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.

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.

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.

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.

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.

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.

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.

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.

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".

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.

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.

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.

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.

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.

Arena-Immortal? (2000)

The British group Arena formed in the mid-nineties thanks to the gathering of a small constellation of musicians from several leading neo-progressive bands. These included keyboardist Clive Nolan (Pendragon), Mick Pointer (Marillion), Keith Moore (Asia), later replaced by John Mitchell (Kino), vocalist Rob Sowden, and bassist Ian Salmon. Their debut album, "Songs From The Lion's Cage" (1995), is a minor masterpiece of neo-progressive rock, followed by other important works such as "Pride" (1996) and "The Visitor" (1998). Two years later came the band's fourth album, "Immortal?", another spectacular record with a magnificent repertoire, most notably the epic suite "Moviedrome", an impressive musical canvas offering a dark vision of life at the end of the 20th century. The style on this new release is darker, heavier, and more aggressive than their previous albums, with sounds that often cross the line from progressive to harder metal. In addition to the aforementioned "Moviedrome", highlights include the majestic and haunting "The Butterfly Man", the chilling "Ghost In The Firewall", and the energetic "Chosen". With this release, Arena once again reached the pinnacle of perfection, recording one of the best progressive rock albums ever made.

Satellite-A Street Between Sunrise And Sunset (2003)

Satellite is a Polish neo-progressive band that rose from the ashes of the legendary Collage, one of Poland's most internationally renowned bands. In many ways, Satellite recaptures Collage's magic, showcasing the delicate vocals of singer Robert Amirian, the sumptuous guitars of Mirek Gil and Sarhan Kubaisi, and the atmospheric keyboards of Krzysztof Palczewski and Darek Lisowski. The immense influence of early Marillion is also undeniable, evident throughout their music, resulting in beautiful, complex, and expansive compositions with a symphonic musicality full of rich textures and elegant instrumental execution. "A Street Between Sunrise And Sunset", released in 2003, was the debut album of this Polish band, a work in which each and every one of the pieces that make up this album are very noteworthy, from the melody of "The Evening Wind", to the extensive "On The Run", passing through the excellent progressive journeys of "No Disgrace" or "Fight", which together form an emotional and delicate album of the best neo-progressive produced in this 21st century. 

Marillion-Clutching At Straws (1987)

Marillion's fourth album, and ultimately the last with their frontman and singer Fish, is undoubtedly their masterpiece, though it's somewhat overshadowed by the commercial success of its predecessor, "Misplaced Childhood". For this album, the band or rather, Fish returned to the concept album format, this time focusing on drugs and alcohol, substances Fish himself was struggling with at the time. Unlike "Misplaced Childhood", this new release lacks a strong musical cohesion. The connection lies more in the mature and coherent lyrics, which emphasize emotional states like sadness and resignation. All of this is captivatingly sung by a compelling Fish who seems to be crying out for help, and this recording appears to be the breaking point for his health (in fact, after recording it, Fish himself checked into a detox and rehabilitation center for a period of time). Musically, it's the perfect balance between progressive rock and more accessible sounds. There's more subtlety, with many emotional and atmospheric moments, where no single instrument overshadows another. The soft keyboards fit in perfectly, and the guitars are delightful, featuring excellent, melodic, and catchy solos. Another highlight is the unusual and significant cover, which, like the previous albums, was created by Mark Wilkinson. He subtly incorporated a different logo and a revealing image of the interior of the British pub Baker's Arms, with famous figures recreated by Wilkinson in the pub's interior scene. They all share a common denominator: serious problems with substance abuse, which they defended as an aid to their later creativity, or in other words, as a crutch to protect themselves from the surreal nature of fame. They are Robert Burns (Scottish national poet), who died at 37 from alcohol poisoning; Dylan Thomas (Welsh national poet), who died at 39 from the same cause; Truman Capote (writer and journalist, famous for his novel "Breakfast at Tiffany's"), who died at 59 from a fatal combination of alcohol, drugs, and pills (probably suicide); and Lenny Bruce (comedian and social satirist), who died at 40 from a heroin overdose. In addition to these, three more figures appear: John Lennon, James Dean, and Jack Kerouac (the first murdered, the second killed in a car accident, and the third from cirrhosis). All three shared the same philosophy of life: living almost on the edge. The stimulating and energetic "Hotel Hobbies" begins this journey through the experiences of Torch (a character portrayed by Fish himself in the third person), in the melodic "Warm Wet Cycle", where the dangers are narrated. From being trapped in the pub after work, all bathed in gentle guitar fills. The more pop-oriented and melancholic "That Time Of the Night" gives way to the atmospheric "Going Under", the energetic "Just For The Record", and the dynamic and politically charged "White Russian". Meanwhile, "Incommunicado" represents the album's most commercial moment, a powerful track with a devilishly addictive rhythm. The irresistible and melancholic "Torch Song", the forceful "Slainte Mhath", the enchanting "Sugar Mice", and the powerful and progressive "The Last Straw/Happy Ending" bring to a close an extraordinary album and a fitting end to Marillion's golden age.

John Norum-Play Yard Blues (2010)

John Norum is primarily known as one of the founders of the Swedish hard rock band Europe, with whom he achieved significant media and commercial success during the 1980s thanks to excellent albums such as "Wings of Tomorrow" and "The Final Countdown", and radio hits like the title track, "Carrie", "Rock the Night", and "Cherokee". But Norum has also always maintained a parallel solo career, releasing eight studio albums. In 2010, John Norum decided to compile some of the songs that influenced his career into an album, producing a collection of his own compositions alongside blues and rock covers. His guitar style has always been characterized by its dark and raw sound, a highly valued trait perfectly suited to blues rock. Songs like the opening hard rock track "Let It Shine" and the powerful "Red Light Green High" and "Got My Eyes On You", alternate with a heavy cover of Thin Lizzy's song. "It's Only Money", the psychedelic heavy rock "Ditch Queen", (another version this time by Frank Marino), or the magnificent blues "Play Yard Blues".

Lee Abraham-The Seasons Turn (2016)

“The Seasons Turn” is a magnificent work created by Lee Abraham, a musician experienced in progressive rock thanks to his work with the band Galahad and his five previous solo albums. With this sixth album, Lee Abraham composed a repertoire of just five songs, some of them quite lengthy, which, while not exactly groundbreaking, offer pure, high-quality symphonic rock. For this endeavor, the multi-instrumentalist enlisted a wide array of collaborators, including Marc Atkinson (vocals), Martin Oxford (flute), Gerald Mulligan (drums), Christopher Harrison (guitar), and Rob Arnold (keyboards), among half a dozen other musicians. Starting an album with a mammoth 25-minute title track is not only a huge gamble, but also a bold move, and Abrahams pulls it off brilliantly, transforming it into a truly progressive structure brimming with diverse sounds, expansive layers of Mellotron, vigorous electric and acoustic guitars, overflowing emotion, and a sense of epic grandeur. Following this overwhelming adventure come "Live For Today", "Harbour Lights", and "Say Your Name Aloud", shorter pieces with a heavier, more direct tone, culminating in the musical extravaganza of the album's other suite, "The Unknown", another epic song with neo-progressive undertones, where harsh guitars and a vast arsenal of grandiose keyboards take center stage. Without a doubt, we are witnessing one of the finest works of modern progressive rock in the 21st century.

The John Butler Trio-Grand National (2007)

“Grand National” is the fourth album by The John Butler Trio, a phenomenal Australian roots rock trio comprised of John Butler, Shannon Birchall, and Michael Barker. Featuring a diverse repertoire brimming with harmonicas, banjos, and acoustic and electric guitars, all under a blanket of southern rock, blues, country, rock and roll, and bluegrass, this power trio delves into the roots of American rock with an accessible and catchy sound. Songs brimming with energetic vocals and captivating guitar lines, such as “Used To Get High”, blend with swampy tracks like “Better Than”, the deep-South Louisiana feel of “Daniella”, infectious melodies in “Funky Tonight”, appealing country rock in “Nowhere Man”, quirky reggae in “Groovin’ Slowly”, and funky southern rock in “Gov Did Nothin’ ”, this is what this band offers on this excellent album.

Black Sabbath-Vol. 4 (1972)

With their fourth album, Black Sabbath confirmed their tendency to experiment with heavy metal sounds. For this new album, titled "Vol. 4", Tony Iommi took the reins of production alongside Patrick Meehan, and this is reflected in the tuning of his guitar, which he altered even further than on the previous album, "Master of Reality", giving his sound a heavier and darker tone. Recorded in Los Angeles, their first album recorded outside the UK, it was marked, among other things, by the break the band had taken after a period of instability due to drug abuse by all its members and the exhausting tours around the world promoting the previous album. Despite not abandoning their roots, this new release no longer features such satanic or dark imagery in its lyrics, making it musically a less consistent work compared to their earlier albums. However, there are some memorable moments, such as the progressive heavy rock epic "Wheels of Confusion", in which Tony Iommi showcases his immense talent with impressive guitar riffs and solos. The distinctive Black Sabbath sound is still present in the heavy metal tracks "Supernaut", "Snowblind", and "Cornucopia", and in the frenetic heavy rock anthem "Under the Sun". The rest of the album consists of more predictable tracks like the stoner rock anthems "Tomorrow's Dream" and "St. Vitus Dance", and the melancholic ballad "Changes". Although for many fans this album was somewhat of a step backward in the band's career, it achieved multi-platinum status in the North American market and a gold record in the UK.

Howlin Rain-Magnificent Fiend (2008)

Another of the new roots rock bands is the American group Howlin Rain, a band from San Francisco, California, that keeps the flame of 70s rock alive. Formed in 2004 by Ethan Miller, their lineup has undergone countless changes, a constant throughout the group's career. Their first album, released in 2006, is a kind of revival of sounds that draw from the psychedelia of the Grateful Dead, the dusty rock of Lynyrd Skynyrd, and the instrumental developments of The Allman Brothers Band. Two years later they returned with "Magnificent Fiend", a harder-edged work, incorporating more hard rock guitars and a greater prominence of the Hammond organ. In this second effort, Howlin Rain give us everything from strange interludes, a prelude to the cathartic and psychedelic "Dancers At The End Of Time", to moving and melodic cuts (at least in comparison with their intense improvisations), "Nomads" and "El Rey", passing through electric folk canvases "Riverboat", southern rock "Calling Lightning Pt.2" or hypnotism in abundance with "Lord Have Mercy".

Øresund Space Collective-The Black Tomato (2007)

Øresund Space Collective is a multinational Danish-Swedish project formed in Copenhagen in 2004. Since their music is essentially a free and improvisational style of space rock with multiple influences ranging from hard rock and krautrock to jazz and psychedelic music, their recordings are as diverse as they are varied. With over 30 albums released, most of them have been recorded with different lineups in a kind of band-association of musicians that has earned them considerable prestige in the European progressive and avant-garde rock scene. Albums such as their self-titled debut (2006), "The Black Tomato" (2007), "Good Planets Are Hard To Find" (2009), "Music for Pogonologists" (2014) or "West, Space & Love Vol II" (2016), are unique and exciting experiences of galactic sounds, impeccable hypnotic rhythms, spacey guitars and predominant and driving organ and synthesizer sounds.

Steve Miller Band-Let Your Hair Down (2011)

Just as with their acclaimed previous album, "Bingo", the Steve Miller Band's seventeenth album delves deeper into the blues; in fact, both albums were recorded simultaneously. For this recording, Steve Miller's band included vocalist Sonny Charles, harmonica player Norton Buffalo, and guitarist Kenny Lee Lewis, who, along with Miller himself, co-wrote the riffs and solos on this album. Composed of covers of blues greats, Miller manages to make each version his own while respecting the original's essence. Robert Johnson's classic "Sweet Home Chicago", John Lee Hooker's "No More Doggin' ", Willie Dixon's "Pretty Thing", Jimmy McCracklin's "The Walk", and Muddy Waters' "Can't Be Satisfied", sound so fresh and revitalized that their original composers would surely be pleased with the final result.

Toto-Mindfields (1999)

Before the end of the 20th century, the American band Toto released their tenth studio album, "Mindfields", which showcased a return to the sound that had propelled them to fame in the late 1970s and throughout the 1980s: melodic rock brimming with irresistible choruses, rich arrangements, energetic hard rock guitar, and the rich influences of soul, blues, funk, and jazz. By this point, the band had undergone several lineup changes since their previous album, "Tambu" (1995), including the return of Bobby Kimball after some years away from Toto, and the addition of percussionist Lenny Castro, while core members Steve Lukather, David Paich, Mike Porcaro, and Simon Phillips continued to lead the legendary group. Featuring a wide variety of styles, this new release reaffirmed the Americans' status as one of the great bands of melodic rock. This eclectic fusion of styles is evident in the rock with reggae rhythms "Mindfields", in the soul-rock "Cruel", in the extensive blues "High Price of Hate", in the hard rock "Caught In The Balance", in the irresistible ballad "Last Love" or in the addictive and tremendously attractive AOR "One Road", "Melanie", "Selfish" or "Mysterious Ways".

Von Hertzen Brothers-New Day Rising (2015)

The story of this Finnish band is certainly intriguing. Formed by the Von Hertzen brothers (Mikko, vocals and guitar; Kie, guitar; and Jonne, bass), each of whom played in different bands, their father Hasse Von Hertzen was also a well-known guitarist in a 1970s band called The Roosters, and to top it all off, their uncle Lasse Von Hertzen was a member of the renowned folk-rock band Cumulus. With such a background, it's no wonder these young men have music in their blood. In 2000, the three brothers founded Von Hertzen Brothers, a band that fused progressive rock, folk, and classic rock. "New Day Rising" is the band's sixth release, an album where they expand their musical palette, adding more accessible and melodic compositions to their established style. Hard rock guitar riffs ("New Day Rising"), melodic cuts ("Trouble" and "Black Rain"), approaches to mainstream rock ("Hold Me Up"), folk ("Dreams") or thrilling rock ("You Don't Know My Name"), are what these Finns offer in this brilliant release.

Blackberry Smoke-Holding All The Roses (2015)

Blackberry Smoke's music is steeped in country rock, southern rock, bluegrass, and classic rock, making them one of the hottest acts in modern American rock. Since their beginnings back in 2001, the Atlanta band has given us some monumental albums like "Bad Luck Ain't No Crime" (2003), "The Whippoorwill" (2012), "Holding All The Roses" (2015), and "Like An Arrow" (2016). Focusing on "Holding All The Roses", the band showcases everything they offered in their previous work, but composed and performed in a more judicious and restrained manner. The energetic rhythms of classic rock are even more prominent, as demonstrated by tracks like "Let Me Help You (Find The Door)" and "Living In The Song". However, they also continue to produce their usual American roots sounds such as the southern "Holding All The Roses", "Wish In One Hand", "Payback's A Bitch" and "Fire In The Hole", or the delightful country "No Way Back to Eden", "Too High" and "Lay It All On Me".

The Rolling Stones-Blue And Lonesome (2016)

"Blue and Lonesome" is the only Rolling Stones album composed entirely of covers by artists other than themselves. This release, the band's twenty-third studio album, features twelve iconic blues tracks by legendary artists such as Memphis Slim, Howlin' Wolf, Buddy Johnson, Little Walter, Magic Slim, Willie Dixon, Otis Hicks, Jimmy Reed, and Eddie Taylor. In this compilation, the Stones strive to remain faithful to the original versions, while maintaining their characteristic flair and signature Stones sound. Eric Clapton's contribution is particularly noteworthy; he is sublime on slide guitar in the blues track "Everybody Knows About My Good Thing". With "Blue and Lonesome", the Stones wanted to pay a well-deserved tribute to their blues influences and roots throughout a long career spanning well over sixty years.

Emerson, Lake & Palmer-Black Moon (1992)

In 1992, the quintessential wizards of symphonic rock, Emerson, Lake & Palmer, reunited with their original lineup after a 14-year hiatus, despite having released the excellent self-titled album, "Emerson, Lake & Powell", in 1986 with Cozy Powell on drums. However, much had changed by then. Alternative rock, grunge, the resurgence of classic 70s hard rock, neo-progressive, and progressive metal dominated the tastes of 90s youth. Thus, the trio attempted to adapt to the changing times, crafting a commendable album that, at times, evokes their glory days, but with a modern and updated style. For this occasion, the band became more accessible, and their music more simplified, resulting in what could be considered, in many passages, sophisticated pop or commercial progressive rock. Keith Emerson's frenetic keyboards, as expected, drive many of the album's tracks. The title track, featuring a virtuosic Carl Palmer on drums, exemplifies this. That dizzying rhythm continues in the energetic, almost hard rock, "Paper Blood", while the melodic and acoustic "Affairs of the Heart" and the beautiful ballad "Footprints in the Snow", under Greg Lake's warm and commanding vocals, provide a moment of calm amidst the album's frenetic pace. The refined and vibrant "Rome and Juliet", the haunting "Close to Home", and the grandiose "Changing States" stand out on an album that, while not offering anything groundbreaking, is a worthy effort from one of the greatest bands in the history of progressive rock.

Lita Ford-Living Like A Runaway (2012)

Lita Ford rose to fame in the late seventies as a member of the American hard rock band The Runaways, an all-female group comprised entirely of teenage girls, which also featured guitarist Joan Jett, who would later form the iconic band Joan Jett & The Blackhearts. After The Runaways, Lita Ford embarked on her own solo career, a career with some ups and downs but equally successful, releasing great albums like "Lita", a veritable handbook of American hard rock and heavy metal. In 2012, the guitarist and singer released her eighth studio album, "Living Like A Runaway", offering a repertoire full of exciting songs, energetic guitars, and her masterful vocals. Songs like "The Mask", "A Song Your Wrist By", "Mother", "Branded", and "Devil In My Head", are excellent examples of the power of this brilliant Lita Ford album.

Patti Smith-Twelve (2007)

After nearly four decades in the business, in 2007 Patti Smith, the punk rock muse, feminist icon, and staunch human rights advocate, returned to delight us with a new album after several years of silence. This time, Smith boldly opted for a covers album, which, far from overshadowing the original versions, showcases the singer's remarkable flair in choosing an arsenal of iconic songs by artists such as Jefferson Airplane, Bob Dylan, The Beatles, Neil Young, Tears for Fears, The Allman Brothers, The Doors, and Nirvana. With the invaluable collaboration of guitarist Lenny Kaye, drummer Jay Dee Daugherty, and bassist Tony Shanahan, Smith brilliantly unfolds each song, imbuing it with her distinctive vocal style and indomitable spirit. Thus songs like "White Rabbit", "Soul Kitchen", "Smells Like Teen Spirit", "Changing Of The Guards", "Midnight Rider" or "Everybody Wants to Rule The World", offer an excellent different and peculiar musical approach.

Leslie West-Blue Me (2006)

Considered one of the greatest guitarists in American rock, Leslie West showcased his immense talent and genius for five uninterrupted decades, from his beginnings in the 1960s with the Vagrants, through his time leading the legendary Mountain in the 1970s and the iconic trio West, Bruce and Laing. In addition to all this, he had an extensive solo career, releasing a dozen albums, many of them veritable explosions of the best American blues rock. In 2006, West paid tribute to some of the blues classics with his album "Blue Me", featuring ten contemporary classics such as "Four Day Creep" by Humble Pie, "Hit the Road Jack" by Ray Charles, "Sinner's Prayer" by B.B. King, "Standing Around Crying" by Muddy Waters, and "Green River" by Creedence Clearwater Revival. In all of them, West demonstrates that so many years later he is still in enviable shape, with his peculiar and unique sound that he knew how to get out of his Gibson Les Paul and his tremendous voice that seems to have been born for the blues.

Wishbone Ash-Here To Hear (1989)

In 1989, the original Wishbone Ash lineup reunited to release their fifteenth album, "Here to Hear", more than fifteen years after their last studio album together ("Wishbone Four" in 1973). It's clear that we won't find the sound that made them famous in the seventies here, with the progressive and hypnotic sounds of "Argus", or the exciting and melodic twin-guitar hard rock of albums like "Pilgrimage", "Wishbone Four", "There's the Rub", or "New England". In this reunion, the band, composed of Martin Turner (bass, keyboards, vocals, and production), Ted Turner (guitars and vocals), Andy Powell (guitar), and Steve Upton (drums), opted for a sophisticated rock style, with impeccable compositions, some of them incredibly catchy, and excellent production. The elegant guitar rhythms are present, as is usual in the band, in all the songs, highlighting the initial and pulsating "Cosmic Jazz", the rhythmic "Mental Radio", the attractive "Lost Cause in Paradise" and "Why Don't We", or in the instrumental "Hole In My Heart (Part Two)".