Ted Nugent-Weekend Warriors (1978)

Ted Nugent's fourth album, "Weekend Warriors", is the brilliant culmination of the Michigan-born guitarist's most triumphant period. Behind him lay formidable demonstrations of the best American hard rock, with three impressive musical canvases: "Ted Nugent" (1975), "Free-For-All" (1976), and "Cat Scratch Fever" (1977), in addition to the glorious "Double Live Gonzo" (1978). On this release, the guitarist dispensed with his band's regular vocalist, Derek St-Holmes, replacing him with Charlie Huhn. John Sauter also joined the band, sharing bass duties with regular drummer David Hull, while Cliff Davies remained the drummer. With a much more refined production than previous releases, Ted Nugent continues to showcase his powerful hard rock with potent guitar riffs and amazing solos, as demonstrated in songs like "Weekend Warriors", "Need You Bad", "One Woman", "I Got The Feelin'" or "Smokescreen", while the empirical psychedelic "Venom Soup" and the melodic rock "Tight Spots", add a diverse touch of color to a work as colossal as it is essential.

Sunblind Lion-Observer (1976)

Sunblind Lion was an American band from Wisconsin that blended progressive rock with FM-oriented rock. They were probably more oriented towards the former, but in an attempt to be more commercially viable, they incorporated the latter for both club gigs and the possibility of immediate success. Their self-produced debut album sold quite well both locally and nationally. The band remained active until the early 1980s, releasing another studio album in 1978 (''Above & Beyond'') and a live album in 1980, slowly moving away from their progressive roots. While they occasionally resurfaced over the years, in 2014 they made an unexpected comeback with their first album in over 30 years, titled ''The Sanatorium''. Their debut album, "Observer", was released in November 1976, garnering significant airplay throughout Wisconsin and even receiving critical acclaim in Billboard magazine. This album contains the genuine ingredients of American roots music fused with progressive elements, such as the opening track, "Ride the Wind", a song reminiscent of the Kansas sound, with powerful guitar riffs, heavy synthesizers, and a haunting organ. This is followed by the boogie-rock track "Cat Eyes" and the commercial "Jamaican Holiday", two songs that depart from their initial avant-garde approach. In the complex "(Make It) Another Day", the band showcases its versatility with a fusion of Southern rock and progressive rock, while "Spring Essence" is the album's most purist and avant-garde track. The AOR vein returns with "Games Of The Lonely", to end with the homonymous track, a magnificent epic with which they close a masterful album of the best progressive rock from the deep America.

Albatross-Albatross (1976)

Albatross was a short-lived American band from Rockford, Illinois, that released one album in the mid-1970s in a very limited edition of a few thousand copies on the Anvil label. The lineup consisted of Paul Roe (guitar), Mike Novak (vocals), Joe Guarino (bass), Mark Dahlgren (keyboards), and Dana Williams (drums). The musical style of this relatively unknown band was rooted in early 1970s British symphonic rock, with clear influences from the progressive dynamism of Yes and the classical symphonic rock of Keith Emerson. Tracks like the expansive progressive "Four Horsemen of the Apocalypse", the engaging "Mr.Natural", the melancholic "Cannot Be Found", the uplifting "Devil's Strumpet" or the energetic "Humpback Whales", make up a commendable album that gains strength with each new listen, crafted by one of those thousands of promising bands that ended up succumbing to the lack of success and the scarce advertising promotion.

Wishbone Ash-There´s The Rub (1974)

In 1974, the British band Wishbone Ash recorded their fifth studio album, "There's The Rub", a title taken from a literary quote by Shakesphere and referencing the Hipgnosis-designed cover of a cricket player about to throw a ball. This release marked the band's first lineup change, with guitarist Ted Turner leaving and being replaced by former Home guitarist Laurie Wisefield. Wisefield provided the necessary solidification after the previous, somewhat uninspired "Wishbone Four". Comprising six lengthy tracks, the album, featuring Andy Powell (guitars and vocals), Martin Turner (bass and vocals), Steve Upton (drums), and the aforementioned Laurie Wisefield, along with keyboardist Albhy Galuten, crafted a work brimming with the band's signature twin guitar interplay (undoubtedly their strongest feature), with a more conventional classic rock style and less conceptual depth compared to albums like "Argus". High-caliber tracks like the folk blues rock "Silver Shoes" demonstrate the potential of this album, while the epic mid-tempo "Persephone", the semi-folk ballad "Lady Jay", the consistent rock "Hometown" or the sparkling instrumental "F.U.B.B.", highlighted the quality of these veteran rockers and at the same time was the work that restored their great credibility after the predictable previous album.

Drive By Truckers-Decoration Day (2003)

On Drive By Truckers' groundbreaking 2001 double album, "Southern Rock Opera", the band shifted their approach from powerful guitar riffs to subdued guitars caressed by muffled arpeggios and plaintive pedal steel guitars, all bathed in dark vocals. The album's somber tone evokes grim tales and the most ancient customs of the American South. Two years later, they released "Decoration Day", where the Georgia-based band returned with another concept album after "Southern Rock Opera". This time, however, the melodies unfold amidst dense, dark guitar constructions, with slow rhythms floating through mists and ominous scents, evoking melancholic rural memories of bygone eras. From beginning to end, every song on this album a raw, unapologetic roots-rock track with hints of worldly rock becomes a classic, as masterful storytellers Patterson Hood and Mike Cooley unravel tragic and chilling tales of small-town Southern life, one after another. Tracks that evoke hell, such as "Hell No, I Ain't Happy", and country-tinged tracks like the mournful "My Sweet Anette" or the melancholic "Sounds Better In The Song", coexist with sensitive ballads like "Outfit" and dark reflections like "Decoration Day", all of which mirror these stories. All of them together with other brilliant ones like “Skin Hole”, “Your Daddy Hates Me” or “Heathens”, form a beautiful album, as suggestive as the aftertaste of the darkest and most outdated tradition of the North American South is bitter, but at the same time the most romantic, that in whose spirit a way of feeling life is built and also the feeling of its most ancestral music.

Bronco-Country Home (1971)

This short-lived band would become one of the most interesting folk-rock groups of the early 1970s in England, but they would succumb a few years later due to a lack of hits and the abundance of high-quality bands competing at that time, when everything seemed to indicate that they were, above all others, one of the most promising bands with a bright future. Formed in mid-1969, their initial lineup consisted of Jess Roden (formerly of the Alan Brown Set) on guitar and vocals, Robbie Blunt on guitar, Kevin Gammond on guitar, John Parternack on bass, and Pete Robinson on drums. In other words, a group made up of three guitarists who alternated between acoustic and electric guitars, giving their music a very deep, lyrical sound. Almost immediately, they secured a contract with Island Records, which released their album "Country Home" (1970). This album showcased a remarkably fresh folk style with a rich and intense sound, evident in tracks like the superb "Well Anyhow", and the country-rock numbers "Civil of You Stranger" and "Misfit on Your Stairs". This style evolved further with their second album, "Ace of Sunlight" (1971), which received critical acclaim but, like its predecessor, was a commercial failure. "Smoking Mixture" (1972) marked the end of the band, despite being promoted with a UK tour alongside the legendary John Martyn and Claire Hamill. After the breakup, some members went on to join other groups, such as Band of Joy (Gammond and Robinson), while others joined The Butts Band, a project formed by former Doors members Robby Krieger and John Densmore. More recently, Island Records included Bronco on their 50th anniversary album, "Meet on the Ledge" (2009), with the song "Time Slips Away".

Høst-Hardt Mot Hardt (1976)

Høst were another important band in the Norwegian rock scene of the 1970s. Formed in the town of Knapstad in 1971, they initially leaned towards hard rock, releasing the album "På Sterke Vinger" (1974), which achieved some notoriety in the country's heavy rock circuit. However, after this release, three members left the band and were replaced by guitarist Fezza Ellingsen, drummer Willy Bendiksen, and keyboardist Halvdan Nedrejord, while Geir Jahren (vocals) and Bernt Bodahl (bass) remained. With this lineup, they released the album "Hardt Mot Hardt" in 1976, which, unlike its predecessor, focused on progressive sounds while subtly retaining their initial hard rock style. The addition of the new guitarist was fundamental to the complex compositions of the new album. His diverse guitar style, blending heavy rock riffs with classical and Norwegian folk influences, is the highlight of this second album. Tracks like "Gorobin", "Sirkus", "Æræeo", and "Nattergalen" stand out on "Hardt Mot Hardt", where the theatrical vocals sung in Norwegian, along with the sounds of the flute and organ, provide the perfect counterpoint to the guitarist's instrumental virtuosity.

Riverside-Second Life Syndrome (2005)

Riverside is considered one of the leading progressive rock bands of the 21st century. With a series of albums focused on the dark sounds of metal and the avant-garde atmospheres of space rock, they have forged an impressive reputation among today's prog fans. With their debut album, "Out Of Myself", released in 2003, where the influences of Pink Floyd's darker side were more than evident, Riverside returned several years later with another monumental work, this time steering their sound towards progressive heavy metal. This remarkable Polish band, comprised of Mariusz Duda (vocals, bass, and acoustic guitars), Piotr Grudziński (guitar), Michał Łapaj (keyboards), and Piotr Kozieradzki (drums and percussion), created another concept album with "Second Life Syndrome", amply demonstrating the creative inspiration of all its members. From the opening track “Volte-face”, a heavy, atmospheric song, the band showcases the complex and catchy guitar riffs typical of death metal, as in “Dance With The Shadow”, more conventional fusions with pleasant and beautiful solos in tracks like “Conception You” and “I Turn You Down”, or progressive themes in the purest Porcupine Tree style in “Artificial Smile”.

The Firm-Mean Business (1986)

A year after The Firm's self-titled debut, the band led by Jimmy Page and Paul Rodgers continued to build their legend with a second album titled "Mean Business", which would serve as the group's final recording. Following in the footsteps of its predecessor, this album showcases hard rock brimming with Page's signature guitar riffs, Rodgers' powerful vocal range, and the driving rhythm section of Chris Slade and Tony Franklin. The frenetic "Fortune Hunter" opens the album, a track originally intended for the early 80s megaproject XYZ, when Page and Yes bassist Chris Squire conceived of forming a band that was ultimately scrapped. On the opposite end of the spectrum is the bluesy "Cadillac", propelled by Page's guitar work, which becomes one of the album's highlights. Other tracks, such as the epic "Spirit of Love", showcase the band's diversity with a melodic and commercial composition, while the synth-pop-tinged "All the King's Horses" is perhaps the least memorable of all the songs on this album. Without diminishing the merits of the previous tracks, there's the dark and brilliant "Live In Peace", where the nods to his former band Bad Company are more than evident. Finally, we find the best pieces, starting with the jazz-rock "Dreaming", the captivating rock "Tear Down the Walls", and the excellent "Free to Live". While not reaching the magnificence of their debut album, with this second release, the duo Page & Rodgers delivered a well crafted album that grows more brilliant with each listen.

Twenty Sixty Six and Then-Reflections On The Future (1972)

Twenty Sixty Six and Then was an excellent German band within the krautrock genre, who released only one album in 1972, which is considered one of the most highly regarded works of the German scene. Formed in the early seventies in Mannheim, their lineup consisted of Geff Harrison (vocals), Gagey Mrozeck (guitar), Dieter Bauer (bass), Konstantin Bommarius (drums), and Steve Robinson and Veit Marvos (Hammond organ, Mellotron, synthesizers, and vocals). Their style was characterized by heavy Hammond organ and guitar sounds, with a strong inclination towards progressive and symphonic improvisations, all mixed with psychedelic elements. Their only release, "Reflections On The Future", was produced by United Artists and released in 1972. The album opens with a stunning progressive hard rock track, "At My Home", followed by the symphonic "Autumn", a heavy cut brimming with biting guitar sounds and dark keyboard passages. However, the album's high point is the title track, "Reflections On The Future", a piece filled with improvised sonic explorations, steeped in harsh Mellotron sounds, frenetic guitar howls, and majestic instrumentation. After this release, the band recorded material for a second album that was never officially released, but which was later rescued by the independent label Second Battle and released in 1991 under the title "Reflections on The Past".

Group 1850-Paradise Now (1969)

The Netherlands is a fertile ground for brilliant progressive rock bands, as evidenced by Focus, Kayak, Ekseption, Golden Earring, Solution, and Pantheon, just a few examples of the vast array of bands that emerged in the 1970s. However, Group 1850 has the distinction of being, if not the first, certainly one of the seminal bands in their country oriented towards the avant-garde genre. They were already active in 1966, playing concerts in their local area, and their album "Agemo's Trip to Mother Earth" (1968) was the first official, purely conceptual album to come out of the land of tulips. A year after this debut, they released their second album, "Paradise Now", where the band, led by keyboardist Peter Sjardin (the only constant member of the group throughout its career), showcased a rich blend of psychedelic and space rock, a sound that in some ways links them to early Pink Floyd. An album where atmospheric keyboards, dissonant guitars, voices under hallucinogenic effects, and avant-garde and improvised passages with subtle folk and blues moments predominate.

The Bridge-Overdrive Rock/Jazz Party (1972)

The Bridge was a German jazz fusion trio that only released the album we're discussing on this blog today. Led by the excellent keyboardist Kristian Schultze, and supported by drummer Joe Nay and bassist Pawet Jarzębski, they recorded this superb electric piano-driven jazz fusion album with subtle funk rhythms in 1972. This recording features a series of highly consistent and catchy compositions, delivered with exquisite sound worthy of the best jazz productions of the early 1970s. Appealing melodies such as "Ambivalens", "Stupsi", and "Recreation" clearly demonstrate the quality of Schultze's compositions and his talent on the electric piano, something that did not go unnoticed by saxophonist Klaus Doldinger, who the following year recruited him to join his legendary band Passport, with whom he recorded the albums "Looking Thru" (1973), "Cross-Collateral" (1975), and "Infinity Machine" (1976).

Sir Lord Baltimore-Sir Lord Baltimore (1971)

Sir Lord Baltimore was another band from the late sixties that helped popularize the term "heavy metal" due to their style, which featured distorted and abrasive guitar riffs, extremely high volume, and shrill, mournful vocals. Formed in the late 1960s by guitarist Louis Dambra, bassist Gary Justin, and drummer/vocalist John Garner, the trio signed a contract with Mercury Records in 1970 to record several albums. Their first, "Kingdom Come", was released that same year and received both commercial and critical acclaim. A year later, they returned with their self-titled album, "Sir Lord Baltimore", which marked the end of their short-lived adventure due to poor sales despite its undeniable quality. An album that contains everything from epic moments with the heavy rock "Man From Manhattan", to proto-metal pieces like "Where Are We Going" and "Woman Tamer", passing through the hard blues "Chicago Lives" or heavy and dark hard rock like "Caesar LXXI" or "Loe And Belhod".

Steely Dan-Countdown to Ecstasy (1973)

Steely Dan's music has always been characterized by its elaborate production, complexity, and instrumental sophistication, all under the spell of Donald Fagen's sarcastic lyrics. But beyond that, the countless musicians who contribute to all their recordings also stand out musicians of the highest caliber, including Larry Carlton, Rick Derringer, Victor Feldman, Ernie Watts, Jeff Porcaro, David Paich, Michael McDonald, Lee Ritenour, Steve Khan, Wayne Shorter, Joe Sample, and Mark Knopfler, among hundreds of artists from the American and British folk, rock, blues, and jazz scenes. In 1973, its two leaders, Donald Fagen and Walter Becker, along with Jeff Baxter, Jim Holder, and Denny Dias, released their second album, "Countdown to Ecstasy", which differed from their debut album in subtle ways, featuring longer compositions, a more restrained production by Gary Katz, and more complex arrangements. With impeccable sound, this album features songs shrouded in Fagen's dark, cynical, and twisted lyrics, from the pseudo-Eastern philosophy of hippies in "Bodhisattva" to the bleakness of American suburbia in "The Bostob Rag", the sordid "Razor Boy", the absurd notion of the American Dream in "Show Biz Kids", and the intriguing tour de force of "King of the World". The countless layers layered in the recording studio are underpinned by Derringer's phenomenal guitar work and the catchy, accessible rhythms provided by Fagen's keyboards, along with the excellent instrumental interplay of all the musicians involved. The twisted lyrical approach would detract from the massive success of its predecessor, "Can't Buy a Thrill", but it still achieved a well-deserved gold record in the North American market.

Quintessence-Dive Deep (1971)

"Dive Deep" was the third and final album released on the Island label by the esoteric Quintessence, before they signed with RCA, with whom they released their next two albums. Released in 1971, this release featured the exotic British band with Shiva Shankar Jones on lead vocals, keyboards, and percussion; Allan Mostert on guitars and bass; Maha Dev on rhythm guitar; Raja Ram on flute; Sambhu Babaji on bass, acoustic guitar, and harp; and Jake Milton on drums and percussion. They were joined by regular collaborators Vidya Bahen Jee on vocals; Swami Ambikananda on Indian harp; Ned Balen on tabla; and Sita Devi Jee on violin, almost all of whom used pseudonyms taken from legendary figures in Hindu philosophical culture. On this third album, this exotic and peculiar group continued their exploration of psychedelic sounds with ethnic influences, featuring simple yet highly effective and elaborate structures. It features everything from atmospheric journeys under the spell of LSD like "Dance For The One", to forays into oriental sounds with the raga "Sri Ram Chant", passing through approaches to psychedelic jazz "Dive Deep", attractive melodies like "The Seer" or more forceful pieces like the energetic "Epitaph for Tomorrow".

The Allman Brothers Band-Shades Of Two Worlds (1991)

A year after reuniting with the album "Seven Turns", The Allman Brothers Band released a new work, which became one of their finest achievements, almost on par with their greatest works of the seventies. In this new release, titled "Shades of the Two Worlds", the Jacksonville-based band once again showcased their imposing style with an album brimming with country, rock, jazz, and blues, all wrapped in a Southern rock sensibility. Recorded at Ardent Recording Studios in Memphis, it was produced by Tom Dowd and the Allman Brothers themselves, who at that time consisted of Gregg Allman, Dickey Betts, Butch Trucks, Warren Haynes, Marc Quiñones, Allen Woody, and Jai Johanny. Magnificent tracks like the powerful blues-rock anthems "Get On With Your Life" and "Desert Blues" coexist with jazz-influenced songs like "Kind of Bird" and "Bad Rain", or the dusty Southern rock of "End of the Line" and "Midnight Man", not forgetting their country and folk roots with "Come On in My Kitchen" or their signature extended jams, such as the superb "Nobody Knows". In short, with this new work, The Allman Brothers reaffirmed their glorious past, leaving us with one of the finest albums in American roots music.

Catherine Ribeiro & Alpes-Paix (1972)

Catherine Ribeiro & Alpes were one of the most original bands of the French underground scene of the 1970s. Their style was always difficult to define; they incorporated elements of folk, experimentation, psychedelia, and progressive sounds. Led by guitarist Patrice Moullet and singer Catherine Ribeiro, the band also included organist Patrice Lemoine, bassist Jean-Sebastian Lemoine, and percussionist Michel Santangelli. In 1972, they released their fourth album, "Paix", on the Philips label. With its two long suites, it is considered their most progressive work and their masterpiece. These two suites, "Paix", showcase the typical sound of German krautrock, characterized by spacious keyboards, acid, hypnotic, and dark sounds, and the overall unsettling atmosphere. On the other hand, "Un Jour...la Mort" showcases a more intense sound, with thick layers of keyboards, soaring guitar passages, and pulsating percussion. During the following years, this French band continued to release albums regularly until 1980, when they released their final work, before disbanding for good shortly thereafter.

National Health-National Health (1978)

National Health was one of the last great bands of the Canterbury sound movement, playing the same progressive style influenced by jazz, rock, and classical music as the defunct Hatfield and the North. Formed by former members of Hatfield and the North, Caravan, Egg, Khan, and Colosseum, the band consisted of Phil Miller (guitar), Dave Stewart (keyboards), Pip Pyle (drums), and Neil Murray (bass), along with guest musicians Alan Gowen (keyboards), Jimmy Hastings (flute, clarinet), Amanda Parsons (vocals), and Joni Mitchell (percussion). In 1978, they released their self-titled debut album, which featured the epic "Tenemos Road", a cornerstone of the Canterbury sound, the jazz-rock tracks "Brujo" and "Borogoves (Excerpt from Part Two)", both of which showcase the band members' dazzling musical talents, and the uplifting jazz track "Elephants".

Skin Alley-To Pagham and Beyond (1970)

Relatively unknown to the general public, Skin Alley was a progressive rock band that remains in the ears of a fortunate few who experienced their music during their career spanning from 1968 to 1974. Originally formed in London, the group consisted of Bob James on guitars, saxophone, and flutes, Krzysztof-Henryk on keyboards, Thomas Crimble on bass, and Alvin Pope on drums. Their style was infused with jazz, folk, blues, and rock. Around mid-1968, the group secured a contract with CBS, who produced and released their debut album, "Skin Alley" (1969). This album contained nine excellent tracks, including "Marsha" and "All Alone", and was produced by Pretty Things guitarist Dick Taylor. The album was a brilliant combination of keyboard arrangements and a solid rhythm section, featuring memorable guitar solos and, in many cases, an exhilarating flute sound. In the following months, the group embarked on a tour of Great Britain, participating in numerous festivals where they unleashed their endless jams with guitar solos, saxophones, and mellotrons, giving their music a nuanced and sonically diverse sound. A year later came their second album, "To Pagham and Beyond", where they brilliantly continued the progressive rock-jazz fusion of their first album with long and complex compositions. All the tracks on the album exceeded six minutes in length, with "Take Me To Your Leader's Daughter" and "The Queen Of Bad Intentions" being particularly noteworthy. At the end of that same year, Crimble left the band to join Hawkwind and was replaced by Nick Graham, formerly of Atomic Rooster. Shortly after, Pope followed suit, and his place was taken by Tony Knight. These departures significantly hampered the group's brilliant continuity, and so in 1972 the modest "Two Quid Deal" was released on the Transatlantic label, followed a year later by the complex "Skintight", criticized for its excessive orchestral arrangements and commercial appeal. These latter albums were released by the prestigious Stax label for the North American market. But despite their enormous quality and talent, the group ultimately succumbed and disbanded in early 1974, thus ending their short but interesting career. In recent years, Eclectic Records has reissued the group's entire discography, adding bonus tracks to the original versions, thus doing some justice to this little-known band that will not disappoint progressive rock fans.

Banco del Mutuo Soccorso-Banco del Mutuo Soccorso (1972)

Banco del Mutuo Soccorso was a seminal Italian band that fused the pastoral side of Genesis, the dynamism and power of Yes, with the operatic lyricism of Italian music. Formed in the early 1970s, they achieved worldwide recognition in 1972 with their distinctive and grandiose music, releasing a beautiful, highly elaborate, and quite complex album. The album features excellent guitar work, powerful drums, and marvelous keyboards, all brilliantly executed, accompanied by one of the greatest voices of all time, singing with full force and maintaining the rhythm of each track. The album opens with "In Volo", a short song that, thanks to the use of the flute, has a folk touch, along with synthesizer sounds and a dazzling female choir. Next comes one of the quintessential tracks of progressive rock, "R.I.P. (Requiescant In Pace)", where we can appreciate Francesco di Giacomo's extraordinary voice, set against a jazzy piano rhythm, a funky guitar, and symphonic elements that, as it unfolds, transform into a beautiful, peaceful, and exceptional fairy tale. The prelude "Passaggio" leads into "Metamorfosi", a dynamic progressive piece with a strong classical influence, and the hypnotic suite "Il Giardino del Mago", a true progressive epic that becomes the second high point of this magnificent album. To close, the band gives us the wonderful and short "Traccia", another piece based on classical piano, choral vocals, and a kind of folk melody, culminating one of the quintessential works of 1970s progressive rock.

Banco del Mutuo Soccorso-Darwin! (1973)

Banco del Mutuo Soccorso, considered one of the best Italian progressive rock bands of all time, was founded in 1971 as a result of the merger of two groups from the Rome area called Fiori del Campo and Experience. The initial lineup consisted of: Vittorio Nocenzi (keyboards, flute, and vocals), Gianni Nocenzi (keyboards and vocals), Marcello Todaro (guitar), Renato d’Angelo (bass), Pier-Luigi Calderoni (drums), and Francesco di Giacomo (vocals). Their first album, “Banco del Mutuo Soccorso” (1972), reached number one in Italy and established the sextet with its mature compositions, containing the elements that would characterize the group throughout their subsequent career. From this first album stand out memorable moments such as the brilliant “Metamorfosi”, the spectacular “In Volo”, and the suite “Il Giardino Del Mago”. The album quickly became a success in Italy and across much of Europe, cementing their place among the best symphonic rock groups of 1971. They maintained their prestige and quality with their next two albums: the legendary “Darwin” (1973), considered a masterpiece of progressive rock, and the intense and monumental “Lo sono nato libero” (1973). Traditional Italian lyrics, combined with the Mediterranean rock sound, a rich blend of sounds, and incredible instrumental depth, propelled them beyond Italy's borders. Keith Emerson discovered them and signed them to the Manticore label, where the other great Italian band, PFM, was already signed. With Rodolfo Maltese replacing Todaro on guitar, and adopting the shortened name Banco, the sextet debuted on the new label with the LP "Banco" (1975), followed by "Garofano rosso" (1976). This was followed by a series of strong albums such as "Di tearo" (1977), "Canto di primavera" (1978), "Capolinea" (1979), and "Urgentísimo" (1980). Despite promising signs, they failed to achieve mainstream success. Having missed their international opportunity, they returned to focusing their work exclusively on Italy with the albums "Boune Notizie" (1981) and "Banco" (1983).

Banco del Mutuo Soccorso-Io Sono Nato Libero (1973)

Sophisticated instrumental arrangements, bizarre musical elements, brilliant melodies, and creatively well-developed music are what the Italian band Banco del Mutuo Soccorso offered on their third full-length album. "Io Sono Nato Libero", as this third recording is titled, is just as impressive as their debut album and, for many, their masterpiece alongside its predecessor, "Darwin!". An album brimming with magical moments, ranging from the masterful operatic voice of singer Francesco Di Giacomo to the magnificent work with synthesizers and classical piano by brothers Gianni and Vittorio Nocenzi, and including the refined instrumental preludes of Pier Luigi D'Angelo's drums and the subtle guitar chords of Marcello Todaro. Each of the five tracks included on this album is exceptional, starting with the extensive and dynamic opening track "Canto Nomade Per un Prisionero Político", while other cuts such as the majestic progressive "Dopo…Niente e Più lo Stesso", the harmonica "Non Mi Rompete" or the simple with jazzy touches "La Città Sottile", have enough credit to categorize this album as one of the essential works of Italian and European progressive rock.

Banco del Mutuo Soccorso-Come In Un´Ultima Cena (1976)

In the mid-1970s, Italian progressive rock was experiencing a creative stagnation. While bands like Premiata Forneria Marconi maintained their status with their intriguing approach, moving away from the standard Italian sound, others like Le Orme gradually lost their initial imagination, veering towards more experimental sounds. Nevertheless, there were still others who continued to preserve their characteristic progressive flame. One of these was Banco del Mutuo Soccorso, who in 1976 released another of their acclaimed works, the album "Come In Un'Ultima Cena". A concept album about Christ, from the Last Supper to his crucifixion, this is one of their most moving and refined works. Although it falls short of the great works they released years earlier, it remains a clear revelation of Banco's core essence, thanks to its exceptionally high level of composition and great musical imagination. Franco Di Giacomo's operatic singing shines, as usual, in tracks like the delicate opening song, "...A Cena, Per Esempio". However, from this point on, the music takes a more rock-oriented turn with the following tracks: "Il Ragno", the medieval "La Notte è Piena", and the semi-progressive "Fino Alla Mi Porta". These contrast with the melodramatic "E' Così Buono Giovanni, Ma..." and the experimental "Slogan". But it is undoubtedly "Voilà Mida (Il Guaritore)" that stands out as the high point of this work, a cutting-edge song of the best Italian progressive rock.

The Rolling Stones-Tattoo You (1981)

In 1981, the band led by Mick Jagger and Keith Richards released their sixteenth album, "Tattoo You" (their eighteenth in the American market). It was composed of unfinished tracks discarded from previous albums, given a precise reinterpretation for this release. Besides Mick Jagger and Keith Richards, the rest of the lineup remained the same as in recent years: Ron Wood, Mick Taylor, Bill Wyman, and Charlie Watts, along with guest appearances from Billy Preston, Nicky Hopkins, Ian Stewart, Pete Townshend, and Wayne Perkins, among others. The repertoire included here departs from the eclectic styles of their latest albums, maintaining a musical foundation rooted in the most organic and robust sounds of rock and roll, beginning with one of the band's anthems, the infectious "Start Me Up". The rest of the album showcases an effective collection of catchy, rhythmic songs like "Hang Fire", "Little T&A", and "Neighbours", nods to 80s sounds in "Heaven" and "Worried About You", vintage blues in "Black Limousine", and dusty, nostalgic tunes like "Waiting on a Friend". Despite being composed of songs that would have been considered dispensable in previous years, "Tattoo You" would go on to sell over eight million copies worldwide.

Chicken Bones-Hardrock In Concert (1976)

Chicken Bones was a short-lived German blues-rock band with a strong emphasis on guitars, reminiscent of British bands like Wishbone Ash. They released only one album in the mid-1970s, which has since become another holy grail of rock music. Formed in the early seventies, the band consisted of guitarist and vocalist Rainer Geuecke, rhythm guitarist Hilmar Szameitat, and a rhythm section comprised of bassist Werner Hofmann and drummer Wolfgang Barak. Influenced by British hard rock and blues from the late 60s and early 70s, with certain progressive elements, Chicken Bones displayed great creativity and instrumental talent with a clear focus on guitar jams, demonstrated in the wide variety of solos and riffs that are prominent throughout the album. This debut and only album by the band could be described as an example of early heavy and hard rock, which, however, did not receive the continuity or recognition it deserved at the time. This album was recorded at Blackfield Studios in Ostring, Bochum, in the state of North Rhine-Westphalia, very close to the Dutch border, and was not recorded live as its unusual title suggests. Highlights include the fast-paced boogie-rock track "Feeling", the psychedelic "I'm Falling", the progressive "Water", the hard rock "Factory Girl", and the melodic "Drive". This album was recorded at Blackfield Studios in Ostring, Bochum, in the state of North Rhine-Westphalia, very close to the Dutch border, and was not recorded live as its unusual title might suggest. After this release, the band would transform into another called Revanche, more oriented towards heavy metal, and they had a career that would last until the mid-eighties.

Lafauci-Lafauci (1978)

It's incredible how many Southern rock bands roamed the American South in the 1970s, and Lafauci is one of them. Formed in the mid-seventies in Louisiana, they released a single, limited-edition album in 1978, which is a highly sought-after piece of the genre today. The lineup consisted of Sal Lafauci (drums and vocals), Chip Weil (bass), Steve Dodds (guitar), and Keith Guidorz (guitar). This sole release was self-produced by the band, though primarily by Sal Lafauci himself, and pressed and distributed only within Louisiana. Their style, clearly related to other contemporary Southern rock bands like Lynyrd Skynyrd and Molly Hatchet, was full of solid, dusty hard rock, catchy melodies, and fiery guitar riffs. Skillful pieces of upbeat, cheerful southern rock such as "Loving You Is Right", "My Woman", "Ride Chester" or "Let The Good Times Roll", are interspersed with the restrained country rock "Help Yourself" and "Special Love" and even dare to include avant-garde songs as shown by the semi-complex "Flowing River".

Rare Earth-Ma (1973)

Rare Earth's sixth album was preceded by four excellent studio works and a sensational double live album, and became another of their great works thanks to a series of songs full of blues rock reminiscent of funk and soul. "Ma" was produced by one of the producers of the Motown label, Norman Whitfield, who in turn was co-author of some of the album's songs, which would provide it with the characteristic sound of the black bands of the legendary Detroit label. The line-up of Rare Earth for this new album was significantly different from that of their first works, said line-up was composed of Gil Bridges (saxophone, flute and vocals), Peter Hoorebelke (drums and vocals), Ray Monette (guitar and vocals), Mark Olson (keyboards and vocals), Pete Rivera (drums and vocals) and Mike Urso (bass and vocals). The seventeen-minute repetitive guitar riff on the psychedelic and sublime “Ma” is the high point of this album, a track that contrasts with the Zeppelin-like hard rock “Hum Along and Dance,” the soul-funk feel of “Big John is My Name,” and the experimental “Come With Me.” Although it did not have the same media or commercial impact as other previous works, “Ma” was considered one of the cult albums in the underground and over time became one of Rare Earth’s most popular albums.

Electromagnets-Electromagnets (1974)

Electromagnets was an interesting jazz-rock band known for having a very young Eric Johnson in its line-up, who was already showing signs of becoming one of the great jazz and blues rock guitarists. Originally formed under the name Aussenhorowitz in 1974 by keyboardist Stephen Barber and drummer Bill Maddox, they were soon joined by bassist Kyle Brock and guitarist Eric Johnson, changing the name to the definitive Electromagnets. That same year and under the EGM Records label they recorded their self-titled debut album, and ultimately their only release, where they showcase the instrumental virtuosity of the four musicians, especially Barber's skillful and sinuous jazz keyboards and Johnson's eclectic guitar sounds. Tracks like the funk rock “Hawaiian Punch”, the energetic jazz rock “Dry Ice” or the dynamic jazz fusion “Blackhole” show the outstanding mastery of Electromagnets, which together with an excellent production is among the highlights of jazz rock in the mid-seventies, almost at the level of the great bands of the genre such as Weather Report or Return to Forever.

Rory Gallagher-Live In Europe (1972)

After two solo albums, Irishman Rory Gallagher had established himself as one of the great British blues-rock guitarists. His career, which had begun years earlier with his seminal band Taste, culminated in a short but successful run after a superb performance at the Isle of Wight Festival in 1970. Those first two albums were his self-titled debut and "Deuce", two magnificent canvases of the best British blues-rock, seasoned with traditional Irish folk sounds. It was just after the release of his second album that Rory Gallagher embarked on a long tour across much of Europe, from which the material for his first live album was drawn. Accompanied by bassist Gerry McAvoy and drummer Wilgar Campbell, on this live album Rory Gallagher delivers a stunning and glorious musical performance, playing everything from his own compositions to masterfully executed covers. Among the covers, highlights include Junior Wells's exhilarating "Messin' With The Kid", Blind Boy Fuller's folk-blues "Pistol Slapper Blues", and the galloping blues "Bullfrog Blues", an old traditional song from the late fifties. His own compositions include the energetic "Laundromat", the hypnotic blues "I Could've Had Religion", and the dizzying boogie-blues "In Your Town". "Live In Europe" is undoubtedly one of the best live albums of the 1970s and a true historical document of one of the greatest Irish guitarists, alongside the legendary Gary Moore.

The Beach Boys-Pet Sounds (1966)

In 1966, the Californian band The Beach Boys left behind one of the most fundamental albums in rock music, "Pet Sounds", a true contemporary classic. With this release, the eleventh from the group led by Brian Wilson, they reached their creative peak, combining their laid-back surf style with psychedelia. The lineup that recorded this historic album consisted of Brian Wilson (vocals, piano, bass, and organ), Carl Wilson (guitars and vocals), Dennis Wilson (drums and vocals), and vocalists Al Jardine, Bruce Johnston, and Mike Love. By blending irresistible vocal melodies with psychedelic experimentation, The Beach Boys achieved their masterpiece thanks to immortal songs like "Wouldn't It Be Nice", "You Still Believe in Me", "Let's Go Away for Awhile", "God Only Knows", "I Just Wasn't Made for These Times", "Caroline, No", and "Sloop John B". Its reception was both triumphant and spectacular, achieving multiple platinum records in the United States and Great Britain. However, from this essential work onward, The Beach Boys began their gradual decline, although they would still release noteworthy albums such as "Smiley Smile" (1967), "Wild Honey" (1967), and "Sunflower" (1970).

Deep Purple-The Book of Taliesyn (1968)

With their second album, Deep Purple solidified their proto-progressive psychedelic style, with experimental touches. Recorded by the so-called Mark I lineup (Evans, Blackmore, Lord, Paice, and Simper), this release once again features several covers, including Neil Diamond's "Kentucky Woman" and The Beatles' "Exposition/We Can Work It Out", Among the original tracks, the instrumental "Wring That Neck" is undoubtedly the album's highlight, showcasing the talent of both Jon Lord and Ritchie Blackmore on their respective instruments. The psychedelic "Listen, Learn, Road On" and the elaborate "Shield" also feature excellent guitar work. The album closes with the delightful mid-tempo "Anthem", where Evans showcases his best vocal performance with Deep Purple, and with the progressive version of Ike and Tina Turner's "River Deep, Mountain High", which provides the ideal setting for the pyrotechnic excellence of Jon Lord's keyboards.

Vanilla Fudge-Renaissance (1968)

Vanilla Fudge's third album, "Renaissance", released months after their second, "The Beat Goes On", was their first to feature original songs. While it includes several covers, these are more suited to the psychedelic style this American band was exploring. This quartet, comprised of Vince Martelli (vocals, guitar), Mark Stein (organ), Tim Bogert (bass), and Carmine Appice (drums), had already showcased their ingenious style with clever reinterpretations of pop hits like Curtis Mayfield's "People Get Ready" and The Beatles' "Eleanor Rigby", which appeared on their previous releases. By this point, the band had definitively established itself as a true creative force, displaying a sound that would soon become fundamental to hard rock and progressive rock. The heavy sounds of guitar and organ are present in the opening track of this second album, "The Sky Cried - When I Was a Boy", early sounds of progressive hard rock that Jon Lord and Ritchie Blackmore of Deep Purple and Ken Hensley and Mick Box of Uriah Heep would soon make their own, and which are represented here in the hypnotic psychedelic tracks "Faceless People", "That's What Makes a Man", "Thoughts", and "Paradise". The album concludes with a cover of Donovan's pop song, "Seasons of the Witch", transformed into a dark demonstration of the creative avant-garde of this pioneering and sensational band.

Roxy Music-Country Life (1974)

"Country Life" was Roxy Music's most energetic and rock-oriented album, taking the experimental sounds of their earlier work a step further. In this new release, the addition of violinist and keyboardist Eddie Jobson brings a new level of originality and eclecticism to the group's music. The album features a repertoire brimming with memorable compositions that elevate their already high-quality musicianship to brilliant art rock heights. Besides Jobson, the rest of the band is at its peak, starting with the charismatic voice of frontman Bryan Ferry, and continuing with the talented Phil Manzanera and Andy McCay on guitar and saxophone respectively, and the driving drummer Paul Thompson, backed by bassist John Gustafson. The album features the compelling rock track "The Thrill of It All", the perfect introduction to Jobson's immeasurable electric violin. The exhilarating rock tracks "All I Wants Is You", "Casanova", and "Prairie Rose" are the album's most energetic and galloping numbers, contrasting sharply with the more subdued and delightful pop-rock numbers "Bitter Sweet", "Out of the Blue", and "Triptych". While not as complex as their earlier work, "Country Life" is a challenging album, enough to be considered one of Roxy Music's best releases. The original album cover featured two famous models of the time: Constanze Karoli (sister of Michael Karoli, guitarist and frontman of the krautrock band Can) and the charismatic Eveline Grunwald. Although the cover image was highly controversial in some countries, leading to its censorship and replacement with a rather lackluster cover.

Bang-Mother/Bow to the King (1972)

Let's move on to another band from the back of the closet, this time it's Bang, an obscure American hard rock group from Philadelphia, who released four albums between 1971 and 1973 under the Capitol Records label. Formed as a trio, this band falls within the proto-metal genre due to its dark and incredibly heavy style. Their lineup consisted of drummer Tony Diorio, guitarist and vocalist Frank Gilcken, and bassist and vocalist Frank Ferrara. With a style that fused the demonic riffs of Black Sabbath and the brutal hard rock of Grand Funk, this power trio showed their best form with their third release, "Mother/Bow to the King", where the heavy sounds and driving rhythms of hard rock tracks like "Humble", "Idealist Realist", and "Keep On", the epic heavy rock of "Bow to the King", and the melodic "Feel the Hurt" stood out. A year later they would release their epitaph "Music", with which they ended their ephemeral but interesting career, leaving behind a discography that is highly sought after today by fans of hard rock and heavy metal from the early 70s.

Porcupine Tree-Stupid Dream (1998)

With “Stupid Dream”, Porcupine Tree's charismatic frontman, Steve Wilson, turned his back on much of their previous sound and attempted a new musical direction, leaving behind the lengthy, sometimes somewhat indulgent, instrumental passages to focus on a more commercial and accessible approach. However, all of this was underpinned by the inherent relatability of their complex musical structures and the talented instrumental work of all the band members, the sophisticated arrangements, and their intricate compositions. The lineup that recorded this fifth album remained the same as the previous three, consisting of Steve Wilson (guitars, keyboards, vocals, and other instruments, as well as production), Colin Edwin (bass), Chris Maitland (drums), and Richard Barbieri (all kinds of keyboards and synthesizers). Tracks like “Piano Lessons” and “This Is No Rehearsal” are a clear nod to radio-friendly formulas, yet the grandeur of their earlier progressive sounds is still present in “Even Less”, “Pure Narcotic”, and “Don’t Hate Me”, all of which feature lyrics less controversial than usual in Wilson’s compositions. The rest of the album maintains a high standard, as demonstrated by the Floydian “Strange By The Minute” and the melancholic “Stop Swimming”. With this album, Porcupine Tree significantly increased their commercial appeal, gaining wider accessibility to a broader fanbase while retaining much of their original essence the very essence that had made them so popular with their core followers.

Tool-Ænima (1996)

This band, formed in Los Angeles in the early 90s, are pioneers of the progressive metal scene as we know it today. Comprised of Maynard Keenan, Adam Jones, Paul D'Amour, and Danny Carey, they are world-renowned for their haunting lyrics and innovative creative style. With their first and elaborate album, "Undertown", although a departure from their later musical direction, they managed to capture the world's attention with a blend of alternative sounds, a somber tone, and certain progressive influences. Three years later came one of their masterpieces, "Ænima", an album that received widespread acclaim and represented a significant leap forward from their debut. Here, the band achieves musical perfection, beginning with lyrics brimming with spirituality and imagery, guided by their charismatic vocalist, Maynard Keenan. The music here becomes both intricate and dazzling, featuring epic metal sounds and avant-garde elements. The complex “Stinkfirst” is a clear symptom of what was said above, while the voluminous “Eulogy”, the terrifying “Aenema” or the extraordinary “Third Eye” make up one of the fundamental works of rock music of the 90s.

Space Art-Space Art (1977)

Space Art was a French keyboard duo clearly in tune with the electronic and space music of their compatriot Jean-Michel Jarre. They released a series of highly regarded albums within this European genre. However, at the time, they failed to attract the same mainstream attention as their rivals due to limited promotion and distribution. This did not go unnoticed by Jean-Michel Jarre himself, who eventually recruited them as backing musicians for his tours, such as the one in communist China in the early 1980s, which was immortalized on his monumental double live album, "The Concerts in China" (1982). Space Art consisted of keyboardist Dominique Perrier and electronic and acoustic percussionist Roger Rizzitelli. Their first and best release came in 1977, in which these talented musicians offer a diverse catalog of extremely melodic and catchy sounds centered on powerful synthesizer notes and a driving, energetic drum and percussion section. From dark pieces like "Interlune" to the Berlin-school German sound of "Aquarella", and including grandiose mini-epics like "Naissance de Cassiopée" and "Ode à Clavius", the album is built on brilliant rhythmic and atmospheric patterns, creating a sound that is as captivating as it is effective.

Passport-Cross-Collateral (1975)

Although they never reached the same level as their American jazz-rock contemporaries like Weather Report, Mahavishnu Orchestra, or Return to Forever, the German band Passport became a leading name in the European jazz-rock scene, forging their own distinctive style in a market already overcrowded with bands and artists at the time. Alongside the surreal colors of their album covers, Passport showcased an explosive mix of progressive rock, jazz fusion, and funky groove in their first ten years. Led by the brilliant Klaus Doldinger (keyboards, tenor and soprano saxophones), this band released some of the most exciting jazz-rock albums throughout most of the 1970s and part of the 1980s. With their fifth album, "Cross-Collateral", they finally broke into the coveted North American market thanks to an exquisite work featuring drummer Curt Cress, bassist Wolfgang Schmid, and keyboardist Kristian Schulze. An engaging repertoire comprised of the pleasing fusion tracks with space rock influences, “Homunculus” and “Cross-Collateral”, showcases the overwhelming strength of a band led by the prominent bass and the dynamic sound of the drums and soprano/tenor saxophone. The dizzying “Jadoo” and the catchy, funky “Hill-O’ the-Wisp” and “Albatros Song” maintained the high standard of the rest of the album, contributing to encouraging sales in the English-speaking market. From this point on, Passport would become a regular on the Billboard Jazz charts, reaching very high positions thanks to albums like “Iguacu” (1977), “Ataraxia” (1978), “Garden of Eden” (1979), and “Oceanliner” (1980).

Eef Albers Kwartet-Skyrider (1981)

Eef Albers is a talented Dutch guitarist with a well-deserved reputation, having been a member of various projects such as Focus (replacing Jan Akkerman), Kraan, and Metrople Orkest, as well as collaborating with artists like Stanley Clarke and Toots Thielemans, among many others. In 1972, he formed his first band with Gerry Brown and John Lee, and several years later released his first solo album, "Blue Capricorn", In 1981, together with bassist Wim Essed, drummer Gerry Brown, and pianist Rob Van Den Broeck, he released one of his best works, "Skyrider", showcasing his vast guitar palette through exciting riffs and his great ingenuity on the six strings. "Skyrider" is composed of a series of compositions with effective, easy-listening jazz-rock/fusion arrangements and certain bluesy sounds. From fusion tapestries like the album's title track, to relaxing jazz landscapes like "Brown Eyes" and "Take Me There", to Latin-infused sounds like "Flamingo's Dance", and jazz-rock compositions like "Napalis". In the following years, Albers would release other significant works such as the commendable "Pyramids" (1987) and "Birds of the Night" (1996).

Tranquility-Silver (1972)

Tranquility was a short-lived band that remains one of the most interesting and yet most unknown acts in the 1970s folk-rock scene. Formed around Ashley Kozak, then manager of British singer-songwriter Donovan, the band had the intriguing idea of ​​creating a group that would play a kind of British folk-rock infused with 1960s pop sounds. To achieve this, he brought together a number of experienced musicians who came from bands with a distinctly progressive and psychedelic style from the late 1960s. Starting with singer-songwriter Terry Shaddick, who established himself as the group's leader and the only constant member in a band that underwent several lineup changes throughout Tranquility's three-year career. Thanks to Kozak, they secured a contract with Epic Records, who financed their first full-length album in 1972, simply titled "Tranquility". In this first release, the band showcases a smooth, hybrid style blending the sounds of West Coast flower power and British folk, with catchy vocal melodies and clear Beatles influences. On this first album, the folk-rock track "Try Again", the pop song "Look at the Time, It's Late", the pleasant melody of "Lady of the Lake", and the Beatles-esque "Oyster Catcher" and "Black Current Oyster" stood out. After this album, the band embarked on a long tour of the United States, supporting The Byrds, where they achieved some success among Americans with their gentle folk-rock sound, which could be vaguely compared to bands like America or Crosby, Stills & Nash. After this tour, the band returned to England and recorded their second album, "Silver", which confirmed their folk-rock and pop leanings, but with a greater emphasis on arrangements, adding instruments like synthesizers and the Mellotron, thus giving greater depth and complexity to their characteristic sound. Tracks like the psychedelic "Can I See You" contrast with others clearly influenced by the Beatles, such as "Dear Oh Dear" or "Nice and Easy", which, along with the melodic pop, The rock track "Eagle Eye" is the standout, followed by other less impactful songs such as the more complex "Whip Wheel", the country-rock "The Driver's Engine", the pure rock "Couldn't Possibly Be", and the vaudeville-style "Nice and Easy". These tracks closed out an album that, despite not achieving the expected success, led them to open for prestigious artists like Yes, Humble Pie, David Bowie, and The Eagles on another extensive tour of the United States. Subsequently, the band attempted to continue making inroads in the US with relative success, until 1974 when Epic Records, due to their limited commercial appeal, decided to terminate their contract. This situation was seized upon by the British record label Island Records, who offered them a new contract and released the promotional single "One Day Lady", a preview of a new LP, which, however, was never recorded. This would be the catalyst for the band's definitive breakup; from this point on, all its members... They will follow different paths, with Shaddick's songwriting work standing out above all, who thanks to his talent would create some later hits for pop singer Olivia Newton-John.

Passport-Oceanliner (1980)

As a general rule, Passport albums tend to reflect the era in which they were released, and that's precisely what "Oceanliner", released in 1980, clearly demonstrates. That year, Klaus Doldinger had made some substantial changes to the band. Kevin Mulligan's energetic guitar, Hendrik Schaper's sinuous keyboards, and Dieter Petereit's playful bass remained, while David Crigger took over on drums and percussion, replacing Willy Ketzer. "Oceanliner" is the German band's tenth album chronologically and also the one that showcases their early influences of 1980s synth-jazz, with various funk nuances and even hints of melodic pop-rock. The opening tracks "Departure" and "Allegory" showcase the aforementioned influences, with Doldinger playing the Lyricon, a synthesized wind instrument. In contrast, "Ancient Saga" features Mulligan's impressive guitar work. The engaging, funky "Oceanliner", the catchy vocal fusion "Uptown Rendezvous", the galloping jazz-rock "Rub-A-Dub", and the dynamic, atmospheric "Bassride", brilliantly executed by Petereit on bass, round out another commendable jazz-rock/fusion album from this legendary German band.

Three Dog Night-Around the World with Three Dog Night (1973)

Although their musical genre isn't exactly the most prominent within rock music, Three Dog Night achieved massive success thanks to their unique way of interpreting music, a style whose merit and talent far surpassed that of hundreds of solo artists from other groups in the 1960s and 70s. They were the atypical multiracial group with three lead vocalists who reached the top of the charts with more than thirty hits, many of them covers of other artists. They are Danny Hutton, Cory Wells, and Chuck Negron. The style born from the union of these three singers could be described as a "vocal style," but doing so would bring to mind groups like Crosby, Stills & Nash and other famous ensembles known for their rich vocal harmonies. However, unlike all of them, Three Dog Night owes its overwhelming success to the voices of its three lead singers, thanks to their sophisticated vocals that spanned everything from rhythm and blues to mainstream rock, encompassing pop, funk, and soul, skillfully blending commercial appeal with class and musical refinement. Nevertheless, the group's sound was supported by four other excellent instrumentalists who joined the three leaders: guitarist Mike Allsup, bassist Joe Schermie, drummer Floyd Sneed, and keyboardist Jimmy Greenspoon. In 1971, Three Dog Night held the number one spot on the charts worldwide for several months with their impactful "Joy to the World", which was chosen as song of the year not only in the United States but also in some fifty countries around the globe. That song, along with others and their albums "It Ain't Easy" (1970), "Golden Bisquits" (1971), "Naturally" (1970), "Harmony" (1971), "Seven Separate Fools" (1972) or the spectacular live album "Around The World With Three Dog Night" (1973), is the result of a masterful career, with all their albums at the top of the charts and making them one of the best vocal groups that have ever existed.

A.B. Skhy-A.B. Skhy (1969)

A.B. Skhy are a prime example of the brass rock that emerged in the late 1960s. Following in the footsteps of contemporary bands like Blood, Sweat & Tears and Chicago Transit Authority, they released two compelling albums highly regarded by jazz-rock fans of the era. Originally known as The New Blues, the band was founded in 1968 in Milwaukee, Wisconsin, by keyboardist Howard Wales, who already had extensive experience collaborating with artists such as Freddie King and James Brown. In addition to Howard, the band consisted of guitarist Dennis Geyer, bassist Jim Marcotte, and drummer Terry Anderson. Additional musicians included Russell Dashiell (guitar), Otis Hale (flute), Jim Liban (harmonica), Phillip Pruden (tenor saxophone), Jim Horn (saxophone), trumpeters Marvin Brown, Larron Holt, and Bud Brisbois, and trombonists David Thomas Roberts and Donald Waldrop. In early 1969, this large band moved to San Francisco, where they gained considerable prestige performing concerts throughout the city, which led to a contract with MGM Records. Shortly after, and under the production of Richard Delvy, they released their debut album in the middle of that year. Thanks to the hit "Camel Back", they entered the Billboard charts and were encouraged to release a second album, which came out in early 1970, titled "Ramblin' On". On both albums, A.B. Skhy showcased a vigorous blues-rock style with strong jazz influences, reflected in the instrumental structures, with the energetic horn section standing out in combination with the powerful rock band. Tracks such as the bluesy "Understand", the pseudo-jazz "Of All Sad Words", and the jazz-rock version of B.B. King's blues... King, "You Upset Me Baby", attested to the enormous instrumental quality of the album and that of this superb and forgotten American band.