a work produced by none other than Alan Parsons, featuring hits like "Holdin' On The Yesterday" and "Nice Nice, Very Nice", both classics on American FM radio. The band's subsequent releases also yielded notable successes, such as "Somewhere I've Never Traveled", which was even nominated for a Grammy, and the hit "Life Beyond L.A.", a number one on the Billboard charts. After so many successes, in 1982 Ambrosia released their fifth and ultimately final album, "Road Island", where they once again showcased progressive yet commercial elements, all fused with memorable melodies and irresistible vocals. AOR sounds are present in the addictive "Still Not Satisfied" and "How Can You Love Me", while powerful rock tracks like "For Openers-Welcome Home" and "Kid No More" also feature. The album maintains its melodic vein with beautiful compositions such as "Feelin' Alive Again", "Fool Like Me", and "Endings", culminating in the more progressive and complex "Ice Age". In 2000, celebrating 30 years since their formation, they reunited for an extensive tour across the United States, achieving great box office success and demonstrating the immense popularity of this magnificent Californian band.

Joe Pass-Virtuoso (1973)

Possessing an enviable technique and a refined, ingenious instrumental style, Joe Pass is one of the most popular jazz guitarists. Born in 1929 in New Jersey, his career took off during the 1960s thanks to producer Norman Granz, who propelled him to become a leading figure on the jazz-focused label Pablo Records. Influenced by another jazz great, Django Reinhardt, Joe Pass quickly became an indispensable figure in the recordings of artists such as Milt Jackson, Oscar Peterson, Ella Fitzgerald, and Benny Carter. His unique and personal style is clearly reflected in hundreds of recordings, both as a solo artist and as a studio musician. His elegant approach and astonishing skill on the six strings were evident on albums like his essential LP "Virtuoso", released in late 1973, a recording considered a true classic in the world of jazz.

Robin Trower-Living Out Of Time (2003)

From a mere cover band of some of the great groups of the 70s, to becoming one of the most prominent acts today, Galahad has championed the neo-progressive style of bands like Pallas, Marillion, Pendragon, and IQ, with a career full of superb works focused on modern progressive rock. Founded in the mid-eighties in the UK, their original lineup consisted of Stuart Nicholson (vocals), Roy Keyworth (guitars), Mark Andrews (keyboards), Tim Ashton (bass), and Spencer Luckman (drums). In 1991, they released their debut album, "Nothing Is Written", followed by other highly acclaimed albums such as "Sleepers" (1995) and "Year Zero" (2002), although they always remained somewhat in the background and were consistently considered one of the most underrated bands within the neo-progressive genre. With their eighth release, "Empires Never Last" (2007), Galahad finally achieved mainstream recognition, delivering their best and most acclaimed work. On this album, they subtly departed from neo-progressive metal, delving into a dark and progressive heavy metal soundscape. A solid and well-structured musical foundation, theatrical vocals, harsh guitar riffs, and atmospheric keyboards drive an album brimming with intense and aggressive sounds. Tracks like the portentous "Termination", "I Could Be God", "Sidewinder", "Empires Never Last", and "This Life Could Be My Last" reflect the grandeur of this monumental work of 21st-century modern neo-progressive metal.

Galahad-Empires Never Last (2007)

From a mere cover band of some of the great groups of the 70s, to becoming one of the most prominent acts today, Galahad has championed the neo-progressive style of bands like Pallas, Marillion, Pendragon, and IQ, with a career full of superb works focused on modern progressive rock. Founded in the mid-eighties in the UK, their original lineup consisted of Stuart Nicholson (vocals), Roy Keyworth (guitars), Mark Andrews (keyboards), Tim Ashton (bass), and Spencer Luckman (drums). In 1991, they released their debut album, "Nothing Is Written", followed by other highly acclaimed albums such as "Sleepers" (1995) and "Year Zero" (2002), although they always remained somewhat in the background and were consistently considered one of the most underrated bands within the neo-progressive genre. With their eighth release, "Empires Never Last" (2007), Galahad finally achieved mainstream recognition, delivering their best and most acclaimed work. On this album, they subtly departed from neo-progressive metal, delving into a dark and progressive heavy metal soundscape. A solid and well-structured musical foundation, theatrical vocals, harsh guitar riffs, and atmospheric keyboards drive an album brimming with intense and aggressive sounds. Tracks like the portentous "Termination", "I Could Be God", "Sidewinder", "Empires Never Last", and "This Life Could Be My Last", reflect the grandeur of this monumental work of 21st-century modern neo-progressive metal.

The Rolling Stones-Black And Blue (1976)

In 1974, The Rolling Stones released their twelfth album, "It's Only Rock 'n' Roll", which marked the departure of their guitarist, Mick Taylor. This led Mick Jagger and Keith Richards to search for an ideal replacement to face the band's future. For some time, the names of Rory Gallagher, Jeff Beck, and Peter Frampton were rumored, but they declined the offer. Others, such as Harvey Mandel and Wayne Perkins, were also among the nominees, but the position ultimately went to Ron Wood. Ron Wood was still with The Faces at the time and, as such, could only collaborate as a guest musician on the Rolling Stones' next album, "Black and Blue", released in mid-1976. Therefore, the band's official lineup at that time consisted of Mick Jagger, Keith Richards, Charlie Watts, and Bill Wyman, while Ron Wood appeared as a guest musician. The lineup also included Billy Preston, Nicky Hopkins, Ian Stewart, and the aforementioned Harvey Mandel and Wayne Perkins. "Black and Blue" was recorded in various studios in Munich, New York, and Florida, produced by Jagger and Richards themselves, along with other producers including Glyn Johns. This new release features a repertoire somewhat removed from the Rolling Stones' usual and unmistakable rock and roll, with a collection of diverse tracks showcasing sounds like reggae and funk, as well as a series of songs focused on instrumental jams. An instrumental side that somewhat overshadowed the vocal melodies led to the album being considered controversial and transitional, met with a degree of astonishment by some of their millions of fans. However, it would eventually achieve platinum sales, a well-deserved number one on the American charts, and number two in the British charts. The funky "Hot Stuff" opens this new release with a disco rhythm, while the classic Stones sound is present in "Hand of Fate". With the following track, "Cherry Oh Baby", they delve into other musical avenues, this time with reggae, ending the first side of the record with the vibrant and splendid jam "Memory Motel". The second side begins similarly with the jam "Hey Negrita", which, however, lacks the intensity of the previous track. To finish off this versatile and attractive album, there's the Stones-esque "Melody", the heartfelt ballad "Fool To Cry" and the swaggering rock 'n' roll "Crazy Mama".

Neil Young and Crazy Horse-Zuma (1975)

On his seventh album, Neil Young once again collaborated with Crazy Horse, although this would be the first without his original guitarist Danny Whitten, who had passed away three years prior and was replaced here by Frank “Poncho” Sampedro. It is also one of the Canadian musician's most melodic albums, yet it maintains his signature hard-hitting rock sound, subtly infused at times with acoustic guitars and a touch of country rock. For the recording of this new album, released as Neil Young and Crazy Horse, the Canadian guitarist enlisted the help of his three former CSN&Y bandmates: David Crosby, Stephen Stills, and Graham Nash, who lend their vocals to the folk track “Through My Salis”. The rest of the musicians include drummer and vocalist Ralph Molina, bassist and vocalist Billy Talbot, and the aforementioned guitarist Frank Sampedro. “Zuma” echoes albums like “Harvest” in the acoustic “Pardon My Heart”, and “Everybody Knows This Is Nowhere” in the country-rock “Lookin’ For a Love”. The rest of the album consists of melodic rock tracks such as “Don’t Cry No Tears”, “Barstool Blues”, and “Stupid Girls”, but the expansive and superb “Danger Bird” and the iconic “Cortez The Killer”, both clear examples of Neil Young’s penchant for guitar improvisation, are the most outstanding and fundamental pieces in the career of the legendary Canadian musician.

Joe Bonamassa-Black Rock (2010)

"Black Rock" is another memorable work by the great American bluesman Joe Bonamassa. This, his eighth solo album, is packed with covers, a fact that in no way detracts from the enormous quality of his rich repertoire. Recorded in studios located in Santorini, Greece, the guitarist enlisted a number of Greek musicians for its creation, including Manolis Karadinis (bouzouki), with whom he performs a blues version of "Athens to Athens", as well as another magnificent duet with B.B. King himself on the splendid "Night Life", a Willie Nelson classic. Among the other standout tracks are covers such as Leonard Cohen's "Bird on a Wire", John Hiatt's "I Know a Place", and Jeff Beck's "Spanish Boots". Original compositions include the energetic "Blue and Evil", "Quarryman's Lament", and "When the Fire Hits the Sea", all performed with the feeling, emotion, and intensity that only Joe Bonamassa can coax from his guitar. A number one hit on both the US and UK Billboard blues charts are well-deserved recognition for this outstanding blues-rock album.

Can-Ege Bamyasi (1972)

With "Ege Bamyasi", we are presented with one of the masterpieces of German krautrock, an album of cosmic melodies, challenging industrial rhythms, and ingenious experimental and psychedelic flourishes. On this album, the fourth chronologically from the German band Can, the group continues to experiment with keyboards, feedback noises, and psychedelic vocals under a repetitive and highly dynamic rhythm. In this release, Can demonstrate why they were one of the most promising bands of their era. The album is driven by the ethnic rhythms of percussionist Jaki Liebezeit, the improvised vocals of Damo Suzuki, and the spacey sound of Irmin Schmidt's keyboards. Songs like the groovy "One More Night," the vibrant, percussion-laden "Pinch" with its strange sound effects, the memorable experimentation of "Soup", the ethereal "Sing Swan Song", and the accessible "Spoon" make up an astonishing and magical album by Can, one that, even many years later, still brilliantly withstands the test of time. Along with their albums "Tago Mago" and "Future Days", "Ege Bamyasi" is one of their finest examples of avant-garde music and a crowning achievement in progressive rock. 

Rory Gallagher-Irish Tour ´74 (1974)

An influential music critic once said that "Irish Tour '74" wasn't just another live album; it was the pinnacle of rock in the hands of an artist who should never have left us. This statement is the most accurate way to describe one of the wildest, most passionate, energetic, and virtuosic live performances ever made. Recorded during a tour of his beloved Ireland, Rory Gallagher demonstrated why he was one of the greatest guitarists in history, a chosen one, an honest musician full of kindness and humility who shared his talent around the world, astonishing everyone with his dedication at every concert. For this tour, the Irish guitarist would field his most classic lineup, featuring Gerry McAvoy (bass), Rod DeAth (drums), and Lou Martin (keyboards). During the approximately one hour that this double album lasts, it leaves no one indifferent with its wild repertoire, brimming with feeling and powerful blues and rock. From the opening and spectacular “Cradle Rock” to the impressive “Who’s That Coming?”, passing through the energetic “As The Crows Flies”, “Tattoo’d Lady”, “Walk on Hot Coals”, and the epic “A Million Miles Away”, Rory Gallagher makes it perfectly clear how any self-respecting blues-rock band should sound. With over two million copies sold and chosen as one of the best live albums, “Irish Tour ’74” is an essential work in the history of rock music.

Mammut-Mammut (1971)

Mammut was a German band that emerged right in the midst of the contemporary krautrock scene, but they didn't follow the established formula that all the bands of their nationality were developing at the time. Instead, they created their own sound, influenced by British hard rock while simultaneously embracing the wild and unrestrained nature of krautrock. They managed to create a strange dilemma between the acid rock of the 60s and the symphonic progressive rock of the 70s, incorporating other styles such as folk and classical music. Their only album is crafted as an intense psychedelic opera, with a bombastic repertoire ranging from percussion-driven sounds to contemplative passages seasoned with organ and electric guitar. Subtle influences of Frank Zappa and extravagant melodies make it difficult to categorize, yet this is one of those albums with a deceptive allure that has made them one of the cult bands of 1970s German rock.

The Cure-Kiss Me, Kiss Me, Kiss Me (1987)

"Kiss Me, Kiss Me, Kiss Me" is the seventh album by the British band The Cure, the second of their transitional period, moving away from their earlier gothic and dark style towards a more accessible and eclectic musical evolution. The success of their previous album, "The Head on the Door", reinforced the direction taken by frontman Robert Smith, who was developing a more energetic and carefree sound, a development that would become the catalyst for their massive recognition and subsequent tremendous success. Mixing different styles, from the psychedelic sounds of the bellicose "The Kiss" and "Shiver and Shake", to the somber "If Only Tonight We Could Sleep" and "Catch", and the upbeat "Just Like Heaven" and "Hot Hot Hot!", allowed them to continue their rise in popularity and commercial success, while also becoming one of their most widely discussed albums.

Ronnie Montrose-10x10 (2017)

Released posthumously, "10x10" is an album that guitarist Ronnie Montrose recorded during the last years of his life with a huge cast of collaborators. Released in 2017, this superb classic rock album features luminaries such as Eric Martin, Rick Derringer, Edgar Winter, Glenn Hughes, Steve Lukather, Tommy Shaw, Mark Farner, Joe Bonamassa, Ricky Phillips, Dave Meniketti, Eric Singer, Gregg Rolie, Phil Collen, Sammy Hagar, Brad Whitford, and Marc Bonilla, among many others. The result is undeniably an awe-inspiring album, brimming with feeling, great compositions, and breathtaking virtuosity from all involved. Tracks like "Heavy Traffic" (featuring Eric Martin and Dave Meniketti), "Love Is An Art" (Edgar Winter & Rick Derringer), "Head On Straight" (Marc Bonilla & Davey Pattison), "Any Minute" (Mark Farner & Ricky Phillips), and "One Good Reason" (Bruce Turgon & Bard Whitford), make up an exciting work of great hard rock. Ronnie Montrose passed away five years before the release of this album due to a self-inflicted gunshot wound on March 3, 2012.

Franck Carducci-Oddity (2011)

Clearly in tune with the baroque style of early Genesis, and particularly with Steve Hackett's guitar playing, Franck Carducci is a French multi-instrumentalist with an impressive musical career that began in the early 2000s, contributing to a dozen projects for other artists. In 2010, encouraged by Steve Hackett himself, Carducci decided to launch his solo career, releasing his debut album, the splendid "Oddity", a year later. This recording featured Steve Hackett's brother, John Hackett, among other musicians from the European rock scene. On this first album, Carducci perfectly emulates the pastoral, progressive, and symphonic sounds of Genesis, and to a lesser extent, Pink Floyd and The Alan Parsons Project, with music inspired by British literature and Greek mythology. This is one of those albums where different styles merge in perfect harmony, making songs like the mini suites "Achilles", "The Quind" or "The Last Oddity", with their passages full of elaborate melodies, great acoustic textures, grandiose sections and epic atmospheres, turn it into a modern version of classic progressive rock and art rock.