Rory Gallagher-Fresh Evidence (1990)

In mid-1990, Irishman Rory Gallagher released what would be his final studio album, "Fresh Evidence", his most eclectic work to date, showcasing all the facets that had characterized his long career. On "Fresh Evidence", Rory performs a series of songs that navigate between blues and jazz, passing through classic rock, rhythm and blues, and American folk roots. In addition to Gallagher (vocals, electric and acoustic guitars, mandolin, and electric sitar), this release features collaborations with frequent bassist Gerry McAvoy, keyboardist John Cooke, and drummer Brendan O'Neill. In the classic blues section, Gallagher covers blues greats like Eddie “Son” House with “Empire State Express”, and showcases the rich influences of Robert Johnson with “Heaven’s Gate” and Slim Harpo with “Middle Name”, while jazz is present in the instrumental “The Loop”. On the other hand, the energetic rock tracks “Kid Gloves” and “Bowed Not Broken”, the folk songs “The King of Zydeco” (a cover of the legendary Zydeco musician Clifton Chernier) and “Never Asked You For Nothin’ ”, the folk-blues songs “Middle Name” and “Ghost Blues”, and the blues-rock song “Walking Wounded” demonstrated Rory Gallagher’s enormous capacity to interpret different styles with great brilliance and flexibility.

Faces-Long Player (1971)

Towards the end of 1968, Steve Marriott decided to pursue his own solo career, later forming the enduring Humble Pie with Peter Frampton. This left Small Faces without their lead guitarist and one of their most prolific songwriters. However, the remaining members Ronnie Lane (bass and vocals), Kenny Jones (drums), and Ian McLagan (keyboards), decided to reform the band, adding a new guitarist, Ron Wood, and expanding the lineup with vocalist Rod Stewart. This new incarnation shortened the name to simply Faces, and they enjoyed a short but triumphant career, releasing four superb albums focused on uninhibited and straightforward rock and roll. After their self-titled debut album in 1970, which already hinted at their powerful rock style with touches of psychedelia, they released what would be their definitive breakthrough: the splendid album "Long Player", released a year later. Following in the footsteps of their predecessor's energetic rock and roll, Faces crafted one of the most compelling albums of the early 70s, as demonstrated by the raw rock and roll tracks "Bad 'n' Ruin", "Maybe I'm Amazed", and "Had Me a Real Good Time". On the other hand, the bluesy "Tell Everyone", the southern country "Sweet Lady Mary", and the extended version of Big Bill Broonzy's classic blues, "I Feel So Good", showcased the wide-ranging versatility of a group that, at the end of that same year, would release one of rock music's masterpieces with the seminal album "A Nod Is As Good As A Wink...To A Blind Horse". 

Elton John-Madman Across the Water (1971)

Elton John's fourth album marked his first foray into the realm of avant-garde and progressive rock, which, unlike his first three albums, showcased a repertoire of longer, darker, and more complex songs. Recorded between February and August 1971 at Trident Studios in London, Elton John enlisted a vast array of collaborating musicians for the album's creation, including Rick Wakeman, Chris Spedding, Herbie Flowers, Ray Cooper, Terry Cox, B.J. Cole, and Caleb Quaye. Under the production of engineer Gus Dudgeon, Elton John and Bernie Taupin composed a reflective and far more sophisticated repertoire than most of the upbeat and carefree compositions of his previous albums. The melancholic "Tiny Dancer" opens this album, while the orchestral "Levon", the arranged "Razor Face", and the baroque "Madman Across the Water" provide the aforementioned progressive touch. On the other hand, the melodic country "Holiday Inn", the exquisite mid-tempo "All The Nasties", and the epic "Goodbye" complete an appealing work that would once again achieve great success worldwide, earning several platinum records and sales that far exceeded two million copies.

Bob Dylan-The Basement Tapes (1975)

"The Basement Tapes" is one of the landmark albums of American roots music, recorded in informal sessions at a farmhouse converted into a studio called Big Pink by Bob Dylan and The Band in 1967. The collaboration between Dylan and The Band dates back to the previous year when they were still called The Hawks and worked together on the Minnesota native's seventh album, "Blonde on Blonde" (1966). The result was an amalgamated collection of songs that navigate between folk, blues, and country rock, showcasing Dylan's most versatile side while The Band demonstrated why they are one of the most fundamental groups in rock history. Comprising an exquisite collection of songs, including standouts like "Tears of Rage", "This Wheel's on Fire", "Long Distance Operator", "Ain't No More Cane", "Ruben Remus", "Don't Ya Tell Henry", "Bessie Smith", "Tiny Montgomery", "Nothing Was Delivered", and "Open the Door, Homer", this album is a truly historic document. Beyond its musical merits, it showcased the impressive talent of all the musicians who contributed to this magnificent and fundamental masterpiece of rock music.

The Cult-Sonic Temple (1989)

In the late eighties, The Cult were at the height of their popularity thanks to their energetic and visceral hard rock style, a genre that left behind its origins steeped in the punk and gothic sounds of their first albums, "Dreamtime" (1984) and "Love" (1985). Before the recording of this fourth album, the arrival of drummer Mickey Currie, replacing Les Warner, marked the first change to the original lineup of The Cult, which continued to consist of Ian Astbury (vocals), Billy Duffy (guitar), and Jamie Stewart (bass). With "Sonic Temple", they reaffirmed the hard rock sound already present in their previous album, "Electric" (1987). Under the direction of producer Bob Rock, "Sonic Temple" is their most ambitious work with masterful songs such as "Sun King", "Sweet Soul Sister", "Fire Woman", "Soul Asylum" or "Edie (Ciao Baby)", and marked the definitive consecration of The Cult as one of the iconic hard rock bands of those years.