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.