Lee Morgan-The Sidewinder (1964)

Lee Morgan was a prodigious trumpeter from Philadelphia who rose to fame as a member of Dizzy Gillespie's band and the Jazz Messengers, led by Art Blakey, during the 1950s. In 1956, Morgan began recording his own solo albums on the prestigious Blue Note label, while simultaneously continuing to collaborate with jazz greats such as John Coltrane and Hank Mobley. Among his most acclaimed recordings is "Moanin'", with the Messengers. His album and song "The Sidewinder", a contagious, upbeat soul jazz track, made him one of the label's most successful artists for years. Other tracks on this renowned album include dark jazz experiments such as "Totem Pole" and "Hocus Pocus", in which Joe Henderson's vigorous saxophone contrasts sharply with Morgan's elegant trumpet, backed by a fine band comprised of bassist Bob Cranshaw, drummer Billy Higgins, and pianist Barry Harris.

Peter White-Caravan Of Dreams (1996)

Peter White is a talented British guitarist from Luton, in the north of England, with a career spanning more than four decades. Considered one of the most versatile and prolific British guitarists, he has consistently steered his acoustic style towards smooth jazz and pop-rock, combining it with a unique and captivating sound. Peter White rose to international fame when he joined Al Stewart's band in the mid-70s, becoming a key figure in the creation of the Scottish musician's legendary albums "Year of the Cat" and "Time Passages". However, in addition to this, White has collaborated frequently with other artists such as Billy Joel, Grover Washington Jr., and Richard Elliott. His solo career began in 1990 with the album "Réveillez-Vous", after which he has released nearly twenty albums, some of them reaching the top positions on the North American and British jazz charts such as "Caravan of Dreams" (1996), "Glow" (2001), "Confidential" (2004), "Here We Go" (2013), "Smile" (2014) or "Groovin'" (2016).

Mezquita-Recuerdos de mi Tierra (1979)

Under the spell of the fusion of Arab and Castilian cultures, one of the most formidable bands in Spanish progressive rock emerged. Formed a few years before Spain freed itself from an authoritarian regime that had somewhat restricted the artistic expression of Spanish groups, Mezquita was founded in the emblematic city of Córdoba, a magical place where the Arabs held an impressive Islamic stronghold in the heart of the vast Spanish empire. The band consisted of José Rafael García (guitar), Randy López (bass), Rosca López (keyboards), and Rafael Zorrilla (drums). It wasn't until the end of the 70s that Mezquita released their first full-length album, "Recuerdos de mi Tierra" (Memories of My Land), where they showcased their extensive cultural heritage reflected in music full of instrumental virtuosity with fascinating flamenco and Spanish guitars, ardent Mellotron sounds, and a traditional folk melodic base, all under a style that fused jazz rock, flamenco, and the usual demands of progressive rock.

Aunt Mary-Janus (1973)

Aunt Mary was one of the most interesting bands to emerge from Norway during the 1970s. Their style combined diverse influences ranging from psychedelia to pop-rock, with hints of blues and the most avant-garde sounds of proto-progressive rock. The band consisted of Bjoern Christiansen (guitar and vocals), Per Ivar Fure (flute, harmonica, saxophone, and organ), Jan Leonard Groth (keyboards, guitars, and vocals), Svein Gundersen (bass), and Kjetil Stensvik (drums). After signing with Polydor, they released their debut album in mid-1970, a much more accessible work than their subsequent recordings, featuring less keyboards in favor of wind and string instruments. Several years later came their second album, "Loaded", which leaned towards harder rock territory without completely abandoning progressive sounds. However, it was their third release, "Janus", that would bring them their definitive work, a solid album showcasing the band's considerable talent. The boisterous "Path of Your Dreams" and the lively prog track "For All Eternity", along with the Beatles-esque "All We've Got to Do Is Dream" and "Mr. Kaye", are among the most accessible tracks, while the progressive vein is present in the bluesy improvisational "Stumblin' Stone" and the symphonic progressives "Candles of Heaven" and "What a Lovely Day", thus concluding a remarkable progressive album by this short-lived and intriguing Norwegian band.

Polyphony-Without Introduction (1971)

Polyphony is a little-known American band that released only one album, "Without Introduction", now considered one of the gems of 1970s progressive rock. Polyphony was formed in 1971 in Virginia, and their artistic career was short-lived. Comprised of Glen Howard (lead vocals and guitar), Craig Massey (organ and synthesizers), Martin Ruddy (bass and vocals), Christopher Spong (drums), and Chatty Cooper (percussion), they created a solid and flawless work in which the sounds of the Hammond organ fused with guitar in the purest Jimi Hendrix style. That abrasive organ, along with the tremendous feeling of the guitar, and driven by the intense rhythms of the bass and drums, are present in the odyssey that is the dazzling instrumental "Juggernaut", the progressive "Arie's Flight", and the psychedelic "Crimson Dagger", all pieces where we hear echoes of the most symphonic and pretentious Emerson, Lake & Palmer or the most resounding King Crimson. Shortly after its release, the band dissolved without a trace, and their album became one of the most sought-after rarities for collectors. 

Bakerloo-Bakerloo (1969)

Another short-lived, one-album band was Bakerloo, hailing from the British town of Tamworth. Their lineup included guitarist Dave "Clem" Clempson, bassist Terry Pole, and drummer John Hinch. Initially, this power trio was called Bakerloo Blues Line and, as the name suggests, based their style on the blues. However, as time went on, they became more experimental, moving towards progressive blues rock. Thanks to a considerable following and the sponsorship of future Black Sabbath manager Jim Simpson, they gained enough recognition to perform on John Peel's famous BBC Radio 1 show, "Top Gear." Shortly after, John Hinch was replaced by drummer Keith Baker, with whom they recorded their self-titled debut album, released by the prestigious Harvest label in 1969. Although the album received very enthusiastic reviews, it unfortunately had little commercial impact, despite containing genuinely progressive music with blues, jazz, and heavy hard rock sounds. Tracks like the powerful "Big Bear Ffolly," the psychedelic "Last Blues," the epic boogie-rock "Son of Moonshine," the folk-blues foray into Johann Sebastian Bach's classic "Drivin' Bachwards," and the hypnotic blues of the majestic "This Worried Feeling" make it a truly underrated classic of the progressive genre. Shortly after the release of this album, the band would break up when Clempson left to join the jazz rock band Colosseum and later Humble Pie, while Keith Baker would do the same, joining Uriah Heep and Terry Poole the Graham Bond Organisation.

Jim Diamond-Double Crossed (1984)

Jim Diamond became a dazzling star thanks to several of his songs that achieved great commercial and media success in the 1980s. This Scottish singer-songwriter began his career at a young age, leading several local bands in the Glasgow area, such as The Method and Jade, in the 1960s. Jade gained attention after performing in London in 1969. It was then that the legendary bluesman Alexis Korner saw him perform and was pleasantly surprised by his talented voice with its soulful and bluesy undertones. Shortly after, Diamond joined Korner's band, providing backing vocals and recording the album "The Lost Album." After his time with Korner, he formed the group Bandit, which also included future AC/DC bassist Cliff Williams. After releasing the album "Bandit," Diamond disbanded the group and became the vocalist for BACCO, a short-lived Japanese band. The lack of success and limited media attention led him to move to Los Angeles and form a new band called Slick Diamond with guitarist Earl Slick, though they never officially released any material. Finally, in 1981, he achieved success with the trio PhD, comprised of Diamond, drummer Simon Phillips, and keyboardist Tony Hymas, two seasoned musicians with extensive experience playing alongside Jeff Beck, Jack Bruce, Gary Moore, Judas Priest, and Duncan Browne. Diamond's composition "I Won't Let You Down" became one of his most iconic songs and a top-selling single of 1982. However, the band's run was short-lived; shortly after disbanding, Diamond decided to launch his solo career and signed with A&M Records. In 1984, he achieved worldwide success with the acclaimed "I Should Have Known Better," an intense ballad from his debut album, "Double Crossed," which also featured other notable tracks such as "Remember I Love You" and "I Sleep Alone at Night." Several minor hits, like "Hi Ho Silver," and collaborations with musicians such as Tony Banks and Steve Hackett of Genesis, became his most significant contributions. In the following years, Jim Diamond remained largely outside the mainstream charts, despite sporadically releasing a series of albums that went largely unnoticed by the public.

Diana Krall-Wallflower (2015)

For her twelfth studio album, jazz pianist and singer Diana Krall presented a repertoire comprised of pop and rock standards from the last four decades, all contemporary classics that inspired her early career. Produced by David Foster, a born winner with more than 15 Grammy Awards to his name, the album also features collaborations with folk, rock, and jazz legends such as Graham Nash, Stephen Stills, Christian McBride, Michael Thompson, Nathan East, Michael Bublé, Timothy B. Schmit, Georgie Fame, Bryan Adams, Steve Jordan, and Jim Keltner, among many others. For the album, Diana Krall meticulously selected each song, including true classics such as "California Dreamin'" by The Mamas and The Papas, "Desperado" and "I Can't Tell You Why" by The Eagles, "Sorry Seems To Be The Hardest Word" by Elton John, "Alone Again (Naturally)" by Gilbert O'Sullivan, "Wallflower" by Bob Dylan, and "I'm Not In Love" by 10cc. In all of them, Diana Krall showcases her tremendous vocal talent, singing expressively and with great beauty. With this album, Diana Krall has definitively established that her artistic talent transcends any musical style, making her one of the most important and influential artists of recent decades.

The Walker Brothers-No Regrets (1975)

Despite being American, the Walker Brothers' fame began in England in the mid-1960s. It all started in 1965 with the success of their first single, "Make It Easy On Yourself," a song composed by Burt Bacharach a few years earlier. The Walker Brothers' voices became classics of 1960s pop during those years, with a style based on the perfect quality and vocal harmonies of the three members of the group: Scott Engel (Scott Walker), vocals and bass; John Maus (John Walker), vocals and guitar; and Gary Leeds (Gary Walker), drums and vocals. Their beginnings date back several years earlier when, after various experiences, they decided to move from California to England. There, in addition to the single "Make It Easy On Yourself," they achieved success with other songs like "My Ship Is Coming In." Their first album, "Take It Easy," also propelled them to triumph, leading to a true Walker Brothers boom. Their most iconic song, "The Sun Ain't Gonna Shine Anymore," and subsequent singles propelled them to the same commercial heights as The Beatles for several years. These singles included "Baby You Don't Have to Tell Me," "Another Tear Falls," "Deadlier Than the Male," "Stay with Me Baby," and "Walking in the Rain." However, this whirlwind of success didn't prevent the group from disbanding after their third album, "Images," released in 1967. Subsequently, none of the three members would achieve the same level of individual success they had enjoyed while together. In 1975, they reunited to record the brilliant "No Regrets," but after that, they never reunited again, remaining immortalized as a fundamental group of the 1960s thanks to their immense talent and perfect vocal harmonies.

City Boy-The Day the Earth Caught Fire (1979)

City Boy are one of the emblematic bands of the so-called art rock movement. Formed in 1974 in the British city of Birmingham by keyboardist Max Thomas, who, along with Steve Broughton (guitar and vocals), Chris Dunn (bass and acoustic guitar), Roger Kent (drums), Lol Mason (vocals), and Mike Slammer (guitar), left behind seven excellent albums between 1976 and 1981. "The Day the Earth Caught Fire", their fifth release, is one of their best, showcasing their great elegance and musical refinement by blending different styles ranging from pop to rock, including the complexity of progressive sounds, all replete with great melodies, powerful riffs, soaring keyboards, and rich vocal harmonies. Linking all the songs together as if they were a concept album about human folly, this release reflects a heavier and more organic sound than their previous works. The title track is a magnificent piece of energetic, heavy rock with progressive undertones, followed by other excellent songs such as the energetic "The Day The Earth Caught Fire" and "Interrupted Melody", where, in addition to their brilliant instrumentation, the irresistible vocal melodies stand out. The fast pace slows with the mid-tempo "New York Time", a beautiful song with AOR influences, while the catchy "Up in the Eights" provides a commercial moment with an accessible pop-rock melody. This outstanding work concludes with the complex and progressive mini-suite "Ambition".

Jon And Vangelis-The Friends Of Mr. Cairo (1981)

The second collaboration between British singer Jon Anderson and keyboardist and composer Vangelis resulted in "The Friends of Mr. Cairo", released in 1981, which achieved its greatest commercial success with a number one single and a top ten hit in the UK charts. In this second release, the duo largely moved away from the experimental style of their first album, "Short Stories", crafting a more accessible work without sacrificing the quality or the immense creativity that this masterpiece possesses. Based on the concept of cinema from the 1930s, 40s, and 50s, both musicians incorporated numerous fragments of contemporary film classics into the main theme, an unforgettable 12-minute piece divided into different sections, ranging from poignant passages to atmospheric and subtly romantic interludes. "I'll Find My Way Home" is another memorable composition where the dynamic progressive duo simply shines with a simple yet highly effective melody. Meanwhile, "Outside of This", despite sharing many similarities with the final section of the main theme, boasts a more sophisticated and complex treatment. The magnificent rhythms of the keyboards, percussion, and wind instruments, under Anderson's sensational vocals, lead "State of Independence" to another sublime moment, unfairly overshadowing the crescendoing symphonic "Beside", framed by a breathtaking and unforgettable melody. Finally, the ethereal "The Mayflower" arrives, a perfect blend of Anderson's voice and Vangelis's subtle synthesizers a majestic, intense, and moving piece that concludes yet another stellar work from this iconic duo.

Blackhorse-Blackhorse (1979)

Blackhorse was a Texas Southern rock power trio who released a single album in the late 1970s. At the time, it went completely unnoticed, but it's now destined to become one of those many forgotten, obscure albums ripe for rediscovery. Hailing from Dallas, the band consisted of drummer John Teague, guitarist and vocalist Gary James, and bassist and vocalist Paul Anthony Middleton. Their only album, released in 1979, was actually a limited run of promotional copies sold at their own concerts. With a style reminiscent of iconic bands like Lynyrd Skynyrd, Blackfoot, Molly Hatchet, and 38 Special, this release showcases their energetic and intense Southern hard rock with hints of boogie rock, featuring a repertoire of excellent compositions such as the vigorous "Fox Hunter", "Cannot Find My Way Home", "Hell Hotel", "The Party's Started", "Lucille", and "Dave's Song".

Freddie King-Texas Cannonball (1972)

His style was heavily influenced by established artists such as T-Bone Walker, B.B. King, and the great jazz guitarist Kenny Burrell. Once settled in his new city, he experienced some of the blues' golden age firsthand, listening to legends like Muddy Waters, Howlin' Wolf, and Lonesome Sundown. His playing style, with its wide variety of characteristic solos, achieving a clean and robust sound, along with his energetic voice, would make him, over the years, one of the most emblematic and celebrated bluesmen in history. After a good number of successes during the sixties, such as “Freddie King Sings” (1961), “Freddie King Goes Surfin’” (1963) or “My Feeling For The Blues” (1970), in which he has the participation of the superb saxophonist King Curtis and in which stand out songs such as “Wake Up This Morning” by B.B. King or the superb “Il Wonder Why” and “Stormy Monday”. Around this time, King showcased a large group of backing musicians, including the aforementioned King Curtis and legendary session musicians, most of them from the Atlantic Records stable, such as Frank Wess, George Coleman, Cornell Dupree, and Martin Banks. On his tenth album, "Texas Cannonball", released in 1972 and considered one of the best blues albums ever made, he once again enlisted King Curtis as producer, featuring eleven blues standards by T-Bone Walker, Elmore James, Ray Charles, Jimmy Reed, and Jimmy Witherspoon, as well as his own composition, "You Was Wrong". In the following years, he released a series of albums, including "Woman Across the River" (1973), "Burglar" (1974), and "Larger Than Life" (1975), his final work, in addition to various collaborations and compilation albums. However, Freddie King's career was tragically cut short on December 28, 1976, when he died of a heart attack. His death shocked the blues and rock world, and some years later he was included in the select group of the 100 greatest guitarists of all time. Ironically, observing the rise of blues rock and British blues, Freddie King once remarked in the mid-sixties that "the blues had undergone some changes in just a few years, especially since it was discovered by white kids".

Budgie-If I Were Brittania I´d Waive The Rules (1976)

During their early period, the Welsh band Budgie recorded their most classic albums, a time when they showcased their heavy rock and blues rock side infused with progressive elements. In this vein, they released magnificent works such as "Budgie" (1971), "Squawk" (1972), "Never Turn Your Back on a Friend" (1973), and "In For The Kill" (1974). A year later, with "Bandolier", the Cardiff-based group began their transition towards a more predictable, solid hard rock sound, while still maintaining progressive structures but lacking the creativity of their earlier work. With their next album, "If I Were Britannia I'd Waive The Rules", the band definitively abandoned those complex compositions in favor of a more eclectic style that evolved into the generic hard rock they had begun exploring with its predecessor. Even so, there are some very enjoyable tracks here, such as the heavy blues "Anne Neggen", the rocking "If I Were Britannia,'d Waive the Rules", the blues-rock "Quacktor and Bureaucats", the melodic "Heaven Knows Our Name", and the vintage "Black Velvet Stallion", the latter being the best vestige of their glorious past. However, the album also reveals a certain lack of ideas, as seen in the uninspired "Sky High Percentage", a failed blues-rock track with mediocre instrumentation, and the mid-tempo, mainstream-influenced "You're Opening Doors". Despite the positive aspects of the vast majority of the tracks included here, the final result of the album shows a certain disconnect from their classic albums.

Eric Gale-Multiplication (1977)

Despite spending much of his career as a session musician working for other artists, Eric Gale is one of the most refined and talented guitarists in jazz fusion, funk, and soul blues. Born in New York, Gale began playing guitar as a child and eventually became one of the most celebrated guitarists, recording with artists such as Grover Washington Jr., Herbie Mann, Nina Simone, Paul Simon, Bob Marley, Van Morrison, and Al Jarreau, among more than 500 collaborations. In 1973, Gale released his first solo album, "Forecast", followed by "Negril" (1975) and "Multiplication" (1978). On the latter, he collaborated with Bob James on production and keyboards, Eddie Daniels on saxophone, Steve Gadd on drums, and Randy Brecker on trumpet, among other prominent musicians in the jazz scene. "Multiplication" is a remarkable work of jazz fusion/rock in which gospel and funk sounds appear here and there, in a series of skillfully played compositions and even better arrangements courtesy of Bob James. From the gospel-infused "Oh Mary Don't You Weep" to the solid fusion tracks "Multiplication" and "Morning Glory", passing through the funky rhythms of "Thumper", the subtle wailing of his guitar in "Sometimes I Feel Like a Motherless Child", and the synth-driven sounds of James and Daniels' saxophone in "Gypsy Jello," the album creates a work brimming with rich musical spaces and very pleasing, consistent jazz fusion lines and rhythms.

Jethro Tull-Roots To Branches (1995)

The 1990s were the least prolific decade, in terms of recordings, for the band led by Ian Anderson, releasing only three albums widely spaced: "Catfish Rising" (1991), "Roots to Branches" (1995), and "J-Tull Dot Com" (1999). Four years after the classic rock-oriented "Catfish Rising", Anderson gave the group's music a new direction, shifting their sound towards Middle Eastern influences and fusing them with their usual progressive folk-rock and doses of hard rock. For the recording of this new album, the lineup expanded with the addition of keyboardist Andrew Giddings, who joined the regulars of recent years: Martin Barre, Doanne Perry, and David Pegg. Despite the diverse sound of this album, one of the British band's most eclectic, progressive elements are ever-present, such as Anderson's omnipresent flute or Martin Barre's occasional hard rock guitar riffs, enhanced by Giddings' exuberant keyboard work. Excellent tracks like the powerful flute frenzy of "Dangerous Veils", the melancholy of "Another Harry's Bar", the lively folk rock of "Beside Myself", the progressive "Wounded, Old and Treacherous" and "At Last Forever", the hard rock of "Roots to Branches", and the somber and hypnotic "Stuck In The August Rain", make up a work where traces of the band's distant progressive past can still be detected, but which also showcases the musical evolution of its frontman and his continuous search for different musical influences.

Grateful Dead-Live Dead (1969)

In 1967, the Grateful Dead released their self-titled debut album, a work with a repertoire of still somewhat undefined songs influenced by the blues and the band members' distinctive personalities. Afterward, the group expanded with the addition of keyboardist Tom Constanten and percussionist Mickey Hart, two musicians who would be fundamental to the band's career in the years to come. At that time, the rest of the lineup consisted of guitarist, leader, and driving force Jerry Garcia, drummer Bill Kreutzman, bassist Phil Lesh, keyboardist Ron McKernan, and guitarist Bob Weir. With this lineup, the band released their first major masterpiece, "Anthem of the Sun", in 1968, followed a year later by another seminal work, "Aoxomoxoa". These albums showcased the group's impressive power, with their intricate and original themes, instrumental jams, hazy atmospheres, and the incredibly long solos of all their virtuoso musicians. However, it was live that the Grateful Dead truly unleashed the full potential of their repertoire, delivering extensive performances that stretched until dawn, leaving audiences stunned by the avalanche of creative and breathtaking sounds. Due to these memorable performances, a phenomenon known as the "Deadheads" grew up around the group—massive fan groups organized throughout the United States that never abandoned them until the band's dissolution in 2015. Even today, the "Deadheads" movement is one of the most powerful and influential in the United States. To best share the magic of those concerts, the double album "Live Dead" was released near the end of 1969. It consists of a repertoire recorded on various nights at the Fillmore West in San Francisco during the first months of that year. However, it was also released to help offset the debt the Grateful Dead had incurred with Warner Bros. for their album "Aoxomoxoa", which, due to its extensive and meticulous production, had cost them a staggering $180,000. The album didn't sell particularly well at the time, but their live shows were significantly expanding their cult following, thanks to their extended performances, which ranged from three to six hours each night. It's worth noting that the Grateful Dead were an exceptionally dedicated band, striving for perfection in their performances, musical originality, the production of their recordings, and extensive live improvisations. At this point, we mustn't forget their famous and legendary "Wall of Sound", a massive and sophisticated sound system built exclusively for the band, about which you can find more information in the link at the end of this post. "Live Dead" opens with the monstrous and monumental "Dark Star", which, at 23 minutes long, is undoubtedly the "Holy Grail" of the aforementioned "Deadheads," and one of the groundbreaking and exploratory tracks that became an art form in rock. Built on two simple main chords, it is undoubtedly the band's most complete and complex sonic passage, requiring a superhuman amount of telekinesis, confidence, and...LSD (the band's and their fans' preferred drug) for listening and understanding (or at least that's what the band members and fans claimed). At their most indulgent, the Dead could play "Dark Star" for literally hours on end, unfolding walls of feedback, avant-garde exploration, and lengthy improvisations, before returning to the two simple opening chords. The rest of this double album consists of the ramshackle and psychedelic "St. Stephen", the brilliant "The Eleven", the lengthy experimental blues "Turn On Your Love Light", the lilting blues "Death Don't Have No Mercy", and the avant-garde and lysergic "Feedback". “Live Dead” is considered by the most purist fans of live music as the best live recording in history, mainly because no one ever sounded as supernatural as they did in their memorable and unique shows of those longed-for years.