Blodwyn Pig-Getting To This (1970)

The blues leanings of guitarist Mick Abrahams and the jazz-influenced contributions of violinist and flautist Jack Lancaster fueled the style of the British band Blodwyn Pig. Formed in 1968, Blodwyn Pig were a pioneer of the British avant-garde movements of the late 1960s. Founded by former Jethro Tull member Mick Abrahams, along with Jack Lancaster, bassist Andy Pyle, and drummer Ron Berg, their debut album, "Ahead Rings Out", released in 1969, showcased the quartet's blend of blues, progressive rock, heavy rock, and jazz-rock the latter thanks to Lancaster's jazzy saxophones and flutes. This first album became a classic of British progressive blues and is often cited as one of the genre's landmark works. A year later came their second LP, "Getting To This", which featured pianist Graham Waller as a guest musician. Unlike their previous progressive album, this new release leaned towards classic blues rock with experimental and diverse tones, subtly moving away from their jazz approach in a clear attempt to expand their sonic palette. Tracks like the rhythm and blues "Drive Me", the progressive folk jazz "Variations on Nainos", the bluesy folk "Long Bomb Blues" and "Toys", the progressive blues rock "San Francisco Sketches", and the jazzy "Send Your Son To Die" represented this ultimately unsuccessful attempt to explore new sonic horizons.

Gila-Night Works (1972)

Despite its flawed production, the second album by the German band Gila is a true historical document of one of the cult bands of krautrock. Recorded live in the studios of a radio station based in Cologne in 1972, "Night Works" was the chronological (though unofficial) successor to their monumental debut, "Free Electric Sound", an album that showcased an ambitious and experimental approach focused on the psychedelic and hypnotic sounds of so called Kosmiche Music. On this second release, the lineup still consisted of guitarist and vocalist Conny Veit, bassist Walter Wiederkehr, organist Fritz Scheyhing, and drummer Daniel Alluno. With a style clearly related to their debut, the Stuttgart-based band follows in the footsteps of the acid and lysergic sounds of early Pink Floyd led by Syd Barrett, featuring expansive jams like "The Gila Symphony". a tour de force encompassing everything from atmospheric and hallucinatory passages to intricate interplay between a heavy Hammond organ and biting guitars, all under the spell of a powerful and brutal rhythm section. In addition to this impressive piece, the album includes memorable instrumental passages such as the psychedelic heavy rock of "Around Midnight", the lysergic "Braintwist", the hypnotic "Trampelpfad", and the atmospheric "Communication II".

Blue Oyster Cult-Cultösaurus Erectus (1980)

"Mirrors" had been a step back in the career of the Blue Oyster Cult, to the point of losing some credibility and the trust of their fans, so for their next album they hired producer Martin Birch to put them back on the record. level they deserved.
And partly thanks to the album "Cultösaurus Erectus" they would achieve it, with a powerful work and a brilliant and impeccable production.
Here the instrumental developments return and they are the main resource of this magnificent album, as from the beginning with "Black Blade" it is intuited, a song with a very hard sound, "The Marshall Plan" is a visceral rock full of power and quality, and there are even times for some interesting extravaganza like jazz rock "Monsters"

Arena-The Visitor (1998)

The third album by the British band Arena is one of the most acclaimed and praised neo-progressive records, an admirable work of intelligent fusion composed of exuberant melodies and vibrant rock under an intricate and passionate musicianship. In this new release, the band introduced a new guitarist, John Mitchell, who replaced Keith Moore, becoming a key figure with his heavy riffs and tremendous melodic solos. Added to this are the haunting keyboards of the group's leader, Clive Nolan, who creates multi-layered sounds, grandiose orchestrations, and dreamlike, spacey synthesizers. For his part, Paul Wrightson's passionate, expressive, yet delicate vocals greatly contribute to this concept album reflecting why it is one of the greatest neo-progressive records in history.