Crosby Stills & Nash-Daylight Again (1982)

In 1982, David Crosby, Stephen Stills, and Graham Nash reunited to record their fourth album in thirteen years, a brilliant work that showcased the unique talent of these legendary American musicians. It was in the late sixties that Crosby was asked to leave The Byrds due to his bandmates' rejection of his countercultural songs, such as the controversial "Triad". Nash, for his part, was quite frustrated by the musical direction his band, the Hollies, was taking, straying from their initial hippie roots. Meanwhile, Stills, having completed his time with the folk-rock band Buffalo Springfield, decided to explore new musical horizons. The union of these three geniuses was considered the first supergroup in history, a feat that would be further solidified in 1970 with the addition of Canadian Neil Young, another of the great geniuses of the late 1960s hippie movement. "Daylight Again" was originally conceived as a Stills and Nash album, for which they enlisted the collaboration of a wide array of renowned artists, including Art Garfunkel, Timothy B. Schmit, and Jeff Porcaro, among some twenty celebrated musicians from the American West Coast. However, due to pressure from Atlantic Records, they ultimately included David Crosby, who joined the project near the end of the album's recording process. "Daylight Again" was originally conceived as a Stills and Nash album, for which they collaborated with a wide array of great artists, including Art Garfunkel, Timothy B. Schmit, and Jeff Porcaro, among some twenty celebrated musicians from the West Coast. While not reaching the heights or creativity of their first three albums, "Daylight Again" is a fine example of American folk and rock, boasting a rich and varied repertoire that includes the opening track, "Turn Your Back On Love", an addictive melodic rock song; the melancholic folk number "Wasted On The Way", the bright and harmonious "Southern Cross", the rock tracks "Into The Darkness" and "Too Much Love To Hide", the rhythmic "Since I Met You", the beautiful "Song For Susan", and the introspective acoustic title track, "Daylight Again". "Daylight Again" was certified platinum for selling over one million copies in the North American market and nearly 800,000 worldwide.

Kandahar-In The Court Of Catherina Squeezer (1975)

We're not going to Belgium; this band, who played a style of progressive jazz-rock, was formed in early 1973 in the city of Ghent. The lineup consisted of Jeff De Visscher (electric and acoustic guitar, sitar, and vocals), Karel Bogard (keyboards and vocals), Jean Pierre Caléis (bass), and Etienne Delaruye (drums and percussion, piano, synthesizer, strings, clavinet, marimba, and vocals). This band released two interesting albums on their own record label, both sharing a clear common denominator: the avant-garde rock of the time and jazz, with influences from the Canterbury sound and certain avant-garde touches. "In the Court of Catherine Squeezer" was their second album, which followed in the footsteps of the jazz-rock of their debut, "Long Live the Sliced ​​Ham" (1974), but displayed greater consistency, solidity, and progressive creativity, leaving behind the bizarre touch of its predecessor. The raspy vocals are the perfect counterpoint to a captivating instrumentation, where synthesizers, organ, subtle guitars, sumptuous saxophones and a precise rhythm section give this album a haunting, alluring and ambient style of the best European jazz rock.

SBB-Ze Słowem Biegnę do Ciebie (1977)

Poland has proven to be one of the most creative countries when it comes to progressive rock. It is also undoubtedly the only country in Eastern Europe that takes pride in this style. Probably the best progressive rock band from Poland has been SBB. This group, formed in the early 1970s in the city of Siemianowice, has had several phases, the first being the most fondly remembered, spanning from 1975 to 1981. “Ze Słowem Biegnę Do Ciebie”, released in 1977, was their third studio album. On it, the lineup of Józef Skrzek (synthesizers, electric piano, Moog synthesizer, clavinet, Mellotron, bass, and vocals), Antymos Apostolis (guitar), and Jerzy Piotrowski (drums and percussion) created a truly substantial and powerful source of eclectic progressive rock, incorporating elements of jazz rock, space rock, and symphonic rock with well-structured, epic compositions that showcased the technical prowess of all three band members. The first side of the original album features the immense, eponymous jazz-rock track, a 19-minute musical epic that blends multiple styles, from energetic moments to more subdued sections. In contrast, "Przed Premiera" is closer to jazz fusion, featuring impressive keyboard and drum combinations with a touch of avant-garde and exploration. Without a doubt, this is one of the best European progressive rock albums, performed by one of the most talented bands ever, and is considered a true masterpiece of the genre.

Buddy Guy & Junior Wells-Play The Blues (1972)

"Play The Blues" is one of the landmark blues albums, a memorable work by two of the genre's greats, Buddy Guy and Junior Wells. This formidable duo contributed timeless moments to the history of the genre with recordings like this one, released in 1972. On this seventh album, released under the name Buddy Guy with Junior Wells, they were joined by legendary musicians such as Eric Clapton, Jim Gordon, Dr. John, A.C. Reed, and members of the J. Geils Band. Comprising original songs by the Guy-Wells duo and covers of some of the greatest bluesmen in history, it was recorded at Atlantic Records studios in New York in October 1970. Classics such as "My Baby She Left Me (She Left Me a Mule to Ride)" by Sonny Boy Williamson, "T-Bone Shuffle" by T-Bone Walker, and "Honeydripper" by Joe Liggins share the repertoire with irresistible blues of their own making, such as "A Man of Many Words", "Come on in This House/Have Mercy Baby", and "This Old Fold", creating an unrepeatable album of the best blues. 

Pretenders-Pretenders (1980)

The Pretenders were one of the most successful bands of the early 1980s, achieving success by rejecting the punk and synth-pop of the era to focus on a simple yet magnificent rock sound. Led by Chrissie Hynde, the Pretenders originated in London amidst the last vestiges of the first wave of punk that swept through the late 1970s and early 1980s. Hynde, an American, had settled in England in 1973 after completing her Fine Arts degree at the University of Kent. During her early years, she combined her passion for singing and guitar with writing for the magazine New Musical Express. In 1978, after several unsuccessful projects, she formed the Pretenders with bassist Pete Farndon, drummer Martin Chambers, and guitarist James Honeyman-Scott. Their debut album, "Pretenders," arrived two years later—a powerful and straightforward rock album with an intricate, solid, and precise sound brimming with personality. Tight rock songs like "Precious", "Tattooed Love Boys", "The Wait", "Private Life", "Kid", and "Brass in Pocket" showcased the excellence of a band that played magnificent, unadulterated rock and roll. Surprisingly, the album achieved extraordinary sales, far exceeding one million copies and reaching number one on the British charts, and number seven on the American charts.