Hot Tuna-Yellow Fever (1975)

In 1975, Hot Tuna, the band led by former Jefferson Airplane members Jorma Kaukonen and Jack Casady, decided to shift their blues-folk style, which characterized their first four albums, towards a harder, blues-rock sound. "America's Choice" would be the first of this new phase for the group, dubbed "The Rampage Trilogy", and characterized by this new stylistic direction. Six months after the release of "America's Choice", came "Yellow Fever", the group's seventh album, which, like its predecessor, featured a new drummer, Bob Steeler, replacing Sammy Piazza. Long instrumental developments, heavy rock with distorted riffs and dense blues sounds are the common denominator of a repertoire composed of pieces such as the boogie rock "Baby What You Want Me To Do", the hard rock "Free Rain" and "Half/Time Saturation", the psychedelic southern "Sunrise Dance With the Devil", the blues rock "Hot Jelly Roll Blues" and "Song for the Fire Maiden", or the energetic instrumental "Surphase Tension".

Julie Driscoll, Brian Auger & Trinity-Streetnoise (1969)

Julie Driscoll was a singer heavily influenced by rhythm and blues and jazz, genres that were somewhat niche or highly stylized commercially, and very likely even more difficult for a woman in the sixties, who was sometimes pressured to compromise in order to reach the mainstream charts with songs like "Road to Cairo" or "Take Me to the Water". She was a singer with deep, heartfelt emotions, with a strong vocal tone that sounded more like a Black voice than a white one. With her, pop music gained one of the most fascinating and unique singers in its history. But to speak of Julie Driscoll is to speak of Brian Auger; their careers ran parallel until 1969, the year they separated. Together, however, with the group Trinity, they forged a powerful musical bond. For a time, they were the best group that ever existed in that style. Julie's voice, Auger's masterful organ playing, and the band's magnetism created extremely important works, primarily a double album, now considered an absolute masterpiece: "Streetnoise" (1969), which is undoubtedly the work that best showcases the genius of both artists. On this album, Driscoll reaches unparalleled maturity with lyrics full of humanity, sadness, pain, respect, and gentleness, manifested in magnificent songs like "When I Was a Young Girl" or the masterful "Czechoslovakia". The album contains an amalgamation of styles ranging from jazz to gospel, without abandoning rock, with nods to soul and even experimental progressive sounds. Composed of original tracks and covers of greats like The Doors, Richie Havens, Nina Simone, and Miles Davis, it forms a complex yet surprising and unique record.

Brian Auger & The Trinity-Befour (1970)

In 1969, Julie Driscoll decided to leave Trinity, the band she led with Brian Auger, with whom she had released some of the best rhythm and blues and jazz fusion rock albums of the 1960s ("Open", "Jools and Brian", and "Streetnoise"). Despite this significant departure, Brian Auger decided to carry on, recruiting guitarist Gary Winston Boyle. Together with the rest of the lineup,Dave Ambrose (bass), Clive Thacker (drums), and Auger himself (keyboards and vocals), they recorded Trinity's sixth album, "Befour", released in mid-1970 by RCA. Drummers Mickey Waller, Barry Reeves, and Colin Allen also contributed to the album. On "Befour", Auger presents a series of surprising jazz-rock and groovy fusion covers, driven by Brian Auger's brilliant work on the Hammond organ and Boyle's phenomenal guitar style. The ingenious interpretations of the classics "Pavane" and "Adagio per Archie e Organo" showcase Brian Auger's intelligent style, which, far from seeming pretentious, demonstrates his incredible mastery of the organ. The atmospheric version of Traffic's "No Time to Live" is performed in a haunting manner, while the audacious cover of Herbie Hancock's "Maiden Voyage" is unorthodoxly but equally effectively redirected to the territory where the band excels. The exuberant "Listen Here", a brutal fusion of jazz-rock rhythms with four drummers and two bassists delivering undeniably powerful sounds, and the captivating "Just You Just Me" are tracks that foreshadow the direction Auger and Oblivion Express will take in the following years. The latter is a hypnotic piece of repetitive rhythms with intricate guitar work and captivating, atmospheric organ solos. With this album Brian Auger once again created a work that was as vibrant as it was captivating, and a true masterpiece of early 70s jazz rock.

Kansas-Freaks Of Nature (1995)

"Freaks of Nature" marked Kansas' return in the 1990s, an album preceded by the conceptual "In the Spirit of Things" from seven years prior. However, after all those years, much had changed within the group, and with a revamped lineup, Robby Steinhardt, Kerry Livgren, Dave Hope, and Steve Morse were no longer present, replaced here by Greg Robert (keyboards), Billy Greer (bass), and David Ragsdale (violin and guitar), while original members Steve Walsh (vocals and keyboards), Phil Ehart (drums), and Rich Williams (guitars) led this new incarnation of the Topeka band. The first thing that stands out is the return of the prominent violin of yesteryear, after several albums where it had lost the prominence it displayed in their 1970s work. Another characteristic of this new release is its departure from the melodic rock sounds of the eighties, taking a step back towards the progressive rock of the seventies, but with a strong emphasis on hard rock. This progressive hard rock style is present in tracks like "Desperate Times", where violinist Ragsdale and the powerful instrumental section drive a magnificently executed piece. The melodic "Hope Once Again" becomes one of the highlights, contrasting with the heavy "Black Fathom 4", the exotic "Need", and the acoustic "Peaceful and Warm". On the other hand, the most progressive moments are embodied by the dramatic "Under The Knife" and the complex "Cold Grey Morning". In short, "Freaks Of Nature" marked the return of the most eclectic and effective Kansas, undoubtedly a great starting point for their subsequent releases, which would continue with the orchestrated "Always Never The Same" (1998) and the epic "Somewhere to Elsewhere" (2000).

Art Blakey & The Jazz Messengers-Moanin´ (1959)

Art Blakey was a drumming prodigy, a leader who perfectly combined talent, skill, technique, power, and subtlety. Along with other legendary drummers like Max Roach and Kenny Clarke, he invented the modern bebop drumming style. His hard bop style, infused with blues elements and funk rhythms, was fundamental in influencing subsequent generations of drummers worldwide. Blakey mastered swing tempos like no other; he knew how to complement his style within a band, employing his instrumental technique to provide the necessary drama and inspiration. For many years, Blakey led one of the most formidable jazz bands, The Jazz Messenger, which featured some of the greatest musicians of the era, including Wynton Marsalis, Lee Morgan, Wayne Shorter, and Clifford Brown. All these facets and qualities are perfectly represented in his album "Moanin'" with The Jazz Messenger, which was released under the Blue Note label in early 1959. The soul-infused jazz style of the title track, a composition written by pianist Bobby Timmons, was very popular during the 1960s. On this album, saxophonist Benny Golson also composed four extraordinary tracks, including "Blues March", "The Drum Thunder Suite", and "Along Came Betty", all of which are modern jazz standards, in which Blakey displays his dazzling instrumental prowess.

Morse Code-La Marche Des Hommes (1975)

Behind the name Morse Code Transmission lies one of the key players in the early Canadian avant-garde rock scene. Between 1971 and 1994, they released seven compelling albums rooted in classical symphonic rock. Founded in Montreal in the late 1960s, their initial lineup consisted of Christian Simard (vocals and keyboards), Jocelyn Julien (guitar), Peter Schenkman (cello), Al Cherny (flute), Michel Vallée (bass), and Raymond Roy (drums). Their debut album, released in 1971, and their second, released a year later, showcase a style still lacking a clear musical direction, but where psychedelic folk sounds and baroque pop serve as the common thread. Three years later, with guitarist Julien replaced by Daniel Lemay, and the band shortened to Morse Code, they released their third album, "La Marche Des Hommes", a more evolved work where the band reached full compositional maturity. This album produced a remarkable work that moves between hard rock and progressive rock, a style that placed them somewhere between the more pastoral and theatrical Genesis and a softened version of 1970s British hard rock bands. Tracks like the memorable and ethereal title track are the prelude to a delightful repertoire of excellent symphonic songs such as "Qu'est-Ce Que T'as Compris?", "Une Goutte De Pluie", and "Cocktail", which together form a remarkable example of classic 1970s progressive rock.

Sad Cafe-Facades (1979)

Sad Cafe were another of those unclassifiable bands that navigated between melodic pop-rock and art rock. Formed in the mid-70s in Manchester, they had several high-impact hits such as "Every Day Hurts", "Strange Little Girl", "My Oh My", and "I'm in Love Again", reaching high positions on the UK charts. Their lineup consisted of Paul Young (vocals), Ian Wilson (guitar), Vic Emerson (keyboards), Ashley Mulford (guitar), John Stimpson (bass), and Tony Cresswell (drums). In 1977, under the RCA label, they released their debut album, "Fanx Ta-Ra", in which their refined style of harmonious pop-rock caught the attention of critics and audiences in Britain and Europe. With their next album, "Misplaced Ideals" (1978), they maintained their status as a promising band, creating another magnificent album of great melodies with irresistible vocals, complemented by excellent and sophisticated instrumentation. "Facades", released a year later, was produced by the renowned 10cc member Eric Stewart, resulting in their most eclectic work, ranging from the melodic hard rock sounds of "Take Me To The Future" to complex compositions like "The World", passing through the catchy pop-rock of "Little Girl", the grandiose melodies of "Nothing Left Toulouse", and the sublime mid-tempo of "Get Me Outta Here".

Foghat-Fool For The City (1975)

"Fool For The City" was the fifth album by the hugely popular boogie rock and hard blues rock band Foghat, a record that would achieve platinum status thanks to tracks like the well-known "Slow Ride", and reach high positions on the charts worldwide in 1975. Formed in 1971 in London from the ashes of another seminal British blues rock band, Savoy Brown, by guitarist Dave Peverett along with guitarist Rod Price, bassist Tony Stevens, and drummer Roger Earl, they quickly gained a tremendous reputation in the United States thanks to their incendiary concerts and their simple yet direct style of hard rock boogie. "Fool For The City" consists of seven essential hard rock, boogie, and blues rock songs that immortalized them thanks to tracks like the aforementioned "Slow Ride", an extensive tour de force of vibrant, fiery rock and roll. But this album is not just about this emblematic song; it also features the dizzying and addictive hard rock that gives the album its title, the rock and roll "My Babe", the powerful blues rock "Terraplane Blues", the rhythmic "Save Your Loving (For Me)" or the melodic with jazzy touches "Take It or Leave it".

Chris Farlowe-From Here To Mama Rosa with The Hill (1970)

Chris Farlowe is considered one of the best voices in British Rhythm and Blues and a true legend of British rock music. With a strong personality, he belonged to various bands during the 1960s, always leaving his distinctive mark with his unique voice. His hesitant beginnings as a solo singer, releasing a series of unremarkable albums, ended when he formed the Thunderbirds, a band with which he released some significant hits that secured him a certain reputation among professional musicians in his country. Interestingly, in this first lineup, he coincided with future British rock legends Dave Greenslade and Carl Palmer. However, they didn't achieve widespread public acclaim, a fact that earned him the status of a great figure without a following. But in the mid-1960s, Rolling Stones frontman Mick Jagger agreed to produce his song "Think", with which he finally achieved the long-awaited success. In the following years came other hits like "Just a Dream", "Out of Time", and "Yesterday's Papers", which cemented his status as one of the leading figures in the music scene of the era. In 1970, Farlowe, along with the Thunderbirds, now reformed as The Hill, composed of Steve Hammond (guitar), Peter Robinson (Hammond organ), Bruce Waddell (bass), Paul Buckmaster (cello), and Colin Davey (drums), recorded the album "From Here to Mama Rosa with the Hill", considered a minor masterpiece of British rock. This album, a departure from his previous rhythm and blues recordings, was framed by the bombastic orchestral sounds of psychedelic and avant-garde pop, enveloped in brilliant progressive sonorities such as "Mama Rosa", "Head in the Clouds", "Winter of My Life", "Are You Sleeping?", "Questions", and "Travelling Into Make-Believe". From here, Farlowe would move between a series of collaborations with the legendary bands Colosseum and Atomic Rooster, as well as his own solo career, releasing albums regularly until 2014 when his last work appeared.

Rose Tattoo-Rose Tattoo (1978)

Like their compatriots AC/DC, Rose Tattoo is an Australian hard rock band that shares many similarities with the legendary group led by the Young brothers. Founded in the mid-70s in Sydney, their main driving force was vocalist Angry Anderson, who, along with guitarists Peter Wells and Mick Cocks, bassists Geordie Leach and Ian Rilen, and drummer Dallas Royall, managed to get the same producers as AC/DC to back their first recordings on the Australian independent label Alberts. At the end of 1978, Rose Tattoo released their self-titled debut album, showcasing a fast-paced and powerful hard rock sound, as evidenced by the raw and visceral tracks "Never Too Loud", "Rock 'n' Roll Outlaw", "Nice Boys", "Stuck On You", and "Remedy". In the following years the band would gain a great reputation and tremendous success due to their acclaimed concerts throughout Europe, which would allow them to conquer the British and European market with the subsequent album "Assault & Battery" (1981).

Atlantis-Atlantis (1973)

After the German band Frumpy disbanded, some of its members decided to form a new group called Atlantis, which moved away from the psychedelic and avant-garde approach of its predecessor, exploring styles such as blues, funk, soul, and American hard rock with progressive influences. Formed in mid-1972 by singer Inga Rumpf, keyboardist Jean-Jacques Kravetz, and bassist Karl-Heinz Schott, they recruited guitarist Frank Diez and drummer Curt Cress. Shortly after their formation, they moved to London where they entered Island Records studios to record their debut album. However, before recording, Kravetz was replaced by keyboardist Jean-Alain Roussel, and Traffic percussionist Reebop Kwakuh Baah also participated in the recording sessions. Subsequent tours of the UK, opening for Traffic and Procol Harum, marked the beginning of a constant turnover of members. In the middle of the following year came the band's second album, "It's Getting Better", which was followed by another successful tour and further personnel changes. In 1974, after their third album, "Ooh Baby", the band embarked on a long tour of the United States as the support act for Lynyrd Skynyrd. The following LP, "Get On Board", would be Atlantis's final epitaph, with Rumpf and Schott, the only two remaining members of the original lineup, bringing the adventure of this magnificent German band to an end. Focusing on their successful debut album (which achieved considerable sales on the British and North American charts), we find a varied sound of styles, from blues, soul and classic rock as is evident in "Get Up", "Rock'n' Roll Preacher", "Maybe It's Useless", "Words Of Love" and "Let's Get On The Road Again", to progressive pieces with the extensive and excellent "Living At The Edge Of Time".

Finch-Beyond Expression (1976)

A year after their debut album, the impressive "Glory Of the Inner Force", the Dutch progressive rock band Finch continued their adventure with the more experimental "Beyond Expression", a less frenetic and more challenging album than its predecessor. Finch have always been characterized by their unpredictable style, fusing energetic rock with more serene and spacious interludes, utilizing an arsenal of analog keyboards such as mini-Moogs and the Mellotron. However, on this album, Joop Van Nimwegen's guitar takes center stage, delivering many passages with great technique and impressive feeling. The suite "A Passion Condensed" stands out as their masterpiece, featuring superb instrumental layers, while the epic "Scars On The Ego" is their most metallic and hypnotic moment, with searing guitars. To finish this second album comes the dynamic "Beyond The Bizarre", the only one of the three tracks that make up the album where they approach the band's more usual sound.

The Tremeloes-Greatest Hits (1970)

The Tremeloes were a British band that began their career in the early 1960s and had several hits that made them world-famous. The band consisted of singer Brian Poole, guitarist and vocalist Alan Blakley, guitarist Graham Scott, bassist and saxophonist Alan Howard, and drummer and vocalist Dave Munden. The addition of Rick West to the group, replacing Scott, was crucial, as the newcomer had connections with producer Jimmy Grant, who chose The Tremeloes over The Beatles to sign them a disastrous decision that will go down in history as one of the biggest mistakes in pop music. They started with the Decca record label, but initially, the label began to question the group's artistic ability after releasing several singles with little success. After releasing "Twist and Shout", originally by the Isley Brothers and also popularized by The Beatles, the band began to emerge from obscurity in the UK, achieving stardom with "Do You Love Me". In 1964, further successes followed, and in 1965, and again a year later, they left Decca to join CBS. In 1967, The Tremeloes began to shine without Poole, who had left the band, reaching number 1 on the charts worldwide with "Silence Is Golden". Commercial successes continued in the following years, but always with covers of other artists' songs. At the height of the psychedelic era, The Tremeloes tried to remedy this lack of original material with "Helule, Helule", which put them back at the top of the charts. Later, Bob Dylan's "I Shall Be Released" became another hit. However, in 1968, they continued recording with little commercial success. In 1969 they achieved resounding success with "Once a Sunday Morning", and the songs "(Call Me) Number One" (69) and "Me and My Life" (70) also reached high positions in the British and European charts. In the 1970s they had some hits in Europe and over the years they continued recording but without the success of their earlier years.

Poco-Ghost Town (1982)

Well into the 1980s, the American band Poco was far from their glory days of the early 1970s, yet they continued to produce commendable work that kept them at the forefront of country rock. In 1982, they released their fifteenth album, "Ghost Town", featuring only two of their original members, guitarists Paul Cotton and Rusty Young, while the rest of the lineup consisted of Charlie Harrison (bass), Steve Chapman (drums), and Kim Ballard (keyboards). At this point, the band continued to offer that melancholic country rock style, bathed in brilliant vocal melodies and adorned with influences of catchy, harmonious, and melodic rock. The rich vocal harmonies of "How Will You Feel Tonight", the nods to the past with the country rock "When Hearts Collide", "The Midnight Rodeo (In The Lead Tonight)" or "Love's So Cruel", the addictive mid-tempo "Ghost Town" and the irresistible country "Cry No More" and "Break Of Hearts", reflected a remarkable work, despite being very far creatively from their legendary early albums.

The Chieftains-A Chieftains Celebration (1989)

The Chieftains are undoubtedly Ireland's walking ambassadors, having managed over nearly five decades to become a mainstream Irish folk music group while maintaining the versatility, roots, coherence, and spontaneous, natural personality of their native culture. Formed by piper Paddy Moloney in 1964, he brought together renowned Celtic instrumentalists such as Michael Tubridy, Sean Potts, Martin Fay, David Fallon, Peader Mercier, Sean Keane, Kevin Conneff, and Matt Molloy, some of whom are still part of the band today. Their music, through traditional and popular, has evolved into more contemporary and diverse sounds, even subtly and occasionally fusing Celtic music with other genres like jazz and rock. Their numerous collaborations over the years include some fifty artists of the caliber of Ry Cooder, Van Morrison, Elvis Costello, Mark Knopfler, Gary Moore, Bela Fleck, Roger Daltrey, Jackson Browne, Art Garfunkel, The Rolling Stones, Sting, Diana Krall, and Emmylou Harris. Six-time Grammy Award winners, the BBC Lifetime Achievement Award, and the honorary title of Irish musical ambassadors by the Irish government are just some of their many artistic achievements. With over fifty albums released, it would be impossible to single out one above the others, but it is undoubtedly "A Chieftains Celebration", a compilation released by RCA Victor in the late 1980s. Besides offering an exceptional retrospective of their first 30 years of dominance within Irish folk music, it was released to commemorate the millennium of Dublin.

Giant-Last Of The Runaways (1989)

Giant is an American band formed by a group of session musicians from various Los Angeles studios. The band members are brothers Dann and David Huff (guitar and drums, respectively), bassist Mike Brigadello, and the experienced keyboardist Alan Pascua, a musician with a highly successful past collaborating with Rick Springfield, Santana, Bob Dylan, and House of Lords, among others. In 1989, they moved to the UK, where, under the production of Terry Thomas, they recorded their debut album at Ridge Farm Studios in Rusper. On this debut, titled "Last of the Runaways", the Los Angeles group showcases exquisite AOR with beautifully crafted melodies and catchy choruses, all underpinned by the power of melodic hard rock. Tracks like "I'm a Believer", "I Can't Get Close Enough", "I'll See You in My Dreams" or more melodic pieces like "Love Welcome Home", catapulted them to share the top of melodic rock with the iconic bands of those years.

Catfish-Get Down (1970)

Catfish was a blues band from Detroit, and like so many others, a perfect example of what they could have been but never were. Formed in the late sixties by guitarist Bob "Catfish" Hodge, who, along with Mark Manko (rhythm guitar), Harry Phillips (keyboards), WR Cooke (bass), and Jimmy Optner (drums), built a strong reputation on the blues-rock circuit in the Motor City. Recognizing the band's great potential, Epic Records signed them and produced their promising debut album in 1970. On this first release, the band showcased a blend of powerful blues seasoned with country rock. Titled "Get Down", this debut album from this talented band brilliantly showcases their versatility, ranging from the bluesy "300 Pound For Mama" to dusty country tunes like "Sundown Man", lysergic psychedelic explorations like "Reprise; Catfish/Get High, Get Naked, Get Down", and heroic compositions such as "Love Lights". Despite widespread praise and acclaim, the album failed to achieve the success it deserved beyond the local and statewide scene in Michigan. From then on, they became regular opening acts for major media sensations like Black Sabbath, Bob Seger, and Ted Nugent. A year later, they tried again with the live album "Live Catfish", which, like its predecessor, failed to find mainstream appeal, precipitating the final farewell of one of the most promising bands in American blues rock.

Supersister-To The Highest Bidder (1971)

Alongside bands like Focus, Kayak, Shocking Blue, Golden Earring, and Finch, Supersister were one of the best Dutch groups, although they received less media attention than the others. This quartet, comprised of Robert Jan Stips (vocals and keyboards), Sacha van Geest (flute and vocals), Ron van Eck (bass), and Marco Vrolijk (drums), oriented their style towards the Canterbury sounds, jazz-rock, and the complex, humorous satire of Frank Zappa's Mothers of Invention. With "To the Highest Bidder", their second release, they continue down the musical path laid out on their debut album, where flautist Van Geest's role is as essential as it is entertaining, showcasing the dynamics of free jazz and progressive jazz. This progressiveness is reflected in the expansive tracks "A Girl Named You" and "Energy (Out of Future)", distinctly avant-garde pieces with exotic and Latin elements, imbued with a certain instrumental grandiosity. The rest consists of more introspective and calm tracks that navigate between Caribbean music and jazz rock.

Al Di Meola-Scenario (1983)

The 1980s were not an easy time for bands and musicians who had begun their artistic careers in the early 1970s, adapting as best they could to the changing musical landscape. Jazz rock was no exception, and as such, the style subtly shifted towards more modern sounds, with a massive use of new technologies, such as drum machines, synthesized guitars, and the latest generation of synthesizers. This is precisely what Al Di Meola sought to capitalize on with his sixth album, "Scenario", released in 1983. On this album, he shared the spotlight with another giant of 1970s jazz rock, Jan Hammer, with his arsenal of keyboards and synthesizers. In this release, Meola utilizes a range of modern instruments, such as the Roland synthesized guitar and the Fairlight CMI, in addition to his usual electric and acoustic guitars. The album also features guest appearances from various musicians, including drummers Bill Bruford and Phil Collins, and bassist Tony Levin. While not reaching the heights of their iconic earlier works such as "Land Of The Midnight Sun" (1976), "Elegant Gypsy" (1977), "Casino" (1978) or "Electric Rendezvous" (1982), this new release is an enjoyable album where the intricate and sophisticated programming, along with the guitars and keyboards of both musicians, are the most relevant aspects of a repertoire composed of outstanding songs such as the refined, slightly Mediterranean melody "Mata Hari", the exotic "African Nights", the synth-funk "Cachaca", the hypnotic "Calliope" or the vintage jazz-rock "Scoundrel".

Rush-Presto (1989)

With "Presto," the Canadian band Rush closed another chapter in their history, simultaneously creating an album that marked a return to their original sound, giving greater prominence to rock guitars at the expense of the synthesizers of their previous four albums. This shift stemmed from a point where their keyboard-driven, techno-heavy style had reached a stagnation, offering no possibility of further evolution. This radical change is evident in tracks like "Show Don't Tell", a song where Alex Lifeson and his guitars reclaim their lost ground. Similarly, Neil Peart's philosophical lyrics remain present in compositions of exceptional instrumental prowess, as exemplified by tracks like "Hand Over Fist", "Anagram (For Mongo)", "The Pass", "Presto", and "Available Light". This album would receive great acceptance from his millions of old and orthodox fans around the world, who viewed the album releases of the eighties with suspicion.

Captain Beyond-Captain Beyond (1972)

One of the most overlooked old-school supergroups was Captain Beyond, formed by former members of four iconic bands. They released three excellent albums: "Captain Beyond" (1972), "Sufficiently Breathless" (1973), and "Dawn Explosion" (1977). Formed in 1971 in Los Angeles by vocalist Rod Evans (ex-Deep Purple), guitarists Larry Rhino and Lee Dorman (ex-Iron Butterfly), and drummer Bobby Caldwell (ex-Johnny Winter Band), they drew inspiration from the styles of their parent bands, delivering hard rock and heavy sounds that permeate every groove of their three albums, albeit with a touch of avant-garde, especially on their second release. On "Raging River Of Fear", from their debut album, the heavy blues riffs stand out, as does the frenetic heavy rock track "Dancing Madly Backwards", which together form a general repertoire of high-octane rock pieces with acoustic and jazz interludes. With their next release, they began to incorporate much more stylistic variety and progressive influences, as demonstrated by the dynamic "Sufficiently Breathless", the jazz-rock with Latin tendencies "Everything A Circle", and the spacey "Starglow Energy". Finally, with their third release, "Dawn Explosion", they return to hard rock, albeit with a more organic and melodic tone, as shown by the captivating tracks "If You Please", "Fantasy", "Breath Of Fire", and "Midnight Memories".

Ralf Nowy-Lucifer´s Dream (1973)

Ralf Nowy was a talented German musician with a prolific artistic career, working as a producer, musician, composer, arranger, and musical director. In the 1960s, after graduating from the Stern Conservatory in Berlin, where he studied classical music, composition, arranging, and jazz, he formed several jazz bands, playing flute and saxophone. In 1963, he was chosen as the best soloist at the Berlin Jazz Festival. This award opened doors for him, leading him to direct the Forum Theatre in Berlin, become a production director, conduct the Saarländischer Rundfunk Orchestra of Saarbrücken, and collaborate with various German and European artists. In the early 1970s, he began collaborating with Giorgio Moroder on film soundtracks and composing numerous commercials for German television. Alongside all of this, he created his own music, releasing several albums focused on kraturock with a jazz influence. In 1973, he released his first album, "Lucifer's Dream", for which he recruited a large group of backing musicians from the German jazz and rock scene, including bassist Amon Düül II, Lothar Meid, and Missus Beastly guitarist Paul Vincent. "Lucifer's Dream" is primarily composed of a series of highly structured pieces with elaborate arrangements, recorded in spectacular quadraphonic sound, making it an exciting adventure into jazz fusion with clear cinematic undertones. A truly exquisite album, where the string arrangements, sophistication, guitars, and wind instruments combine to create a comforting musical experience.

Robin Trower-Caravan To Midnight (1978)

By 1978, Robin Trower was firmly established as one of the great guitarists of hard rock and blues, having already released a series of high-quality albums that went gold and platinum, including "Twice Removed From Yesterday", "Bridge of Sighs", "For Earth Below", and "Long Misty Days", all of which garnered favorable reviews and strong sales. Following the release of "Long Misty Days", Trower made changes to his band, bringing in bassist Rustee Allen and freeing James Dewar from that role to focus on vocals. In 1978, Robin Trower released his sixth album, "Caravan to Midnight", which featured percussionist Paulinho da Costa. While not reaching the heights of his earlier work on "Caravan to Midnight", Robin once again delivers a series of high-quality tracks showcasing his brilliant guitar skills, as demonstrated in the catchy "My Love (Burning Love)" and the hypnotic blues "Caravan to Midnight". Other cuts, such as the rhythmic "I'm Out to Get You", the addictive blues-rock "King of the Dance", and the ethereal "Sail On", confirmed his status as the phenomenal guitarist who came to be unanimously dubbed the "white Jimi Hendrix" by the press.

Dillard & Clark-The Fantastic Expedition of Dillard & Clark (1969)

Towards the end of the 1960s, the American folk and country rock scene was at its peak. Bands and artists like The Byrds, The Band, and Bob Dylan had contributed significantly to this, leaving behind moments of great splendor. It was in this context that Gene Clark (formerly of the Byrds) and Doug Dillard emerged. Dillard, a renowned bluegrass musician and banjo legend, is an icon of the most ancestral sounds of rural America. These two musicians joined forces and created an album that would redefine modern country rock, laying the foundation for all subsequent movements and subgenres that drew from American country and folk. "The Fantastic Expedition of Dillard & Clark" is not only a journey into the heart of rural America, but also a voice that championed a traditional style and way of life that endures today and will continue to do so long after we die. This album thoughtfully showcases a series of iconic country songs like "Out on The Side", bluegrass classics like "She Darkens The Sun", and laments and rural experiences such as "Train Laves Here This Morning", "The Radio Son", and "With Care From Someone". Without a doubt, this is one of the most innovative, fundamental, and essential works of American roots music, and a true masterpiece of the genre.

Gary Moore-Victims Of The Future (1983)

Today, no one doubts the enormous talent of the late Irish guitarist Gary Moore, a fundamental figure in the history of rock. However, he was often criticized by some media outlets and fans for his inconsistency and opportunism in taking advantage of the musical trends he experienced. It's true that Moore explored different musical styles, from jazz-rock with the band Colosseum II, to pure blues with albums like "Still Got the Blues" (1990), passing through musical detours close to pop-rock with "Run For Cover" (1985), forays into Celtic folk with "Wild Frontier" (1987), heavy rock with "Corridors of Power" (1982), and electronica with "Dark Days in Paradise" (1997), not forgetting his time with Thin Lizzy and their original style of hard rock. Even so, Gary Moore's soul was always influenced by blues and hard rock, as demonstrated on his first album with his band "Grinding Stone" (1973), or even earlier with the Skid Row project (not to be confused with the band led by Sebastian Bach in the 1980s). At the beginning of the 1980s, Gary Moore steered his style towards the prevailing sound of the time, heavy metal, with several highly acclaimed albums within the genre. One of these works was "Victims of the Future", released in 1983, which for many is his best solo work. Recorded entirely at Townhouse Studios in London, Moore enlisted the help of bassists Bob Daisley, Mo Foster, and Neil Murray, drummer Ian Paice, keyboardist Neil Carter, and Slade member Noddy Holder. This album contains some of the guitarist's best compositions, such as the beautiful mid-tempo "Empty Rooms" or the heavy rock tracks "Victims of the Future", "Murder in the Skies", "All I Want" or "The Law Of The Jungle", not forgetting an exciting version of The Yardbirds' classic, "Shape Of Things to Come".

Metallica-Ride The Lightning (1984)

If their debut album had subtly revealed the musical direction Metallica was heading in, their second album left no doubt about it. The intensity and raw power remained in this second release, but they also became more versatile, creating more complex and intelligent music. This shift is evident in the epic and brilliant "Fade to Black" and "Call of Ktulu", two tracks of great instrumental complexity that border on progressive sounds. However, glimpses of the frenetic thrash metal of their first album still lingered in the incredible and intricate "Creeping Death", "Fight Fire with Me", and "For Whom the Bell Tolls". This second album would put Metallica's name on the lips of millions of heavy metal fans around the world and pave the way for them to explore new horizons with great works in the years to come.

Metallica-Kill´Em All (1983)

In 1983, Metallica unleashed their fast, furious, and exhilarating thrash metal with one of the most stunning debuts in heavy metal history. An album of killer guitars, intense and brutal riffs, and a hyperactive and devastating rhythm section, showcasing a raw, direct, and ice-cold sound. Lyrically, they focused on death, hell, wars, victories and bloody defeats, rebelling against the political establishment, and much, much more. James Hetfield (guitar and vocals), Kirk Hammett (guitar), Cliff Burton (bass), and Lars Ulrich (drums) created an album that, unlike their subsequent releases, is composed of relatively simple pieces overall, albeit with somewhat complex instrumental structures. Influenced by the new wave of British heavy metal (Iron Maiden), the American and British heavy punk movement (Motorhead), and fusing these styles with the aggression and rawness of hardcore, this album showcases all these hallmarks, from the frenetic "Hit The Lights", "Motorbreath", "Whiplash" and "Phantom Lord", to the more complex and intricate developments of the semi-progressive "The Four Horsemen" and the superb instrumental "(Anesthesia) Pulling Teeth". With this debut, Metallica rebelled against all the easy-listening music of the time, breathing new life into heavy metal and hard rock in the early eighties, and simultaneously inspiring and influencing tens of millions of young people around the world.

Eloy-Colours (1980)

The German band Eloy's eighth album featured several changes compared to their previous album, "Silent Cries and Mighty Echoes", both in terms of the lineup and the stylistic shift. Drummer Jürgen Rosenthal and keyboardist Detlev Schmidtchen were no longer with the band, replaced by Jim McGillivray and Hannes Folberth respectively, while Frank Bornemann (guitar and vocals), Hannes Arkona (guitars), and Klaus-Peter Matziol (bass) remained at the helm. Regarding their sound, this release maintains a similar direction to its predecessor but with a more accessible and catchy feel, undoubtedly paving the way for future releases that will be more focused on progressive pop-rock without the complexity of the previous work. The simplest melodies, without the pretensions of yesteryear, appear in pieces like "Gallery", "Sunset" or "Impressions", while the progressive "Horizons" continues the tradition of their previous albums and the epic "Child Migration" becomes the high point of this "Colours".

Memoriance-Et Aprés (1976)

Memoriance was an obscure and forgotten French art rock and symphonic rock band that released two compelling albums during the 1970s, now highly sought after by the prog rock community. Formed in the mid-70s, their original lineup consisted of Jean-Pierre Boulais (guitar and vocals), Jean-François Périer (keyboards), Didier Guillaumat (guitar and vocals), Didier Busson (drums), and Michel Aze (bass). Their intelligent fusion of styles, encompassing classic symphonic rock and space rock, is prominently featured on their only recordings. On their debut album, "Et Après", the sounds of a galloping bass, refined and elegant guitars, and certain jazz elements predominate, all underpinned by great musicianship. Tracks like "Je Ne Sais Plus" showcase the virtuosity of its members, crafting a powerful yet melodic, progressive structure with continuous rhythmic shifts. Jazz rock appears in the instrumental "La Grange Mémoriance", while the group's theatrical side is reflected in the title track "Et Aprés", a diverse piece that includes both quiet moments and frenetic rhythms, ending with the accessible and conventional classic rock of "Tracsir". Three years later, they returned with the concept album "L'Écume des Jours d'Apres Boris Vian", based on a 1940s novel by the philosopher and writer Boris Vian. ​​After a maxi-single titled "Sparadrap/Téléphone", released in 1981, the band finally disbanded, bringing their interesting recording journey to an end.

Popol Vuh-In Den Gärten Pharaos (1971)

Popol Vuh were pioneers in expressing the diverse musical ideas that emerged in the late 1960s and early 1970s. With their second release, "In Den Gärten Pharaos" (1971), the band, led by Florian Fricke, demonstrated a clear evolution from their debut album released the previous year. In addition to Fricke (synthesizers, organ, and electric piano), the Popol Vuh lineup for this album included Betina (cymbals and production), Holger Trülzsch (Turkish, African, and Asian percussion instruments), and Frank Fiedler (Moog synthesizers). Comprising two expansive epics of genuinely hypnotic sounds, this is undoubtedly one of the great milestones of popular music, representing a fundamental step forward in the development and consolidation of the various musical movements that would follow. The nearly 20-minute title track, "In den Gärten Pharaos", establishes a surreal, cosmic adventure, with a multitude of ambient sounds and rich instrumentation that alternates between world music percussion, cymbals, organs, and synthesizers. In "Vuh", an even more extensive suite, the medieval church organ is the driving force behind the music, which, supported by synthesizers and the cacophonous sounds of cymbals and drums, creates a sound very close to trance and the deepest meditation. Without a doubt, despite its inaccessibility to the general public, "In den Gärten Pharaos" is a masterpiece of contemporary music and of the most experimental and innovative rock.

Hank Mobley-Soul Station (1960)

Unfairly overshadowed by contemporary musicians like saxophonists Sonny Rollins, Stan Getz, and John Coltrane, Hank Mobley was another of the great legends of hard bop and jazz soul. While not a mere innovator or pioneer, his career was remarkably prolific, releasing formidable albums for Blue Note Records between 1955 and 1970. His style, distinct from Coltrane's aggressive sound or Stan Getz's subtlety, was relaxed, delicate, and melodic. For Blue Note, he recorded some of the finest jazz albums, such as "Soul Station" and "Roll Call", albums of great musical and jazz solidity. In "Soul Station" (1960), Mobley surrounded himself with some of the great musicians of his time such as Art Blakey, Wynton Kelly or Paul Chambers, offering a masterclass in jazz starting with the anthological "I Remember" or the formidable "Dig Dis" and "If I Should Lose You", in which this talented musician also showed his tremendous ability to compose exquisite pieces of the best hard bop in history.

Return To Forever-Where Have I Known You Before (1974)

1974 was the year that the band Return To Forever, led by keyboardist Chick Corea, released their fourth album, "Where Have I Known You Before". On this album, they left behind their Latin jazz influences to delve into the more complex sounds of jazz-rock and fusion, a style that other groups like The Mashavishnu Orchestra were exploring at the time. Furthermore, this album featured the classic RTF lineup, fronted by the aforementioned Chick Corea and supported by drummer Lenny White, bassist Stanley Clarke, and guitarist Al Di Meola. Di Meola replaced Bill Connors, who left the band just as the recording of this album began. "Where Have I Known You Before" is a work that offers top-tier jazz-rock, where all four musicians contribute their own unique styles and sounds. Tracks like the dynamic “Vulcan Words” already demonstrate the perfect synchronization between all the band members, while “Shadow of Lo” is its counterpart, with rich atmospheric keyboard textures and a leisurely pace that gradually builds in intensity. The enthusiastic “Beyond the Seventh Galaxy” contrasts with the melody of “Earth Juice”, showcasing the accessibility of the band's music, while the sublime “Song to the Pharoah Kings” is the album's most elaborate moment, featuring expansive synthesizer sequences, exotic sounds leaning towards Latin influences, and Di Meola's energetic guitar work. With “Where Have I Known You Before”, Return to Forever began their anthological trilogy of essential jazz-rock albums, alongside the dazzling “No Mystery” (1975) and the apotheosis of “Romantic Warrior” (1976).

Return To Forever-Hymn Of The Seventh Galaxy (1973)

Return to Forever's career has been marked by diverse variations within jazz, from the progressive sounds of "Romantic Warrior" (1976) to the rock of "Hymn of the Seventh Galaxy" (1973), passing through the jazz fusion of their self-titled debut album (1972), and the forays into funk and Latin sounds of "No Mystery" (1975). For their third release, "Hymn of the Seventh Galaxy" (1973), band leader Chick Corea introduced a new guitarist, Bill Connors, who replaced singer Flora Purim, and a new drummer, Lenny White, who replaced Airto Moreira, while the rest of the lineup remained Chick Corea himself and bassist Stanley Clarke. On this new album, the band focused on a heavy jazz-rock sound driven by the virtuosity and surreal performances of all its members. Bill Connors's dissonant guitar style, Corea's delicate electric piano playing, and the formidable rhythm section comprised of Clarke's extraordinary bass and White's complex drumming result in an album brimming with dynamic, impeccably crafted jazz-rock pieces. From the brilliant title track to the ethereal "Alter the Cosmic Rain", and from the jazzy improvisation of "Captain Señor Mouse" to the groovy jazz of "Space Circus", this album stands as one of the finest and most essential jazz-rock albums of the 1970s.

Return To Forever-The Mothership Returns (2012)

With a title that is, to say the least, revealing, Return to Forever returned with a double live album 30 years after their last studio release, "Music Magic", in 1977. Featuring a lineup that included regulars Chick Corea, Stanley Clarke, and Lenny White, along with Frank Gambale replacing Al Di Meola and the addition of Jean-Luc Ponty, they undertook an extensive tour in 2011, from which the material included on the double album "The Mothership Returns" was taken. This double album is full of memorable moments, such as the opening "Medieval Overture" from the album "Romantic Warrior", with an incredible performance by all five members of a classic piece in their repertoire. This is followed by other highlights such as "Senor Mouse" and "The Shadows of Lo/Sorceress". It should be noted that the inclusion of Jean-Luc Ponty's electric violin gives a different dimension to the original sound of all the songs included here. On the other hand, while it's true that Frank Gambale could never be compared to Di Meola in acoustic guitar performances, it's equally true that his tremendous electric guitar skills are in no way lacking, even though his style is heavier and more rock-oriented than Meola's. In other tracks like "Renaissance", "After The Cosmic Rain", "Spain", "Beyond The Seventh Galaxy", and "School Days", Corea's piano, Clarke's funky bass, and Lenny White's dynamic drumming stand out for their talented instrumental performances, without in any way diminishing Ponty's violin flourishes and Frank Gambale's energetic guitar work.

Return To Forever-No Mystery (1975)

Beneath its typically psychedelic cover, Return to Forever's fifth album is another of their classic records, though somewhat overshadowed by its placement between their three masterpieces ("Hymn of the Seventh Galaxy", "Where Have I Known You Before", and "Romantic Warrior"). Released several years after the first two and a year before "Romantic Warrior", this fifth record is where the band, led by Chick Corea and supported by Al Di Meola, Stanley Clarke, and Lenny White, delves into the most overwhelming funk, as evidenced in tracks like "Dayride", "Sofistifunk", and "Jungle Waterfall", all from the first side of the original LP, where there are hardly any traces of the group's usual jazz-rock sound. However, it's the expansive jazz-fusion track "Flight of the Newborn" that brings a touch of sanity to the funky rhythms of the album's first half. As a counterpoint to that first side, the second side again showcases the frequent jazz rock with the brilliant "No Mystery" and "Celebration Suite", two compositions where all the musicians demonstrate their extensive instrumental abilities, forming together one of the essential works of jazz rock/fusion of the highest level.

Chick Corea-Return To Forever (1972)

Return to Forever's debut album (though technically a Chick Corea solo project) is a masterpiece of jazz fusion. Its iconic cover art transports us to the distinctive sounds of Corea's Fender Rhodes electric piano, accompanied on this occasion by Joe Farrell's vibrant flute and talented saxophone, Airto Moreira's Latin touch, Flora Purim's warm Latin American sensibility, and Stanley Clarke's understated yet effective double bass. The title track is a musical odyssey, navigating between warmth and mystery, melancholy and disquietness, while maintaining an excellent melody that allows the music to flow effortlessly. In contrast to this title track are "Crystal Silence" and "What Games Shall We Play Today?", two easy-listening pieces featuring Flora Purim's superb vocals. To finish the album comes the epic "Sometime Ago/La Fiesta", a huge 23-minute canvas that accommodates everything from Latin sounds, jazz fusion or melancholic features full of charm to traditional Spanish music, all without ever losing the connection between all those sounds and all those different musical environments.

Return To Forever-Musicmagic (1977)

1977 saw the release of Return to Forever's final jazz-rock album, a work recorded after the departure of guitarist Al Di Meola and drummer Lenny White, leaving only Chick Corea (keyboards) and Stanley Clarke (bass) as the band's founding members. For this album, the duo enlisted drummer Gary Brown and keyboardist/vocalist Gayle Moran, along with a large horn section. At the time, the album had its share of detractors for lacking RTF's usual jazz-rock punch, but despite the absence of a prominent guitarist, it still contains some good moments leaning towards jazz fusion. From the very beginning, the general feeling is that they are returning to the Latin jazz fusion of their early work, but as the minutes pass, that feeling gradually fades into the more conventional sounds of jazz fusion. Although the music here is also less ambitious, tracks like "The Endless Night", "The Musician" and "So Long Mickey Mouse" keep the creative bar quite high, even though this is undoubtedly one of RTF's least distinguished and appreciated releases by jazz rock/fusion fans.

Return To Forever-Light As A Feather (1972)

A year before reforming Return to Forever, adding an electric guitarist (Bill Connors) and venturing into the realm of powerful jazz rock, frontman Chick Corea was immersed in refined jazz fusion with clear Brazilian and Latin influences. Following his debut album recorded for the ECM label, Corea released the elegant "Light as a Feather" with Brazilian singer Flora Purim, drummer Airto Moreira, saxophonist Joe Farrell, and bassist Stanley Clarke. On this second recording, this lineup offers a warm setlist of island and Latin sounds, featuring the versatile "Captain Marvel", the epic "Spain", the classic "500 Miles High", the jazzy samba "You're Everything", and the bossa nova "Light As A Father". From this point on, only Chick Corea and Stanley Clarke would remain in Return to Forever for the next stage of the band, and yet the one that would record this "Light As A Feather" is undoubtedly responsible for one of the best jazz fusion albums of all time.

Jethro Tull-Heavy Horses (1978)

Following the formula of their previous album, "Songs From The Wood", Jethro Tull presented their eleventh album, "Heavy Horses", in which medieval British folk influences form the cornerstone of this release. This time, Ian Anderson emphasizes the unsustainable encroachment of urbanization into rural areas and its subsequent impact on wildlife and the countryside. This rural setting is reflected in music brimming with acoustic guitars courtesy of Martin Barre and Anderson, violins and orchestral arrangements by Darryl Way and David Palmer, and Ian Anderson's unmistakable flute. These structures underpin songs like "...And The Mouse Police Never Sleeps", "Acres Wild", "Moths", "One Brown House", and "Weathercock". However, they don't entirely abandon rock, featuring more sophisticated and energetic tracks such as the edgy "No Lubally", the semi-funky "Journeyman", and the progressive folk title track. "Heavy Horses" provided the best epilogue to a series of albums ("Minstrell In The Gallery", "Too Old To Rock'n'Roll; Too Young To Die!" and "Songs From the Wood"), where acoustic sounds and progressive folk had subtly replaced the energetic folk rock and progressive rock of "Aqualung", "Thick As A Brick", "A Passion Play" and "War Child".

Man-Be Good To Yourself At Least Once A Day (1972)

Man are undoubtedly the quintessential Welsh band. Despite their frequent lineup changes, they achieved legendary status thanks to a series of albums that resembled their American contemporaries, the Grateful Dead and Quicksilver Messenger Service, due to their long, improvised suites with riffs and extended guitar solos, their psychedelic style, and their influences from country rock and blues. In 1972, Man consisted of guitarists and vocalists Micky Jones and Clive John, keyboardist Phil Ryan, bassist Will Youatt, and drummer Terry Williams. With this lineup, they entered Rockfield Studios in Monmouth, Wales, to record their fifth album, "Be Good to Yourself at Least Once a Day". Featuring only four lengthy tracks ranging from eight to twelve minutes, this new release continues to showcase their experimental psychedelic side while achieving a greater balance between all the aforementioned styles. The relentless "C'Mon" opens this album, a true epic with doses of space rock, a shimmering Hammond organ, and explosive guitar improvisations. The instrumental "Keep on Crinting" moves between gentle country passages, the thick sounds of psychedelia, and subtle jazz touches. The astonishing acid rock track "Bananas" is another highlight, a classic from these Welsh musicians, straddling psychedelic rock and krautrock with a steady rhythm and excellent instrumental interplay. The album closes with the bluesy boogie "Life on the Road", where monumental instrumental passages and the two ingenious guitarists take center stage amidst the vocal sections.

Them-Them Featuring Van Morrison (1973)

Them was one of the most influential groups of the mid-1960s, creators of one of the genre's most famous hits, "Gloria", a true classic for many years and through countless versions by numerous artists and groups. Formed in Belfast in 1963, their original lineup consisted of Van Morrison on vocals, Billy Harrison on guitar, Alan Henderson on bass, Patrick McCauley on organ, and Ronnie Millinc on drums. Later, the group underwent several lineup changes without any impact on the band's quality, which was based almost exclusively on Van Morrison's overwhelming personality. In 1964, the group moved to London, and their first albums created a powerful climax around Morrison's personality and his almost soulful voice. "Baby Please Don't Go" and "Here Comes the Night", songs written by Bert Berns (author of other hits like "Shout" and "Hang on Sloopy"), catapulted them to stardom, but their biggest hit would be the aforementioned "Gloria", a number one hit in 1965 and one of the great songs of the 1960s. In 1965, they released their first album under the Decca label, "The Angry Young Them", which included the aforementioned "Gloria" and "Mystic Eyes", both written by Morrison, as well as covers of R&B classics. Them would go on to record many other brilliant tracks such as "Call My Name", "Here Comes the Night", "It's All Over Now", and "Baby Blue", among others. A year later came their second album, "Them Again", but in 1967, with only two albums recorded, Van Morrison disbanded the group to pursue a solo career. From then on, he became one of the most important figures in rock and blues worldwide, with a career that kept him out of the mainstream charts but placed him among the best solo artists of all time. In 1973, the compilation album "Them Featuring Van Morrison" was released, featuring the group's best songs.

Strawbs-Grave New World (1972)

Strawbs were one of the most original British bands due to their constant evolution, fusing English folk and progressive rock. Founded by guitarist and singer Dave Cousins ​​in the mid-1960s, they had to wait until almost the end of that decade to release their self-titled debut album. A year later, the addition of keyboardist Rick Wakeman gave them a more avant-garde style, steering their music towards symphonic rock, as demonstrated on "Dragonfly" (1970) and with greater emphasis on the following album, "From the Witchwood" (1971). However, after this latter release, Wakeman decided to join Yes and left Strawbs, being replaced by keyboardist Blue Weaver. Weaver, along with drummer Richard Hudson, bassist John Ford, guitarists Dave Cousins ​​and Tony Hooper, and with arrangements and production by Tony Visconti, recorded Strawbs' fourth album. In this release, the band presents a concept album about the life of man, from birth to death. "Grave New World", a title that references the novel by Aldous Huxley, contains everything from pleasant melodies, along with ironic and biting lyrics in the glorious "Benedictus", to psychedelic forays in "Queen Of Dreams", passing through the energetic guitars of "Heavy Disguise", the symphonic ballad "Flower and the Young Man", and the vigorous progressive rock of "Tomorrow", all interspersed with the folk interludes "On Growing Older" and "Ah Me, Ah My".

The Pretty Things-Savage Eye (1975)

In 1973, Led Zeppelin, along with their manager Peter Grant, founded their own record label, Swan Song Records, signing some of the most popular bands of the 1970s, such as Bad Company and The Pretty Things, who released several albums under their auspices. Focusing on the latter, The Pretty Things had maintained a very stable career since the mid-1960s with a style that navigated between psychedelic pop and proto-progressive rock. Albums like "S.F. Sorrow" (1968) and "Parachute" (1970) are considered two of the great masterpieces of the era. Even after their heyday, they continued to release commendable works focused on classic rock, such as "Freeway Madness" (1972), "Silk Torpedo" (1974), and the album we're discussing today, "Savage Eye", released in 1975 and, like the previous album, published under the aforementioned Swan Song Records. In this release, the band, comprised of Phil May (vocals), Jack Green (bass, vocals, and guitars), Peter Tolson (guitars and bass), Gordon Edwards (guitars, keyboards, and vocals), John Povey (keyboards), and Skip Alan (drums), focused on a repertoire primarily oriented towards conventional rock and the typical rock 'n' roll of the 1970s. Tracks like the monolithic, Zeppelin-esque "Under the Volcano", or the melancholic folk-pop-rock "Sad Eye", along with the grandiose "My Song", are more than enough to qualify this as a magnificent album. The rest, while not reaching the heights of the previous tracks, maintains a high level of compositional and instrumental quality, as demonstrated by the upbeat rock 'n' roll "It Isn't Rock 'n' Roll", the energetic rock of "I'm Keeping", and the relaxed pop-rock of "It's Been So Long".