Dan Fogelberg-Phoenix (1979)

Dan Fogelberg was one of the most exquisite folk and country rock singer-songwriters of the 1970s, with a discography brimming with hits, as evidenced by his first six albums, all of which went platinum and ultimately made him one of the most significant artists of the genre and a true idol in the United States. Dan Fogelberg was also a frequent collaborator on the work of other great artists such as Jackson Browne, Roger McGuinn, and Randy Newman. From his second album, "Souvenirs" (1974), Dan had the support of some members of The Eagles, such as Joe Walsh, Don Henley, and Glenn Frey, as well as other legendary musicians like Gerry Beckley of America, Al Perkins of The Flying Burrito Brothers, and Graham Nash. In the following years, Dan Fogelberg released a series of brilliant folk and country rock albums such as "Captured Angel" (1975), "Nether Lands" (1977), and "Phoenix" (1979). The latter was his greatest commercial success, selling over two million copies and reaching number three on the US Billboard charts. It included "Longer", one of his most iconic songs and a number one hit, as well as other appealing tracks like the country rock songs "Phoenix" and "Face the Fire", the beautiful, intimate folk song "Gypsy Wind", and the irresistible and captivating soft rock songs "The Last to Know", "Beggar's Game" and "Heart Hotels".

Crosswind-Crosswind (1978)

Crosswind was another of the most important Japanese jazz-rock bands, a natural competitor to others like the legendary Cassiopeia or Space Circus. However, Crosswind focused on atmospheric and progressive sounds with intricate compositions far removed from the funk-rock fusion of their contemporaries. Along with another highly popular band like Space Circus, Crosswind was fundamental in the evolution of Japanese rock. They bridged the gap between the era of hard rock and Japanese space rock, exemplified by bands like Flower Travelling Band or Far East Family, and the progressive hard-rock jazz sounds of Kenso or Ain Soph. Formed in the mid-seventies by the virtuoso guitarist Ginji Ogawa, who already had an extensive musical career in bands like Nezuma Kozo, Crosswind had earned a great reputation in the Japanese jazz scene. In 1976, Ogawa recruited bassist Kazou Kobayashi, drummer Souro Toru, and keyboardists Megumi Marou and Fumitaka Anzai, with whom he released his debut album, "Crosswind", two years later. On this first album, the band showcased the virtuosity of their guitarist and the duality of the two keyboardists alongside a powerful and dynamic rhythm section, as demonstrated in the tracks "Ari No Daiido" and "Crosswind", while a fusion influence is present in the relaxed "Neko To Kororin no Fushigina Tabi". On the other hand, the atmospheric and progressive side appears in the evocative "Ryuhyo" and "Yuyake". This first album was followed by “Crosswind II” (1979) and “Soshite Yume No Kumi E” (1982), after which the journey of this formidable band came to an end, with all its members going on to take part in independent projects.

Harvey Mandel-Shangrenade (1973)

A pioneer of modern Chicago electric blues, Harvey Mandel developed and mastered sustained and controlled feedback like no other, showcasing great virtuosity on the electric guitar and creating techniques that were incorporated by countless subsequent guitarists, such as Eddie Van Halen and the two-handed tapping method. Throughout his long career, Harvey Mandel performed alongside blues legends such as Muddy Waters, Buddy Guy, Otis Rush, and Howlin' Wolf, in addition to collaborating on albums by The Rolling Stones and Canned Heat. In 1966, together with the legendary blues harmonica player Charlie Musselwhite, he released the album "Stand Back! Here Comes Charlie Musselwhite's Southside Band", considered one of the most iconic albums in blues and rock and roll. Two years later, Mandel released his first solo album, "Christ the Redeemer", where he confirmed his enormous talent on the electric guitar, presenting a series of blues-focused tracks. The late sixties were a frenetic time for Mandel, as he collaborated frequently with other artists such as Barry Goldberg, Graham Bond, John Mayall, and Canned Heat, with whom he performed at the legendary Woodstock festival, replacing guitarist Henry Vestine. It was during this period that he began his professional relationship with Don "Sugarcane" Harris, who would become a regular collaborator on all his subsequent work. However, Mandel never abandoned his solo career, regularly releasing blues-rock albums such as "Righteous" (1968), "Games Guitars Play" (1970), "Baby Batter" (1971), and "The Snake" (1972). On "Shangrenade", his seventh album, the blues gives way to more jazzy and funky sounds, resulting in a work that is both captivating and evocative, showcasing his six-string technique throughout the entire record. Excellent efforts focused on jazz-funk such as "What The Funk" alternate with others of a clear jazz-rock nature such as "Fish Walk" or "Sugarloaf", approaches to rock such as "Midnight Sun Li" or relaxed jazz fusion tracks such as "Green Apple Quickstep" or "Million Dollar Feeling".

Osibisa-Osibisa (1971)

Osibisa released their debut album in 1971. In this first work, the Afro-British band showcased a brilliant fusion of psychedelic Afro-pop and jazz-rock sounds, magnificently captured by a group of outstanding instrumentalists and vibrant, energetic compositions. Tracks like the beautifully arranged “The Dawan” and the joyful jazz-rock “Music For The Gong Gong” demonstrate the group's sonic diversity, while the superb “Ayiko Bia”, the dynamic “Oranges”, and the sublime “Phallus C”, perfectly encapsulate Osibisa's style with soaring saxophone, organ, and guitar lines, supported by simply masterful percussion. In conclusion, this is undoubtedly one of the best jazz-funk-afro-pop-rock albums ever released and would elevate Osibisa even though in subsequent years they would release other major works such as "Woyaya" (1972), "Heads" (1973), or the magnificent double live album "Black Magic Night; Live At The Royal Festival Hall" (1977).

Starcastle-Fountains of Light (1977)

The second album from this American band, often unfairly compared to the British band Yes, showcases a more polished and refined sound, along with a much more meticulous production, unlike their debut. The vocal harmonies, reminiscent of Jon Anderson's, the excellent bass lines, the driving organ and Moog synthesizer solos, and the brilliant interplay between the two guitarists result in melodic and catchy compositions delivered through energetic arrangements. The orchestral guitar and keyboard combinations during the symphonic passages sometimes evoke the sound of their compatriots Kansas, but with a more commercial edge, leaning towards AOR. Songs like "Fountains", "Dawning of the Day", "True to the Light", and "Diamond Song (Deep is the Light)", reflect these characteristics, while the bucolic "Portraits" highlights the band's folk-rock side. In short, this second album is an excellent continuation of their enormous debut album, which kept Starcastle among the leading progressive rock bands of the late 70s.