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". 

Hookfoot-Live In Memphis 1972 (1990)

Formed in the late 1960s in Great Britain, Hookoot was a band that emerged from the union of session musicians from the DJM Records label. Although they never achieved any significant chart success, nor did their albums garner any media attention, this band was a prime example of early 1970s rock and roll and blues. Their lineup consisted of Ian Duck (vocals, harmonica), Dave Glover (bass), Roger Pope (drums), and Caleb Quaye (guitar). Some time later, guitarist Bob Kulick and bassist Mick Grabham joined them. All of these musicians had participated in most of the recordings for the aforementioned label, including Elton John's early albums such as "Empty Sky" from 1969. After signing with A&M Records, they released five LPs, which were only marketed in the United States, beginning with "A Pie Of Pye" (1969), followed by "Turn The Radio" (1970), "Hookfoot" (1971), "Good Times A' Comin' " (1972), "Communication" (1972), and "Roarin'", with which they concluded their musical journey. Later, A&M Records released the double compilation album "Headlines", and a few years later, the live album recorded in 1972, "Live In Memphis". This live album is a brilliant example of Hookfoot's style, with that Southern flavor infused with rock and roll, electric and acoustic blues, and funky elements. Tracks like the funk rock “Bluebird”, the southern epic “Mystic Lady”, the dusty “Movies”, the country rock “Natures Changes”, the rhythmic jazz rock “Wim-Wom” or the melodic “Crazy Fool”, along with the brilliant and accomplished interpretation of Neil Young’s “Don’t Let It Bring You Down”, or the acoustic blues “Coombe Gallows”, demonstrate the talent that this forgotten band had behind them, combining excellent musicality with committed lyrics and a captivating and suggestive eclectic style.

Robby Steinhardt-Not in Kansas Anymore (A Prog Opera) (2021)

Robby Steinhardt is world-renowned as one of the founding members of the legendary American progressive rock band Kansas, with whom he recorded ten albums, many of them multi-platinum hits, earning dozens of gold and platinum records. This violinist and singer was present on all of his band's albums released in the 1970s and several in the 1980s, when he left at the end of 1982. He returned in 1997 and remained with the band until his final retirement in 2006. In 2021, Steinhardt released his only solo album, ironically titled "Not In Kansas Anymore (A Prog Opera)," and despite this curious title, the album evokes his former band in many moments. For the recording, he enlisted a stellar lineup of collaborators, beginning with Ian Anderson (flute), followed by Steve Morse (guitar), Billy Cobham (drums), Patrick Moraz (keyboards), Bobby Kimball (vocals), Pat Travers (guitar), Michael Thomas Franklin (keyboards), Chuck Leavell (keyboards), Lisa Fischer (vocals), Liberty DeVitto (drums), Billy Ashbaugh (drums), and Jim Gentry (guitar). The repertoire consisted of powerful tracks with virtuosic orchestral arrangements and instrumental prowess from all the musicians involved. Among the highlights were vigorous songs leaning towards melodic progressive rock with a distinct hard rock edge, such as "Tempest", "Truth to Power (Only Truth Can Change the World)", "Rise of the Phoenix", "Downtown Royalty", "Not In Kansas Anymore", and "A Prayer for Peace". He even covered his band's classic "Dust in the Wind", creating a beautiful version sung by Lisa Fischer, accompanied by an exceptional string section and expansive vocal harmonies. Sadly, Steinhardt would not live to see his album released, as he passed away several months before its official launch, due to a brief illness at the age of 71, a consequence of acute pancreatitis.

Downes Braide Association-Halcyon Hymns (2021)

At the end of the disastrous year 2019 and the beginning of the disastrous year 2020 years that, for obvious reasons we all know, deserve that label Geoff Downes and Chris Braide joined forces once again to tour with a full band, performing a series of songs, some of which already appear on "Halcyon Hymns" (the duo's fourth album), along with material from their previous albums and other tracks composed during the lockdown of much of 2020. Now, in 2021, this album has been released, a somewhat nostalgic offering with certain reflective touches that nevertheless lead us to a certain positivity upon listening, hoping for better days in the not-too-distant future. For this album, in addition to Geoff Downes' keyboards and the guitars and vocals, with the added bonus of Chris Braide's keyboards, musicians such as drummer Ash Soen, bassist Andy Hodge, guitarist David London, and the great Marc Almond on vocals appear. Barney Ashton Bullock also features as narrator on some of the tracks. The album itself is a journey through sounds reminiscent of the more symphonic Moody Blues, the more progressive Yes, or even the more commercial sound of The Alan Parsons Project. Barney Ashton Bullock's narration opens the splendid "Love Among The Ruins" with lush musical textures, a song brimming with vitality and good vibes. The haunting "King Of The Sunset" is a mid-tempo track where the vocal harmonies are effectively constructed, with subtle bursts of guitars and mandolins. "Your Heart Will Find The Way" retains that sound reminiscent of Yes's era with Trevor Rabin, a catchy track with soaring choruses and a clear, optimistic message. The progressive "Holding The Heavens" is closer to the more bucolic sounds of Genesis, with its 12-string guitars and a melody that builds almost epically. Another track in the vein of Yes, this time in their classic style, is the short "Beachcombers," a song that gradually unfolds through layers of keyboards, guitars, drums, and precise vocal harmonies. The pastoral "Warm Summer Sun", sung by the extraordinary Marc Almond, features a masterful interplay between his voice and Braide's, a song that evokes feeling and nostalgia. Meanwhile, "Hymn to Darkness" leaves us with that lingering taste of Downes' church music, with an irresistible melody and great mandolin and keyboard chords that provide the perfect backdrop for Braide's voice. The languid and brief "Late Summer" follows a somewhat similar path, but in a darker tone of great instrumental beauty. The expansive "Remembrance" is the album's strangest song, employing the same mandolin and piano patterns as the previous tracks, as Ashton Bullock narrates our love for the elderly so afflicted by this disease. With this new album, Downes and Braide have triumphed once again, and as with their previous album, "Skyscraper Souls", they both benefit from working with a full band, with the invaluable contributions of Andy Hodge and Ash Soan, and guest musicians like Marc Almond, all of whom contribute great harmonies and extraordinary instrumental performances in a work as elegant as it is refined, where its message of yearning for... The return of the happy days we all long for now, a message the world needs in these difficult times.

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.

Murphy Blend-First Loss (1971)

Murphy Blend was the band responsible for one of the best albums released on the legendary German label Kuckuck, a subsidiary of Polydor. This quartet consisted of Wolf-Rodiger Uhlig (organ, keyboards, and vocals), Wolfgang Rumler (guitar and vocals), Andreas Scholz (bass), and Achim Schmidt (drums). "First Loss" was recorded at Union Studios in Munich between October and December 1970. On this single album, Murphy Blend showcased a masterful fusion in which Uhlig used his keyboards to incorporate classical themes into his heavy progressive style, undoubtedly influenced by his three years of studying classical music at the Berlin Conservatory. The songs were melodic, textured by strong guitar and organ riffs. The album contained six original tracks (mostly written by Uhlig). It's difficult to single out highlights, as all the material is truly superb, from the opening track "At First" to the brilliant "Speed ​​Is Coming Back", a dramatic cut of blues guitars and dark organ, and the chilling "Past Has Gone", which closes out a superb first side. Opening the second side, we find "Prädudium/Use Your Feet", perhaps the track that best showcases their classical influences, while the title track is a tour de force that provides ample opportunity for all the band members to shine instrumentally. The album ends with "Funny Guys", a kind of tribute to John Sebastian Bach, which adds a touch of color to this phenomenal work by these German musicians. Unfortunately, Murphy Blend disbanded shortly after recording this album. Later, Andreas Scholz participated in the progressive group Blackwater Park in 1971, while Wolf-Rudiger Uhlig would do so as a guest musician on the third album of the legendary German band Frumpy, "By The Way", in 1972.

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.

John Fogerty-John Fogerty (1975)

It took John Fogerty three years to release his first solo album after leaving Creedence Clearwater Revival, aside from his short-lived project, The Blue Ridge Rangers, released the previous year. On this album, Fogerty returns to the swampy, raw rock of his original band, leaving behind the traditional country and folk sounds of The Blue Ridge Rangers. Here, he amply demonstrates that he was the heart and soul of Creedence, producing an album almost on par with his best work with the group. Composed of songs written by Fogerty, as well as several covers, the guitarist, singer, and songwriter crafts an immeasurable work featuring the catchy "Almost Saturday Night", the well-known and rock classic "Rockin' All Over The World", the jazzy "You Rascal You", the swampy "The Wall" and "Dream Song", and the melodic, country-tinged "Where The River Flows".