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.