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.

Huey Lewis And The News-Sports (1983)

Although many considered Huey Lewis and The News a band with a sudden and sporadic success, the truth is that long before achieving considerable worldwide acclaim with their third album, they had already demonstrated their immense talent with their first two works. Formed in the late seventies from the ashes of the country-rock group Clover, the band consisted of singer Huey Lewis, keyboardist Sean Hooper, drummer Bill Gibson, bassist John Pierce, and guitarist Johnny Colla. While their debut album received little media or commercial attention, it was with "Picture This" (1982) that they achieved mainstream recognition thanks to a blend of pop and rock, featuring hits like "Hope You Love Me Like You Say You Do", "Workin' For a Livin' ", and "Do You Believe in Love", songs that became synonymous with the band. The gold record achieved by this second album was far surpassed by the multi-platinum "Sports", released the following year. Thrilling rock anthems like "The Heart of Rock & Roll", "I Want a New Drug", "Walking on a Thin Line", and "Finally Found a Home" share the repertoire with infectious pop-rock tracks like "Hart and Soul", irresistible doo-wop and blues rhythms like "Bad Is Bad", and a superb cover of Hank Williams' classic "Honky Tonk Blues". At the height of their success, several years later they returned to the top of the charts with one of the best songs of the 80s, "The Power of Love", featured on the "Back to the Future" soundtrack. From then on, their albums had less media impact, leading them to take a long hiatus for almost the entire 90s, returning in 2001. Since then, they have released several more albums, establishing Huey Lewis and the News as one of the great 80s revival bands.

The J. Geils Band-The J. Geils Band (1970)

The J. Geils Band's debut album is one of the finest rock and roll offerings of the early seventies. Built on rhythm and blues, rock and roll, and the most energetic street rock, this band, led by singer Peter Wolf and guitarist J. Geils, embarked on a fruitful career, becoming one of the cult bands of American rock. Formed in the late sixties in Worcester, Massachusetts, they were originally called The J. Geils Blues Band, a name they shortened when they stopped performing only blues covers and began focusing on other styles with their own compositions. In 1970, the American group released their first album, which also featured harmonica player Magic Dick, organist Seth Justman, bassist Danny Klein, and bassist Stephen Jo Bladd. However, this debut still alternates between covers of classics by artists like John Lee Hooker, Smokey Robinson, and Otis Rush and original songs. J. Geils' guitar, Wolf's powerful voice, and Justman's excellent piano playing stand out in the R&B and rock and roll style on tracks like "Cruisin' For A Love", "Hard Drivin' Man", "Wait", and "First I Look At The Purse", making this debut a rock music classic.