Brian Auger-Brian Auger´s Oblivion Express (1970)

Brian Auger's career began in the mid-1960s, driven by the influence and allure of jazz organist Jimmy Smith. In 1964, he formed Trinity, with whom he cemented his enormous reputation over the next five years, releasing half a dozen high-quality blues, jazz-rock, and rhythm and blues albums such as "Open", "Jools and Brian", "Streetnoise", and "Befour" (the first three with Julie Driscoll). However, in the early 1970s, Brian Auger decided to form a new project and place greater emphasis on avant-garde instrumental sounds. This led to the creation of Oblivion Express, a band that included bassist Barry Dean, drummer Robbie McIntosh, and guitarist Jim Mullen. Released under the RCA label, in mid-1970 the self-titled debut of this new lineup was published, in which Brian Auger showcases his furious Hammond organ in a series of vigorous rhythmic jazz rock songs with progressive connotations such as "Dragon Song", "Total Eclipse", "The Light", "On The Road" or "The Sword", all of them under a solid rhythm section and the talented guitar backing of Jim Mullen.

Aynsley Dunbar-Blue Whale (1971)

Considered one of the greatest drummers in history, Aynsley Dunbar has enjoyed a prolific and extensive career, collaborating with countless artists including Jeff Beck, Lou Reed, Whitesnake, Frank Zappa, Eric Burdon, Jefferson Starship, and Journey. His beginnings in the mid-sixties led him to join John Mayall's Heartbreakers, recording albums such as "A Hard Road", "Looking Back", and "So Many Roads". After a brief stint with the Jeff Beck Group, Dunbar formed his first band, The Aynsley Dunbar Retaliation, with whom he released four albums between 1968 and 1970. A year later, in an attempt to form a new band, he released "Blue Whale", an ephemeral project featuring his Retaliation bandmate, organist and guitarist Tommy Eyre, as well as other musicians such as guitarists Ivan Zaghi and Roger Sutton, singer Paul Williams, bassist Peter Friedberg, and saxophonists Charles Greetham and Edward Reay-Smith. "Blue Whale" perfectly exemplifies his eclectic past, with nods to the jazz-rock and progressive blues of his previous bands. Jazz-blues is present in the upbeat "Willing to Flight", psychedelic sounds in the progressive "Willie the Pimp", jazz-rock in "It's Your Turn", and avant-garde elements in the experimental blues of "Going Home".

Rainbow-Difficult To Cure (1981)

Two years after Rainbow's fourth album, Ritchie Blackmore made further changes to the lineup, this time hiring a singer more suited to his hard rock style. The chosen singer was Joe Lynn Turner, replacing Graham Bonnet, and drummer Cozy Powell was replaced by Bob Rondinelli. The rest of the lineup remained the same: Blackmore (guitars), Roger Glover (bass), and Don Airey (keyboards). For many, this is the best Rainbow lineup after the classic one with Ronnie James Dio, Cozy Powell, Ritchie Blackmore, Tony Carey, and Jimmy Bain, who released the seminal albums "Rising" and "Long Live Rock 'n' Roll" (although David Stone and Bob Daisley also participated as official members on the latter). On "Difficult to Cure", Blackmore once again turned to another Russ Ballard cover, as he had done on the previous album, "Down to Earth", with "All Night Long" and "Since You Been Gone". This time it was "I Surrender", a catchy AOR/hard rock song with addictive choruses and Blackmore's powerful riffs. Those same powerful guitar riffs also drive "Spotlight Kid", a fast-paced hard rock track. This contrasts sharply with the hypnotic "No Release", a dark and heavy hard rock song with a dynamic rhythm and excellent work from both Blackmore and Joe Lynn Turner, showcasing his prodigious vocal range. After the irresistible AOR track "Magic", comes the superb instrumental "Vielleicht Das Nächste Mal (Maybe Next Time)", a clear statement of intent in an emotionally charged, semi-progressive vein. The hard rock tracks "Can't Happen Here" (an allusion to nuclear war) and "Freedom Fighter" (dedicated to political prisoners) are two pieces that could have fit perfectly on Deep Purple's 1980s album. To close this brilliant record are the gritty blues rock track "Midtown Tunnel Vision" and the instrumental "Difficult to Cure (Beethoven's Ninth)", a dizzying and complex hard rock tribute from Blackmore to Ludwig van Beethoven.

Peter, Paul and Mary-Peter, Paul and Mary (1962)

With Peter, Paul and Mary, folk music reached the maturity necessary to place them in the spotlight, just as a legend like Peter Seeger had done before. They are an institution within American folk music, not only transcending the limitations of the genre but also becoming one of the most successful groups of the 1960s on the mainstream charts. The band members were singers and guitarists Peter Yarrow and Paul Stookey, and singer and backing vocalist Mary Travers. In 1962, their self-titled debut album achieved double platinum status and a number one spot on the charts thanks to a mix of original songs and covers, including Peter Seeger's "Where Have All The Flowers Gone?", Will Holt's "Lemon Tree", and the traditional song "Sorrow". Subsequent LPs were similarly well-received, especially those with lyrics that addressed human rights, further increasing their popularity with the general public. In 1967 they would conquer the markets again with their seventh release "Album 1700", where they performed a series of attractive versions of Eric Andersen ("Rolling Home"), John Denver ("Leaving on a Jet Plane") or an exciting version of Bob Dylan's song "Bob Dylan's Dream".

Happy The Man-Crafty Hands (1978)

"Crafty Hands" was the second release from the American progressive rock band Happy The Man, and along with their debut album, it is considered one of the masterpieces of American avant-garde rock. If their previous album had already demonstrated their impressive talent, with this second album, the band, led by keyboardist Kit Watkins, indisputably confirmed that status. In addition to Watkins, the rest of the band consisted of Stanley Whitaker (guitars), Ron Riddle (drums), Rick Kennell (bass), and Frank Wyatt (keyboards and wind instruments). However, here they present a work that is even more balanced, expansive, and contemporary than its predecessor, with complex instrumentations synchronized with constant rhythmic shifts. Despite the virtuosity of all its members, the sound is mainly dominated by the guitar, especially the opening track "Service With A Smile", the Crimson-esque "I Forget To Push It", the vocal track "Wind Up Doll Day Wind", the tremendously relaxing "Morning Sun", the haunting and introspective "The Moon, I Sing" or the heir to the Canterbury sounds "Open Book".