Alphonse Mouzon-Mind Transplant (1974)

"Mind Transplant" is often considered Alphonse Mouzon's best recording, one of the most acclaimed drummers of the golden age of jazz fusion. In the early 1960s, he graduated from high school and subsequently pursued various careers, including drama and medicine. However, some time later, he focused on studying music with the renowned drummer Billy Taylor. His professional career began in the mid-1960s when he was barely twenty years old, performing alongside McCoy Tyner. In the 1970s, he joined the legendary Weather Report, with whom he recorded the album "Weather Report" in 1970. After this venture, he joined another jazz-rock giant, Larry Coryell's Eleventh House, contributing to the band's brilliant debut. In 1973, Mouzon released his first solo album, "The Essence of Mystery", a work focused on jazz-funk with Latin influences. After a second album that continued in the same vein, "Funky Snakefoot", Mouzon released his third album, "Mind Transplant", which featured collaborations with three great guitarists: Tommy Bolin, Lee Ritenour, and Jay Graydon; keyboardists Jerry Peters and Rocke Grace; and bassists Henry Davis and Stanley Sheldon. On this third record, Mouzon shifted his style towards a powerful jazz-rock sound, with expansive instrumental lines that almost bordered on hard rock, as evidenced by tracks like "Mind Transplant", "Snow Bound", "Carbon Dioxide", "Ascorbic Acid", and "Nitroglycerin". In the following years, Mouzon continued to release solo albums, as well as perform and collaborate with jazz and rock greats such as Herbie Hancock, Gil Evans, Al Di Meola, Eric Clapton, Jeff Beck, and Miles Davis.

Appaloosa-Appaloosa (1969)

Appaloosa's only album was one of the most understated examples of baroque folk from the late 1960s, a style that was widespread at the time and perfectly described a fusion of folk and symphonic classical music. Emerging from the Boston folk scene, the group consisted of guitarist and vocalist John Parker, who was also the main songwriter, bassist David Raiser, and string players Robin Batteau and Eugene Rosov. For a time, the band focused on small gigs at Cambridge University in Boston and even opened for Tim Hardin on occasion before moving to New York. There, they connected with Al Kooper, who, after hearing them, offered them a contract with Columbia Records to record an LP. Released in 1969, the self-titled album was produced by Kooper himself, who also played several instruments on the recording, along with other session musicians from Columbia's New York studios. The eleven songs included epitomize the folk-rock of the Boston area, with certain similarities to the work of Earth Opera or James Taylor. The opening track, "Tulu Rogers", is a delightful piece of country folk with Bach influences; "Pascal's Paradox" follows in the same vein, while the nostalgic "Yesterday's Road" and the jazzy "Thoughts of Polly", "Billy-Weekly", and "Now That I Want You" bear the unmistakable stamp of Al Kooper. "Rosalie", for its part, is a folk song with hints of country. Despite the incredible quality of this album, it went largely unnoticed, although its legacy would remain as a model for some later baroque folk artists.

Foreigner-Head Games (1979)

In 1979, Foreigner released their third album, considered one of their masterpieces and also one of their most elaborate works. In this new release, the band led by Lou Gramm and Mick Jones achieved another remarkable work that climbed to number five on the US Billboard charts, with sales exceeding five million copies. In addition to Lou Gramm (vocals) and Mick Jones (guitar and vocals), the rest of the band consisted of bassist Rick Willis, guitarist and keyboardist Ian McDonald, drummer Dennis Elliott, and keyboardist Al Greenwood. Recorded during June and July of 1979 at Atlantic Studios in New York, the album was released in early September of that same year. While it's clear that "Head Games" loses some of the raw energy and instinct of their two previous albums, it also features some truly outstanding tracks, such as the catchy "Love On The Telephone", the energetic "Dirty White Boy", the boogie-rock anthem "Women", the captivating hard rock track "Seventeen", the AOR title track "Head Games", the exquisite ballad "Blinded By Science", and the addictive mid-tempo "Do What You Like". In all of these, Lou Gramm's sublime vocals and the outstanding instrumental work of the rest of the band shine, along with the superb production by Roy Thomas Baker and Mick Jones.

Andrew Lloyd Webber-Varations (1978)

“Varations” is a highly grandiose and pretentious piece of music by the renowned composer, arranger, and instrumentalist Andrew Lloyd Webber, inspired by the famous “Guitar and String Quartet” by the 17th-century Italian composer Niccolò Paganini. For the complex recording of this work, Webber enlisted a number of highly acclaimed musicians, including his brother Julian, a virtuoso cellist, whose instrument is central to the music presented here. The rest of the ensemble consists of members of the progressive jazz-rock band Colosseum II: Gary Moore on guitar, Don Airey on keyboards, and their captivating jazz rhythm section comprised of Jon Hiseman (drums and percussion) and John Mole (bass). Also contributing are the legendary Rod Argent on keyboards, Herbie Flowers on bass, Bill LeSage on vibraphone, Phil Collins on drums, and Barbara Thomson on wind instruments. The end result is a brilliant classical piece that transforms into various styles ranging from blues and hard rock sounds to jazz and symphonic progression, all without losing any coherence, making this work one of the greatest achievements and a milestone in uniting classical and rock music in such an overwhelming and anthological way.

The Outlaws Blues Band-The Outlaws Blues Band And The People (1968)

The Outlaws Blues Band (not to be confused with the Southern rock band The Outlaws) were another leading blues-rock band of the late 1960s, direct rivals of contemporaries like Canned Heat. Despite this, they were forgotten for decades and are now being rediscovered by blues and jazz fans. Formed in Los Angeles in the early 1960s by drummer Victor Alemán, bassist Joe Francis Gonzalez, and guitarist Phillip John Diaz, they were influenced by blues, R&B, and soul greats like Sam Cooke and Muddy Waters, to which they added sounds from the British Invasion. Later, as they began to build a solid reputation thanks to their dynamic live performances, the band signed a contract with Bluesway Records, a subsidiary of ABC, and recorded the albums "The Outlaw Blues Band and The People" in 1968 and "Breaking In" in 1969, both with legendary producer Bob Thiele. Their debut album opened with a particularly funky version of the greasy blues track "Tobacco Road", followed by a bluesier side with "Tried To Be A Good Boy", featuring jazzy sounds thanks to tenor flute by Joe Whiteman. Meanwhile, the band showcased their eclectic style with the soulful blues of "How Bad Love Can Be", the scorching "Lost In The Blues", and the chaotic eight-minute instrumental "Death Dog Of Doom", where they perfectly blended blues, rock, jazz, funk, and soul with Latin influences and a wild edge. A silky, smoky version of B.B. King's "Sweet Sixteen" and the cacophonous "Two Trains Running" closed out a memorable album a vibrant and unique mix of blues, rock, jazz, and soul, with multiracial compositions and a profound influence from the sounds of Electric Flag, Paul Butterfield Blues Band, Santana, and The Allman Brothers Band.

Pride And Glory-Pride And Glory (1994)

Zakk Wylde rose to international fame in the mid-1980s when he replaced the late guitarist Randy Rhoads in Ozzy Osbourne's band. While still with the "Prince of Darkness", he formed a side project called Pride and Glory with bassist James LoMenzo and drummer Greg d'Angelo. In 1994, this powerful trio released their first and only album on the Geffen label, a record marked by Southern rock sounds and classic 1970s hard rock. Echoes of bands like Lynyrd Skynyrd, the Allman Brothers, and Led Zeppelin permeate the grooves of this work. Songs like the swampy "Cry Me A River", exciting ballads like "Sweet Jesus", powerful cuts with vintage seventies sounds like "Horse Called War", "The Chosen One" and "Losin' Your Mind", nostalgic country rock like "Lovin' Home" or dusty hard rock with a southern flavor like "Horse Called War", "Shine On" and "Harvester Of Pain", constitute a magnificent work that would continue with his first solo album "Book Of Shadows" two years later or with his subsequent career at the front of his band Black Label Society, with whom he has released more than a dozen albums.

Black Cat Bones-Barbed Wire Sandwich (1970)

"Barbed Wire Sandwich" was the only recording by Black Cat Bones, a British band formed in 1966. For a time, they served as the backing band for several veteran American bluesmen who experienced a resurgence in England thanks to the blues revival, particularly Champion Jack Dupree. The original Black Cat Bones lineup included guitarist Paul Kossoff, drummer Terry Sims, vocalist Paul Tiller, bassist Stuart Brooks, and his brother, guitarist Derek Brooks. Some time later, drummer Simon Kirke replaced Sims. Thanks to Blues Horizon label owner Mike Vernon, they secured a role as the backing band for Champion Jack Dupree on a UK tour. After the tour, Simon Kirke and Paul Kossoff left the band to join Paul Rodgers and Andy Fraser in forming the core of Free. With a new lineup featuring Brian Short on vocals, Rod Price on guitar, drummer Phil Lenoir, Stu Books on bass, and rhythm guitarist Derek Brooks, Black Cat Bones entered the studio to record their debut album, which would be released by Deram Records, the progressive rock division of Decca Records. "Barbed Wire Sandwich", released in 1970, is an album built on a series of compositions with simple yet effective and irresistible structures. Price's guitar work is commendable, with a sound that is simultaneously refined, sharp, raw, and saturated, featuring heavy and powerful riffs. From the opening track, "Chaffeur", a robust heavy blues number, followed by the superb "Death Valley Blues" and the dense "Save My Love" and "Good Lookin' Woman", Black Cat Bones displays enviable consistency and a solid synergy among all its members. However, the psychedelic "Four Women" and the acoustic blues "Sylverrster's Blues" differ considerably from the rest of the album, detracting somewhat from the coherence and balance of the final result. Even so, "Barbed Wire Sandwich" is one of the most interesting British heavy blues albums of the late 60s, and despite its horrendous cover (one of the ugliest ever made), its legacy has endured as the seed for many subsequent bands and those nostalgic for an era they never experienced.

CCS-CCS (1970)

CCS, short for Collective Consciousness Society, was a major and influential British brass rock band of the early 1970s. This enormous group, both in terms of its quality and the number of members, was the brainchild of one of the fathers of British blues, Alexis Korner. He, along with singer Peter Thorup and arranger John Cameron, sought to emulate the sounds of American bands like Blood, Sweat & Tears, while incorporating elements of British hard rock and blues rock. This big band, which also functioned as a supergroup, featured several distinct sections: the pure rock band and the horn section. To achieve this, John Cameron and producer Mickie Most selected a roster of musicians from among the best in those genres playing in the UK at the time, beginning with a rhythm section comprised of members of the band Blue Mink: Herbie Flowers (bass), Alan Parker (guitar), and Barry Morgan (drums). To further strengthen this section and give it a heavier, more powerful sound, they also recruited bassist Spike Heatley and Tony Carr as a second drummer, who at the time was playing in Donovan's band. On top of this rock foundation, a horn section was formed, much like a big band, starting with a trumpet section composed of Greg Bowen, Les Condon, Harold Becekktt, and Henry Lowther. The latter two were replaced on the second album by Tony Fisher and Kenny Wheeler, who at the time was a young, experimental musician and who, a few years later, would become one of Britain's most prominent trumpet players, thanks to his recordings for the German label ECM. This section was joined by three trombonists: Don Lusher, Bill Geldard, and John Marscall. Marscall would later be replaced by Brian Perrin. Rounding out the horn section was trumpeter Neil Sanders. As for the woodwind section (saxophones, clarinets, and flutes), they recruited some of the most brilliant musicians on the British jazz scene, such as Harold McNair, Pete King, Danny Moss, Bob Efford, and baritone Ronnie Ross. In 1970, CCS released their self-titled debut album, “CCS”, on Most's own label, Rak Records, and distributed internationally by EMI/Columbia. It featured compositions by Cameron, Korner, and Thorup, as well as covers like Jethro Tull's “Living in the Past”, the Rolling Stones' “(I Can't Get No) Satisfaction”, and Led Zeppelin's “Whole Lotta Love”, and a frenetic version of the traditional “Vade in the Water”, a true classic of Black spiritual music. Musically, this album is one of the gems of early 1970s jazz-rock, with a complex and intricate structure of compositions focused on brass rock, featuring heavy and energetic sounds that, to some extent, lend a progressive edge to their style. However, the track that propelled them onto the British charts was their cover of Led Zeppelin's "Whole Lotta Love". A year later, they released their second album, "CCS II", and in 1973, their third and final album, "The Best Band in the Land". However, shortly afterward, due to contractual obligations of many of its members with their respective bands or solo projects, as well as the financial difficulties of maintaining such a large group, the band dissolved in early 1974.

Pretty Maids-Future World (1987)

"Future World" was the second album by the Danish band Pretty Maids, the work that opened the American market for them and, along with their debut "Red, Hot and Heavy", is considered their two best contributions to hard rock and heavy metal, as well as their most successful albums. Released in 1987, three years after their debut, Pretty Maids steered their style towards an Americanized sound with catchy choruses, powerful and sharp guitars, which, along with the interplay of keyboards, placed them among the best heavy metal albums of the late eighties. Tracks like the superb "Needles in the Dark" and "Loud 'n' Proud" alternate with more melodic songs such as "Eye of the Storm" and "Long Way Go", clear AOR tracks like "Rodeo", and epic heavy ballads like "Yellow Rain". From here the band would release great albums such as the following "Jump The Gun" (1990), where they had the collaboration of Roger Glover in the production, which would be a massive success in Japan or the laborious "Pandemonium" (2010), with which they managed to make a truly enviable album of great heavy metal.

Duncan Mackay-Chimera (1974)

Unjustly and sadly forgotten, Duncan Mackay is a British keyboardist who recorded several high-quality symphonic progressive rock albums and also participated in significant works by Camel and Steve Harley & Cockney Rabel. His origins lie in 1967 when he finished his studies at Shrewsbury School in Shropshire, in the west of England. There he graduated in violin and was soon nominated as the most promising violinist in the UK. However, he soon switched from that instrument to keyboards, with which he also achieved great renown. In 1970, he was invited to join the band of Brazilian jazz pianist Sergio Mendes. In 1974, Mackay secured a contract with Vertigo Records for his first and best work, "Chimera", a debut album that showcased his most notable influences: the sounds of ELP and The Nice, with outstanding Hammond organ playing that permeated his music. Composed of three extensive suites, "Chimera" began with the epic "Morpheus", in which the keyboardist showcases his impressive vocal abilities in a cheerful and rhythmic piece with harsher, more visceral moments, featuring passages that lean towards jazz and even pop. The progressive "12 Tone Nostalgia" is a brilliant composition dominated by muscular Hammond organ sounds, while the mammoth "Song For Witches" is a memorable suite of progressive passages in the purest style of early ELP works, with psychedelic and enigmatic sounds. Three years later, Mackay released his next work, "Score", another formidable exercise in progressive rock, but from then on his subsequent releases were of lesser scope, dedicating his later career to collaborating with groups such as The Alan Parsons Project, Budgie, and Camel, where he contributed his extraordinary keyboard sounds to the legendary album "Nude". "Chimera" is one of the hidden gems of progressive rock that has gone completely unnoticed amidst so many masterpieces from more media-savvy and established contemporary groups and artists.

Pink Floyd-The Division Bell (1994)

“The Division Bell” would be Pink Floyd's last studio album and arguably their best post-Waters era record. It's a work of massive guitars, highly complex, and attempts to emulate the style of their 1970s albums, but without the psychedelic undertones and the oppressive emotional themes of that period, and certainly without their experimental facets. Even so, it's a very atmospheric album, with more instrumentation than usual, where Rick Wright becomes an integral part of the band, his presence taking on the prominence it had in “The Wall”.

This would be the band's fourteenth album and the second without Roger Waters, and here we must pause and provide some background before continuing. After “The Final Cut”, Roger Waters unilaterally ended the Pink Floyd project at a massive press conference. However, the three remaining members disagreed and continued with the project.

Some time later, they returned with the album “A Momentary Lapse of Reason” (1987), a work sarcastically and implicitly directed at Waters. From this point on, Waters broke with EMI and CBS (his record labels for Europe and the United States) and initiated legal action to prevent his former bandmates from using the name and trademark "Pink Floyd". After nearly a year of back-and-forth statements from both sides, Waters relented and released himself from his contractual obligations, while Gilmour and Mason were allowed to continue with the band and its original name. By the time this album was released, significant tensions still existed between Waters, Gilmour, Mason, and Wright, and in a way, this album, among other things, revolves around that theme.

The main theme here focuses on communication, and this is the central focus, emphasizing the importance of communicating with others, and in a kind of subtle nod, specifically to Roger Waters's inability to communicate with the band members. According to David Gilmour, and to put it diplomatically, the album title refers to the bell used in the British Parliament during voting to signal the two parliamentary factions were divided. The album places the names of those two factions on Waters and the remaining members of Pink Floyd.

The concept sadly (and ironically) revolves around "Roger, you must contact us at the right time, and you must do it now," contradicting statements made by the former frontman, who always maintained that the other members refused to reach an amicable agreement. In many ways, the album sounds like a tribute to Waters and the almost biblical, war of words and legal battles he waged.

Musically, the album as a whole was truly magnificent, with a stunning sound and exquisite production, as one would expect from a band of Pink Floyd's stature. Standout tracks include the timeless "Cluster One" with its masterful atmosphere, the jazzy and expansive "Wearing the Inside Out", the bluesy progressive "Coming Back to Life", the rhythmic "Keep Talking", and the enormous and complex "High Hopes".

Sweet-Level Headed (1978)

In 1974, Sweet, one of the leading glam rock bands, underwent its first major shift, changing production teams and deciding to focus on the North American market, which, despite countless successes in Great Britain and Europe, had still eluded them. This change paid off with the hit "Fox On The Run", which reached number 2 in Great Britain and a surprising number 5 in the United States. After a long tour of America, they decided to relocate there and record their most musically ambitious album, "Off The Record". Fueled by their worldwide popularity, the band embarked on numerous tours of Europe, Japan, and even the Far East, achieving unprecedented box office success in the London band's career. Amidst this whirlwind of success, in 1978 they released their sixth album, "Level Headed", where they demonstrated their complete departure from the aggressive sounds of their glam and heavy rock, definitively embracing a melodic and eclectic rock style. Tracks like "Love Is Like Oxygen", with its distinctly pomp rock feel, which conquered charts worldwide, contrasted with others closer to the Californian sound, such as "Silverbird" and "California Nights", the funk rock of "Strong Love", the addictive ballads of "Dream On", and forays into avant-garde rock with the surprising "Air On A Tape Loop". Despite this stylistic diversity, the album received a modest reception on the charts, which precipitated the departure of their vocalist, Brian Connolly, thus ending Sweet's golden era and becoming one of the most cherished memories in rock music.

Al Kooper with Shuggie Otis-Kooper Session (1970)

Two years after the album "Super Session", Al Kooper set out to record another jam session, this time with guitarist Shuggie Otis, the son of the legendary Johnny Otis, who was only 15 years old at the time. For this occasion, bassist Stu Woods, drummer Wells Kelly, and pianist Mark Klingman formed the backing band for Kooper and Shuggie. The gospel and soul duo "The Hilda Harris & Albertine Robinson Singers" also participated. In this new release, Al Kooper expanded his sound, incorporating not only blues but also subtle soul and gospel influences, as in the opening track "Bury My Body". "Shuggie's Shuffle" showcases the instrumental duality of the two musicians, while "12:15 Goonbash Blues" is an extended jam of hypnotic blues rock where Otis demonstrates his enormous talent on the six-string.

Werwolf-Creation (1982)

Continuing our series on lesser-known bands, this time we feature the German group Werwolf, founded in Sauerland in 1970 by drummer and vocalist Peter Besting, guitarist Hartwig Kugoth, and bassist Peter Lorenz. For a time, they were a trio, until 1972 when keyboardist Jürgen Göckle, saxophonist and flute player Michael Schlimm, and vocalist Ellen Wiederstein joined the band. With this lineup, Werwolf recorded a demo to distribute to various record labels in hopes of securing a contract, but without success. During those years, the band focused on live performances, touring with bands like Birth Control and Eloy. It wasn't until 1982 that they released their first album, "Creation", which featured only Peter Besting from the original lineup. On this debut album, Wearwolf leans towards progressive folk sounds with pleasing acoustic guitars and the enchanting voice of singer Gitta Loewenstein, which bears a certain resemblance to British singer Annie Haslam of Renaissance. Besides Loewenstein's vocals, the album's highlights come from the excellent work of guitarist Gerd Heuel and the symphonic keyboards of Wolfgang Unthan. Extended tracks with substantial developments and constant tempo changes give it a certain feel of music made in the seventies rather than the eighties, which is understandable given that the compositions were written long before they were recorded. "The Journey To The Land Of The Flying Pigs" and "Daydream" are clear examples of this, while "The Eighth Day", "The Song", and the opening track "Höhenflug" are complex progressive compositions with a sound more in keeping with the decade in which they were recorded.

Elvis Presley-From Elvis in Memphis (1969)

In 1969, Elvis Presley returned to conventional studio albums with "From Elvis in Memphis", after a few years focused on film soundtracks. Considered one of his most intense albums, it contains some of the finest soul music ever recorded by a white artist. However, Elvis also brilliantly navigates other styles such as gospel, country, R&B, and pop. Recorded at American Studios in Memphis with the backing of an impressive and extensive band including Reggie Young, Bobby Wood, Gene Chrisman, John Hughey, Bobby Emmons, and The Memphis Horn, among many others, Elvis thrillingly delivers each song on the album with his captivating voice, showcasing great maturity and commitment, rebelling against the decline and loss of popularity he was experiencing at the time. With a dreamlike repertoire, gems like "True Love Travels On a Gravel Road", "Only The Strong Survive", "In The Ghetto", "Long Black Limousine", and "Wearin' That Loved On Look", appear, making it one of the greatest albums of all time.

The Gary Moore Band-Grinding Stone (1973)

Gary Moore is one of the greatest guitarists in history. Influenced primarily by the blues, he ventured into heavier genres like hard rock and heavy metal, and even dabbled in progressive jazz rock. Gary Moore's career began in the late 1960s when, at just 17 years old, he joined the band Skid Row (not to be confused with the American band of the same name from the 1980s). With Skid Row, Moore recorded three albums and became very popular, opening for established bands like Mountain and The Allman Brothers Band across the United States. In 1973, Moore decided to form his own band, The Gary Moore Band, with whom he recorded his first album, "Grinding Stone", where the Irish guitarist already showed glimpses of what was to come in the following years. "Grinding Stone" is a magnificent album of hard rock and psychedelic blues, featuring outstanding compositions such as the opening track "Grinding Stone", a psychedelic instrumental where Moore showcases his talent on the six-string guitar, and brilliant cuts like the epic, progressive-tinged "Spirit" and the boogie blues "Boogie My Way Back Home". From this point on, Gary Moore continued to release albums with various groups, including the progressive jazz-rock band Colosseum and the hard rock band Thin Lizzy, as well as solo albums. His solo work alternated between hard rock and metal albums and traditional blues, and on more than one occasion, he even explored the rhythms and melodies of traditional Irish music, from his homeland. In 2011, Gary Moore was found dead in a hotel room in Málaga, the victim of a heart attack in his sleep. He was 58 years old and had been a fixture in the music scene for over forty years.

Eloy-Live (1978)

Fantastic double live album official German progressive rock group Eloy. Thetopics covered by disks are as follows: From Inside Inside is included. From The Power And The Passion Of Dawn Mutiny is included there is some mess with titles,including The Sun-Song is actually the theme-Flash Memory, The Dance In DoubtAnd Fear they really are the topics Appearance Of Return Of The Voice and The Voice, and finally Gliding Into Light And Knowledge. From the Ocean includePoseidon's Creation, Incarnation Of The Logos and and the long title theme, Atlantis Agony ... etc. etc.. The interpretation of the issues that is more symphonicrock, everything is covered with mysterious atmospheres, dark, symphonic, and I can imagine that day in the room transported to another galaxy like I was stuck in ascience fiction movie. Some of the interpretations are quite faithful to the originalsbut there are some topics like Atlantis Agony ... Dawn or issues where the instrumental parts are stretched very effectively. One of the basic double live the70's progressive.

Camel-Mirage (1974)

Despite the modest commercial success, though not artistic merit, of their debut album, Camel's musical vision was further enhanced on their second full-length album, released a year later. "Mirage" reflects a consolidated band that would focus on instrumental atmospheres, supported by a solid foundation of rock and jazz fusion. Within this context, the entire second album breathes with seductive and captivating melodies, beginning with the immeasurable "Lady Fantasy", the powerful and impactful "Freefall", the atmospheric and brilliant "Nimrodel/The Procession/The White Rider", and the instrumental "Earthrise". In all of these tracks, Camel showcases great musical ideas, brimming with genuine inventiveness, beauty, aggression, and a playful ambition, featuring superb harmonies, impressive guitar and keyboard solos by Andrew Latimer and Peter Bardens, and a rhythm section comprised of Andy Ward and Doug Ferguson that fluidly underpins the repertoire throughout the entire album. "Mirage" not only became a masterpiece, but also the starting point for a career full of great works and, incidentally, for each and every one of the progressive bands that would emerge in the following years.

Black Pearl-Black Pearl (1969)

Another obscure band from the late 1960s was Black Pearl. Originally from Boston, they had to relocate to the sunny shores of San Francisco, where they achieved moderate success in late 1969 and early 1970, releasing several albums that are now highly sought after by collectors. This band, with its three guitarists, was one of the first to explore psychedelic hard rock, with strong roots in R&B and substances like LSD. Part of their lineup came from another Boston band called The Barbarians, and included the energetic and visceral singer B.B. Fieldings, drummer Oak O'Connor, guitarists Tom Mulcahy, Jeff Mackay, and Bruce Benson, and bassist Geoffrey Morris. Once settled in San Francisco, they managed to record an album under the Atlantic label that cracked the Billboard Top 100. They then recorded their epitaph, "Black Pearl Live", which marked the end of their musical journey, returning to Boston and disappearing into the vastness of time. This first album contained nine tracks, including the lysergic rock songs "Crazy Chicken" and "Thinkin' 'Bout the Good Times", the R&B track "White Devil", the psychedelic "Mr. Soul Satisfaction", and the rhythmic "Climbing Up the Walls". All of them shared a clear common denominator: the interplay of the three guitarists with energetic and heavy riffs and guitar solos, and Fieldings' powerful vocals. Later, Rolling Stone History of Rock and Roll magazine would categorize them as one of the first bands of early American lysergic hard rock.

Queen-Queen II (1974)

Not entirely satisfied with their somewhat promising debut album, which lacked clear cohesion and a defined style, Queen returned a year later with their second album, a superb and masterful record that ranks among the best of the 1970s. Divided into two distinct parts, it is, in a way, conceived as a concept album, with one side called "Side White", written almost entirely by Brian May, and a second, "Side Black", composed entirely by Freddie Mercury. From the majestic intro "Procession" to the final song that concludes with the astonishing "Seven Seas of Rhye", this "Queen II" has hardly a single track that falls short of any other in their extensive and rich discography. The wonderful hard rock melody of “Father To Son” and the poignant “White Queen (As It Began),” with its heart-wrenching guitar passages, are counterbalanced by the enchanting “Some Day One Day” and the surprising “Loser In The End”. This last contribution, by Roger Taylor, represents an atypical genre in the album's overall direction and closes an exciting and beautiful first side. With the second side, “Side Black”, Mercury goes a step further, delivering some of Queen's best songs, beginning with the metallic “Ogre Battle”, which leaves us breathless, driven by incredible vocals and powerful guitar riffs. It is followed by the innovative “The Fairy Feller’s Master-Stroke”, with its complex and progressive structure. The brief ballad “Nevermore” is capped off by the epic “The March Of The Black Queen”, featuring outstanding harmonies and great instrumental dynamism. While “Funny How Love Is” provides a respite amidst so much grandiose music before the glorious “Seven Seas Of Rhye” culminates one of the album's highlights.

Alan Parsons-Try Anything Once (1993)

With Eric Woolfson's departure after the 1987 album "Gaudi", The Alan Parsons Project's successful eleven-year run, which had yielded ten albums, came to an end. Consequently, the producer, engineer, composer, and musician Alan Parsons dropped the "Project" moniker from his next recording. Six years later came this first album by Alan Parsons, which, as with all the project's previous releases, featured a wide array of collaborating musicians, including Chris Thompson, Eric Stewart, Ian Bairnson, David Pack, Andrew Powell, and Stuart Elliott, among others virtually the same musicians who had participated in all the previous albums. This time, Parsons allowed some of the musicians to contribute to the songwriting, particularly Powell and Bairnson. Powell set aside his role as an orchestral arranger to showcase his keyboard skills, while Bairnson contributed his talent as a composer. "Try Anything Once" is composed of rich melodies of sophisticated pop with certain progressive elements such as the opening "The Three of Me", art rock is present in the splendid "Turn It Up", "I'm Talkin' to You" and "Mr. Time", while the hard rock "Back Against the Wall" or the grandiose symphonic "Oh Life", make up a very worthy work from one of the best and most iconic sound engineers in the history of rock music.

Deep Purple-Deep Purple (1969)

Deep Purple's third album is by far the best of their early period with the Mark I lineup, which consisted of Rod Evans (vocals), Ritchie Blackmore (electric and acoustic guitars), Jon Lord (keyboards and string and wind arrangements), Nick Simper (bass), and Ian Paice (drums). Here, the band finally developed their own songs, abandoning the covers from their previous work, with the exception of Donovan's excellent psychedelic ballad "Lalena". From the energetic hard rock opener "Chansing Shadows" to the symphonic orchestral piece that closes the album, "April", the British quintet showcases its own identity with a diverse and challenging album, even though many psychedelic elements are still mixed with jazz and proto-avant-garde, all underpinned by hard rock. Other tracks, such as the psychedelic progressive "Blind", one of the album's highlights, the bluesy boogie "Why Didn't Rosemary", and the frenetic "The Painter", lead us to one of the best works of early progressive hard rock. After this album, Evans and Simper would be replaced by Ian Gillan and Roger Glover, thus forming their classic and most successful lineup.

Black Sabbath-Dehumanizer (1992)

"Dehumanizer" marked the return of Black Sabbath's Mark III lineup, consisting of Ronnie James Dio, Tony Iommi, Vinnie Appice, Geoff Nicholls, and Geezer Butler. With this lineup, Black Sabbath had already released the powerful album "Mob Rules" eleven years prior, a record that followed the monumental and legendary "Heaven and Hell". With a heavier and darker sound than their previous three albums "Eternal Idol", "Headless Cross", and "Tyr" this new release definitively transformed their signature doom metal and sinister heavy metal into a hard-hitting, standard hard rock sound. The dark atmospheres, the accelerated rhythms, or the crushing poise of the guitar riffs and the pounding rhythm section are present in songs like "Computer God", "After All (The Dead)", "Master of Insanity" or "Too Late", resulting in an album that was very well received by the heavy metal community in general and by its millions of loyal followers around the world.

Marsupilami-Arena (1971)

Pioneers of the sounds that bands like King Crimson and Yes would later achieve, Marsupilami were one of the seminal groups of progressive rock. They had their moment of glory when they replaced King Crimson at the opening of the Isle of Wight Festival in 1970. Formed in the late 1960s, this band released two albums between 1970 and 1971, "Marsupilami" and "Arena", showcasing great musical complexity with elements of blues, experimental jazz, and British folk influences. Their base was in the Netherlands from 1970 onward, where they recorded and released their albums. The lineup consisted of Fred Hasson on vocals and percussion, Dave Laverock on guitar, Leary Hasson on keyboards, Jessica Stanley-Clarke on flute and vocals, Richard Hicks on bass, and Mike Fouracre on drums. Their second release, "Arena", is a concept album based on ancient Roman culture, depicting the scenes that unfolded in the Roman Colosseum, life and death on the sand of this iconic venue. Produced by Pete Bardens, along with several other musicians who collaborated on the recording, the band showcased unusual melodies and harmonies, featuring numerous keyboards, dense sounds, and electric guitars that, together with flute and powerful drums, resulted in a dark and intricate progressive rock sound. The album's compositions are quite complex, with sounds influenced by jazz, Eastern music, and a certain Canterbury scene.

Alvin Lee-Zoom (1992)

A powerful, fantastic, and energetic album is what the late Alvin Lee left us in 1994. Titled "Zoom", it continued the stylistic vein of his band Ten Years After's album "About Time", released a few years earlier (1989). In this release, the tenth of his solo career, Alvin Lee continues to demonstrate his blistering speed on the six strings and his tremendous blues essence, crafting a truly intense and powerful blues-rock album that is also very balanced and highly addictive. Powerful hard blues-rock songs like "Remember Me", "It Don't Come Easy", "Jenny Jenny", "Use That Power", "Little Bit Of Love", "Real Life Blues", and "Lost In Love" bear witness to the enormous genius of one of the greatest guitarists of all time.

Gracious-This Is...Gracious (1971)

A band from the nascent British progressive rock movement, founded in 1967 in the London suburbs, they initially played pop music, which evolved into more complex and ambitious territory after discovering the potential of the Mellotron sound. After several lineup changes, their first stable formation consisted of Alan Cowderoy (guitar), Paul Davis (vocals and 12-string guitar), Martin Kitcat (keyboards), Robert Lipson (drums), and Tim Wheatley (bass). From their debut album, "Gracious" (1970), the band displayed an interest in imbuing their style with risky and complex compositions, though with little musical coherence. In 1971 came "This Is...Gracious", featuring a more polished production and a more cohesive and committed band. Here Gracious shows impressive progress compared to his debut album, with the Mellotron taking center stage in the music, complemented by guitar interactions as demonstrated in the suite "Super Nova" which occupies one side of the album. The rest are shorter tracks with a more eclectic style and pleasant sounds that accommodate pop alongside influences of blues, rock, and symphonic textures.

Jane-Together (1972)

Jane were another of the great krautrock bands, who, along with Amon Düül II, Grobschnitt, and Guru Guru, continued to carry on the original German style of the 1970s well into the 2000s. Founded in Hanover in the late 1960s by vocalist Bernd Pulst and drummer Peter Hanka, they were later joined by guitarist Klaus Hess, organist Werner Nadolny, and bassist Charly Maucher. After signing with the German label Brain, they recorded their first album, released in 1972 under the title "Together", which showcased exuberant Hammond organ work, acid guitars, and expansive instrumental interludes. However, on this first album, Jane displayed a less symphonic style than in their subsequent works, focusing their music on progressive blues rock, as demonstrated by tracks like the psychedelic hard rock "Wind" or the blues rock "Try to Find", while the progressive "Daytime" or the epic "Spain" showcased the heavier, darker side of their progressive hard rock, with a sound closely related to their contemporaries Deep Purple or Uriah Heep. In the following years, Jane would produce a series of works more focused on symphonic rock, among which the brilliant "Here We Are" (1973), "Jane III" (1974), "Fire, Water, Earth & Air" (1976), and "Between Heaven and Hell" (1977) stand out, not forgetting their anthological double live album "Jane At Home Live" from 1977.

The Tubes-What Do You Want From Live (1978)

If there's one thing The Tubes far surpassed their contemporaries in, it was their bizarre concerts, brimming with simulated sadomasochism, humorous skits, choreography involving dancers and acrobats, and an impressive, surreal, theatrical, and circus-like stage production. In 1978, this eccentric band released the live album "What Do You Want From Live", which, despite not showcasing all those visual stimuli, demonstrated that, in addition to their stage presence, they were instrumentally incredibly talented, exciting, energetic, and vibrant. On this double live album, the group comprised of lead singers Fee Waybill and Re Styles, guitarists Bill Spooner and Roger Steen, bassist Rick Anderson, keyboardist Michael Cotten, and percussionists Prairie Prince and Mingo Lewis left behind an impressive collection of songs that, surrounded by a playful visual chaos, is simultaneously a mind-blowing and wild sonic journey. Songs like the frenetic medley "Overture" composed of dizzying rock passages with progressive elements, the ingenious jazz-flavored "The From Peter Gunn" or "Theme From Dragnet" or the visceral "Mondo Bondage" and "I Was A Punk Before You Were a Punk", make up an album that leaves the listener with the strange feeling that they are only witnessing a small part of something apotheotic and delirious.

10cc-How Dare You! (1976)

In 1976, the British band 10cc faced the daunting task of surpassing, or at least creatively matching, their previous album, "Original Soundtrack", the work that would definitively catapult them to fame. Amidst some disagreements between the band's two songwriting duos, Stewart-Gouldman and Creme-Godley, they pulled off another phenomenal album, which for many was 10cc's swan song. Musical differences aside, the four musicians achieved the best possible musical continuation of its predecessor with a work containing gems of melodic art-pop, featuring multiple vocal and instrumental textures, superbly balanced, and with exquisite production. From the melodic and prodigious “I’m Mandy, Flye Me” or “Art For Art’s Sake”, to progressive approaches like the instrumental “How Dare You!”, passing through the operatic with a Beatles flavor “Iceberg” and “Don’t Hang Up”, the bluesy “Rock’n’Roll Lubally” or the playful pop “Head Room”.

Lynyrd Skynyrd-Street Survivors (1977)

In 1977, Lynyrd Skynyrd, the quintessential southern rock band, recaptured the feeling and charm of southern rock with their fifth album, "Street Survivors", following the commendable but repetitive "Gimme Back My Bullets" the previous year. On this release, the band comprised of vocalist Ronnie Van Zant, guitarists Steve Gaines, Ed Kings, Allen Collins, and Gary Rossington, bassist Leon Wilkeson, drummer Artimus Pyle, and keyboardist Billy Powell, along with backing vocalists Jojo Billingsley, Cassie Gaines, and Leslie Hawkins crafted a formidable southern rock album featuring the catchy anthem "What's Your Name", the epic "That Smell", the psychedelic southern "One More Time", the blues-rock "I Know a Little", the country-rock "I Never Dreamed", and the hypnotic blues "Ain't No Good Life". But just three days after the album's official release, the plane carrying them from Greenville, South Carolina, where they had performed that night, to Baton Rouge, Louisiana, crashed near Gillsburg, Mississippi. Ronnie Van Zant, Cassie Gaines, Steve Gaines, the band's second manager Dean Kilpatrick, and the two pilots of the twin-engine Convair CV300 were killed. The rest of the band, including the numerous tour crew members, survived but suffered serious injuries. Shortly afterward, the legendary original cover, depicting the band engulfed in flames, was withdrawn and replaced with an alternative one featuring a black background. Several months later, "Street Survivors" reached number five on the Billboard charts and went double platinum, becoming one of the greatest albums in Southern rock. However, the legacy of Lynyrd Skynyrd would be buried forever, even though they continued to release new albums and tour continuously to this day, but without the glory of their heyday.

Alexis Korner´s Blues Incorporated-R&B From The Marquee (1962)

Alexis Korner is one of the musicians who most influenced the generations of English bluesmen of the first half of the 1960s. Unfortunately, his work has not been as widely disseminated outside the United Kingdom and North America, unlike the work of the many musicians who were directly influenced by him, such as Jack Bruce and Ginger Baker (Cream), Charlie Watts (Rolling Stones), Long John Baldry, a singer of impressive talent, Dick Heckstall-Smith (Colosseum), and the aforementioned Graham Bond, or who indirectly influenced musicians like John Mayall and Al Kooper, among many others. However, Korner's career had begun a decade earlier when he formed a blues and jazz duo with Cyril Davies, performing frequently on the London club circuit. Later, the two musicians opened their own club, the "London Blues and Barrelhouse", where they regularly invited young British and American jazz and blues musicians to play. It was then that they met Jack Bruce, Charlie Watts, and Long John Bladry, which encouraged them to form their own band, Blues Incorporated (1961), which became England's first amplified blues band. With the addition of saxophonist Dick Heckstall-Smith, the band built a strong reputation throughout England thanks to their famous concerts, and it was common to see promising musicians like Mick Jagger, Brian Jones, and Keith Richards (Rolling Stones), Jimmy Page and Paul Jones (Led Zeppelin), Rod Stewart, Eric Clapton, and John Mayall, among many others, in their audience. Blues Incorporated focused primarily on live performances rather than recording albums, and the group only released two singles on Parlophone: "I Need Your Loving" (1964) and "Little Baby" (1965). That same year, Graham Bond decided to leave and form his own band, recruiting all his former Blues Incorporated bandmates. In 1964, Alexis Korner, with a new version of his Blues Incorporated, released the albums "At The Cavern" and "Red Hot From Alex", featuring American singer Herbie Goins and Danny Thompson, later a member of the folk group Pentangle, on bass. After the third and final album for the group, "Sky High", released in 1965 with a new singer, Duffy Power, Alexis Korner definitively disbanded the group a year later in 1966. In 1967, Korner founded the short-lived band Free At Last with former Bluesbreakers drummer Hughie Flint and bassist Binky McKenzie, which received little media attention. It wasn't until 1971 that Alexis Korner returned to the spotlight, joining the large jazz, rock, and blues band C.C.S., modeled after the American jazz-rock bands Chicago Transit Authority and Blood, Sweat & Tears. With this band, Korner achieved some notable success on the British charts, primarily with jazz-rock covers such as Led Zeppelin's "Whole Lotta Love" and Donovan's "Walking". In 1973, after C.C.S. disbanded, Korner founded another supergroup with Mel Collins, Boz Burrell, and Ian Wallace, all former members of King Crimson. With this group, he released two albums, launched his own solo career, and worked in radio fusion on the BBC, hosting highly popular blues, soul, and jazz programs. In 1978, a massive concert was held to celebrate his 50th anniversary, featuring a lineup of superstars including Eric Clapton, Chris Farlowe, Zoot Money, and Paul Jones, among others. In 1981, Korner joined Rocket 88, led by Ian Stewart, where he reunited with old bandmates like Jack Bruce and Colin Hodgkinson. Three years later, Korner passed away at the age of 55 in London, leaving behind one of the most intense and influential careers in the history of rock music.

Chicago Transit Authority - Chicago Transit Authority (1968)

Few debut albums can boast as consistently solid an effort as the self-titledChicago Transit Authority (1969). Even fewer can claim to have enough material to fill out a double-disc affair. Although this long- player was ultimately the septet's first national exposure, the group was far from the proverbial "overnight sensation." Under the guise of the Big thing, the group soon to be known as CTA had been honing its eclectic blend of jazz, classical, and straight-ahead rock & roll in and around the Windy City for several years. Their initial non-musical meeting occurred during a mid-February 1967 confab between the original combo at Walter Parazaider´s apartment on the north side of Chi Town. Over a year later, Columbia Records staff producer James Guercio became a key supporter of the group, which he rechristened Chicago Transit Authority. In fairly short order the band relocated to the West Coast and began woodshedding the material that would comprise this title. In April of 1969, the dozen sides of Chicago Transit Authority unleashed a formidable and ultimately American musical experience. This included an unheralded synthesis of electric guitar wailin' rock & roll to more deeply rooted jazz influences and arrangements. This approach economized the finest of what the band had to offer — actually two highly stylized units that coexisted with remarkable singularity. On the one hand, listeners were presented with an incendiary rock & roll quartet of Terry Kath (lead guitar/vocals), Robert Lamm (keyboards/vocals), Peter Cetera (bass/vocals), and Danny Seraphine (drums). They were augmented by the equally aggressive power brass trio that included Lee Loughnane (trumpet/vocals), James Pankow (trombone), and the aforementioned Parazaider (woodwind/vocals). This fusion of rock with jazz would also yield some memorable pop sides and enthusiasts' favorites as well. Most notably, a quarter of the material on the double album — "Does Anybody Really Know What Time It Is?," "Beginnings," "Questions 67 and 68," and the only cover on the project, Steve Winwood´s "I'm a Man" — also scored as respective entries on the singles chart. The tight, infectious, and decidedly pop arrangements contrast with the piledriving blues-based rock of "Introduction" and "South California Purples" as well as the 15-plus minute extemporaneous free for all "Liberation." Even farther left of center are the experimental avant-garde "Free Form Guitar" and the politically intoned and emotive "Prologue, August 29, 1968" and "Someday (August 29, 1968)." The 2003 remastered edition ofChicago Transit Authority offers a marked sonic improvement over all previous pressings — including the pricey gold disc incarnation

Los Pekenikes-Los Pekenikes (1966)

Considered one of the best Spanish bands of all time, Los Pekenikes were equally fundamental to the beginnings of pop and rock in Spain. They became so famous and important that The Beatles themselves chose them to open their only concert during their visit to Spain in 1965. This renowned quintet, founded in 1959, included among its members some of the best Spanish solo artists of all time, such as Eddys Guzmán, Pepe Nieto, Rodrigo García, Juan Pardo, and Junior. In 1966, they achieved spectacular success with their song "Hilo de Seda" (Silk Thread), which topped the charts in countries like the Netherlands, Mexico, and Portugal, in addition to Spain, and had a significant presence on the charts in many other European countries. Creators of a unique and distinctive style that blended the so-called Tijuana Sound with Spanish popular music, they topped the charts on numerous occasions thanks to other emblematic songs such as "Palomitas de Maíz" (Popcorn), "Tabasco", "Los Cuatro Muleros" (The Four Muleteers), and "Embustero y Bailarín" (Liar and Dancer). Their first full-length album, released in 1966 under the Hispavox label, showcased the instrumental talent of all its members in a repertoire that included songs like "Hilo de Seda" (Silk Thread), "Lady Pepa", "Romance Anónimo" (Anonymous Romance), "Arena Caliente" (Hot Sand), and "Sombras y Rejas" (Shadows and Bars).

Jeff Beck-Blow By Blow (1975)

This is one of the essential albums among those focused on electric guitar, and "Blow by Blow" is considered a masterpiece of jazz-rock and the pinnacle of guitarist Jeff Beck's career, who passed away exactly one year ago at the age of 78. Although "Blow by Blow" is chronologically his fifth album, it was actually his second solo effort (the first being the interesting "Truth", released in 1968). After disbanding his band, composed of Tim Bogert and Carmine Appice, with whom he released the stunning "Beck-Ola" (1969), "Rough and Ready" (1971), "The Jeff Beck Group" (1972), and "Beck, Bogert and Appice" (1973), as well as the live album "Beck, Bogert and Appice: Live in Japan" (1974), the latter released only in Japan, he decided to continue his solo career. Produced by the so-called fifth Beatle, George Martin, this second release featured Beck collaborating with keyboardist Max Middleton, bassist Phil Chen, and drummer Richard Bailey, in addition to a guest appearance by Stevie Wonder and orchestral arrangements by the aforementioned George Martin. "Blow By Blow" is notable for being one of Jeff Beck's first albums to fully embrace jazz-fusion and jazz-rock, moving away from the hard rock and blues sounds of his earlier work. The album is brimming with memorable moments, such as the funk jazz track "You Know What I Mean", the exhilarating "She's A Woman", the powerful jazz-rock songs "Constipated Duck", "Airblower", and "Scatterbrain", the iconic "Cause We've Ended as Lovers", and the immortal and ever-popular "Freeway Jam", a staple of American FM radio.

Jethro Tull-Minstrel in the Gallery (1975)

In 1975, Jethro Tull released "Minstrell in the Gallery", the band's eighth album and, to date, their most acoustic work. For many, this album marked a turning point, moving away from certain sounds of the past while simultaneously foreshadowing the sounds they would explore in the future. 

The previous album, "Warchild", was somewhat uneven and a lesser effort, where the excessive use of orchestral arrangements and rather surprising instruments like bagpipes and accordions detracted from the essence of the sound of the band led by Ian Anderson. Even so, while not a bad album quite the opposite, in fact it received unfavorable reviews and lower sales, leading Anderson himself to reconsider his next move on the musical chessboard. 

To begin with, the prominence of the keyboards is considerably reduced, with the exception of John Evans' piano, giving greater and more prominent role to David Palmer's strings, thus creating an intimate and organic atmosphere. Martin Barre, for his part, takes on a different kind of prominence, although he continues to offer his characteristic fiery guitar solos. Tracks like "Cold Wind To Valhalla" and "Black Satin Dancer" are elegant yet understated pieces with excellent string passages. "Requiem" is an acoustic track that seems lifted from the album "Aqualung", and the mini-suite "Baker Street Muse" is an interesting, melodic, and very appealing song, which, however, suffers in certain passages from a lack of coherence as a unified piece. "Minstrell in The Gallery" is, in a way, and quite subtly, the logical continuation of an album like "Aqualung", far removed from the pomposity of "Thick As A Brick" or the experimental folk of "Warchild".

King Crimson-Lizard (1970)

After their first two monumental albums, Robert Fripp took the King Crimson sound a step further, distancing himself from the initial approach with its grandeur, sweeping classical inspiration, and controlled cacophony that characterized it, to delve into even more progressive and eclectic sounds like free jazz on this third album.

For this occasion, Fripp surrounded himself with a lineup that differed somewhat from those who recorded his first two albums. Here, drummer Andy McCulloch appears for the first time, while bassist and singer Gordon Haskell and saxophonist Mel Collins return as permanent members of the band, replacing Greg Lake, Michael Giles, and Peter Giles. Completing the lineup are keyboardist Keith Tippet, Robin Miller (oboe), Nick Evans (trombone), Marc Charing (cornet), lyricist Pete Sinfield, and Yes vocalist Jon Anderson, who lends his beautiful voice to the superb "Prince Rupert Awakes". 

“Lizard” showcases a structure quite different from their previous work, with longer tracks divided into distinct sections, featuring expansive developments, clearly reminiscent of classical music. Robert Fripp delivers a dazzling guitar performance, Pete Sinfield offers poetic and surreal lyrics, and the Mellotron makes intensive and eloquent use of the instrument. Moments range from devastated and sorrowful beauty to sinister and repulsive scenes, making this album one of their most arrogant and dark works, yet simultaneously brimming with originality. Despite the continued dominance of this pessimistic aura, musically we find pieces of greater beauty, as demonstrated by the jazzy “Indoor Games” and “Happy Family”, or the complex and inaccessible “Cirkus”. Meanwhile, the epic “Lizard” is a suite with a more purely rock flavor, a progressive orientation, and less jazz experimentation, where the grandiose sounds of the Mellotron and arrangements of clear Classic style. 

“Lizard,” one of the most brilliant works in the history of progressive rock, has stood the test of time and is considered another essential KC album.

B.J. Thomas-Raindrops Keep Fallin' on My Head (1968)

Famous for his iconic song "Raindrops Keep Fallin' On My Head", B.J. Thomas is a true legend in the United States. This singer-songwriter enjoyed a long career spanning five decades, during which he was a regular on the charts of pop rock, country, gospel, and soft rock. This Texan, born in 1942, showed early signs of his vocal talent as a child in his church choir. Years later, as a teenager, he began his career in groups like The Triumphs, and soon after became a professional musician. By the mid-sixties, he had climbed the charts with his song "I'm So Lonesome I Could Cry", which sold over a million copies. Several years later, another song of his, "Hooked On A Feeling", became another major hit. Such was his popularity in the late sixties that the celebrated Burt Bacharach commissioned him to write a song for the western "Butch Cassidy and the Sundance Kid", a classic film starring Paul Newman and Robert Redford. The chosen song was "Raindrops Keep Fallin' On My Head", which quickly became a worldwide hit and won the Academy Award for Best Original Song in 1968. In the following years, Thomas achieved further success with songs like "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song", a number one hit in 1975. In the second half of the seventies and throughout the eighties, his style shifted towards country and gospel with songs like "Whatever Happened To Old Fashioned Love", "Two Car Garage", and "As Long As We Got Each Other", the latter chosen as the theme song for the iconic sitcom "Growing Pains". Following this success, Thomas maintained his popularity for years with several hit songs such as "I Just Can't Help Believing", "No Love at All", and "Mighty Clouds of Joy". His albums include "On My Way" (1968), "Raindrops Keep Fallin' on My Head" (1969), "Most of All" (1970), and "Billy Joe Thomas" (1972), as well as several "Best Of" compilations. From the mid-1980s well into the 2000s, B.J. Thomas experienced a classic revival outside the mainstream charts.

Alan Parsons-On Air (1996)

Three years after his first solo work away from his well-known "Project", Alan Parsons returned to the scene with a new album titled "On Air", this time, as he had done with The Alan Parsons Project, crafted as a concept album. The theme this time is dedicated to the history of aviation, from hot air balloons to space travel. For the recording of the album, Alan Parsons enlisted a large group of musicians, including 10cc singer Eric Stewart, Steve Overland (singer of the British band FM), renowned American musician Christopher Cross, and other frequent APP collaborators such as Stuart Elliott (drums), Ian Bairnson (guitars), and Andrew Powell as conductor and arranger of the London Philharmonic Orchestra, among others. The music presented here is generally more oriented towards soft rock, moving away from the grandiose and epic sounds typical of APP, although his unmistakable melodies are still present. Tracks like "Cloudbreak" and the instrumental "Apollo" evoke the sound of Pink Floyd in the 1980s, with David Gilmour's evocative guitar work standing out. Other pieces, such as the captivating "Blown By The Wind" and "Blue Blue Sky", showcase Eric Stewart's exceptional vocal range, while Neil Lockwood delivers equally impressive vocals on the beautiful ballad "Brother Up In Heaven" and the brilliant "I Can't Look Down". The latter is particularly noteworthy for its paranoid lyrics about the fear of flying, making it less than ideal to listen to before boarding a flight. Interestingly, the album included a CD-ROM containing additional information about the recording process and a brief history of aviation, but its unintuitive interface proved rather cumbersome.

Frank Zappa-Shut Up 'N Play Yer Guitar (1982)

"Shut Up and Play Yer Guitar" is one of Frank Zappa's most challenging works, comprised entirely of an impressive collection of Zappa's own guitar solos. Originally released as a triple LP in mid-1982, this stunning box set compiles much of the material released on various official albums between 1979 and 1981. All the content consists of pure, improvised jams, yet they convey the different moods, musical creativity, and original concept behind each track. The sheer number of musicians involved is as astonishing as it is breathtaking, featuring drummers Terry Bozzio, Vinnie Colaiuta, and Ed Mann; guitarists Steve Vai, Ray White, and Ike Willis; violinist Jean-Luc Ponty; bassists Patrick O'Hearn and Ray Estrada; and keyboardists Bob Harris, Peter Wolf, and Tommy Mars, among other renowned instrumentalists. Backed by these musicians in bands of varying configurations, Zappa delights us with everything from the brutal and visceral solos of "Five-Five-Five" and "Hog Heaven" to the reflective ones in "Pink Napkins", passing through Latin-tinged tracks like "Variations on the Carlos Santana Secret Chord Progression", the reggae parody "Treacherous Cretins", the heavy metal of "Beat It With Your Fist", the funk of "Ship Ahoy", and experimental extravaganzas such as the suggestive "Canarsie". This is undoubtedly one of his most inspiring works, and is considered one of the essential albums for understanding Zappa's immense talent with the guitar.

Todd Rundgren´s Utopia (1974)

In 1973, guitarist, composer, and producer Todd Rundgren formed the band Utopia, alternating his work with this group while simultaneously releasing solo projects. 

Their first album featured a lineup that would never be repeated on any of the band's subsequent releases: three keyboardists, Mark Klingman, Ralph Schuckett, and Jean-Yves Labat; bassist John Siegler; and drummer Kevin Ellman, in addition to Todd Rundgren himself on guitar and producing. 

"Todd Rundgren's Utopia" consists of four tracks, two of which exceed ten minutes, while side two of the LP features a half-hour suite. The album is brimming with bubbling psychedelic synthesizer sounds, hyperactive drums, and scorching guitars, with sounds ranging from energetic jazz-rock to the powerful sounds of heavy rock and progressive, avant-garde structures. 

Rundgren achieved the impossible with this album, surpassing almost every other progressive band in terms of instrumental prowess and epic scale, starting with the monumental "The Ikon", 30 minutes of pure, unadulterated progressive rock, the cosmic "Utopia Theme", the dynamic "Freedom Fighters", and the terrifying, progressive funk of "Freak Parade". 

An album that works as amazingly well as it does is only the product of a genius like Rundgren, who, along with five other talented musicians, managed to create one of the masterpieces of progressive rock of all time.