Savoy Brown-Looking In (1970)

At the beginning of the 1970s, the legendary blues-rock band Savoy Brown released their sixth album, "Looking In", continuing their triumphant run in both Britain and North America. Prior to this album, the British group had already left behind memorable works such as "Getting to the Point", "Blue Matter", "A Step Further", and "Raw Sienna", showcasing their magnificent blues-rock sound with tracks like the rhythmic "It's All My Fault", the memorable blues numbers "Tolling Bells" and "Black Night", and powerful covers such as "Ain't Superstitions". However, the constant changes in personnel continually undermined their stability, and this trend continued in 1970. "Looking In" did not feature their original singer, Chris Youlden, who had left after the previous album, "Raw Sienna", and was not even replaced; instead, guitarist Lonesome Dave took on the role. The rest of the lineup consisted of lead guitarist Kim Simmonds, bassist Tone Stevens, and drummer Roger Earl. On this sixth release, the remaining quartet went all out, crafting an anthological album of energetic blues rock, as demonstrated by an exciting repertoire featuring the lysergic "Poor Girl", the understated bluesy "Money Can't Save Your Soul", the jazzy bluesy "Sunday Night", the boogie blues "Take It Easy", and the tour de force "Leavin' Again". Despite the album's tremendous success in North America, shortly after its release, three of its members, Stevens, Earl, and Lonesome, left Savoy Brown to found the hard rock and boogie rock band Foghat.

Automatic Man-Automatic Man (1976)

This is one of those albums that always ended up in the bargain bin at record stores, and I still don't understand why, considering its enormous quality and the lineup of musicians involved. The truth is, we barely paid any attention to it, yet everyone was drawn to its alien and seductive cover, which somehow hinted at the progressive and spacey concept of its musical themes. Automatic Man was a short-lived band from San Francisco, which only released two interesting albums in 1976 and 1977. It was formed by several former members of Stomu Yamashta Go's band: former Santana drummer Michael Shrieve, guitarist Pat Thrall, and vocalist and bassist Doni Harvey, with keyboardist Todd Cochrane completing the lineup. They had no trouble getting a record label interested in their project immediately, given the professional background of its members, and that's how Island Records signed them to release several albums. On their self-titled debut album, the band follows a similar path to Go, with progressive sounds, funk, jazz, space rock, and a commercial style close to pop rock. The album is somewhat defined as a concept album with mythological references, and features standout tracks such as the synthesizer-driven intro "Atlantis Rising Fanfare", which leads into the spectacular jazz-rock track "Comin' Through". Other equally noteworthy tracks include the psychedelic "My Pearl", the atmospheric "Newspapers", the space-rock "One and One", the hard-rock "Newspapers", and the monumental and progressive "Intersteller Tracking Devices" and "Atlantis Rising Theme". Later, with the same hypnotic cover, this time in a reddish hue instead of the bluish one of the debut album, a second album was released. Shrieve and Harvey no longer appeared on this album, replaced by drummer Glen Symmonds and bassist Jerome Rimson. This album, with its more predictable funk and pop-rock sound, and less room for avant-garde, progressive, and jazz influences, ultimately led to the band's demise. After the band's final breakup, Pat Thrall enjoyed a fruitful career, participating in numerous projects and bands such as the Pat Travers Band, Meat Loaf, Asia, Glenn Hughes, and Joe Satriani, among others. Todd Cochrane contributed to hundreds of recordings by artists such as Peter Gabriel, Brand X, Jim Capaldi, and PM, and drummer Shrieve followed a similar path, collaborating on dozens of recordings by countless artists.

Toto-XIV (2015)

Toto's thirteenth album is somewhat overshadowed by the death of former bassist Mike Porcaro, which occurred a week before the album's official release. For this recording, several members who had been absent from the group for some years returned, including singer Joseph Williams, keyboardist Steve Porcaro, and bassist David Hungate. The lineup was completed by keyboardist David Paich, guitarist Steve Lukather, and drummer Keith Carlock. In this new release, they recapture the unmistakable sound of the 1980s, a decade in which they produced some of the most spectacular melodic rock albums, such as "Toto IV" and "The Seventh One". The result is an extraordinary repertoire of refined and powerful tracks, where Lukather's driving guitar blends seamlessly with the keyboards and synthesizers of Porcaro and Paich, adorned with the harmonized vocals of all the members. Catchy tracks like "Running Out Of Time", "Holy War" and "Orphan" showcase the band's most infectious side, while the more complex "Great Expectation" and "Burn" or the bluesy "21st Century Media" result in a radiant and mature work.

The Lee Riders-The Lee Riders (1972)

The Lee Riders were a short-lived Southern rock band that spawned one of the iconic country rock groups, the enduring Pure Prairie League. Hailing from Woodstock, New York, the band was formed by singer Robert Lee, who recruited musicians with similar Southern musical tastes. These included Bill Hinds (drums), Mike Reilly (bass), Mike Connor (organ), and Matt Presby (guitar). A contract with United Artists led them to England, where they recorded their self-titled debut album. However, drummer Bill Hinds chose to remain in the United States and was replaced in Britain by Roy O'Temro. Released in mid-1972, this single album features everything from classic Western country rock to stellar Southern rock tracks like "Ruby Valentino", "Highway Queen", "The Moment", and "Pale Horse", which, despite their undeniable quality, failed to garner the widespread public attention they deserved. A promotional tour across the UK, opening for David Bowie, who was touring in support of his album "Ziggy Stardust", marked the end of The Lee Riders' time in Britain. They would eventually return to the United States some time later. Once back in their home country, Connor and Reilly, along with Bill Hinds, founded the aforementioned Pure Prairie League, thus beginning a fruitful and successful career that produced some of the best albums in American country rock, such as "Bustin' Out", "Two Lane Highway", "If the Shoe Fits", and "Firin' Up". 

Talk Talk-Spirit Of Eden (1988)

Founded in the early 1980s by multi-instrumentalist Mark Hollis, Talk Talk began exploring sounds close to avant-garde synth-pop, and within that framework, they released two interesting albums: "The Party's Over" and "It's My Life", which garnered some interest among the general public. With their third and brilliant album, "The Colour of Spring," the band evolved towards a more experimental and, to some extent, progressive sound, as demonstrated in the superb compositions "I Don't Believe In You", "Living in Another World", and "Give It Up". However, the sound that would define them was their next two albums, "Spirit of Eden" and its successor, "Laughing Stock". On both albums, the band adopted a free and abstract style, with a series of tracks that reveal themselves as delicately constructed soundscapes where every note is powerfully emotional. At this point, we could consider Talk Talk to be to pop rock what King Crimson were to progressive rock, not least because of their ever-changing, abstract musical textures throughout their career. On “Spirit of Eden”, Talk Talk showcases their eclecticism and their dark, brooding side in tracks like “The Rainbow” and “Wealth”, their avant-garde challenge in “Inheritance”, their earthy melodies in the pleasant “I Believe in You”, and their conventional rock in the memorable “Desire”. “Spirit of Eden” became an album as challenging as it was captivating, demonstrating the genius of Mark Hollis in creating a work unlike anything recorded to date.

Cravinkel-Garden Of Loneliness (1971)

Officially categorized as krautrock, Cravinkel were actually a band closer to the sounds of acid folk and American country rock than to the experimentation and mystical avant-garde of their contemporary German bands in the same movement. Formed in the late sixties, the band consisted of Gerd Kravinkel (guitar), Rolf Kaiser (bass and vocals), George Haupt (drums), and Klaus Meier (guitar and vocals). Their first album, released in 1970, is a peculiar experiment in opaque psychedelic folk, fused with bucolic atmospheres and melodic rock. The solid melodies contrast with distorted guitars, emotive vocals, and a sense of melancholy. Songs like the appealing country-rock tracks "Candlelight", "Lonesome Road", and "Hidden Love", along with pastoral and nostalgic pieces like "Two Circles", are the highlights of this debut album. A year later came the second and epitaph of this dark group, "Garden Of Loneliness", which unlike the calm and peaceful debut, shows a more raw and ordinary facet with approaches to standard hard rock with subtle progressive elements as is evident in the energetic song that gives the album its title or in "Stoned", a tour de force of heavy and resounding heavy rock.

Fireballet-Night On Bald Mountain (1975)

Another band lost in the mists of time is the American group Fireballet, who released two excellent progressive rock albums in the mid-1970s. Hailing from New Jersey, the band consisted of Jim Como (lead vocals, drums, and percussion), Bryan Howe (keyboards), Ryche Chlanda (guitar and vocals), Frank Petto (keyboards and vocals), and Martyn Billing (bass). In 1975, they released their debut album, "Night On Bald Mountain", showcasing a sound very close to the British symphonic rock of the 1970s, closely related to bands like Yes, Genesis, and Van Der Graaf Generator, while also incorporating American rock influences. The excellent interplay of keyboards, along with precise guitar riffs and instrumental complexity, is complemented by rich vocal harmonies. The epic twenty-minute suite "Night On Bald Mountain" becomes the album's high point, an elegant and ambitious piece that somewhat overshadows the rest of the tracks, yet maintains a very high level with highly dynamic and musically complex instrumentation.

Golden Earring-Live (1977)

Set against a backdrop of the band on stage, this was the first live album by the Dutch group Golden Earring. Released in late 1977, it featured some of their most rock-oriented, progressive, and psychedelic material. Recorded at London's Rainbow Theatre in early 1977, the lineup that night consisted of George Kooymans (guitar and vocals), Rinus Gerritsen (bass and keyboards), Barry Hay (vocals and flute), Eelco Gelling (guitar), and Cesar Zuiderwijk (drums). Featuring a number of extended versions compared to the original studio recordings, the setlist was primarily composed of tracks from their albums "Moontan" (1973), "Seven Tears" (1971), "To The Hill" (1975), and "Contraband" (1976). However, the inclusion of so many tracks exceeding nine minutes (seven in total) comes at the expense of other great classics from the band, omitted due to space constraints. Even so, the included songs are excellent examples of why Golden Earring were always considered a better live band than a studio band. This double album captures the immense intensity Golden Earring displayed on stage, from the extended "Radar Love" to The Byrds' psychedelic epic "Eight Miles High", passing through the powerful rock of "Candy's Going Bad", the magnificent tour de force "Mad Love's Comin' ", and the progressive hard rock of "Vanilla Queen". A brilliant repertoire performed with driving and powerful rhythms, where the dense sound of its two guitarists, along with the tight and precise rhythm section, propels the live music into grand instrumental passages, making this double album one of the most famous of the 1970s.

Toto Blanke-Spider´s Dance (1975)

Hans Otto Blanke, better known as Toto Blanke, was one of the most renowned musicians of the European avant-garde jazz scene. Primarily known for his time with Association PC, led by Dutch keyboardist Jasper Van't Hof, he simultaneously launched a solo career, forming several bands in the style of American combos like the Mahavishnu Orchestra and Return to Forever, but with an added element of experimentation. His solo career began in 1975 with the release of his first album, "Spider's Dance". For this project, Toto Blanke assembled an impressive band comprised of Joachim Kühn (electric piano), "Charlie" Mariano (saxophone and flute), John Lee (bass), and Gerry Brown (drums), in addition to Blanke himself, who played both electric and acoustic guitars. In this debut album, the German guitarist makes no secret of his influences from energetic American jazz-rock/fusion with progressive elements, as demonstrated in a series of creative compositions, brilliantly executed by a band showcasing its enormous instrumental virtuosity. Pieces like the jazz-rock tracks "Lady's Bicycle Seat Smeller", "Spider's Dance", and "Intermission", are interspersed with more experimental works such as the complex "Slight Touch of Hepatitis" and the dynamic, avant-garde funk-jazz "Toto". Without a doubt, "Spider's Dance" is one of the most interesting works of European jazz-rock/fusion, a style that would continue with other highly creative albums by Toto Blanke, such as the later "Electric Circus" (1976) and "Tales of Tomorrow" (1978).

Gary Moore-Wild Frontier (1987)

In 1985, Gary Moore faced criticism from the press and his most devoted fans when he released his sixth album, "Run for Cover", which was accused of straying from his hard rock roots into a more conventional and commercial pop-rock sound. Two years later, Moore radically changed course and returned to his origins, releasing one of his most admirable works. Starting with its striking cover, the album showcases his Irish folk influences, masterfully and admirably fusing them with heavy rock. This epic tone with Celtic influences is reflected in the majestic "Over the Hills and Far Away" and the more energetic "Thunder Rising". However, it is the melodic rock tracks that dominate this new recording, such as "Johnny Boy", "Wild Frontier", and "Take a Little Time". The strange but convincing version of the Easybeats' song "Friday On My Mind" and the splendid instrumental "The Loner", along with all the previous ones, are valid and indisputable arguments for the musical excellence of this extraordinary album by the Irish guitarist.