The Jimi Hendrix Experience-Are You Experienced (1967)

This is undoubtedly the album that would shatter the foundations of easy-listening pop-rock in the late sixties. The Jimi Hendrix Experience's debut album established the electric guitar's importance as a leading instrument in the world of rock. While it's true that Hendrix drew inspiration from blues greats like Muddy Waters, Buddy Guy, and T-Bone Walker, he combined traditional blues with elements of psychedelia and avant-garde music, revolutionizing the role of the guitar in hard rock, heavy metal, funk rock, jazz rock, and any other genre that would emerge. Surrounded by two phenomenal musicians, jazz drummer Mitch Mitchell and bassist Noel Reading, Jimi Hendrix created a spectacular album brimming with exciting and powerful sounds unlike anything heard before. Songs like the jazzy "Third Stone From The Sun", the pulsating funk rock "Foxy Lady", the heavy hard rock "Manic Depression", the blues "Red House" and "The Wind Cries Mary", the overflowing "Purple Haze" or the atmospheric "May This Be Love", make this album a fundamental piece in the history of contemporary music in general and rock in particular.

Ry Cooder-The Prodigal Son (2018)

Ry Cooder is one of the most influential musicians in American roots music, a musician who, despite being unclassifiable, is absolutely fundamental to his country's musical culture. Despite his great solo prestige, he has been involved in numerous collaborations for over five decades, working tirelessly for rock, blues, and folk giants such as The Doobie Brothers, Van Morrison, Eric Clapton, The Rolling Stones, and Gordon Lightfoot, among many others. Some of his albums are part of American culture; albums like the iconic "Into the Purple Valley" and "Paradise and Lunch" are classics that demonstrate his meticulous style. But it is undoubtedly in the world of film where he is most internationally recognized, composing the soundtracks for monumental films such as "Paris, Texas", "The Long Riders", "The Border", and "Crossroads". Winner of six Grammy Awards and honorary doctorates from Queen's University and the California College of the Arts, Cooder is a leading figure in the development of styles such as Cajun, folk, country, blues, gospel, and world music. In 2018, he released one of his latest works, "The Prodigal Son", a perfect retrospective of his favorite sounds, ranging from bluegrass to gospel, folk, and blues, all imbued with spirituality and wisdom.

The Doobie Brothers-Takin´It to the Streets (1976)

In 1975, The Doobie Brothers were at the height of their popularity, having produced some of the best albums in American rock, such as "Toulouse Street" (1972), "Captain and Me" (1973), and "What Were Once Vices Are Now Habits" (1974), which had earned them five platinum records and sold several million albums. After this last album, they experienced their first setback with "Stampede" (1975), in which the band shifted their country and folk rock sound, with elements of rhythm and blues, towards a more soulful direction. After this last album, former Steely Dan member Michael McDonald joined the band. Along with guitarists Tom Johnstone, Patrick Simmons, and Jeff “Skunk” Baxter, bassist Tiran Porter, and drummers Keith Knudsen and John Hartman, they recorded their sixth album, “Takin’ It to the Streets,” which returned them to success. In this new release, the band continued to evolve towards soul, funk, and jazz, while subtly maintaining the country and blues-infused rock of their earlier work, a style that linked them to Steely Dan. Tracks like the irresistible “It Keeps You Runnin´”, the funk “Wheels of Fortune” and “8th Avenue Shuffle”, the soulful “Takin’ It To The Streets”, the jazzy “For Someone Special” or “Turn It Loose”, the latter with that characteristic American rock sound from their previous albums, make up a record that would be the starting point for the sound that would end up making them even bigger in the following years.

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".

Taj Mahal-Giant Step/De Ole Folks at Home (1969)

Taj Mahal is one of the great pillars of the blues, yet he has never achieved the fame or recognition of other more media-savvy bluesmen like B.B. King, John Lee Hooker, or Muddy Waters. Born in the mid-1940s, his artistic beginnings were rather tentative, practicing a style of blues that bore little resemblance to the mainstream, infused with gospel, jazz, swamp, and zydeco sounds. Consequently, purists were among the first to downplay his style at the start of his career. However, all those opinions became outdated when The Rolling Stones themselves invited him to participate in their "Rolling Stones Rock and Roll Circus" show in 1968. This momentous event marked the beginning of a reassessment of his unique style, which would contribute to the widespread dissemination of his work and the recognition of Taj Mahal's early albums from the late 1960s. With his second album, "The Natch't Blues", he gained enough fame to risk releasing a double album that would definitively cement his career among the great bluesmen of the era. Genericly titled “Giant Step/De Ole Folks at Home” (1969), this double album comprised two distinct discs. On the first, “The Giant Step”, Taj Mahal (vocals, harmonica, banjo, and steel guitar), accompanied by the powerful trio of Jesse Ed Davis on electric and acoustic guitar and organ, Gary Gilmore on bass, and Chuck Blackwell on drums, showcases his eclectic blues essence in tracks like the rock and roll “Keep Your Hands Off Her”, the blues classics “Give Your Woman What She Want”, “Good Morning Little Schoolgirl”, and “Bacon Fat”, the southern-tinged “Six Days On The Road”, and the borderland-tinged “Further On Down The Road”. Meanwhile, the second disc is a tour de force of solo performance by Taj Mahal with his guitar, harmonica, and vocals, reviving the primitive blues of the early 20th century with various influences such as gospel and different tribal sounds. With this double album, considered one of the best in the history of blues, Taj Mahal would enter the legend of the genre and, in turn, his career would be revalued, becoming one of the icons of the genre in the following three decades.

Eric Clapton-From The Cradle (1994)

In 1994, Eric Clapton returned to his blues roots with his twelfth solo studio album after his recent forays into mainstream rock/pop. Composed mostly of blues classics, the album featured a small core group of musicians, including Jim Keltner (drums), Dave Bronze (bass), Jerry Portnoy (harmonica), and Andy Fairweather-Low (guitar). With this new record, Clapton saw the return of his most devoted fans, those who admired his extraordinary guitar skills and his profound blues feeling on the six strings. For the occasion, the guitarist chose a splendid selection of legendary blues tracks such as "Third Degree", "Standin' Round Crying", "Hoochie Coochie Man", "Reconsider Baby", "Motherless Child", and "How Long Blues", demonstrating in each one his immense emotion and purest blues essence, masterfully interpreting each of the songs presented here. A number one hit on the charts in the United States and England, as well as very high positions in a dozen other countries, led to over six million albums sold worldwide.

Savoy Brown-Street Corner Talking (1971)

Savoy Brown were one of the genuine British blues bands, with a clear affinity for the style of Alvin Lee's Ten Years After, but with an instrumental synergy closer to Peter Green's Fleetwood Mac and even John Mayall's Heartbreakers. In 1970, this band, originally from the small town of Battersea in southwest England, faced its first major setback when almost all of its founding members left simultaneously: Lonesome Dave, Roger Earl, and Tony Stevens, who went on to form the boogie-rock band Foghat. Therefore, the sole survivor, guitarist Kim Simmonds, had to reorganize the band, recruiting a completely new lineup, starting with singer Dave Walker, bassist Andy Silvester, and drummer Dave Bidwell, as well as pianist Paul Raymond, all former members of the blues band Chicken Shack. Taking advantage of Walker's fervent vocals, which counterbalanced Simmonds' energetic and robust guitar, this new lineup recorded Savoy Brown's seventh album, "Street Corner Talking", a powerful and solid example of the best British blues rock of the early 70s. Tracks like the elegant versions of Willie Dixon's "Wang Dang Doodle" and the Motown classic "I Can't Get Next To You", plus the dark and sublime "All I Can Do" or the bluesy subtlety of "Tell Mama", are credit enough for an attractive and multifaceted album, where each musician contributes their talent uniformly to the final result, demonstrating that the loss they had suffered did not diminish them in either quality or grandeur.

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. 

Joanne Shaw Taylor-The Blues Album (2021)

Joanne Shaw Taylor is a young British blues guitarist considered one of the most talented of the last 25 years. Discovered in the early 2000s by Eurythmics frontman Dave Stewart, when she was sixteen, he offered to launch her recording career. Joanne had learned to play guitar by listening to iconic guitarists such as Jimi Hendrix, Albert Collins, Rory Gallagher, and Stevie Ray Vaughan. Her first official release was the album "White Sugar", released in 2009, a work that garnered attention from both the public and critics due to her immense virtuosity. The following years were quite fruitful, with the release of half a dozen albums, some of which earned her several important awards, including Best Female Vocalist at the British Blues Awards in 2010 and 2011. With her fourth release, "The Dirty Truth", she achieved great success on the British charts. Starting with her seventh album, "The Blues Album", the renowned bluesman Joe Bonamassa took the reins of her new productions in an attempt to showcase her voice and ensure that his guitar skills didn't overshadow her excellent singing. "The Blues Album" comprises a selection of blues classics such as Fleetwood Mac's powerful "Stop Messin' Around", Little Milton's funk-infused "If That Ain't a Reason", Aretha Franklin's poignant "If You Gotta Make a Fool of Somebody", and Albert King's devastating "Can't You See What You're Doing to Me". In all of these tracks, Joanne demonstrates her deep passion for the blues while maintaining a profound respect for the original essence of each reinterpreted song.

Bob Dylan-Time Out Of Mind (1997)

With his thirtieth album, the masterful Bob Dylan returned after a period of releasing mediocre works that never quite reached their creative peak, although commercially he continued his successful streak of millions of albums sold worldwide. In "Time Out of Mind", Dylan returns to what he does best, with brilliant and dense compositions, bitter lyrics sung in his raspy voice, superb instrumentation, and excellent production. As was typical for Bob Dylan, his roster of collaborating musicians is impressive, featuring artists of the caliber of Jim Keltner, Duke Robillard, Tony Garnier, Daniel Lanois, and Brian Blade, among many others. The diverse repertoire is divided between nods to the exotic sounds of reggae in "Love Sick", the epic "Not Dark Yet", the bluesy "Highlands", the sharp blues-rock tracks "Til I Fell In Love With You", "Cold Irons Bound" and "Dirt Road Blues", and the rural blues of "Standing In The Doorway". Without a doubt, this is one of their best works, which, while not reaching the heights of their legendary releases from the sixties and seventies, far surpasses the musical meanderings of their eighties.

Bob Dylan-Rough And Rowdy Ways (2020)

To speak of Bob Dylan is to speak of one of the geniuses of the 20th century, a musician as pioneering as he was influential, who has paved the way for thousands of musicians and numerous subsequent styles. Approaching his 80th birthday, the Minnesota musician gave us another of his acclaimed works with his thirty-ninth album, "Rough and Rowdy Ways". Here, he once again displays a perfect inventory of his most genuine essence, his literary grandeur, and his profound poetry. He narrates the needs of his country with elegance and intelligence, exploring a diversity of styles and themes, from country and folk sounds to rhythm and blues, rural blues, and rockabilly. Songs like "I Contain Multitudes", "Key West", "False Prophet", "Crossing the Rubicon", "My Own Version of You", and "Murder Most Foul" reflect one of his most personal and retrospective albums.

Eric Clapton-Backless (1978)

In 1978, Eric Clapton had just achieved immense success with his fifth album, "Slowhand", which reached number two on the Billboard charts, earning half a dozen gold and platinum records. Reuniting with the same musicians, studios, and producer (Glyn Johns), Clapton recorded his sixth album, "Backless". Released at the end of 1978, this new release saw the guitarist repeat the same musical formula as its predecessor, although it didn't contain as exciting a repertoire. The album was conceived without too many pretensions, as at that point in his career, Clapton no longer had anything to prove or surprise anyone, given his fabulous trajectory. Even so, the album is somewhat overshadowed by "Slowhand", due to the substantial difference between the two. However, Clapton once again delivers a series of noteworthy tracks, such as the outstanding country version of Feldman and Linn's "Promises", which showcases the guitarist's exceptional technique. There are also two songs written by Bob Dylan, "Walk Out In The Rain" and "If I Don't Be There By Morning", both of mediocre quality despite the British musician's skillful playing. The rhythmic version of J.J. Cale's "I'll Make Love To You Anytime" and "Tulsa Time", another cover, this time of Danny Flowers, are the most notable of the cover compositions. But it is his own songs that are the highlight of this album, starting with the appealing "Watch Out For Lucky" and the outstanding blues "Early In The Morning", while the ballads "Golden Ring" and "Tell Me That You Love Me" are relatively unremarkable. Commercially, "Backless" performed quite well, achieving platinum status and selling over a million copies in the North American market.

Rory Gallagher-Fresh Evidence (1990)

In mid-1990, Irishman Rory Gallagher released what would be his final studio album, "Fresh Evidence", his most eclectic work to date, showcasing all the facets that had characterized his long career. On "Fresh Evidence", Rory performs a series of songs that navigate between blues and jazz, passing through classic rock, rhythm and blues, and American folk roots. In addition to Gallagher (vocals, electric and acoustic guitars, mandolin, and electric sitar), this release features collaborations with frequent bassist Gerry McAvoy, keyboardist John Cooke, and drummer Brendan O'Neill. In the classic blues section, Gallagher covers blues greats like Eddie “Son” House with “Empire State Express”, and showcases the rich influences of Robert Johnson with “Heaven’s Gate” and Slim Harpo with “Middle Name”, while jazz is present in the instrumental “The Loop”. On the other hand, the energetic rock tracks “Kid Gloves” and “Bowed Not Broken”, the folk songs “The King of Zydeco” (a cover of the legendary Zydeco musician Clifton Chernier) and “Never Asked You For Nothin’ ”, the folk-blues songs “Middle Name” and “Ghost Blues”, and the blues-rock song “Walking Wounded” demonstrated Rory Gallagher’s enormous capacity to interpret different styles with great brilliance and flexibility.

Bob Dylan-The Basement Tapes (1975)

"The Basement Tapes" is one of the landmark albums of American roots music, recorded in informal sessions at a farmhouse converted into a studio called Big Pink by Bob Dylan and The Band in 1967. The collaboration between Dylan and The Band dates back to the previous year when they were still called The Hawks and worked together on the Minnesota native's seventh album, "Blonde on Blonde" (1966). The result was an amalgamated collection of songs that navigate between folk, blues, and country rock, showcasing Dylan's most versatile side while The Band demonstrated why they are one of the most fundamental groups in rock history. Comprising an exquisite collection of songs, including standouts like "Tears of Rage", "This Wheel's on Fire", "Long Distance Operator", "Ain't No More Cane", "Ruben Remus", "Don't Ya Tell Henry", "Bessie Smith", "Tiny Montgomery", "Nothing Was Delivered", and "Open the Door, Homer", this album is a truly historic document. Beyond its musical merits, it showcased the impressive talent of all the musicians who contributed to this magnificent and fundamental masterpiece of rock music.

Bob Dylan-Dylan (2007)

“Dylan” is the title of a triple compilation album by the legendary Bob Dylan, containing 51 of his tracks that summarize his music from 1962 to 2006. This box set includes 3 CDs that review the history of one of the greatest musicians in history, from his first album, generically titled “Bob Dylan” and released in 1962, to his last, “Modern Times”, released in 2006, passing through such emblematic albums as “Freewheelin’…”, “Highway 61 Revisited”, “Blonde on Blonde”, “Blood on the Tracks”, “Desire”, “Street Legal”, and “Basement Tapes”... and so on, up to 45 albums in 45 years of his career (including live recordings, rarities, compilations, and bootlegs), with more than 500 songs, all summarized in this anthology, edited with great care and in chronological order, and in which the musician's fans participated. He actively contributed to the selection of this impressive greatest hits collection. A selection of tracks encompassing all stages of his career, from the acoustic sound of his early days, through his electrification with folk rock, his time with The Band, his forays into country, his songs related to religion and spirituality, his bluesy period, and so on. Classics such as "Blowin' in the Wind", "Like a Rolling Stone", "Hurricane", "Changing the Guards", "Knockin' on Heaven's Door", and "Subterranean Homesick Blues", among many others, make up this majestic compilation, which is undoubtedly a true anthology.

Hot Tuna-Burgers (1972)

While Hot Tuna, the band formed in parallel by several members of Jefferson Airplane, based their debut on traditional acoustic blues, their third release, "Burgers", sees the project led by Jorma Kaukonen (guitar and vocals) and Jack Casady (bass) fully embracing the electric sounds of blues rock and folk/country rock. The addition of violinist Papa John Creach, along with drummer Sammy Piazza and occasional appearances by David Crosby, Nick Buck, and Richmond Talbott, brings greater sonic diversity and the perfect balance that was still lacking in their earlier releases. Recurring themes such as the blues "99 Year Blues", the folk "Highway Song", the powerful "True Religion", the country "Keep on Truckin'", the evocative instrumental "Water Song", the bluegrass "Let Us Get Together Right Down Here" or the uplifting blues rock "Ode for Billy Dean" and the bluesy instrumental "Sunny Day Strut", are more than enough credits to vindicate the musical heritage of this formidable North American group.

Lee Michaels-Live (1973)

In 1972, organist Lee Michael achieved a surprising triumph with his fifth album, "5th", which showcased his complete mastery of the Hammond B3 organ and his eclectic rock sound infused with blues, soul, and jazz. Years earlier, at just five years old, Michael had begun playing the piano, which, along with the trombone, saxophone, and accordion, he would soon master with remarkable talent. After studying music for years in high school, he joined various bands, touring extensively throughout the United States and Canada during the 1960s. Then, one day in California, he saw Jefferson Airplane perform and became fascinated by the new musical movements emerging in late 1960s America. After forming his own band, he was signed to A&M Records, with whom he released his first album, "Carnival of Life", in 1968. A year later, he broke into the charts with his third release, "Lee Michaels", which featured an exciting cover of T-Bone Walker's blues classic, "Stormy Monday", as well as the hit "Heighty Hi". His style was based on the driving rhythms of his Hammond organ and the effective and dynamic drumming of Barry "Frosty" Smith. After several more albums, "Barrel" (1970) and "5th" (1971), the latter his biggest commercial success thanks to the hits "Do You Know What I Mean" and "Can I Gat a Witness", he released the live album "Live" in 1973. Recorded at New York's legendary Carnegie Hall, this album showcased Michaels' simple yet effective approach, centered on the organ with the only additions being drums for support, along with his own vocals. This approach had opened the doors to success and fame, and this live performance demonstrated it in a truly overwhelming way. Soul rhythms like "Thumbs", "War," and "My Lady" are interwoven with rock classics like "Rock My Baby", bluesy tracks like "Call It Stormy Monday", and energetic, hard-hitting songs such as "Day of Change" and "Mad Dog". After releasing several more albums, Lee Michaels eventually retired from music to manage his own famous restaurant, "Killer Shrimp", located in Marina del Rey, California.

Stan Webb´s Chicken Shack-That´s The Way We Are (1978)

Chicken Shack was a British band primarily remembered for its keyboardist, Christine Perfect, who left to join Fleetwood Mac. While not a leading band, Chicken Shack was quite popular in the late 1960s, placing two albums in the top 20 of the UK charts. However, their frontman wasn't Christine Perfect, but rather the fantastic guitarist Stan Webb, who thrilled audiences by mingling with them during concerts thanks to a guitar cable that measured approximately 30 meters. In the mid-1960s, he formed this blues-rock band, and they have been releasing albums for over 50 years. Chicken Shack made their debut in 1967 alongside Peter Green's Fleetwood Mac in Windsor, during the National Jazz and Blues Festival of Great Britain. The group was the second most successful artist on the Blue Horizon label, second only to Fleetwood Mac. Chicken Shack's first two albums, "40 Blue Fingers Freshly Packed and Ready to Serve" and "OK Ken", were quite successful, partly because the presence of a woman as keyboardist and vocalist was significant and unusual in those years, a scene largely dominated by men. "That's The Way We Are" (1978), the band's tenth album, features a selection of original songs and covers, characterized by soulful guitars, powerful blues rock, and even boogie rock. From the opening, forceful tracks "The End" and "It Wasn't Me", the album reaffirms a band that sounds very tight and powerful, yet also includes quieter moments, as in the melodic "Emily". Chicken Shack is one of those bands that never usually appear in historical rock lists, but whose legacy deserves to be given its due, as one of the great milestones of British blues.

Rose´s Pawn Shop-Dancing On The Gallows (2010)

Rose's Pawn Shop are a band that gave a breath of fresh air to the American sound in 2005, when they were founded (this does not mean that there are not many others that have also contributed to keeping the legacy alive). They make everything from classical music ("classical" if you were born in the southern United States), from bluegrass to country to folk, rock and blues.
"Dancing On The Gallows" was the second album by this magnificent band released in 2010. By then the band consisted of Paul Givant, vocalist, guitar and banjo, Tim Weed, Mandolin, fiddle and vocals, John Kraus, banjo, mandolin and guitar, Stephen Andrews, bass and drums, Christian Hogan, Debtors of the sounds that The Byrds or The Band created in the sixties, Rose's Pawn Shop manifest their style in superb songs like "Strangers", "Debt Collector" or "Pine Box", themes that if they had been published in the 70s, we would speak of a jewel of the genre.

Eric Clapton-461 Ocean Boulevard (1974)

Few musicians like Eric Clapton can boast of having belonged to four of the greatest bands in history: The Yardbirds, John Mayall and The Bluesbreakers, Cream, and Blind Faith, with whom he left behind some of the masterpieces of rock music, and yet having a solo career full of ups and downs. This somewhat diminished his credibility, not as a guitarist, which is beyond question, but due to his consistently limited songwriting ability. Even so, his extensive discography includes some of the best albums recorded in the 1970s, such as "461 Ocean Boulevard", released in 1974. This second album was his second and definitively cemented his solo career. In this second release, Clapton skillfully delves into the roots of American music, blending blues, country, and R&B with pop, reggae, and rock. Suggestive tracks like "Let It Grow" alternate with exquisite versions such as Bob Marley's "I Shot The Sheriff", Willie Dixon's "I Can't Hold Out" or Johnny Otis' "Willie and the Hand Jive", while the traditional and lively "Motherless Children" or the beautiful folk blues "Please Be With Me", led the album to the top of the charts on both sides of the Atlantic.