Wishbone Ash-Pilgrimage (1971)

Wishbone Ash's second album and their first true masterpiece, "Pilgrimage" is an excellent hard rock work focused on twin guitars, with hints of the complex sounds that would be fully realized on their next album, "Argus", released a year later. With dazzling production by Martin Birch, the band showcased their clear jazz and progressive influences, as demonstrated in the opening track, "Vas Dis", a strange and unusual blend of jazzy scat singing and powerful hard rock. Meanwhile, the signature twin guitar work of Andy Powell and Ted Turner is featured in the sensational "Pilgrim" and the powerful boogie-rock track "Jail Beat", while hints of their future musical direction can be found in the subtle "Alone" and the folky pastoral "Lubally". To conclude with the melodic and complex "Valediction" and the raw blues rock "Where Were You Tomorrow", where the interplay of the twin guitars, superbly executed, is supported by one of the best rhythm sections of the 70s, composed of drummer Steve Upton and bassist Martin Turner.

Thin Lizzy-Johnny the Fox (1976)

Johnny The Fox was published in 1976 and composed almost entirely by Lynott that same year during his recovery from a hepatitis that left him for a few months off the road (they had to cancel the American Jailbreak presentation tour that had nothing more program and nothing less than with Rainbow). 

It is the most Lynott album of Thin Lizzy since the themes of slow and melancholic cadence predominate ("Old Flame", "Borderline", "Sweet Marie") and the fusion with Pop or funk sounds, like the addictive "Jimmy The Fox Meets Jimmy The Weed". Eclectic sonorities all very liked by the iconic bass player. The album was recorded by the classic line-up of Thin Lizzy: Lynott, Downey, Gorham and Robertson and contains some of the band's essentials, which never stopped playing live, like the adrenaline-fueled "Massacre" or the mythical "Don't Believe A Word". This theme was conceived by Lynott as a half-time with a certain air of blues, as it appears in the album "Back On The Streets" (1978) by Gary Moore or in the posthumous live performance of the band "Live / Life" (1983), but finally it was recorded in an accelerated version, courtesy say of the always mischievous Brian Roberston. In fact Robertson got pissed off because he is not mentioned in the credits as co-author of the subject. 

The two initial themes show that, despite Lynott's recent illness, the group is in top form. Hard rock with all the characteristics of the Lizzy: the melancholy voice of Phil, the unmistakable melodies of the double guitars and stories of rockstars charmingly losers (Rocky) and characters with very bad luck (Johnny). Recurring themes in the discography of the group.

Bread-The Best Of (1973)

In the late 1960s, a guitarist named David Gates was well-known in the California pop scene as a session musician, singer, and producer. However, this busy schedule felt too limiting, and he decided to broaden his horizons. Together with another session musician, guitarist James Griffin, they formed a band. They called themselves Bread, and although their career was short-lived, lasting only seven years, they left behind a long list of unforgettable songs, some of which have become classics of rock. They enjoyed great success between 1970 and 1977, placing 13 songs on the Billboard Hot 100 chart during that time. They became pioneers of what would later be called Soft Rock or Melodic Rock (AOR), a style characterized by catchy melodies and lyrics that were generally uncompromising, as can be seen in one of their biggest hits: "Guitar Man". Their first album, "Bread" (1969), featured elegant, sunny Californian pop in the style of what many artists were doing at the time "California dreaming", as the song proclaimed. Gates, however, leaned more towards introspection and sentimentality than the pop/folk euphoria of his contemporaries. This led him to create a number of sophisticated ballads, which he would release in subsequent years on albums that achieved strong sales and high positions on the charts. A year later, they released their fifth album, "Guitar Man", featuring the title track, which became the group's most famous song worldwide, achieving gold certification like all their previous albums. However, it is in their compilations, such as "The Best Of" from 1973 (an album that reached five platinum records), where their power of seduction is best appreciated, giving space to the best of their entire career "If", "Make it with you", "Guitar man", "It don't matter to me", or "Everything I own", among other great songs from this legendary band.

Bob Dylan-Slow Train Coming (1979)

In 1979, Bob Dylan spent five months attending Bible school and experienced a spiritual rebirth, converting to Christianity. He subsequently released the albums "Slow Train Coming" (1979), "Saved" (1980), and "Shot of Love" (1981), a period known as his Christian years. After establishing himself in the 1960s as one of the emblems of folk and protest songs, and later causing a sensation by electrifying his sound and bringing it closer to rock, in the 1970s Dylan oscillated between notable missteps and some superb works such as "Blood on the Tracks" (1975), "Desire" (1976), and "Street Legal" (1978). However, Bob Dylan left virtually all his fans stunned with the release of "Slow Train Coming" in 1979, an album in which the Jewish-born musician openly expressed his conversion to Christianity, and in which faith was the surprising narrative driving force behind all the songs. "Slow Train Coming" features a collaboration with Mark Knopfler and was produced by veteran R&B producer Jerry Wexler. The album reached the top of the charts in the United States, achieving platinum status and winning a Grammy for the song "Gotta Serve Somebody".

Toto-Seventh One (1988)

After two albums that failed to meet expectations, "Isolation" (1984) and "Fahrenheit" (1986), Toto were determined to return to the path of success with a new work that followed in the footsteps of their acclaimed "Toto IV", released six years earlier. And they succeeded with "Seventh One", receiving a warm welcome from their fans, thanks to a collection of tracks that would once again place them among the best of melodic rock in the late eighties. For this new album, David Paich took the reins of the group, giving greater prominence to the keyboards and even greater emphasis on the vocal harmonies of Joseph Williams, Steve Lukather, and Paich himself, at the expense of the guitars. "Seventh One" contains an irresistible repertoire full of outstanding tracks such as the catchy "Pamela", the carefree "You Got Me", the rock "Stay Away", the epic with progressive airs "Home of the Brave", the spectacular "Stop Loving You" or the extraordinary ballads "Anna" and "Mushanga".

Utopia-Ra (1977)

“Ra” was the second album by Utopia, the band led by Todd Rundgren. Released in 1977, it is a truly impressive work, where space rock, progressive rock, and pop sensibilities come together seamlessly. By then, the band had been reduced to four members: in addition to Rundgren on guitars, there was Roger Powell on keyboards, Kasim Sulton on bass, and John Wilcox on drums, all four of whom also sang vocals as needed for each song. While their debut album had already explored sounds close to high-level progressive jazz with 30-minute suites, demonstrating Rundgren's great skill as a recording engineer, here the sound is more eclectic and varied, with rich sonic nuances. With a crushing opening like the pretentious instrumental “Overture: Mountaintop And Sunrise”, which segues into the rhythmic “Communion With The Sun”, where vocal melodies, keyboards, and Rundgren's arabesque solos stand out, “Magic Dragon Theatre” showcases the band's penchant for pompous pop with glam-tinged undertones of the era. This is followed by the powerful pop-rock track “Jealousy”, while “Eternal Love” is a song that approaches symphonic pop. “Sunburst Finish” and “Hiroshima” are the most powerful and visceral tracks on the album, culminating in the suite “Singring And The Glass Guitar (An Electrified)”, where every member of the band shines, with beautiful vocal harmonies and devilishly complex rhythm changes, demonstrating the virtuosity of all the musicians. In the following months the band presented this album live in a display of sophistication with a huge pyramid on the stage 7 meters high and a large golden sphinx that required 18 months of preparation and cost about 250 thousand dollars.

Camel-Camel (1973)

When Camel released their debut album, it was during the peak year of progressive rock's creative boom, meaning their music went largely unnoticed by most fans of the genre, who were more focused on listening to the dozens of established, leading bands that existed at the time. That year also saw the release of some of the genre's masterpieces, such as Pink Floyd's "The Dark Side of the Moon", Yes's "Tales from Topographic Oceans", Mike Oldfield's "Tubular Bells", Emerson, Lake and Palmer's "Brain Salad Surgery", and Genesis' "Selling England by the Pound," to name just a few examples from the vast array of albums released in 1973. Amid this whirlwind of releases, it's no surprise that Camel's first album wasn't taken very seriously by a large part of the progressive rock community. On this self-titled debut album, the band featured their classic lineup, or at least the one that would later record their masterpieces (“Mirage”, “The Snow Goose”, and “Moonmadness”): guitarist and vocalist Andrew Latimer, keyboardist Peter Bardens, drummer Andy Ward, and bassist Doug Ferguson. Recorded during the middle months of 1972 and released in February 1973 on the MCA label, it proved to be a very strong starting point for their progressive rock sound, setting them apart from their contemporaries. The influences of blues, jazz, classical music, and their own personal style combined to create a unique and distinctive sound. However, despite this, a certain musical imbalance is evident, which is understandable considering they were still newcomers and this was their debut album. Among the highlights of this first work are the melodic "Slow Yourself Down" where it already shows the duel between guitar and keyboards that will be Camel's DNA from then on, or one of their classic tracks like "Never Let Go", a piece that perfectly defines the band's style. The rest is made up of minor tracks that nevertheless attract the listener's attention, such as the instrumental "Arubaluba", the atmospheric "Curiosity" or the catchy "Separation".

Coven-Witchcraft (Destroys Minds And Reaps Souls) (1969)

Pioneers in using witches' sabbath imagery in rock music, Coven employed satanic imagery before bands like Black Sabbath or Black Widow. But while for the latter it was merely theatrical, for Coven it was their philosophy and way of life; they even used their own blood to sign their first contract with Mercury Records. And although it might seem like the typical foolishness of three young guys, the truth is that this group's satanic and occult imagery went far beyond what initially appears. They were already being associated with the image of hands with horns (the one Ronnie James Dio made famous a decade later), as well as the satanic symbol of the inverted cross. A band that, before releasing their first album, had already performed at various concerts opening for Alice Cooper and The Yardbirds. Their first album, "Witchcraft (Destroys Minds and Reaps Souls)", was released in 1969, almost at the same time as the murder of Roman Polanski's wife and several other people at the hands of Charles Manson's cult. This led to the album's rejection by many sectors of American society. The album contains tracks like the opening "Black Sabbath", with its dark sounds and atmosphere, and hints of psychedelic folk. "White Witch of Rose Hall" is a macabre true story about a mansion where voodoo rituals took place, while the occult atmosphere continues in "Coven in Charing Cross". But it is undoubtedly the strange "Satanic Mass", with its demonic references and its chants and prayers presented as dialogue, that most captures the attention of this album. "Witchcraft (Destroys Minds And Reaps Souls)" is undoubtedly one of the most interesting works of the late 60s, perhaps more for its themes than for its music itself, but with an unrepeatable creativity and experimentation.

Los Jaivas-Alturas de Machu Pichu (1981)

Los Jaivas are the most internationally renowned Chilean band, having offered one of the most extraordinary blends of folk and progressive rock ever created. Formed in 1963 in Viña del Mar, their debut album, the self-titled "Los Jaivas", didn't arrive until 1971. On this album, they began exploring, with an improvisational approach, the fusion of folk flavors and psychedelic music. In 1973, the band emigrated to Argentina due to the military dictatorship that was imposed in Chile that year. There, they continued releasing hugely popular albums until 1977, when they finally moved to France. From then on, they gradually introduced more progressive elements into their folk music, and over time, Los Jaivas created an original and unique style. In 1981, they cemented their talent and creativity with their most acclaimed album; "Alturas de Machu Picchu" is a brilliant example of Peruvian/Chilean Latin folk, fused with classic progressive rock. Conceived while the band was living in Paris, the lyrics were taken from an evocative collection of poems by Pablo Neruda, inspired by the grandeur and mysterious beauty of the Machu Picchu ruins. Here, the group conveys a range of emotions, from dramatic to melancholic, encompassing sadness, exaltation, and joy. With a spacious and ethereal sound, this album manages to emulate the Andean atmosphere, somehow transporting the listener to that magical place. Traditional Andean instruments (ocarina, flute, siku, and quena) and more modern ones (electric guitars, synthesizers, electric pianos, and drums) create a mystical and somewhat sinister atmosphere, yet simultaneously, there are festive passages brimming with life and joy. Powerful, epic, and progressive tracks like "La poderosa Muerte" (The Mighty Death), "Águila Sideral" (Sidereal Eagle), and "Antigua América" ​​(Ancient America) share the repertoire with other, purely folk-like songs such as "Amor Americano" (American Love) and "Súbete a Nacer conmigo, Hermano" (Get on Board to Be Born with Me, Brother). "Alturas de Machu Picchu" (Heights of Machu Picchu) is a profoundly emotional album, steeped in legend and history, a perfect fusion of the old and the new, of the past and the present.

Arthur Lee-Vindicator (1972)

After six albums with his band Love, in 1972, frontman Arthur Lee, completely frustrated, disbanded the group and embarked on a solo career that would prove short-lived and largely unnoticed. However, his only solo album, "Vindicator", released that same year by A&M Records, surprised everyone by radically departing from the fragile and melodic style of his band. On this album, Lee leans towards a raw, hard-hitting rock sound with hints of psychedelic rock in the style of Jimi Hendrix, as demonstrated in tracks like "Sad Song", "Love Jumped Through My Window", and "Everytime I Look Up I'm Down Or White Dog". He also delivers the magnificent blues-rock number "You Want Change For You Re-Run", the melodic "Everybody's Gotta Live", one of his most memorable compositions and the brilliant "Busted Feet", where he channels his skills into a Hendrix-esque style, both vocally and instrumentally, with outstanding and flawless blues riffs. Unfortunately, this album went completely unnoticed, fading into obscurity. Some time later, Lee resurrected Love with a new work ironically titled "False Start" (1974).

Diamond Head-Lightning To The Nations (1980)

The third wave of heavy metal, which emerged a decade after the first, was called the New Wave of British Heavy Metal, commonly abbreviated as NWOBHM. It arose in England as the 1970s drew to a close, building upon the legacy of the genre's great bands such as Led Zeppelin, Budgie, Uriah Heep, Black Sabbath, Nazareth, and Deep Purple. By the mid-1970s, the second wave had already emerged, featuring UFO, Thin Lizzy, Judas Priest, and Scorpions, among many others. These bands began to move away from the psychedelic, progressive, and blues influences of the first wave, giving the style greater power and speed, as well as incorporating other influences such as the driving force of punk and a frenetic rhythm. This third wave was spearheaded by the well-known Iron Maiden, Samson, Praying Mantis, Angel Witch, and Diamond Head, and it was precisely the latter that would produce one of the most emblematic albums of the genre: “Lightning to the Nations”, released in 1980 and considered one of the most memorable works of British heavy metal of all time. Diamond Head had formed four years earlier in the British town of Stourbridge by guitarist Brian Tatler, singer and guitarist Sean Harris, and drummer Duncan Scott. A year later, bassist Colin Kimberley joined them. With this lineup, and under the independent label Happy Face, they released “Lightning to the Nations” near the end of 1980. Composed of half a dozen songs, all of them overwhelming and intense, as demonstrated in the frenetic “Helpless”, the penetrating “It’s Electric” and “Sweet And Innocent”, the sinister “The Prince”, the sensational “Am I Evil?” or the sublime “Sucking My Love”.

Simple Minds-Sparkle in the Rain (1984)

With the sixth album by the Scottish band Simple Minds, "Sparkle In The Rain", the change in musical direction towards paths closer to mainstream British rock began to emerge, albeit still quite subtly, moving almost completely away from the post-punk of their early works. In this new release, the band led by Jim Kerr sees arena rock take center stage, as evidenced by brilliant tracks like the vibrant and iconic "Waterfront", a true pop-rock classic of the eighties, or the rhythmic "Up On The Catwalk", "Book Of Brilliant Things", and "Speed ​​Your Love To Me". Meanwhile, the mini-epic "East At Easter", the appealing synth-pop "C Moon Cry Like A Baby", and the atmospheric "White Hot Day" add a touch of sonic diversity to a work that would repeat the enormous success of its predecessor, "New Gold Dream (81/82/83/84)", on the British and European charts, ultimately solidifying Simple Minds as one of the most important new wave bands of the 80s.

Greenslade-Greenslade (1973)

Once the first Colosseum project was dissolved, two of its members, keyboardist Dave Greenslade and bassist Tony Reeves founded Greenslade, for which they recruited former King Crimson drummer Andrew McCulloch and keyboardist Dave Lawson, which turned this band into an unusual case as it had two keyboardists and no guitarist (at least in England, since the Italian group Banco already had a similar formation).
The debut album "Greenslade" was released in 1973 and is considered a classic of progressive rock, both for the music and for the cover art by the legendary Roger Dean.
The use of two keyboardists allowed them to create a texture and a very dense sound atmosphere rich in details, which at no time saturated the sound, partly reminiscent of the Yes for their constant changes of time signature but without the complexity of the latter.

Albert Collins-Ice Pickin´(1978)

In the late 1970s, the blues wasn't at its peak. New styles and musical trends that dominated the public's tastes had relegated it to the sidelines, until a few years later when the genre would resurface thanks to hundreds of new hard rock bands and the huge revival of classic rock. Even so, great albums continued to appear during those years, produced by classic bluesmen like Albert Collins, who in 1978 released "Ice Pickin' ", a true blues masterpiece. His impressive mastery of the six strings of his legendary Fender Stratocaster led him to be known as "Iceman" or "The Master of the Telecaster", for his composure and incredible simplicity on the guitar. A Grammy nominee, on "Ice Pickin!", the legendary guitarist leaves his mark on the superb blues tracks "Honey, Hush!", "Ice Pick", "Cold, Cold Feeling", "When The Welfare Turns Its Back on You", and the expansive "Conversations With Collins". "Ice Pickin!" is undoubtedly one of the sublime blues albums of the finest kind, crafted by a genius of the six-string and of the blues in general like Albert Collins, making it an absolute masterpiece of this fundamental and influential musical genre.

Howlin´Wolf-Rockin´ Chair (1962)

If there's one musician who inspired almost all the great bands of the sixties, it was Howlin' Wolf, a spectacular blues singer, guitarist, and harmonica player, and one of the most admired bluesmen in history. Chester Arthur Burnett (that was his real name), was born in West Point, Mississippi, in 1910. He was a man with a stony gaze, weighing 286 pounds and standing almost six feet six inches tall. The son of cotton farmers, he worked as a farmer until the late 1930s, when he decided to emigrate to Chicago in the 1940s. After serving in the army during World War II, he formed his own blues band and, some time later, even performed regularly on a radio station in West Memphis, Arkansas. In 1962, he released the album "Rockin' Chair", considered one of the bibles of the blues. Wolf was a genuine singer and a tireless creator who, with his raw blues, forged an expression of rage and vitality. Through his harsh and hypnotic voice, Wolf spat out all his anger and fears, everything he experienced as a farm worker in the rural South of the United States. His music was a sincere expression, capable of conveying every emotion, and his blues was a perfect reflection of himself. Hence the immense power and strength of his music, from an indestructible bluesman who has left a mark as profound as it is enduring. His legacy has left its mark on hundreds of bands, from Led Zeppelin to the Rolling Stones, including The Doors, Grateful Dead, Cream, Creedence Clearwater Revival, and many more. In “Rockin’ Chair,” Howlin’ Wolf revisits some of his greatest classics such as “Spoonful”, “Black Door Man”, “The Red Rooster”, “Who’s Been Talking?”, “Wang Dang Doodle”, “Little Baby”, “Going Down Slow”, and “Howlin’ For My Darlin’ ”, all of which he covers.

Petra-Back To The Street (1986)

Petra is one of the biggest and most successful American bands of all time, yet one of the least known outside their country. Formed in the early 1970s, with their catchy melodic hard rock style and Christian lyrics, they released around twenty albums, most of them hugely successful commercially and in the media, selling millions of records across the United States and achieving unprecedented success among their contemporaries in the same genre. Among other accolades, they have won four Grammy Awards, along with a dozen more nominations, and were the first Christian rock band inducted into the prestigious Gospel Music Hall of Fame. Pioneers in their genre, their four-decade career has been marked by numerous lineup changes, with guitarist and vocalist Bob Hartman remaining the only member of the original lineup throughout all those years. With an initial style rooted in American roots rock, they evolved towards the melodic hard rock they played throughout the 1980s, a decade in which they achieved their peak popularity, selling out every major stadium in the United States. Memorable albums such as "Never Say Die", "More Power To Ya", "Not Of This World", "Beat The System", "Captured In Time and Space", "On Fire" and "Back to the Rock" attest to the impressive career of this legendary American band. In 2005, after 30 years, the band called it quits, although they continued to perform sporadically in subsequent years. One of their greatest creative achievements came with their eighth album, "Back to the Street", which reached number four on the Billboard Top Christian Albums chart. Produced by former Kansas vocalist John Elefante, it captured the essence of AOR (Asian Rock and Roll). from other bands of the genre and mixed it with their lyrics inspired by the Psalms of the Bible, embellishing with charming gospel choruses, sharp rock guitars and fabulous and irresistible melodic lines as demonstrated in "Back to The Street", "You Are I Am", "King's Ransom", "Fool's God", "Thankful Heart" or "Run For Cover".

Road-Road (1972)

Road were a short-lived lysergic hard rock band who released only one album in early 1972. This power trio consisted of former Jimi Hendrix Experience bassist Noel Redding, guitarist and vocalist Rod Richards (formerly of Rare Earth), and drummer Leslie Sampson. Although they went completely unnoticed at the time, mainly due to the fierce competition they faced, their single album is now highly sought after by collectors of obscure and forgotten bands from the sixties and seventies. Echoes of Jimi Hendrix's distorted blues rock are present in tracks like "Mushroom Man", "Man Dressed In Red", and "Spaceship Earth", while the psychedelic hard rock of "Friends" and the folk rock of "I'm Going Down To The Country" result in a commendable and enjoyable album of acid heavy rock.

Nova-Wings Of Love (1977)

Italy has historically been the birthplace of elegant rock bands, the vast majority oriented towards symphonic, progressive, and jazz styles, many of which maintained their continued appeal to fans worldwide with their refined releases. In the mid-70s, there was a long list of these bands based in London, and one of them was UNO, formed by brothers Corrado and Danilo Rustici, both guitarists who, along with saxophonist Elio D'Anna, decided to rename the band Nova, recruiting bassist Luciano Milanese and drummer Franco Lo Previte. In 1976, under the Arista label, they released their first album, "Blink", a commendable work that, while not entirely defined, showcased a jazz-rock style with extended improvisations and rich guitar interplay and a sumptuous saxophone. Near the end of that same year, "Vimana" became their second full-length album, a more mature work where the band focused more on composition than on the individual instrumental work of its members. From this point on, the band underwent several lineup changes, with keyboardist Renato Rosset, drummer Ric Parnell, and bassist Barry Johnson joining, replacing Danilo Rustici, Lo Previte, and Milanese, respectively. With this lineup, the band recorded and released their most successful and magnum opus, "Wings of Love", which is characterized by a shift in musical direction, leaning more towards jazz funk, due in part to bassist Johnson's funky style. This album boasts exquisite musicianship, courtesy of the impeccable technical skills of all the band members, offering a repertoire of agile and dynamic, yet refined, jazz rock. Tracks like the dynamic funk-rock "You Are Light" stand out as one of their most creative moments, with silky harmonies and a contagious, catchy rhythm. The jazz fusion "Marshall Dillion" showcases Nova's energetic side, while the dreamy "Blue Lake" is the album's most intense moment. "Beauty Dream / Beauty Flame" features a gentle melody that blends delicate acoustic touches with reflective, exotic sounds. The rest of the album follows a similar path, with the frenetic funk of "Golden Sky Boat", the exhilarating jazz with Latin echoes of "Inner Star", and the elegant "Last Silence". "Sun City", their fourth album, released the following year, returned to a jazz-funk style, but one that leaned towards a more conventional and predictable jazz sound. Shortly after this final release, the band definitively disbanded, leaving behind four albums brimming with tension, energy, and technical brilliance, all considered seminal works within the European jazz-rock genre.

Frank Zappa-Hot Rats (1969)

Frank Zappa's genius is unquestionable, considered one of the most complete artists that have ever existed in rock history, his forays into almost all musical styles give him a level that very few can reach.
"Hot Rats" was his second solo album, with such a fresh and current sound, it was very advanced for his time, where he perfectly blends his experimentation with jazz and progressive rock.
An album that was one of his biggest commercial successes, reaching a ninth place on the UK charts.
Entirely instrumental, it offers an amalgamation of jazz, rock, experimentation and shows a melodic Zappa as he rarely was in his entire career.
In this work Zappa also shows his great technical variety with the guitar, with virtuosic and spectacular solos where the virtues with the six strings are outstanding.

Jade Warrior-Released (1971)

Jade Warrior is one of the quintessential cult bands, and is considered one of the most original musical acts in the history of rock music. They imbued their style with a masterful blend of ethnic sounds, jazz, psychedelia, folk, rock, and avant-garde elements. A previous post recounts the biography of this unique band, so we won't delve too deeply into their history and will instead focus on their second album, released in 1971. This album represented a dramatic shift from their self-titled debut, released that same year. In that first release, the sound was centered on elements of jazz-rock fused with African music, resulting in an experimental and avant-garde album. However, this second work is characterized by powerful and driving tracks, very close to hard rock, such as the opening track, "Three-Horned Dragon Kill", with a sound reminiscent of Led Zeppelin, but retaining the distinctive African percussion so characteristic of Jade Warrior. The playful “Eyes On You”, with its infectious rhythm, gives way to the band's more typical sound with the relaxed and atmospheric “Bride Of Summer” and “Water Curtain Cave”, which lead into the lysergic and powerful “Minnamoto’s Dream”, featuring razor-sharp guitars in the purest Jimi Hendrix style. Meanwhile, the rock and roll “(We Have) Reason To Believe” contrasts with the epic “Barazinbar”, which gradually unfolds amidst tribal percussion and flute sounds, culminating in the bucolic and acoustic “Yellow Eyes”. This album received a lukewarm reception from fans, surprised by this radical change, which is why the band would return to their unmistakable style in subsequent releases, much to the delight of their most loyal and devoted progressive rock followers.

Leo Sayer-The Very Best Of Leo Sayer (1979)

Leo Sayer was one of the most prominent artists on the charts in the first half of the seventies, with a melodic and catchy pop-rock style. His beginnings date back to the early 70s, composing songs for other artists alongside David Courtney. One of these was the hit "Giving It All Away" for The Who's lead singer, Roger Daltrey, in 1973. With the support of Adam Faith, Sayer secured a contract with the Chrysalis label, with whom he released a series of quite successful songs, such as "The Show Must Go On". From then on, he had up to a dozen hits on the British and American charts, including "One Man Band", "Long Tall Glasses (I Can Dance)", "Moonlighting", "Let It Be", "You Make Me Feel Like Dancing", "When I Need You", "How Much Love", "I Can't Stop Loving You (Though I Try)", and "More Than I Can Say". His albums during that same period also enjoyed consistent chart success between 1973 and 1977. However, from the late seventies onward, his records had less commercial and media impact, resulting in a succession of mediocre works that eventually led to a spacing out of his album releases. Just before the end of the seventies, "The Very Best Of Leo Sayer" was released, a compilation album featuring fourteen of his greatest hits, which became his best-selling album, reaching number one on the British charts and in other countries around the world. 

Fish-Sunsets On Empire (1997)

With their fifth studio album, "Sunsets On Empire", Fish delivered their best work since "Vigil In A Wilderness Of Mirrors", released seven years prior. On this album, Steven Wilson, the frontman of Porcupine Tree, co-wrote six of the songs and handled the arrangements, as well as production, actively participating in most of the guitar and keyboard parts. The album's opening track, "The Perception Of Johnny Punter", is one of their most ambitious songs, brimming with hard rock riffs and a symphonic atmosphere. Other tracks like "Goldfish & Clowns" reflect their mainstream side, as does "Change of Heart". Nods to their past with Marillion can be found in "What Colour Is God?", while "Jungle Ride" showcases an Eastern psychedelic feel. However, it is the title track, the most progressive and peak moment of the entire album, which ends in an incredible Floydian finale courtesy of vocalist Lorna Bannon and Steve Wilson performing a brilliant guitar solo inspired by David Gilmour.

Kansas-Masque (1975)

Kansas' third album, and their second release in 1975, came just seven months after "Song For America". This was partly due to pressure from Epic Records, who wanted to capitalize on the commercial success of "Song For America". However, this haste hampered the album's sales, resulting in only mediocre results, at least in the months immediately following its release. For this new album, the band went to Louisiana to In The Country Studios, but kept the same production team led by Jeff Glixman. This time, despite composing an album of very high quality, the band didn't achieve the same level of cohesion and balance as its predecessor. The commercially successful and addictive "It Takes A Woman's Love" was chosen as the promotional single, which in no way overshadowed their previous hit "Song For America". On the other hand, several of their classic tracks already appear here, such as the immortal "Icarus-Borne On Wings Of Steel", a powerful rock song with progressive touches, and the catchy "Two Cents Worth". The melodic "All the World" showcases Kansas's more symphonic side, while the dizzying "Child Of Innocence" and "Mysteries and Mayhem" display the rockier side of the Topeka group. The album concludes with the progressive and expansive "The Pinnacle", thus culminating an album considered a transitional step towards Kansas's later confirmation as one of the greatest American bands of the 1970s.

The Stone Roses-The Stone Roses (1989)

In the late eighties, The Stone Roses presented their debut album, showcasing the cheerful and carefree side of Britpop, with a series of songs that inherited the pop-rock sounds of The Beatles and the psychedelic folk of The Byrds from the 60s. Founded in the city of Manchester a few years earlier by vocalist Ian Brown along with bassist Gary "Mani" Mounfield, drummer Alan John "Reni" Wren and guitarist John Squire, they created a collection of melodic and very simple pieces with a contemporary flavor. This debut is considered one of the fundamental works in the development and evolution of the so-called Manchester movement of the late 80s and early 90s. From the psychedelic frameworks of "Don't Stop", to the chords and attractive vocals of "Waterfall", passing through the outstanding pop rock "I Wanna Be Adored", "Made of Stone" and "Bye Bye Badman", the beautiful "Lizabeth My Dear" or the complex "I Am the Resurrection", together they make up a work that was highly appreciated by critics and a resounding success on the charts in half the world.

Santana-Amigos (1976)

In the mid-seventies, Carlos Santana was determined to move away from the jazz-rock and fusion elements of his early albums and delve into more mainstream sounds. This trend was already evident on his seventh studio album, "Amigos", released in 1976, where the guitarist offered a blend of Latin rock, funk, soul, and R&B. Here, percussion once again takes center stage, the instrumentals are simpler with a solid rock foundation, and his guitar is more prominent than on his two previous albums ("Welcome" and "Borboletta"). Most of the vocal tracks showcase this new musical direction toward more commercial appeal. Retaining some of the pillars of his band, such as Armando Peraza, Greg Walker, Leon Chancler, David Brown, and Tom Coster, this release features several of his best-known compositions, including the instrumental "Europa (Earth's Cry Heaven's Smile)", with one of his most memorable solos, and the Latin-infused "Dance, Sister Dance". Among the rest, the funky tracks "Let Me" and "Tell Me, Are You Tired" stand out, as well as the jazz rock "Take Me With You", the latter clearly in tune with the 1970 album "Abraxas", the flamenco-Latin feel of "Gitano", and the elaborate jazz-based funk "Let It Shine".

The Hooters-Nervous Night (1985)

"Nervous Night", the second release from the American band The Hooters, is not only one of the most acclaimed albums of the 1980s, but also the one that definitively established this excellent band's status. While their debut, "Amore", released several years earlier on an independent label, failed to achieve mainstream or commercial success, with "Nervous Night", released on Columbia Records, this Philadelphia-based band crafted one of the most relaxed and carefree albums of 1985, thanks to a repertoire of songs that blended new wave, folk, melodic rock, and reggae. The lineup consisted of Eric Bazilian (guitar, keyboards, mandolin, saxophone, and vocals), Rob Hyman (keyboards and vocals), Andy King (bass), John Lilley (guitar), and David Uosikkinen (drums). The enthusiastic vocals of Bazilian and Hyman, along with the occasional use of instruments like mandolins, give them that distinctive sound, as demonstrated by pop-rock tracks like "And We Danced" and "Day By Day", the powerful rock song "All You Zombies", the dramatic "Where Do The Children Go", the melodic "Don't Take My Car Out Tonight", and the carefree "Hanging On A Heartbeat". The album's exceptional quality, coupled with two million copies sold in the North American market, cemented their status as one of the classic American pop-rock bands of the 1980s.

Spirit Of John Morgan-Spirit Of John Morgan (1969)

Spirit of John Morgan was a short-lived blues-rock band that released only three albums between the late sixties and early seventies. The lineup consisted of organist and vocalist John Morgan, guitarist Don Whitaker, bassist Phil Shutt, and drummer Mick Walker. Their origins date back to 1968 when they secured a contract with Carnaby Records, a subsidiary of British Columbia Records, and a year later released their self-titled debut album. In this first work, the fusion of different styles is more than evident, encompassing psychedelic sounds, folk, blues, and progressive elements. The opening track, "Orpheus and None For Ye", showcases their psychedelic side with organ and dark sounds reminiscent of The Crazy World of Arthur Brown. Meanwhile, the progressive blues track "I Want You", the dynamic instrumental "The Yodel", and the superb blues-rock "Yorkshire Blues" make for a consistent and highly accomplished album. The subsequent album, "Age Machine" (1970), despite containing certain elements of progressive avant-garde, was more oriented towards predictable folk and pop sounds. A year later, John Morgan recorded the album "Kaleidoscope", with a more pop-oriented sound that went completely unnoticed.

Gryphon-Red Queen To Gryphon Three (1974)

Gryphon are another of those great bands unknown to the general public. Their style fused different genres such as folk, Baroque and Renaissance music, avant-garde and medieval elements, and progressive rock. Their career was forged throughout much of the 1970s with five interesting albums, with "Red Queen To Gryphon Three" being their most celebrated work. Formed in London in the early 1970s by Richard Harvey (keyboards and flute) and Brian Gulland (bassoon), both students at the Royal Academy of Music, they shared a passion for Baroque sounds, traditional English folk, and a modern vision of Renaissance music. In 1973, guitarist Graeme Taylor and singer/drummer David Oberle joined the band, and with them, they recorded their self-titled debut acoustic album. A year later, bassist Philip Nestor joined the band, participating in the recording of "Midnight Mushrooms", an album featuring a greater number of original compositions and a clear inclination towards purer rock sounds. 1974 saw the release of the album we're discussing, "Red Queen to Gryphon Three", a concept album about the game of chess, inspired by typical classical music suites. A highly complex work, with a high level of song structure, constant changes of rhythm, and consisting of four extensive pieces performed impeccably. Medieval, folk, and Renaissance influences are all present, interpreted through flutes, bassoon, piano, organ, synthesizers, electric and acoustic guitars, and various percussion instruments. This is definitely a classic progressive rock album, where all the content is superb from beginning to end, with no single composition standing out above the rest.

Horslips-The Book Of Invasions-A Celtic Symphony (1976)

The Horslips are considered the greatest Irish progressive folk band, as well as the most acclaimed, and at their peak, they had the largest national following, surpassing other Irish legends like Van Morrison, Rory Gallagher, and Thin Lizzy. Musically related to other contemporary bands such as Jethro Tull, Fairport Convention, and Steelye Span, they coined the term "Celtic rock" like no other, basing their sound on Celtic mysticism mixed with hard rock. During the 1970s, they recorded a dozen studio albums and several live albums, with their first six releases being the most acclaimed of their entire career. Formed in the early 1970s by Barry Devlin (bass and vocals), Sean Fean (guitar), Eamonn Carr (drums), Charles O'Connor (violin, mandolin, and vocals), and Jim Lockhart (flute and keyboards), they released their first album in 1972, "Happy To Meet, Sorry To Part", which brought them considerable recognition. In the following years, they released a series of high-quality albums, such as the brilliant "The Táin" (1973), "Dancehall Sweethearts" (1974), "The Unfortunate Cup Of Tea" (1975), "The Man Who Built America" ​​(1978), and the one we're discussing here, "The Book Of Invasions - A Celtic Symphony". Like almost all their albums, this one is conceived as a concept album based on legendary stories from Ireland, Irish mythology, and pre-Christian pagan times. A work that is imbued, as could not be otherwise, with Celtic sounds like the opening track "Daybreak", while the more conventional rock-oriented tracks appear in "The Power and The Glory", accentuating its melodic folk rock sounds in the superb "Warm Sweet Breath Love" and "The Rocks Remain", without neglecting its approaches to progressive folk with the incredible "Ride To Hell".

Bill Bruford-One Of A Kind (1979)

Bill Bruford's track record in the 1970s was impressive; drums of the mythical Yes, King Crimson and U.K., playing on a dozen albums, in addition to having participated in albums by Rick Wakeman, Steve Howe, Chris Squire, Roy Harper or Albsolute Elsewhere among others.
Even so he had time to publish several solo albums, "One Of A Kind" released in 1979 was his second work where he had the collaborations of Allan Holdsworth, Dave Stewart and Jeff Berlin.
The talent of all these musicians, the variable melodies and keyboard solos of Dave Stewart, together with the sensational guitar of Holdsworth well supported by the rhythm section of Bruford and Berlin make up a collection of progressive pieces seasoned with a lot of jazz experimentation, with a magnificent result between jazz rock and progressive rock.

Kiss-Rock And Roll Over (1976)

Kiss's fifth album is one of their most acclaimed releases among their millions of fans. Recorded at the Star Theatre in New York City during September and October of 1976, the venue was chosen because the band wanted to capture a live sound, especially Peter Criss's drumming. However, Criss wasn't satisfied with the initial takes, so he decided to record all the drum parts in a separate, enclosed room, communicating with the rest of the band and the sound and production engineers via video conference. The album features heavy hard rock saturated with memorable guitar riffs and suggestive lyrics. Songs like "Calling Dr. Love", "Ladies Room", "Love 'Em and Leave 'Em", "Baby Driver", "I Want You", "Hard Luck Woman", and "Take Me" are all classics for the band. The album would achieve double platinum status and its cover would become one of the band's iconic images, printed on millions of posters and t-shirts around the world.

Iron Maiden-Rock In Rio (2002)

In 2002, Iron Maiden headlined the Rock in Rio festival in Brazil once again, having participated in the memorable first festival in 1985, alongside other legendary bands such as Queen, AC/DC, Scorpions, Yes, Rod Stewart, and Ozzy Osbourne. From that year onward, Iron Maiden performed regularly in Brazil before audiences exceeding 250,000 people. The Brazilian public's devotion to the British band has always been unwavering, a relationship that has remained constant for the last four decades. And the best way to thank them for that enthusiasm and loyalty was the release of the live album "Rock in Rio", which captures the band's performance at that second festival before nearly 300,000 people. The repertoire included in this live performance features a majority of songs from the album "Brave New World", including the terrifying "The Ghost of Navigator" and the exciting "Blood Brothers", as well as classic Iron Maiden anthems such as "2 Minutes to Midnight", "Iron Maiden", "The Trooper", "Sanctuary" and "The Number Of The Beast", the epic "Hallowed Be Thy Name" and the energetic "Run to the Hills".

Ten Years After-A Space In Time (1971)

Following memorable performances at the Woodstock and Isle of Wight Festivals, Ten Years After had released the splendid albums "Cricklewood Green" and "Watt," which featured iconic songs such as "Sugar the Road", "Love Like a Man", "I'm Comin' Home", and "My Baby Left Me". Months after "Watt" came "Space in Time", an album that reflected a less intense rock sound and a greater use of acoustic elements, with a clear commercial and accessible orientation. An album almost entirely filled with acoustic guitar-driven tracks, as demonstrated by the melodic "Here They Come", "I'd Love to Change the World", "I've Been There Too", "Once There Was a Time", and "Let the Sky", while also showcasing their signature power with the blues-rock anthem "One of These Days", the rock and roll number "Baby Won't You Let Me Rock 'n' Roll You", psychedelic songs like the orchestrated "Over the Hill", and even a jazzy "Uncle Jam". In short, with this sixth album, Alvin Lee and his band displayed their eclecticism and enormous stylistic range, producing one of their most versatile works.

Ozzy Osbourne-Diary Of A Madman (1981)

In the early 1980s, singer Ozzy Osbourne announced his solo career after being kicked out of Black Sabbath in 1979 due to his drug and alcohol abuse. At the time, many doubted the viability of his future career, so when he released his impressive debut album, "Blizzard of Ozz", the controversial singer proved to the world that he was still one of the greatest frontmen in the history of heavy metal. A year later, he not only created another immortal album of the genre but also cemented Randy Rhoads' status as one of the best guitarists in metal. "Diary of a Madman" is packed with metal classics such as "Over the Mountain", "Flying High Again", "You Can't Kill Rock and Roll", "Believer", and the title track itself. In all of them, Ozzy's charismatic voice combined with Rhoads' pyrotechnic skill on the six strings, fusing the heavy metal of early Black Sabbath with the neoclassical tricks that Ritchie Blackmore developed with Deep Purple and Rainbow, make this album an absolute masterpiece of heavy metal.

Egg-Egg (1970)

Egg are one of the most influential avant-garde bands of the Canterbury sound. With three splendid albums released between 1970 and 1974, they are considered a cult band in the annals of rock music. Their style, oriented towards so-called nonsense music, is represented in the emblematic "Symphony No. 2" from their self-titled album, the breathtaking jazz-rock "Long Piece No. 3" from their second album, "The Polite Force", and the ironically galloping "Germ Patrol" and the thrilling "Enneagram" from their third and final album, "The Civil Surface". For many, Egg, composed of Dave Stewart (organ and keyboards), Mont Campbell (bass and vocals), and Clive Book (drums), represent the maturity and sophistication that many less talented, though far more commercially successful, contemporary bands lacked. In all of them are present the elements of classical music driven by organ arrangements and a sober jazz structure, which led them to create three masterpieces of germinal progressive rock.

Nina Simone-Sings The Blues (1967)

Nina Simone is another of the great divas of American jazz and blues. She was a fabulous singer, a great songwriter, and an excellent pianist, as well as one of the most active advocates for American civil rights for five decades. Born in 1933 in North Carolina, she was already playing piano and singing in her local church by the young age of 10. A pivotal moment in her life was the day her parents, who had come to see her play piano in church, were forced to move to the back of the pew to make room for other white people. Around the age of twenty, Nina Simone moved to Philadelphia, where she began to earn a living giving piano lessons and singing backup vocals. Shortly after, she launched her career performing at the legendary Midtown Bar on Pacific Avenue in Atlantic City. Thanks to her impressive and soulful voice, Nina quickly rose to prominence, and her first recording, "I Loves You Porgy" by George Gershwin, achieved considerable success on the American charts. From this point on, Nina's career would be meteoric, with songs like "My Baby Just Cares For Me", "To Be Young, Gifted and Black", and "Mississippi Godman" (songs with a clear political message), as well as numerous covers of other artists such as "I Put A Spell On You" by Screamin' Jay Hawkins ,"Here Comes The Sun" by The Beatles, and "House Of The Rising Sun" by Dave Van Ronk. Following further success stemming from her participation in several Broadway musicals, her song "For All We Know" would become another of her classics. With a style that blended gospel, blues, and jazz influences, Nina Simone earned the respect and admiration of the American people, earning the title of "High Priestess of the Soul", and becoming a true legend and icon of 20th-century music.

Herbie Hancock-Man-Child (1975)

Released during Herbie Hancock's funk-jazz-rock era, "Man-Child" is his most acclaimed work within that subgenre. Featuring a larger lineup than his usual band of the time, the Head Hunters, this album boasts a stellar roster of musicians, including Harvey Mason (drums), Paul Jackson (bass), Ernie Watts (saxophone), Wayne Shorter (soprano saxophone), Stevie Wonder (harmonica), Bennie Maupin (wind instruments), and Melvin Watson (guitar and synthesizers), among a dozen others. However, despite this impressive group of talented instrumentalists, it is primarily Herbie Hancock who intelligently deploys his arsenal of keyboards and synthesizers, becoming the driving force behind all the album's songs, perfectly supported by the energetic arrangements of the wind instruments and the funky rhythm section. That varied jam of instruments proclaims pieces like "Hang Up Your Hang Ups", "Sun Touch", "The Traitor", "Steppin'in It" or "Heartbeat", as one of the discographic gems of jazz rock fusion with funk rhythms, reaffirming Hancock as one of the great innovators of the most avant-garde jazz of the 70s.

Casiopea-Thunder Live (1980)

Casiopea is a renowned Japanese jazz-rock band, highly praised worldwide, which has consistently released new albums for four decades, all of them well-received by fans of this jazz subgenre. The band was founded in 1976 by Issei Noro, the only constant member throughout Casiopea's history, and Tetsuo Sakurai, who were soon joined by Akira Jimbo and Minoru Mukaiya. In 1979, they released their self-titled debut album, which featured collaborations with American musicians Michael and Randy Brecker and David Sanborn. Their funk and rock influences, Latin rhythms, powerful percussion, dynamic yet melodic instrumental style, and the talent of the four musicians did not go unnoticed, and their albums were soon officially released in the United States and around the world. This first album was followed by other brilliant releases such as "Super Flight" (1979), "Make Up City" (1980), "Eyes of the Mind" (1981), "Mint Jams" (1982), and "Photographs" (1983), totaling nearly fifty albums, many of which reached high positions on the jazz charts in numerous countries. In 1980, they released the excellent live album "Thunder Live" (1980), a formidable showcase of the live performance of what is considered the most important group in the history of Japanese jazz-rock.

Tuck & Patti-Love Warriors (1989)

This musical duo, who are also married, began their dazzling career by chance in the late 1970s in San Francisco, where they met for an audition with a local band. Both already had extensive musical experience. Vocalist Patti Cathcart had played in various San Francisco Bay Area bands, most notably a brief stint with the Kingfish, where she met Grateful Dead guitarist Bob Weir. Tuck Andress, on the other hand, was a veteran guitarist who, despite his youth, had played in several rock and jazz bands, including Sonny and Cher and other local bands in the Los Angeles area. In 1978, after meeting, they decided to work as a duo, and for years they developed their unique style, which blended vocal jazz, intimate pop, R&B, folk, and gospel. During those years, they received several offers from different record labels, all of which were rejected by the duo, who felt they still needed to refine their style. In 1988, Windham Hill Records offered them a three-album contract, an offer they accepted. That same year, they released their debut album, "Tears of Joy", which garnered positive reviews and respectable sales. The cover of this first album featured a sticker that read, "Album recorded without overdubs, backing musicians, or electronic arrangements, just the two of us performing in real time". A year later, "Love Warriors" was released, an engaging work that alternated original compositions with captivating covers such as Santana's "Europa", Jimi Hendrix's "Castles Made of Sand/Little Wing", and The Beatles' "Honey Pie". This second album was later chosen as the best contemporary jazz album on the American West Coast, further solidifying the career of this brilliant and essential duo.

Ryan Adams-Gold (2001)

"Gold" is Ryan Adams' second album, a work more patriotic and more American than his debut, where the influences of Tom Petty and Bruce Springsteen are even more evident.
If a year before Ryan Adams had set the bar very high with his superb "Heartbreaker", with this "Gold" he would hit again with a very bright and energetic album, very close to the true canons of American classic rock.
An elegant album that shows us brilliant compositions such as "New York, New York", which unintentionally became a tribute to the city, when the promotional video for the song was recorded in front of the twin towers four days before the fateful 11 ​​of September.
An album with deep sound where acoustic guitars stand out and some careful lyrics as in "La Cienaga Just Smiled" or in "When The Stars Go Blue", or in the rockers "Firecraker", "Gonna Make You Love Me" or "Tina Toledos Street Walkin´Blues" or the beautiful blues "The Rescue Blues" that gained a lot of relevance when it was included in the movie "Proof of Life".

Imán Califato Independiente-Imán Califato Independiente (1978)

Another important band in the Andalusian progressive rock movement was Imán Califato Independiente, which originated at a convention led by meditation guru Maharajji in the mid-seventies. Like true hippies, the musicians lived together in a house in El Puerto de Santa María, Cádiz. Towards the end of the seventies, they managed to attract the attention of Columbia Records, who produced their first album, released in late 1978. On this debut album, the band displays strong jazz-rock influences reminiscent of Santana, Return to Forever, and Weather Report, with touches of progressive rock and the essence of flamenco folklore. The first side of the debut album is dedicated entirely to the suite "Tarantos del Califato Independiente," a dynamic track where synthesizers, powerful percussion, and exciting flamenco guitar solos and vibrant electric guitars combine to create an exuberant piece. The captivating “Darshan”, a clear example of Andalusian prog, the Latin jazz rock “Cerro Alegre” and the exotic progressive jazz rock with Arabic and Andalusian sounds “Canción de la Oruga”, made it one of the best debuts of Andalusian rock and Spanish rock.

Out Of Focus-Out Of Focus (1971)

Out of Focus were another band from the German krautrock movement, specifically leaning towards psychedelic folk/blues and jazz-rock sounds, not unlike those of other contemporary groups such as Kraan, Embryo, and Nucleus. Formed in the late 1960s in Munich, their initial lineup consisted of guitarist, flautist, and vocalist Remigius Drechsler, keyboardist Hennse Hering, vocalist and saxophonist Moran Neumüller, drummer Klaus Spöri, and bassist Stefan Wishen. In 1970, the German independent label Kuckuck financed their first album, "Wake Up", which showcased their psychedelic leanings with excellent guitar and Hammond organ sounds, complemented by superb flute playing and powerful drumming. A year later, they released their self-titled album, "Out of Focus", in which their approach evolved immensely from the psychedelic rock of their early days to a more jazz-oriented sound, thanks to instruments like the saxophone. These jazz impulses are more in line with the style of early Jethro Tull or Ten Years After, as demonstrated in the energetic "What Can a Poor Boy Do", the psychedelic folk of "It's Your Life", the progressive jazz-rock of "Whispering", and the folk-infused, blues-tinged psychedelics of "Blue Sunday Morning" and "Fly Bird Fly". With their third and final album, "Four Letter Monday Afternoon" (1972), they shifted towards sounds closer to brass-jazz rock, bringing to a close the journey of this magnificent band, which could have been much greater than it ultimately was.

The Moody Blues-Every Good Boy Deserves Favour (1971)

For many this is the masterpiece of The Moody Blues, although weighed down in part by the immense success of their previous "Days of future Passed" and their huge single "Nights In White Satin".
However, this is one of his most versatile, varied and superbly performed works, where the single and rocker "The Story In Your Eyes" would catapult him to the top spot on the UK charts and a staggering second spot on the US Billboard.
Here stands out the mellotron of Mike Pinder, which includes the Moog synthesizers, Hayward's guitar does the rest to make a work of art in which there are sublime and mystical moments such as "My Song" or "Emily's Song", with that bucolic sound very characteristic of this huge and essential progressive rock band.

Cai-Noche Abierta (1980)

"Noche Abierta" is one of the jewels of the Andalusian progressive rock movement, an album that displays masterful musicianship, brimming with jazz sensibility, flamenco essence, and the atmospheric sounds of progressive rock. The band behind this superb work was Cai, a Spanish group originally from Cádiz, founded in mid-1977 by drummer Diego Fopani, guitarists José Fernández and Francisco Delgado, keyboardist and vocalist Sebastian Dominguez, and bassist José Vélez. This band released three albums between 1978 and 1981, disbanding shortly after their third and final album. They reformed almost 25 years later, producing new material which they released on two new albums. The moderate success of their debut album, "Más Allá de Nuestras Mentes Diminutas" (1978), paved the way for them to sign with a major label, CBS's subsidiary Epic Records, with whom they released "Noche Abierta" in 1980. The foreseeable potential of their first album is realized in this follow-up, a first-rate Andalusian progressive rock album with symphonic and strong fusion touches in all the compositions, combined with the virtuoso performances of all its members. Hints of jazz-rock, sounds reminiscent of Canterbury, and ethereal, progressive atmospheres are very much present in tracks like "Alegrías de Cai", "Extraña Seducción", and "La Roca del Diablo". This is undoubtedly one of the high points of Andalusian progressive rock of all time and a truly timeless work.