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).

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.

Vangelis-Albedo 0.39 (1976)

The seventh album by Greek composer Vangelis is a masterpiece of electronic music, a work in which the musician further solidified his grasp on electronics and more ethereal concepts. Around this time, Vangelis began exploring Yamaha synthesizers, which, along with other electronic keyboards and synthesizers, plus a range of acoustic and electronic percussion instruments, allowed him to create unmistakable soundscapes akin to the typical progressive and symphonic rock. With "Albedo 0.39", the Greek musician completed a spectacular trilogy that had begun with the earthly "Earth" (1973), and continued with the mystical "Heaven and Hell" (1975), masterfully concluding it with a work in which his music is created from the perspective of space observing Earth. Outstanding pieces such as the spacey and powerful "Pulsar", the grandiose "Alpha", the astronomical "Main Sequence", the exotic "Free Fall" or the progressive divided into two parts "Nucleogenesis", make up one of the most avant-garde and solid works created by the Greek wizard of the keyboards.