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.