Hannibal-Hannibal (1970)

Brass rock wasn't exclusively an American style; bands from other parts of the world also emerged that fused jazz with rock, classical music, blues, and progressive rock, but they had less media and commercial success than the genre's flagship bands, such as the American groups Chicago Transit Authority, Blood, Sweat & Tears, If, A.B. Skhy, and Dreams. Hannibal was one of those bands that emerged in the wake of the aforementioned groups and was formed in Birmingham, England, in the late 1960s. Short-lived, they only released one album in 1970, featuring Alex Boyce (vocals), Adrian Ingram (guitar), Bill Hunt (Hammond organ), Cliff Williams (tenor saxophone and clarinet), Jack Griffiths (bass), and John Parkes (drums). With a style based on elaborate compositions that navigate between blues rock and jazz rock, this band would manage to create an excellent repertoire in which the avant-garde jazz "Winter", the blues rock-jazz "Wet Legs" and "Look Upon Me", the hypnotic and psychedelic "Winds of Change", the experimental jazz-blues "Bend for a Friend" or the dark and progressive "1066" stood out.

UFO-Lights Out (1977)

UFO are legends within the world of hard rock, but they were almost equally unfairly relegated by many fans to mere second-rate acts compared to other great bands of the genre, despite having produced a colossal and brilliant discography. One of those impressive works is their mythical "Lights Out", a true masterpiece of British hard rock, released in 1977 as their sixth album up to that point. The mere presence of guitarist Michael Schenker, demonstrating his enormous talent and virtuosity, is more than enough reason to consider this album a simply masterful work. But in addition to Michael Schenker, Phil Moog showcases his excellent vocal range, delivering a memorable performance, as does the rest of the band, composed of Paul Raymond (guitar and keyboards), Pete Way (bass), and Andy Parker (drums). Power, rhythm, melody and energy are what UFO leaves on record in the grooves of this album, highlighting the vigorous "Too Hot to Handle With", "Just Another Suicide", "Gettin' Ready" and "Electric Phase", in addition to the semi-progressive epic "Love to Love", while the beautiful ballad "Try Me", or the successful version of the Americans Love, "Alone Again Or", put the brakes on such a robust repertoire of magnificent songs of the best hard rock of the late 70s.

Casiopea-Casiopea (1979)

Casiopea symbolizes the best of Japanese jazz, inspired by smooth jazz, funk, and rock—a group that has been one of its leading exponents for decades. This Japanese band has always revolved around its leader and principal composer, Issei Noro (guitar), the only member who has remained with the band since its founding in the mid-seventies, despite countless lineup changes over nearly five decades. Several years after its formation, and after successful participation in various jazz festivals, they released their first full-length album with Minoru Mukaiya (keyboards), Takashi Sasaki (drums), and Tetsuo Sakurai (bass). This debut also featured collaborations with three of the greatest musicians on the North American jazz fusion scene: David Sanborn, Michael Brecker, and Randy Brecker. Although their style was still developing, on this first recording, the Japanese band created a fascinating fusion album blending melodic jazz, vigorous rock, and rhythmic funk. The funk rhythm is present throughout much of the album, especially in the dynamic tracks "Dream Hill" and "Black Joke." Meanwhile, the progressive "Space Road," the smooth jazz of "Tears of the Star," and the addictive jazz fusion of "Swallow" showcase Casiopea's great eclecticism. From this point on, the band would enjoy a prolific career, releasing over fifty albums, both studio and live, making them one of the most prolific labels in the history of jazz-rock.

Moon Martin-The Very Best of Moon Martin (1999)

John David Martin (better known as Moon Martin) is one of the most intriguing artists of the new wave movement. He began playing in several local Oklahoma bands in the late 1960s before moving to Los Angeles and forming a band called Southwind, with whom he released three albums that had little impact. However, his work as a songwriter and session musician for artists such as Linda Ronstadt and Gram Parsons, among others, paved the way for his solo career. In 1978, he released his first album, "Shots from Cold Nightmare", which featured several standout tracks, including "Nights Thoughts", "Victims of Romance", "Cadillac Walk" (which became famous after being recorded by Willie DeVille), and especially "Bad Case of Loving You" (released by Robert Palmer a year later, which became a major commercial success). From then on, some of his songs were included on the albums of various artists, and Moon Martin established himself as a solo artist. The new album "Escape from Domination" (1979) and the singles "Rolene" and "No Chance" are key pieces, ushering in the 1980s with the LP "Street Fever", which cemented his status as one of the best artists of the following decade. In 1979, Moon formed his own group, The Ravens, with Jude Cole (guitar), Dennis Croy (bass), and Rick Croy. In 1982, he released his fourth album for Capitol Records, "Mystery Ticket", followed in 1984 by "Mixed Emotions". From this point on, Martin distanced himself from his solo career and dedicated himself to songwriting for other musicians, although he released a few albums in the following decades with little commercial success. Tracks like "Bad Case of Loving You" more than justify why this man went down in pop-rock history. It has all the ingredients of a great song: warmth, rhythm, desperation, a catchy chorus, and unforgettable guitar riffs.

Magna Carta-Lord Of The Ages (1973)

Magna Carta is one of the most talented bands to emerge in the late 1960s amidst the burgeoning British folk progressive movement. Formed in London in 1969 by Chris Simpson, Glenn Stuart, and Lyell Tranter, they quickly became one of the most promising English folk-rock groups, drawing on influences from the American West Coast style of The Byrds and the British folk of Fairport Convention, all wrapped in orchestral arrangements and rich vocal harmonies. Their first albums, "Magna Carta" (1969), "Seasons" (1970), and "Songs From Wasties Orchard" (1971), were released in this stylistic vein. Two years later, the band underwent its first lineup changes, with guitarist Stan Gordon replacing Tranter, and the addition of Dave Peacock on bass, Gerry Conway on drums, Danny Thompson on double bass, and Jean-Alain Roucel on keyboards. With this lineup, they recorded "Lord of the Ages", the album that would definitively establish Magna Carta's reputation. Beneath its enigmatic cover, designed by Roger Dean, this album is Magna Carta's most progressive production, featuring the epic title track nearly ten minutes of sweeping progressive passages the addictive "Wish It Was", the restrained folk of "Two Old Friends", the medieval-tinged "Falkland Green", and the melancholic "Father John". "Lord of the Ages" is a masterpiece of British progressive folk, an album brimming with refined details and, with certain jazz influences, became Magna Carta's debut work.