Metropolis-Metropolis (1974)

In the spirit of krautrock and steeped in the authentic psychedelic sound of late 1960s America, Metropolis crafted a single album, combining diverse styles such as folk, theatrical vocals, and classic progressive elements. Formed by former Agitation Free member Michael Duwe (guitar and vocals), former Mythos member Thomas Hilderbarnd (drums), and former Ash Ra Tempel member Michael Westphal (bass and backing vocals), this German band's only recording was made in Munich in 1973 and released early the following year. The album also features vocalist Ute Kannenberg, keyboardist Michael Westphal, and guitarist and backing vocalist Helmut Binzer, among other musicians who contribute instruments such as oboe and flutes. The brass and string arrangements, the almost operatic vocals, and the grand Mellotron keyboards are the highlights of this magnificent album, resulting in a highly original and uplifting piece of music. The uplifting "Birth" opens an album that, from its very first notes, foreshadows an edifying musical adventure. The psychedelic "Metropolis" perfectly complements this sense of originality, which contrasts with the semi-operatic "Superplastikclub", followed by the complex "Dreamweaver" and the atmospheric, Hispanic-influenced "Glass Roofed Courts", culminating in the galloping progressive "Ecliptic". After this single release, Metropolis disbanded, with most of its members joining other prominent German bands of the time.

Hot Tuna-Burgers (1972)

While Hot Tuna, the band formed in parallel by several members of Jefferson Airplane, based their debut on traditional acoustic blues, their third release, "Burgers", sees the project led by Jorma Kaukonen (guitar and vocals) and Jack Casady (bass) fully embracing the electric sounds of blues rock and folk/country rock. The addition of violinist Papa John Creach, along with drummer Sammy Piazza and occasional appearances by David Crosby, Nick Buck, and Richmond Talbott, brings greater sonic diversity and the perfect balance that was still lacking in their earlier releases. Recurring themes such as the blues "99 Year Blues", the folk "Highway Song", the powerful "True Religion", the country "Keep on Truckin'", the evocative instrumental "Water Song", the bluegrass "Let Us Get Together Right Down Here" or the uplifting blues rock "Ode for Billy Dean" and the bluesy instrumental "Sunny Day Strut", are more than enough credits to vindicate the musical heritage of this formidable North American group.

Lee Michaels-Live (1973)

In 1972, organist Lee Michael achieved a surprising triumph with his fifth album, "5th", which showcased his complete mastery of the Hammond B3 organ and his eclectic rock sound infused with blues, soul, and jazz. Years earlier, at just five years old, Michael had begun playing the piano, which, along with the trombone, saxophone, and accordion, he would soon master with remarkable talent. After studying music for years in high school, he joined various bands, touring extensively throughout the United States and Canada during the 1960s. Then, one day in California, he saw Jefferson Airplane perform and became fascinated by the new musical movements emerging in late 1960s America. After forming his own band, he was signed to A&M Records, with whom he released his first album, "Carnival of Life", in 1968. A year later, he broke into the charts with his third release, "Lee Michaels", which featured an exciting cover of T-Bone Walker's blues classic, "Stormy Monday", as well as the hit "Heighty Hi". His style was based on the driving rhythms of his Hammond organ and the effective and dynamic drumming of Barry "Frosty" Smith. After several more albums, "Barrel" (1970) and "5th" (1971), the latter his biggest commercial success thanks to the hits "Do You Know What I Mean" and "Can I Gat a Witness", he released the live album "Live" in 1973. Recorded at New York's legendary Carnegie Hall, this album showcased Michaels' simple yet effective approach, centered on the organ with the only additions being drums for support, along with his own vocals. This approach had opened the doors to success and fame, and this live performance demonstrated it in a truly overwhelming way. Soul rhythms like "Thumbs", "War," and "My Lady" are interwoven with rock classics like "Rock My Baby", bluesy tracks like "Call It Stormy Monday", and energetic, hard-hitting songs such as "Day of Change" and "Mad Dog". After releasing several more albums, Lee Michaels eventually retired from music to manage his own famous restaurant, "Killer Shrimp", located in Marina del Rey, California.

Hermann Szobel-Szobel (1976)

Born in Austria, Hermann Szobel was a classically trained pianist who, in the mid-1970s, released a seminal work within the jazz-rock genre. In 1974, at just 17 years old and observing the lack of interest in jazz in his native country, he decided to move to New York. In the city of skyscrapers, he not only perfected his jazz style but also caught the attention of Arista Records. With a contract in hand, he set out to record an album, forming a band composed of Michael Visceglia (bass), Bob Goldman (drums), Dave Samuels (percussion and vibraphone), and Vadim Vyadro (saxophone, flute, and clarinet). On his first and only album, "Szobel", the young Hermann included five extensive, heterogeneous tracks, featuring intricate yet complex melodic arrangements of great creativity, firmly grounded in jazz with passages infused with classical music and avant-garde elements. Halfway between modern and progressive jazz, Hermann transforms musical landscapes with small doses of his instrumental virtuosity, allowing the rest of the band to showcase their immense talent as well. Vibrant rhythmic passages like "Mr. Softee" or sophisticated and intense tracks like "The Szuite" are just a small sample of the album's exceptional quality. But Hermann also knows how to navigate accessible and down-to-earth sounds in pieces like "Between 7 & 11" or "Transcendental Floss", or more avant-garde atmospheres with the effective "New York City, 6 AM".

Quicksilver Messenger Service-Happy Trails (1969)

Quicksilver Messenger Service was an American acid rock band that fused various styles, including folk, blues, and jazz. They formed in the mid-1960s in San Francisco. Their musical strengths lay in the virtuosic interplay of their instrumentalists, especially guitarists John Cipollina and Gary Duncan, making them a pioneer in the world of twin guitars and an influence on later bands such as Wishbone Ash, Thin Lizzy, Judas Priest, and Iron Maiden. Their style ranged from acid blues and folk to hard rock and heavy psych, with jazz fusion influences throughout their career. "Happy Trails", the band's second album, released in 1969, is their most blues-oriented work. The album is semi-conceptual, particularly the first side, and features prominent violin sounds, further solidifying their folk roots. It was recorded in 1968 at the Fillmore West in California. This album, both for its psychedelic blues and its cover art, reminds many of Pink Floyd's "More" as a somewhat analogous album, although the latter is much more symphonic. Among its standout tracks are the rhythmic "Mona" and the excellent "How Do You Love".

The Turtles-Golden Hits (1967)

The Turtles were a Californian folk rock and psychedelic pop band founded in 1965 in Los Angeles under the original name The Crossfires From the Planet Mars. Their founders, surf music enthusiasts, were vocalist Howard Kaylan and songwriter and keyboardist Mark Volman, who soon changed their name to The Turtles and evolved towards a folk rock sound, achieving their first Top Ten hit with their cover of Bob Dylan's "It Ain't Me Babe" (1965). A year later, their second LP, "You Baby", failed to chart, so they decided to embrace bubblegum pop and composed the smash hit "Happy Together", which reached number one in much of the world in 1967. That same year, they returned to the top of the charts with "She'd Rather Be with Me" and "You Know What I Mean", but the group began to experience departures, starting with bassist Chip Douglas leaving to become a producer for The Monkees. Already in the midst of the psychedelic pop craze, they produced the concept album, "The Turtles Present The Battle Of The Bands", in which they aimed to be a band of diverse styles, achieving two hits with "Elenore" and "You Showed Me", which reached the Top 6 on the charts. However, in 1969, their album "Turtle Soup" was a commercial failure, leading three of its members Howard Kaylan, Mark Volman, and Jim Pons to join Frank Zappa's group, The Mothers of Invention, a year later. The remaining members recorded "Wooden Head" (1970), which suffered the same fate as its predecessor. Shortly afterward, they formed the duo Flo & Eddie, appearing in several concerts but without releasing any material, and ultimately disbanded at the end of that same year.

Laurie Anderson-Mister Heartbreak (1984)

Despite having been part of New York City's most avant-garde art scene since the early 1970s, it took Laurie Anderson many years to release her first solo album, "Big Science" (1982), a work that was remarkably well-received by the public and garnered favorable reviews from the specialized press. Her eclectic style could be categorized as cutting-edge and experimental pop, something that has kept her a cult artist to this day. Some time after that groundbreaking debut, Laurie Anderson began collaborating with prestigious musicians such as Peter Gabriel, Nile Rodgers, Adrian Below, Phoebe Snow, and Bill Laswell, all of whom would eventually contribute to her next release, "Mr. Heartbreak", released two years later. Although much more accessible than its predecessor, Anderson continues to use her music to tell stories in a literal sense, fusing ethnic influences, electronica, and the most unusual experimentation. Strange canvases very close to minimalism "Sharkey's Day", poetic hypnotism "Langue D'Amour", approaches to electronic new wave "Gravity's Angel" or "Excellent Birds" or exotic pieces that navigate between the ethnic and the electronic "Kokoku", make up an album as challenging as it is luminous.

Oscar Peterson-Great Connection (1974)

In 1971, Oscar Peterson began a fruitful and long-lasting partnership with American drummer Louis Hayes and Danish bassist Niels-Henning Ørsted Pedersen, starting with an exquisite and varied album of jazz standards. Produced by Hans Georg Brunner, this work, released three years later (1974), saw the trio create a series of highly inspired compositions, such as the free jazz track "Younger Than Springtime", the relaxed "Soft Winds", the complex "Wheatland", the overwhelming version of Duke Ellington's "Just Squeeze Me", and the uplifting Charles Chapin piece "Smile". In the following years, Peterson and Pedersen played together regularly in countless concerts and collaborated on a dozen official recordings, including "The Good Life" (1973), "The Trio" (1974), "Nigerian Marketplace" (1981), and "Night Child" (1982).

Mirthrandir-For You The Old Man (1976)

Mirthrandir is another of the countless bands lost in the dark tunnel of time, having released only one elaborate and elegant progressive rock album. Formed in 1973 in New Jersey, its members were Richard Excellente (guitar), Simon Gannett (keyboards), James Miller (bass and flute), Alexander Romanelli (guitar), Robert Arce (drums), and John Vislocky (vocals and trumpet). Their sole recording, "For You The Old Man" (1976), showcases the band's excellence with a series of highly meritorious tracks such as the fiery, jazz-influenced "For You The Old Women", the exuberant "Conversation With Personality Giver", the melodic instrumental "Number Six", and the progressive tour de force "For Four", all featuring remarkable guitar work, driving Mellotron and organ keyboards, and a memorable instrumental dynamism. Without a doubt, "For You The Old Man" is a creative album of the best American progressive rock, performed with great skill and with excellent musicality.

Cream-Disreali Gears (1967)

Cream's second album cemented their status as an iconic band, delivering a record brimming with powerful rock infused with psychedelic and blues-rock influences. Unlike their groundbreaking debut released a year earlier, the band, comprised of Eric Clapton, Jack Bruce, and Ginger Baker, moved away from the nascent sounds of blues rock, embracing more accessible sounds, as demonstrated by the well-known "Sunshine of Your Love", a true rock classic immortalized in countless commercials, TV series, and films, and a staple on rock compilations. This fusion of rock and psychedelic sounds is present in the opening track, "Strange Brew", a dense cut with raw, distorted guitars. Meanwhile, the more subdued "World of Pain" continues to delve into psychedelic sounds while showcasing the band's melodic side. "Dance the Night Away" follows a similar path, while the bluesy "Blue Condition" provides a relaxed moment on this sublime first side. On side two of the original album, the rhythm increases with the acidic "Tales Of Brave Ulysses", the rhythmic "SWLABR", or the blues rock "Take It Back" and "Outside Woman Blues", with which one of the essential albums in the history of rock concludes.

Steely Dan-Can´t Buy A Thrill (1972)

In 1971, ABC Records musicians and songwriters Walter Becker (guitar and vocals) and Donald Fagen (keyboards and vocals) decided to form their own band, encouraged by producer and ABC Records executive Gary Katz. Thus, Steely Dan was born, comprised of its two leaders, Jeff "Skunk" Baxter (guitars), Jim Holder (drums), and Dennis Dias (guitar and sitar). A year later, they released their debut album, "Can't Buy a Thrill", which also featured guest appearances from singer David Palmer, guitarist Elliott Randall, saxophonist Jerome Richardson, and percussionist Victor Feldman. This first recording is characterized by the group's complex musical tapestry, blending diverse styles such as jazz, rhythm and blues, pop, and rock with satirical and biting lyrics. With meticulous production, the duo crafted a series of brilliantly executed songs, featuring warm sounds and lyrics infused with a sarcastic and unsettling sense of humor. The album opens with the iconic "Do It Again", a true American rock classic, a masterful composition brimming with sonic details. It is followed by other magnificent tracks such as the memorable "Dirty Work", "Reelin' in the Years", "Fire in the Hole", "Midnight Cruiser" and "Change of the Guard". This spectacular debut marked the beginning of one of the most exciting careers in the history of rock music.

Mombasa-African Rhythms and Blues (1975)

Lou Blackburn was a renowned American musician who rose to fame in the 1950s and 60s performing alongside jazz legends such as Lionel Hampton, Lou Rawls, and Duke Ellington. He also established a successful solo career, releasing albums like "Jazz Frontier" and "The Complete Imperial Sessions". In the early 1970s, he moved to Europe and founded the Mombasa project, a group that fused African rhythms with jazz. In 1975, under the German independent label Spiegelei, he recorded the group's debut album, "African Rhythms and Blues", an extraordinary recording where exotic rhythms, rural and folk blues, spirituals, and jazz intertwine in a fascinating and enchanting fusion. Besides Lou Blackburn (trombone), the rest of Mombasa consisted of Donald Coleman (congas and flute), Charles Jefferson (trumpet), Gerald Luciano (double bass and African percussion), and Cephus McGirt (drums). Produced by German engineer Manfred Schmitz, the album contains an anthology of repertoire that makes it one of the finest recordings of ethnic jazz ever made.

Christopher Cross-Another Page (1983)

Three years after his acclaimed debut album, Christopher Cross left us with his second record, an album that was overshadowed by his impactful first work, despite containing enough musical merit to once again top the charts worldwide. However, in his second release, the style that blended irresistible ballads, soft rock, and clear mainstream pop influences was criticized for its lack of stylistic evolution. As with his debut album, on this new record, the guitarist from San Antonio, Texas, surrounded himself with a stellar lineup of musicians, including Mike Porcaro, Don Henley, JD Souther, Art Garfunkel, Steve Lukather, Tom Scott, Carl Wilson, Abraham Laboriel, and Jay Griden, among many others. Recorded throughout much of 1982, on "Another Page" Cross repeats the same formula that had propelled him to global stardom with a series of understated, impeccably executed compositions that navigate between romantic and nostalgic ballads; "Baby Says No", "Nature of the Game", "What Am I Supposed to Believe", "Talking in My Sleep", "Words of Wisdom", and "Think of Laura" are nods to the recent past with appealing melodies, such as the fast-paced and catchy "All Right," or the stimulating West Coast sounds of "No Time for Talk" and "Deal 'Em Again". While not reaching the commercial or creative heights of its predecessor, the album achieved a commendable eleventh place on the Billboard charts and earned half a dozen gold records worldwide for its sales.

Santana-Zebop (1981)

Featuring almost the same lineup as their previous album, "Marathon", Carlos Santana continued his journey through the musical wilderness of the 1980s, releasing the band's eleventh album, "Zebop". Following the AOR path of "Marathon", in this new release the Mexican guitarist delves even deeper into the sounds that flooded radio stations at the time. Bands like Boston, Styx, Toto, Journey, REO Speedwagon, and Foreigner dominated the charts worldwide with their high-quality melodic rock. In that context, Santana offered an engaging album where, as usual, their enormous skill with the six-string guitar shone through, along with highly meritorious AOR compositions such as the addictive "Changes", "Searchin' ", "Winning", "Over and Over", and "I Love You Much Too Much", while their vintage style is present in "Primera Invasion", "Tales of Kilimanjaro", "American Gypsy", "É Papa Ré", "Sensitive Kind", "Brightest Star", and "Hannibal". "Zepob" is one of Santana's works where they best managed to combine the modern sounds of melodic rock with the jazz-rock of their albums from the previous decade.

Iron Butterfly-Heavy (1968)

Iron Butterfly is a true legend of 1960s psychedelic rock; however, their career is overshadowed by the worldwide hit "In-A-Gadda-Da-Vida", an album and single that have sold a staggering 30 million copies worldwide to date. Such a feat would overshadow any other album in their discography, something that has unfairly happened to this iconic band. Part of the West Coast psychedelic movement, they released their debut album, "Heavy" in 1968. While they are considered early pioneers of avant-garde rock and heavy metal, it's also true that at that time the term "heavy" was used for any style of heavy and dark music, not the fast-paced, frenetic, and strident style of today. On this debut album, the quintet comprised of Darryl DeLoach (vocals and percussion), Danny Weis (guitar), Doug Ingle (organ), Jerry Penrod (bass), and Ron Bushy (drums) showcases a series of psychedelic-tinged songs with hints of garage, soul, and rhythm and blues. Standout tracks include the melancholic "You Can't Win", the hypnotic "Look For The Sun", the upbeat "Gentle As It May Seem", the catchy "Possession", and the acid-tinged instrumental "Iron Butterfly Theme". Ultimately, this was an intriguing debut brimming with creative and promising ideas that would be brilliantly developed on their subsequent albums.

Cathedral-Stained Glass Stories (1978)

"Stained Glass Stories" is considered one of the landmark works of American avant-garde rock, an album created by Cathedral (not to be confused with other bands of the same name that have emerged throughout history). Hailing from Long Island, Cathedral was formed in the mid-70s from the ashes of the psychedelic band Odyssey, which included Fed Callan (bass) and Tom Doncourt (keyboards). Along with drummer Mercury Caronia, singer Paul Seal, and guitarist Rudy Perrone, they completed the lineup of Cathedral. Recorded on the independent label Syn Phonic, in 1978 they released "Stained Glass Stories", showcasing a style far removed from their psychedelic past, delving into intense sounds of excellent progressive musicianship clearly influenced by early 1970s British symphonic rock. Intricate guitar and bass riffs, a spectacular Mellotron, and masterful drumming drive this brilliant album, as demonstrated by the excellent tracks "Introspect", "Gong", "The Search", "The Crossing", and "Days and Changes". Despite being recorded in the later years of the progressive rock genre, "Stained Glass Stories" has achieved cult status and is considered essential for understanding the rich evolution of late 1970s American symphonic-progressive rock. Although the album enjoyed considerable commercial success, Cathedral would later disband until many years later, when they reappeared with their second album, "The Bridge" (2007).

Arthur Conley-Sweet Soul Music (1967)

In the mid-sixties, American soul was one of the styles that revitalized the music world, becoming a serious competitor to the burgeoning British pop movement. It was in this context that Arthur Conley emerged, one of the many singers who became its driving force. Conley was a renowned and accomplished performer who, until then, had been immersed in the rhythm and blues of the American South. As early as the beginning of the sixties, he had achieved his first hit with "Poor Girl" with The Corvettes, and some time later he would gain the support of Otis Redding, who, in addition to being a great friend, would actively collaborate on his subsequent releases. Thus began his artistic peak, releasing successful albums such as "Sweet Soul Music", a kind of tribute to the soul greats of that era, such as James Brown, Wilson Pickett, and Otis Redding himself. However, his greatest successes came with iconic hits like "People Sure Act Funnt", "Funky Street", "Ah, Ah, Ah", and "Shake Rattle & Roll", released during a time when Arthur Conley knew how to seize his opportunity. His triumph came at the perfect moment, a time when the music industry needed other stylistic alternatives. But as always happens in any area of ​​life, when the soul boom began to decline, Conley faded into the background, his image buried beneath the thousands of decibels of the new styles that emerged in the late 60s and early 70s, such as heavy rock, psychedelic rock, and progressive rock.

Tommy Bolin-Private Eyes (1976)

It's no secret that Tommy Bolin was unfairly undervalued by Deep Purple fans when he replaced Ritchie Blackmore in the band in the mid-70s. In fact, many dismissed his only recording with that legendary group, not even giving it a second listen to appreciate his mastery of the electric guitar. This public rejection was a severe blow to the ego of such an emotionally sensitive musician. Recorded the same year as his sole release with Purple, Bolin launched his second solo album, "Private Eyes", where he distanced himself from the jazz-rock of Alphonse Mouzon's "Mind Transplant", the furious hard rock and funk of Deep Purple's "Come Taste the Band", and even the vigorous rock of "Teaser", his first solo album. In "Private Eyes", Bolin displays a more eclectic and relaxed style, offering a work brimming with soothing rhythmic allusions and soft, laid-back sounds. From exotic delights like the samba "Gypsy Soul", to forays into melodic rock with "Someday We'll Bring Our Love Home", to concessions to swing-tinged blues with "You Told Me That You Loved Me", returns to the vigorous jazz-rock of "Shake the Devil", and a more conventional side with the ballad "Sweet Burgundy". Although he never abandoned drugs, likely fueled by his artistic failures a fact that would ultimately lead to his death his youth and audacity helped him find a style open to the many influences he would showcase in the short time he lived to tell the tale. Tommy would die on December 4, 1976 in Miami, just 6 months after this launch and at only 26 years of age, due to an overdose of heroin and other substances such as cocaine and alcohol.

Mingo Lewis-Flight Never Ending (1976)

Mingo Lewis rose to fame when he joined Santana's band, and later Return to Forever, the band of Chick Corea and Al Di Meola, as well as collaborating with Todd Rundgren. In 1976, Lewis released his only solo album, "Flight Never Ending", on which the talented drummer collaborated with various session musicians from Columbia Records, including Eric McCann, David Logeman, Michael Kapitan, Kincaed Miller, Louis Bramy, and Randy Sellgren. "Flight Never Ending" is considered by many to be one of the most underrated jazz-rock albums of the 1970s. It's an energetic and powerful work featuring Lewis's superb drumming and surprising instrumentation from a group of very talented but largely unknown musicians. Latin-infused tracks like the exotic "Visions of Another Time", funky movements like "Trapezoid", sound experiments like "Magnary Monsters", full jazz rock tracks like "Flight Never Ending", or memorable musical fusion dynamics like "Heartsong", constitute a dazzling and forgotten work of the best jazz rock of the seventies.

Colosseum II-Electric Savage (1977)

A year after Colosseum's second-era debut album, the band introduced a new bassist on their second record: John Mole, who replaced Neil Murray. Equally important, and perhaps more significantly, was their shift towards an almost entirely instrumental style of progressive jazz-rock. We say "almost" because Gary Moore lends his vocals to one track, though that song is arguably the most forgettable of all those included on this new album. On "Electric Savage", the group comprised of Gary Moore (guitar and vocals), Don Airey (keyboards), John Hiseman (drums), and the aforementioned John Mole fully delves into the realm of jazz, rock, and avant-garde structures. This avant-garde approach is evident in the progressive track "The Scorch", while Moore's powerful guitar riffs drive the jazz-rock tracks "Put It This Way" and "All Skin & Bone". On the other hand, the dispensable "Rivers", featuring Moore's vocals, and the ostentatious "Lament" somewhat lower the high bar set on the first side of the album. The rest consists of "Desperado", a vigorous jazz fusion piece, and the ethereal "Am I" and "Intergalactic Strut", two tracks where Airey's keyboards subtly overshadow Moore's guitar, and which, along with the opening songs, are the highlights of the legendary British band's second release.

Gong-Gong Live, Etc (1977)

Gong were a surreal, cosmic band who created some of the most extravagant albums, distinguished by their long instrumental improvisations, spacey atmospheres, psychedelia, satirical lyrics, and eccentric, chaotic musicality. After releasing a series of works bordering on the absurd and outlandish, such as their acclaimed albums for fans of the most unique progressive rock the legendary "Flying Teapot", "Angel's Egg", "You", and "Shamal", they released the double live album "Gong Live, Etc", a perfect showcase of their wild shows, encompassing some of the material from their studio albums. However, the live versions of all this material, while somehow summarizing the strangeness and extravagance of the group, don't quite capture the musical magic of the madness revealed in the original albums. Even so, the listener is delighted to hear the driving rhythms of their stylistic philosophy, from Steve Hillage's guitar to Didier Malherbe's saxophone and flute, Tim Blake's ethereal keyboards, Pierre Moerlen's dissonant and talented drumming, and Daevid Allen's burlesque and sometimes off-kilter vocal antics. This live recording perfectly showcases the unprecedented eccentricity that this wild and talented British band displayed on stage.

Yes-Talk (1994)

Yes's fourteenth album featured the same lineup that had recorded "90125" and "Big Generator", both released in the mid-1980s. This lineup consisted of Jon Anderson (vocals), Trevor Rabin (guitars, keyboards, vocals), Alan White (drums), Chris Squire (bass), and Tony Kaye (Hammond organ). Due to pressure from Atlantic Records' subsidiary, Victory Records, guitarist Trevor Rabin took on the responsibility for production and almost all of the songwriting for this new recording. He also handled much of the keyboard work, programming, and the use of the most advanced recording technology of the time. Rabin, in collaboration with Anderson, crafted an album full of catchy, AOR-influenced songs with accessible progressive elements, giving the final result the true essence of the classic Yes sound. Classic rock, steeped in great keyboard and guitar interplay, is present in songs like "The Calling", "Real Love", "State Of Play" or "Walls", while instrumental complexities appear in the epic "Endless Dream", undoubtedly the most progressive track since the "Drama" album era (1980), or in the brilliant "Where Will You Be".

Stan Webb´s Chicken Shack-That´s The Way We Are (1978)

Chicken Shack was a British band primarily remembered for its keyboardist, Christine Perfect, who left to join Fleetwood Mac. While not a leading band, Chicken Shack was quite popular in the late 1960s, placing two albums in the top 20 of the UK charts. However, their frontman wasn't Christine Perfect, but rather the fantastic guitarist Stan Webb, who thrilled audiences by mingling with them during concerts thanks to a guitar cable that measured approximately 30 meters. In the mid-1960s, he formed this blues-rock band, and they have been releasing albums for over 50 years. Chicken Shack made their debut in 1967 alongside Peter Green's Fleetwood Mac in Windsor, during the National Jazz and Blues Festival of Great Britain. The group was the second most successful artist on the Blue Horizon label, second only to Fleetwood Mac. Chicken Shack's first two albums, "40 Blue Fingers Freshly Packed and Ready to Serve" and "OK Ken", were quite successful, partly because the presence of a woman as keyboardist and vocalist was significant and unusual in those years, a scene largely dominated by men. "That's The Way We Are" (1978), the band's tenth album, features a selection of original songs and covers, characterized by soulful guitars, powerful blues rock, and even boogie rock. From the opening, forceful tracks "The End" and "It Wasn't Me", the album reaffirms a band that sounds very tight and powerful, yet also includes quieter moments, as in the melodic "Emily". Chicken Shack is one of those bands that never usually appear in historical rock lists, but whose legacy deserves to be given its due, as one of the great milestones of British blues.

Uriah Heep-Live (1973)

The 1970s were undoubtedly the era that saw the release of some of the greatest and most legendary live albums in rock history. This period showcased the instrumental and stage prowess of hundreds of bands, and "Uriah Heep Live" is one of those iconic double live albums. Recorded with the band's classic lineup in Birmingham in early 1973, while touring in support of "The Magician's Birthday", it presents Uriah Heep at their creative and artistic peak, demonstrating that they were a perfectly oiled machine of progressive hard rock. The live performance features Mick Box's fiery guitar riffs and his powerful interplay with Ken Hensley's Hammond organ, Kerslake's frenetic drumming, and the breathtaking vocals of an apotheosis of passion from David Byron, alongside the vocal and instrumental excellence of bassist Gary Thain. Classics like "Easy Livin' ", "July Morning", "Traveller in Time", "Gypsy", and the majestic "Circle of Hands" feature reworked versions that are longer than the original studio recordings, yet retain their distinct identity. "Uriah Heep Live" is one of the essential live albums in history, a true classic that perfectly captures the essence of the legendary band Uriah Heep on stage.

Schicke & Führs & Fröhling-Symphonic Pictures (1976)

This is one of the finest examples of the brilliant German symphonic rock of the 1970s. Created by the trio of drummer Eduard Schicke, guitarist and keyboardist Heinz Fröhling, and keyboardist Gerd Führs, it not only achieved a landmark in German rock composition but also commercially, selling over 10,000 copies in just a few weeks. In this debut album, the trio showcased a stunning instrumental performance brimming with Mellotrons, electric keyboards, and synthesizers, underpinned by the subtle nuances of pastoral guitars and effective drumming. Beautiful melodies, grand stage presence, and superb musicianship transport the listener on a timeless journey through atmospheric soundscapes that blend classical music, cinematic soundscapes, and the haunting, hypnotic sounds of many tracks on this extraordinary album.

Passport-Infinity Machine (1976)

In the mid-seventies, the German band led by saxophonist Klaus Doldinger was at its creative peak, having already left behind a series of prestigious jazz-rock/fusion albums such as "Second Passport", "Hand Made", "Looking Thuru", and "Cross Collateral", all brimming with catchy sounds that fused funk, R&B, rock, and progressive jazz. In 1976, they released their sixth album, "Infinity Machine", in which the German group comprised of Doldinger (saxophone, keyboards, and vocals), Curt Cress (drums), Wolfgang (bass, guitar, and harmonica), and Kristian Schulze (keyboards) created another fantastic record of the best avant-garde jazz. Tracks brimming with funk vibes, like "Ju-Ju-Man", alternate with ambient atmospheres in "Contemplation", energetic fusion pieces in "Morning Sun", refined romantic compositions in "Blue Aurora", space-fusion-oriented tracks in "Infinity Machine", and avant-garde sonic experiments in "Ostinato". For many, this album marked the end of the band's most progressive era, ushering in a more conventional period with a jazz sound geared towards mainstream appeal.

National Health-Of Queues And Cures (1978)

With this album by National Health, the golden age of the Canterbury sound practically came to an end, a movement that had emerged a decade earlier thanks to such emblematic bands as Soft Machine, Caravan, Egg, and Hatfield and the North, among others. National Health was a latecomer to this movement, formed in the mid-seventies, and after several releases, they ceased to exist shortly after the start of the eighties. With a musical style where their influences from jazz-rock and classical music are more than evident, their three releases are considered masterpieces of the genre. In 1978, they released their second full-length album, "Of Queues and Cures", curiously released in the same year as their debut album, but nine months later. Formed by four excellent musicians with extensive experience Dave Stewart (organ and keyboards), Phil Miller (guitar), John Greaves (bass), and Pip Pyle (drums) all former members of some of the greatest British bands of all time, such as Khan, Egg, Matching Mole, Hatfield and the North, and Gong, this splendid album ranges from tracks bordering on free jazz rock, like the frenetic "The Bryden Two-Step (For Amphibians)", to experimental pieces such as the dark "Squarer for Maud", and including exciting and dynamic musical exercises like "Dreams Wide Awake" and "Binoculars". Undoubtedly one of the most important works of the Canterbury scene, this album transcends the boundaries of avant-garde and jazz rock, taking us on a musical journey as exceptional as it is unique.

Gentle Giant-Interview (1976)

"Interview", released in 1976, was Gentle Giant's eighth studio album, published at a crucial moment for the British band as they faced the difficult task of surpassing the previous year's landmark album, "Free Hand". For this recording, the band comprised of regulars Ray and Derek Shulman, Gary Green, Kerry Minnear, and John Weathers crafted a less glorious and ingenious work, despite containing some memorable moments. Comfortably settled in their progressive rock zone with classical and medieval influences, Gentle Giant introduced new elements such as modern digital synthesizers and added new rhythms, as demonstrated in the reggae track "Give It Back", a sophisticated cut whose immense complexity puts most artists of the genre to shame. On the other hand, the title track is a surprising rhythmic composition with a great interplay between the organ, electric piano, and Gentle Giant's signature vocals. The avant-garde "Design" or the dynamism of "Another Show" are those new sounds we alluded to earlier, while "Lost My Head" along with the aforementioned "Interview" are the highlights of this album, if not in purely creative terms, but in the brilliant instrumental execution, which are among the best in the group's career.

Brainchild-Healing Of The Lunatic Owl (1970)

Another interesting band with a single album and short career was the British group Brainchild, a group that moved between brass rock, akin to contemporary bands like Blood, Sweat & Tears or If, and progressive jazz rock. Considered a cult band today, this group originated in London in the early 1970s with Harvey Coles (bass, vocals), Bill Edwards (guitar, vocals), Dave Miller (drums), Chris Jennings (organ, piano), Brian Wilshaw (saxophone, flute), and Lloyd Williams (trumpet and trombone). Their only release was on the A&M Records label, an album where the heavy sounds of brass jazz fused with evocative rock melodies, infused with psychedelic and avant-garde elements, making it one of the best examples of British jazz rock. "Healing Of The Lunatic Owl" is one of those obscure and forgotten albums that showcases excellent instrumental jazz-rock prowess, in which everything from music hall to complex progressive jazz arrangements is endorsed in a series of high-quality pieces such as the bluesy jazz "Hide From The Dawn" and "Two Bad Days", the fusion "Autobiography", the rock "She's Learning", the jazz-rock epic "A Time a Place", the pastoral "Sadness Of A Moment" or the jazzy and cheerful music hall "The Cage".

Alas-Alas (1976)

Alas was a refined and elegant Argentine progressive jazz-rock band with certain Creole folk influences. Led by multi-instrumentalist Gustavo Morettom, a renowned musician in his country's jazz scene, he joined forces with bassist Alex Zucker and percussionist Carlos Riganti to found Alas in mid-1975. A year after their formation, they released their debut album, a work acclaimed by the specialized media in their country. After this first release, bassist Pedro Aznar replaced Zucker, and with this new lineup, they recorded their second album, "Pinta tu Aldea" (Paint Your Village), an album more oriented towards progressive and symphonic sounds. Focusing on their debut album, Alas managed to create a work full of expressive and impetuous compositions within a jazz fusion context. The nods to the progressive rock of Triumvirat or Emerson, Lake & Palmer are reflected in the rich sounds emanating from the Hammond organ and the mini-Moog, the powerful bass, and a highly technical and dynamic drum performance. Excellent examples of progressive jazz, such as "Buenos Aires solo es Piedra", or clear fusion dynamics with the grandiose "La muerte contó el Dinero", in which they approach Italian lyrical and progressive rock, constitute a remarkable work of jazz-rock that has nothing to envy in iconic works from North America or Europe.

Blues Image-Open (1970)

Blues Image was founded during the heyday of the great American country rock groups, sharing the stage with Buffalo Springfield, The Byrds, and Poco. Formed in Florida in 1966 around guitarist Mike Pinera, Kent Henry (guitar), Joe Lala (vocals and percussion), Frank Konte (keyboards), Malcolm Jones (bass), and Manuel Bertematti (drums), they achieved their first and only international success in 1970 with their album "Open" and the hit single "Ride Captain Ride". Prior to this, they had released their self-titled debut album, "Blues Image" (1969), which had garnered them some international recognition. After this second album, the group experienced instability due to frequent lineup changes, despite releasing another album in 1970, "Red White & Blues Image", which went largely unnoticed. Pinera later joined Iron Butterfly, and the band finally dissolved in 1970. Blue Image has remained one of the great unjustly forgotten groups of North American West Coast music.

Electric Food-Electric Food (1970)

From the ashes of the German band Lucifer's Friends emerged Electric Food, who, with a powerful style of psychedelic hard rock, released several albums in the early 1970s. The band consisted of Peter Hesslein (guitar and vocals), Peter Hecht (keyboards), Hans-Joachim Rietenbach (drums), Dieter Horns (bass), and Georg Mavros (vocals). Their debut album features some excellent covers, beginning with a frenetic rendition of Led Zeppelin's "Whole Lotta Love", followed by the traditional "House of the Rising Sun", popularized by The Animals, and the boogie-rock track "Let's Work Together" by the ever-popular Canned Heat. Among their own compositions, highlights include the psychedelic "The Reason Why", the progressive "Hey Down", the blues-rock "Tavern", the dark heavy-rock "Nosferatu", the galloping "Icerose", and the heavy hard-rock "Twelve Months and Day".

Carlos Santana & Alice Coltrane-Illuminations (1974)

After leaving behind magnificent jazz-rock works like “Abraxas”, “Caravanserai”, “Welcome”, and “Borboletta”, Carlos Santana reaffirmed his passion for John Coltrane by creating a captivating collaboration with composer and string arranger Alice Coltrane (John's widow). Under the spiritual influence of Sri Chinmoy, Santana surrounds himself in this monumental work with a vast array of accomplished musicians, including David Holland (double bass) and Jack DeJohnette (drums), as well as regulars in his band Tom Coster, Armando Peraza, and Phil Browne, and session musicians such as saxophonist Jules Broussard and Phil Ford on tabla. The paradisiacal “Angel of Air” evokes atmospheres reminiscent of “Caravanserai”, featuring a sublime Alice Coltrane on the harp. The extensive interplay between Indian tabla and percussion, under Santana's exciting guitar and Jules Broussard's complex saxophone, is present in the brilliant jazz rock "Angel Of Sunlight", while the influences of free jazz and oriental music appear in "Bliss: The Eternal Now" and in "Illuminations".

Gotthard-Lipservice (2005)

Switzerland has given the world of rock a number of great bands that have kept the genre in their country at a high level. Bands like Krokus, Toad, Flame Dream, Coroner, and Gotthard, among many others, have always been highly regarded by rock music fans. Today, it's Gotthard's turn, a band that built a great reputation based on solid hard rock with classic influences and grandiose melodies. Their origins date back to 1992 in the city of Lugano, when bassist Marc Lynn and vocalist Steve Lee joined forces with the intention of founding a band that would satisfy their musical tastes. After recruiting guitarist Leo Leoni, drummer Henna Habegger, and keyboardist Pat Regan, they secured a contract with BMG to record several albums, the first of which was released in mid-1992. From their debut album, they showcased a sound reminiscent of 1970s hard rock with bluesy undertones, and in that vein, they continued with magnificent works such as "Dial Hard" (1994), "G" (1996), "Homerun" (2001), and "Human Zoo" (2003). Two years later, they returned with their best creative work, "Lipservice", in which they perfected their blend of powerful hard rock with evocative melodies, presenting a repertoire of superb compositions like "Nothing Left All", "Stay For The Night", "Cupid's Arrow", "All We Are", "Lift U Up", and "Anytime, Anywhere". However, several years later, their lead singer Steve Lee died in a tragic motorcycle accident in Las Vegas, a devastating event that cast doubt on the band's future. Eventually, after some time, the band recruited a new singer, Nic Maeder, who, despite his undeniable vocal range, lacked the exceptional talent of the late Steve Lee.

Exmagma-Exmagma (1973)

The debut album from the powerful trio Exmagma is one of the most aggressive, distorted, and heavy progressive and experimental jazz-rock records ever recorded. Featuring two talented and experienced young musicians from the German blues scene Thomas Balluff on organ and electric piano, and Andy Goldner on bass, guitars, and saxophone and the fantastic American drummer Fred Braceful, this power trio was one of the foremost expressions of the nascent jazz-influenced krautrock. Their first release is a brilliant example of the experimental avant-garde of psychedelic jazz. From the free jazz leanings of "Interessante Ole" to the joyful soul-rock climax of "Two Times", and including the experimentation in the colossal epic "Trippin With Birds" and the psychedelic movements of "The First Tune". This album showcases everything from Dadaist facets to electrifying soundscapes, often in a surreal way, with dramatic instrumental improvisations of jazz percussion, all under the ingredients of heavy hard rock with a dissonant and furious guitar and an electrifying and spacey organ.

Dream Theater-Metropolis Pt.2: Scenes From A Memory (1999)

In 1999, Dream Theater released their seventh album, "Metropolis Part 2 - Scenes From a Memory", considered by many to be their masterpiece and a landmark of progressive heavy metal. A concept album with a sophisticated narrative, it tells an intriguing story set in 1928, in which a man is tormented after murdering a young girl. In the plot, this man is reincarnated as the girl, reliving his past in his dreams. This entire story is reflected in an ambitious and complex work, where Petrucci's furious guitars clash with Jordan Rudess's grandiose keyboards, Mike Portnoy's pyrotechnic drumming, and John Myung's driving rhythm section, all set against a backdrop of powerful and raw emotion, power, and sensitivity. The wide variety of styles in James LaBrie's voice narrates each chapter of the album, to the point that the listener, drawn in by the story, becomes irrevocably immersed and involved in the narrative. Divided into several acts and nine parts, the first half showcases the band's immense instrumental prowess, while the second half is far more complex, both musically and lyrically. The entire album is as spectacular as it is legendary, displaying breathtaking virtuosity from all members of the group. And however risky and ambitious a work of this magnitude might seem, the quintet executes it flawlessly, maintaining a cohesive sound throughout without a single minute of predictable or disposable elements. As a prime example of the greatness of this work, it features tracks such as "Through Her Eyes", "Overture 1928", "Home", "Beyond This Life" or "Dance of Eternity", undoubtedly the best compositions of progressive metal from the 90s.

Flight-Flight (1975)

Another interesting American progressive jazz-rock band was Flight, who released three acclaimed albums in the mid-1970s within the more avant-garde genre of jazz. Led by trumpeter and vocalist Pat Vidas, their origins date back to the early 1970s in Florida, where they were based. Besides Vidas, the band consisted of bassist John Ray, guitarist Ted Karczewski, drummer Russell Dawber, and keyboardist Jim Michael Yaeger. In 1975, they secured funding from Capitol Records for their first full-length album, which showcased everything from jazz-rock-oriented efforts with complex and fast-paced compositions to extensive instrumental interplay among all its members, with a strong emphasis on the Mellotron and synthesizers, rock guitars, and jazz improvisations. The exhilarating jazz-rock track "In Flight", the exotic "Latin Dippy Doo", the catchy and melodic "Falling In Love", the captivating "Ease Of Confusion", and the progressive "Rhapsody To You" and "Theme to The Stratosphere" constitute an excellent work of progressive jazz at its finest. A year later, they returned with "Incredible Journey", in which they continued their exquisite musical approach, delivering an even more diverse and dynamic work of energetic, avant-garde jazz-rock.

Santana-Marathon (1979)

Following the commercial success of their previous album, "Inner Secrets", Carlos Santana reformed his band once again, bringing in vocalist Alex Ligertwood to replace Greg Walker, while Alan Pasqua replaced keyboardist Chris Rhyne. The rest of the lineup remained the same: Carlos Santana (guitar and vocals), Chris Solberg (rhythm guitar), David Margen (bass), Graham Lear (drums), Armando Peraza (percussion), and Raul Rekow (percussion). Continuing in the vein of the conventional and melodic rock of "Inner Secrets", Santana released his next album, his tenth, "Marathon", which featured the magnificent, dreamlike instrumental "Aqua Marine", followed by the addictive AOR tracks "Lightning in the Sky", "Stand Up", and "You Know That I Love You", as well as the brief instrumental title track. The sensual "Summer Lady" and "Stay (Beside Me)" or the powerful rock "All I Ever Wanted" also contribute to the album's high quality, an album where Carlos Santana once again displays superb guitar work in terms of sound and the creative atmosphere that only this guitarist knows how to imprint on all his songs.

Hot Flash-First Attack! They´ll Never Take Us Alive (1977)

Another band that came and went almost overnight was Boston's Hot Flash, who released only one album near the end of the seventies, right at the height of the AOR and melodic progressive rock movement, with albums like Boston's impressive debut, Meat Loaf's "Bat Out of Hell", and Kansas "Point of Know Return," among many others. Their sole recording, "They'll Never Take Us Alive", was released in a limited run of only a few hundred copies, which is why it's now one of those highly sought-after LPs among fans of seventies American rock. The lineup consisted of keyboardists Joe Prima and Thom Stolar, guitarist Frederic Schwenk, drummer Steve Balsavage, and bassist John Ferrara. One of the band's great strengths was that virtually all the members were lead vocalists, a fact that broadened the group's musical range. Great melodic lines very close to art rock with progressive approaches are present in a brilliant repertoire composed of outstanding songs such as "King Kool", "Take Me", "Is Anybody Out There", "Uriah", "Star Warped" or "Diamond Wings".

Clover-Clover (1970)

Clover was an American country rock band with a respectable eleven-year career (1967-1978), who rose to fame towards the end of their run as Elvis Costello's backing band on his album "My Aim Is True" (1977). Originally from Mill Valley, California, the band moved within the San Francisco psychedelic scene of the late 1960s, sharing the burgeoning folk and country rock scene of the era with contemporaries like The Byrds, Creedence Clearwater Revival, The Flying Burrito Brothers, and Crosby, Stills & Nash. Their lineup consisted of Alex Call (vocals and guitar), John McFee (guitar and pedal steel), John Ciambotti (bass), and Mitch Howie (drums). In 1970, under the Fantasy Records label, they recorded their debut album, which features a rich and varied repertoire of excellent tracks that blend pure country, rock, and blues. Among them, the standout track is Junior Walker & The All Stars' version of "Shotgun", performed here with a distinct Southern funk flavor. The bluesy country number "Southbound Train" adds a distinctive touch to the album's dusty feel, and following a similar path are the superb country-rock tracks "Stealin' ", "Going to the Country", and "No Vacancy". After a second album released a year later, "Fourty Niner", Clover moved to the UK, where they underwent several lineup changes, including the addition of drummer Micky Shine and singer Huey Louis. Following another excellent album produced by Robert "Mutt" Lange, titled "Unavailable" (1977), they collaborated with Elvis Costello and toured extensively throughout England, opening for Thin Lizzy, Graham Parker, and Lynyrd Skynyrd. Some time later, and with the definitive end of Clover, some of its members went on to join other legendary groups such as Huey Lewis and The News (founded by Huey Louis), Southern Pacific, or The Doobie Brothers.

Be-Bop Deluxe-Sunburst Finish (1976)

Be-Bop Deluxe was one of those unclassifiable bands that navigated between the sounds of glam rock, art rock, new wave, and the avant-garde of the seventies, with sarcastic and ironic messages in their lyrics. Their core revolved around guitarist Bill Nelson, the only permanent member of the band. Their first two albums leaned towards the glam rock style of "Axe Victim" (1974) and the art rock of the following one, "Futurama" (1975). On both albums, Nelson's outstanding lead guitar work stands out, along with the complex instrumental performances, featuring melodic and accessible rhythms. In 1976 came their third album, "Sunburst Finish", which represented the creative peak for both Be-Bop Deluxe and Nelson, resulting in a more pop-rock-oriented album of excellent quality. Tracks related to the new wave sounds of the time, such as "Fair Exchange", the carefree "Ships in the Night", the addictive mid-tempo "Crying to the Sky", the dynamic "Sleep That Burns", the somber "Life in the Air Age" or the rock "Blazing Apostles", make up the best work of this iconic British band.

Asia-Alpha (1983)

A year after their extraordinary debut, the supergroup Asia released their second full-length album, "Alpha". Composed almost entirely of shorter compositions, this album, unlike its predecessor which combined elements of progressive rock with appealing soft rock melodies, focuses on a more commercial and accessible sound, showcasing a melodic rock style very close to AOR. This would be the second album with the classic lineup of John Wetton (bass and vocals), Steve Howe (guitars and vocals), Geoff Downes (keyboards and vocals), and Carl Palmer (drums). Twenty-five years would pass before another album from this same lineup ("Phoenix" 2008). With a more corporate and commercial tone, the band faced an album that would be partly weighed down by the enormous success of their debut despite containing an interesting amalgam of excellent songs such as the catchy "Don't Cry", "The Smile Has Left Your Eyes", "The Heat Goes On", "Eye To Eye", "Midnight Sun" or "True Colors", while the only remnant of the sounds of the progressive past is found in the brilliant "Open Your Eyes".

Flower Travellin´Band-Make Up (1973)

"Make Up" was the fourth album by the Japanese band Flower Travellin' Band, a double LP recorded due to contractual obligations with Atlantic Records. However, by the time they entered the recording studio, the band, led by percussionist Akira Yamanaka, didn't have enough material to fill all four sides of the double record. As a result, some of the tracks included here are live recordings and other takes that had been discarded from their previous albums. This hodgepodge of material gives the album a certain incoherence, despite containing memorable moments of great psychedelic hard rock and space rock. It begins with the vigorous, driving exercises in heavy rock, propelled by Nobuyuki Shinohara's Hammond organ and Hideki Ishima's lysergic and visceral guitar. Along this path are tracks like "All The Days", "Make Up", and "Slowly But Surely", which contrast with the more subdued "Shadows Of Lost Days", "After the Concert", and "Broken Strings". But it's the epic live recording of "Hiroshima" that best showcases Flower Travellin' Band's crushing hard rock during twenty-five chaotic and visceral minutes, where there's even time for a powerful drum solo by percussionists Akira Yamanaka and Joji Wada.

The Oscar Peterson Trio-Night Train (1963)

Canadian Oscar Peterson is one of the legends of modern music. He managed to bring jazz to a wider audience like almost no one else, thanks to his remarkable ability to musically synthesize a style that had previously been reserved for a select and small public. Born in Montreal in 1925, he was already a talented child playing piano and trumpet at just five years old. Thanks to his classical music studies, young Oscar showed a keen interest in swing, bebop, and boogie-woogie. Influenced by the great Art Tatum, by the late 1940s he was already a renowned musician thanks to his impressive technique and improvisational skills on the piano. During those years, he released his first recordings on labels like Victor Records, and collaborated with jazz legends such as Louis Armstrong, Stan Getz, Joe Pass, Count Basie, and Ella Fitzgerald, among many others. During the 1950s, his trios were among the most sought-after and famous groups in the jazz world, and it was precisely the trio he formed with Ray Brown (bass) and Thigpen (drums) that recorded one of the most emblematic albums of modern jazz: "Night Train", released in 1963 on the Verve label. This recording showcases Peterson's captivating playing style, revealing him at the height of his career as an absolutely masterful pianist. Pieces like the bebop "Bag's Groove", the leisurely "Night Train", the rhythmic "C-Jam Blues", the heartfelt "I Got It Bad (and That Ain't Good)", and the bluesy "Band Call",  reflect the excellence of the Oscar Peterson Trio on an album considered one of the masterpieces of jazz of all time.

Asia-Aura (2001)

Five years after their sixth studio album ("Arena" 1996), Asia reappeared with "Aura" in 2001, a work that showcased their more melodic side, almost entirely moving away from the progressive sounds that had appeared here and there in all their previous works. For this new release, the duo, composed of John Payne (bass, guitars, and vocals) and Geoff Downes (keyboards), enlisted a large number of supporting musicians who helped create the album, including Steve Howe, Tony Levin, Simon Phillips, Chris Slade, Pat Thrall, Ian Crichton, Vinnie Colaiuta, and Elliott Randall, among others. In addition, former 10cc member Graham Gouldman collaborated on the composition of some of the tracks included here. Replete with captivating melodic atmospheres, the album features uplifting soft rock tracks such as "Awake", "Ready to Go Home", "Wherever You Are", "Forgive Me", "Kings of the Day", and "The Last Time". The work of guitarists Howe, Thrall, and Randall, Payne's evocative vocals and catchy choruses, along with Downes' grandiose and symphonic keyboards, guides them along the paths of sophisticated, high-octane rock that is truly appealing. Meanwhile, the jazz-rock track "Free" and the instrumental "Aura" add a progressive touch to this magnificent work from one of the most iconic bands in melodic rock.