Anyone´s Daughter-Adonis (1979)

Anyone's Daughter is an excellent German band that was still active well into the 21st century. Founded in 1972 in Stuttgart, their early period was defined by the progressive sounds of the 1970s, with complex music, intricate arrangements featuring melodic guitars, powerful drums, and sophisticated bass lines. Their lineup consisted of bassist and vocalist Harald Bareth, guitarist Uwe Karpa, keyboardist Matthias Ulmer, and drummer Kono Konopick. In 1979, they released their first album, "Adonis", on the German progressive label Brain. On it, the band showcased a melancholic progressive rock sound similar to that of the British band Camel. The four-part suite "Adonis" features a delightful symphonic style with soaring guitar solos, rich keyboard textures, and intricate arrangements. The rest of the album is a perfect combination of Moog solos and guitars, such as "The Blue House" or the sophisticated and fast-paced "Anyone Daughter's". During the following years, they continued to release very interesting works such as "Piktors Verwandlungen" (1981), "In Blau" (1982), and "Neue Sterne" (1983).

Various Artists-Picnic-A Breath Of Fresh Air (1970)

“Picnic - A Breath of Fresh Air” was another promotional album that record labels released at a fairly affordable price to showcase part of their artist catalog. This particular one was released by Harvest, the progressive rock branch of EMI Records. In a way, besides promoting their artists, the release of these samplers was intended to rival contemporary labels such as Deram from Decca Records or Vertigo from Mercury Records, among others, which were also focused on the most avant-garde sounds of the late 60s and early 70s. The diversity of this album reflects the different types of bands and styles that flew under the Harvest banner, giving the listener a kind of historical document. Composed of the label's most promising bands, it includes everything from the dark and avant-garde; From Quatermass, Pete Brown and Piblokto, Third Ear Band, The Pretty Things or The Greatest Show on the Earth, to the more media-savvy and established like Deep Purple, Pink Floyd, Edgar Broughton Band, Syd Barrett, Roy Harper, Kevin Ayers or Barclay James Harvest, passing through other lesser-known ones like Forest, Tea and Symphony, Bakerloo, or Shirley & Dolly Collins, forming with all of them a diverse mix of folk, hard rock, blues & jazz rock and heavy prog.

Kiss-Alive II (1977)

Two years after Kiss's first double live album, "Alive II" arrived, a natural sequel to the iconic original. "Alive II" was recorded during the "Love Gun World Tour" in August and September of 1977 in Los Angeles, New York, and Tokyo. The setlist for this live album draws from the band's three most recent albums: "Destroyer", "Rock and Roll Over", and "Love Gun". As with the previous live album, this one was remixed and produced by Eddie Kramer at Electric Lady Studios in New York. However, only three sides of this double album feature live recordings, while the fourth side is dedicated to five previously unreleased songs, including the noteworthy "Rocket Ride" and Dave Clarke's original version of "Any Way You Want It". But it's the live repertoire that elevates this superb live album. Hit hard rock and heavy metal songs like "Detroit Rock City", "Love Gun", "Shock Me", "Calling Dr. Love", "Ladies Room", and "Beth", are part of a selection from this legendary double live album, although it falls somewhat short of its predecessor. A seventh-place finish on the US Billboard charts and over two million copies sold only served to increase the success and popularity of the flamboyant and famous American band.

David Crosby-If I Could Only Remember My Name (1971)

David Crosby is an icon of American music, a formidable pioneer of folk and country sounds, as demonstrated by his superb albums with The Byrds: “Mr. Tambourine Man”, “Turn! Turn! Turn!”, “Fifth Dimension”, “Young Than Yesterday”, and “The Notorious Byrd Brothers”, all fundamental works of the genre released in the late 1960s. After leaving The Byrds, Crosby joined forces with former Buffalo Springfield member Stephen Stills and former Hollies member Graham Nash to form CSN. With them, he recorded the seminal self-titled album “Crosby, Stills & Nash” in 1969 and “Déjà Vu” a year later, featuring Canadian guitarist Neil Young, thus forming one of the greatest and most acclaimed supergroups in the history of rock music. In early 1971, David Crosby was going through a difficult time due to his addiction to marijuana and other substances, and the tragic death of his girlfriend in a car accident. The result of all this was his first solo recording, "If I Could Only Remember My Name", released in February 1971. It featured collaborations with his former bandmates Graham Nash and Neil Young, singer Joni Mitchell, Jefferson Airplane guitarist Jorma Kaukonen, and Grateful Dead frontman Jerry Garcia, among many others. "If I Could Only Remember My Name" is crafted from brief bursts of musical mastery, with rich vocal harmonies and a strong political and social dimension, representing diverse styles such as flower power and psychedelic folk. Filled with profound songs like the intoxicating “Music is Love”, the a cappella “I’d Swear There Was Somebody Here”, the angelic “Orleans”, the acoustic “Traction In The Rain”, the philosophical “Laughing” or the tour de force “Cowboy Movie”, they make up a somewhat chaotic but at the same time absolutely brilliant album.

Emerson, Lake & Palmer-Emerson, Lake & Palmer Box Set (1982)

This compilation box set, initially released only for the Spanish-speaking market, was a clever marketing move by Manticore Records, the label owned by Emerson, Lake & Palmer. It was intended to compensate for the international release two years prior, also titled "Emerson, Lake & Palmer". The key difference between the two lies in the fact that the first box set, released in early 1980 for the rest of the world, contains only tracks from their four most recent albums: one from their self-titled debut, two from their fifth album, "Works Vol. 1", one from their sixth album, "Works Vol. 2", and six from their seventh release, "Love Beach". Consequently, albums like "Tarkus", "Trilogy", "Brain Salad Surgery", and the live album "Pictures at an Exhibition" were incredibly absent. In contrast, this edition, distributed by the Spanish label Ariola, includes their first four original albums that is, all those not included in the previous version: "Emerson, Lake and Palmer" (1970), "Pictures at an Exhibition" (1971), "Tarkus" (1971), and "Trilogy" (1972). It quickly became a collector's item for the trio's most purist fans. With this box set (actually a collector's edition), Manticore Records sought to rectify the strange and incomplete previous compilation, which had disappointed fans and been a disastrous commercial move by the record company. This new release also completed another incomplete compilation released by the multinational Atlantic Records, titled "The Best Of EL&P", which had been released as a single album in late 1980.

East Of Eden-Snafu (1970)

East of Eden was a fascinating progressive rock band worthy of mention, boasting a long career spanning almost two decades. Formed in Bristol, UK in 1967, the lineup consisted of Dave Arbus (electric violin, flute, saxophone), Ron Caines (alto saxophone), Geoff Nicholson (guitar and vocals), Steve York (bass), and Dave Dufont (drums). In 1969, they signed with Decca Records, releasing their first albums, "Mercator Projected" (1969) and "Snafu" (1970). Both are excellent works, showcasing a powerful sound of electric violin, flute, and saxophone combined with Béla Bartók and other classical, Eastern, and even Gypsy melodies, all set against a hard rock foundation. "Snafu" continued the musical direction begun with their debut album, featuring a more solid sound that blended blues rock, psychedelic music, and fusion. Although labeled proto-prog like other contemporary bands, they showed less interest in sophistication and classicism, focusing instead on rougher, more complex sounds. This is evident in tracks like the catchy blues-rock "Have To Whack It Up", the exotic "Leaping Beauties For Rudy/Marcus Junior", the complex "Xhorkhom" and "Ramadhan", both with Arabic influences, and the jazz-blues "In The Snow For A Blow". The band continued releasing albums until 1978 when they disbanded, only to reunite in 1996.

Triode-On N´A Pas Fini D´Avoir Tout Vu (1971)

Triode was a French band about which very little information is available. Formed in the early 1970s, they managed to record only one album under the Futura Red label, which is now highly sought after by progressive rock fans. This sole album, released in 1971, is "On N'A Pas Fini D'Avoir Tout Vu", composed entirely of instrumental tracks and dominated by the excellent flute playing of Michel Edelin, with a style very close to Ian Anderson of Jethro Tull and indebted to the Canterbury sound. The flute interludes and the instrumental progressive elements lean more towards jazz with psychedelic guitar tones. It's a very rhythmic and versatile album where none of the tracks are filler, featuring lively instrumentations that demonstrate the full potential of a talented band with great musical ideas. Their version of The Beatles' "Come Together" is simply original and perfectly executed with a high-level psychedelic and progressive sound.

Donovan-A Gift From A Flower To A Garden (1967)

It was during the popular British television program "Ready Steady Go!" that a disheveled young man, sporting a Bob Dylan-esque cap, with a rhythmic voice and accompanied only by an acoustic guitar and harmonica, captivated millions of viewers in early 1965. This young man, Donovan Leitch, a Scot by birth, grew up surrounded by disaffected post-beat poets and the pre-hippie movement in his hometown of St. Albans. His clear Dylan influence and his natural talent caught the attention of Pye Records, thus beginning his long and meteoric artistic career. That same year, 1965, he released his first albums, "What's Bin Did and What's Bin Hid" and "Fairytale", featuring covers of folk classics and melancholic original songs. This young man, Donovan Leitch, a Scot by birth, grew up surrounded by dissatisfied post-beat poets and the pre-hippie movement in his hometown of St. Albans. From this point on, a series of singles conquered the charts, tracks like “Mellow Yellow”, “Sunshine Superman”, and “There Is A Mountain”, and albums like “Sunshine Superman” achieved resounding success on both sides of the Atlantic. Some of the musicians who participated in the recordings of these albums were young talents who would soon become stars, such as Jimmy Page and John Paul Jones (Led Zeppelin) and Jack Bruce (Cream). Although psychedelic sounds and flower power were in vogue in the latter half of the sixties, Donovan continued with his vague aspiration for the spiritual happiness of folk, with a style that still maintained captivating poetic lyrics. However, Donovan would eventually succumb to the musical status quo of the time and embark on an ambitious double album titled “A Gift From A Flower To A Garden” (1967), which reflected a certain affinity with flower power sounds and Celtic poetic songs. Ultimately, this would be his best commercial and artistic record, even though in subsequent years he would publish works of enormous quality such as "The Hurdy-Gurdy Man" (1968), "Barabajagal" (1969), "Open Road" (1970) or "7-Tease" (1975).

Quatermass-Quatermass (1970)

For fans of progressive rock is a must have album Quatermass unique, especially for those who like where the keyboard is the dominating style that thrived in the early 70s. Although the band had only three members, their stories are as colorful as the music they produced. Pete Robinson (keyboards) and Johnny Gustafson (bass) joined Mick Underwood (drums) and founded Episode Six, a band that included Ian Gillan who later became the voice of Deep Purple. Underwood was also involved with The Outlaws and The Herd, only a few years before Peter Frampton arrived. When the band finally formed Quatermass in 1970, they had set eyes on a format where the energy used in their Robinson keyboard would give them the sound. Both issues, "Black Sheep" and "One Blind Mice", were released as singles, but fell on deaf ears, but the sound of the band was equally moved as the repertoire of The Nice. The Quatermass sound is far from being a hollow sound isolated and without direction. After this album the band split, with Gustafson later doing session work for Kevin Ayers, Steve Hackett, and Ian Hunter and others, while Robinson found new life in the progressive jazz band Brand.

Exmagma-Goldball (1974)

This power trio, formed in the early seventies, was part of the Krautrock genre, specifically its progressive jazz-rock subgenre. They released two exciting and explosive albums before disbanding in the mid-seventies. Comprised of keyboardist Thomas Balluff, guitarist, bassist, and saxophonist Fred Braceful, and drummer Andy Goldner two Germans and one African American they recorded their self-titled debut album in 1973. On this first release, the powerful trio showcased an experimental jazz-rock sound infused with psychedelic elements, featuring standout tracks like the captivating “The First Tune” and the epic 19-minute jam “Tripping With Birds/ Kudu/ Horny”. A year later their second and final album, the one we are discussing, “Goldball”, would appear. It is a less dark and more accessible work where they continue with that energetic and experimental jazz, but introduce elements of acid rock and atmospheric sounds such as the epic “Marylin F. Kennedy”, jazz and rock improvisations “Adventures With Long S. Tea” and “25 Two Seconds Before Sunrise” or clearly avant-garde cuts such as “Groove Tango Wolperaiso” and “Greetings to the Moroccan Farmers”.

Five Day Rain-Five Day Rain (1970)

Five Day Rain was a British psychedelic and prog rock band that emerged during the transition of those sounds in the late sixties and early seventies. Formed by guitarist Rick Sharpe, bassist Clive Shepherd, and drummer Dick Hawkes, who were already performing as Iron Prophet, they recruited organist Graham Maitland and named this new group Five Day Rain. Their only album, recorded and released in 1970, featured additional guitarist John Holbrook, as well as singer Sharon Tandy and members of the band America, who contributed vocals and backing vocals on the folk-influenced tracks "Goodyear" and "Sea Song". The album is notable for the powerful and psychedelic sounds of "Mariés A Woman" and the expansive instrumental "Rough Cut Marmalade", with its abrasive, distorted guitars and sharp, stellar Hammond organ sounds. Originally released as a limited edition, it wasn't until almost 20 years later that the original pressing of the album was discovered and bootleg editions began appearing, targeting the collector's market. Years later, the Italian label Nightwings released a remastered edition with the participation of the band's original members.

The Web-I Spider (1970)

The Web are another one of those obscure bands, little known to the general public, who today are among the most coveted by collectors and, at the same time, deserve to be rescued from oblivion. Their beginnings date back to the late 1960s as a band associated with the jazz and blues genres, with certain influences of proto-progressive rock. Their first two albums featured the powerful voice of African-American singer John L. Watson and those of their two guitarists, John Eaton and Tony Edwards, who provided the band's signature muscular sound. These first two works, titled “Fully Interlocking” (1968) and “Theraposa Blondi” (1969), despite their undeniable quality, went somewhat unnoticed by fans of the time, a fact that led to a reorganization of The Web with the departure of singer Watson and bassist Dick Lee-Smith and the addition of keyboardist and singer Dave Lawson. This would prove decisive in the band's progressively deeper sound, which is reflected in their third and final album, "I Spider." Here, they offered a powerful benchmark for the subsequent evolution of progressive rock in the jazz-rock realm. Energetic bass lines, organ, and percussion are supported by soaring guitar and saxophone melodies, all accompanied by their characteristically passionate vocals. The five-part suite "Concerto For Bedsprings", along with the instrumental "Ymphasomniac", the relaxed "Love You", and the hazy jazz of "Always I Wait", are highlights of an album as captivating as it is brilliant.

Odyssey-Setting Forth (1969)

Hailing from New York, this band has the honor of having recorded one of the most interesting psychedelic albums ever made. This little-known band, formed in the late 1960s on Long Island, consisted of Fred Callan (guitar), Vincent E. Kusy (organ and keyboards), Jay Sharkey (drums), and Louis Yovino (vocals). Their discography is limited to this sensational album, "Setting Forth", which is brimming with energetic heavy rock guitar sounds, screeching organs, piercing vocals, and electrifying drums. Their repertoire is simply devastating, starting with the pulsating, fuzz-infused "Angel Dust", the jazzy "Church Yard", the hard rock "Got To Feet It", the psychedelic "Tied By A Rope", "St. Emo's Fire", and "Come Back," and the bluesy boogie "Denky's Boogie". The limited promotion of the few copies that were put on sale and the apathy on the part of the record company, more interested in other more media-savvy bands, would cause this superb album to sadly disappear into oblivion, until it would be reissued years later, becoming another of those records coveted by collectors of psychedelic rarities from the 60s.

Van Der Graaf Generator-The Least We Can Do Is Wave To Each Other (1970)

The start of the successful career of the British band Van Der Graaf Generator didn't begin with the psychedelic, still rather rudimentary, and to some extent baroque "The Aerosol Grey Machine" (1969), but thanks to their second release, "The Least We Can Do Is Wave to Each Other", the band gained significant prominence in the world of rock with an album that paved the way for them in the early 70s progressive scene. This second release contrasts dark landscapes like the demanding "Darkness (11/11)" with David Jackson's incisive saxophones almost on the verge of suffocation, or the bewitching "White Hammer" and its disconcerting ending, with sublime moments of luminous fragility like the beautiful and unmissable "Refugees", where an emotional Peter Hammill, without falling into sentimentality, caresses the verses instead of singing them. But it's not until the album's final track that VDGG's full-fledged progressive influences emerge, with the expansive and intricate "Alter the Flood". Here, Hugh Banton's keyboards and David Jackson's saxophone intertwine in an intense, otherworldly layering, while Hammill subtly accompanies them with acoustic guitar and his distinctive vocal style. "The Least We Can Do Is Wave to Each Other" is not only a spectacular album but also the cornerstone for the band's future sound. From this point on, VDGG would prioritize the development of expansive works infused with jazz elements, frenetic avant-garde improvisations, and sublime melodies, all set to sophisticated and intelligent lyrics the product of the brilliant mind of the unique and irreplaceable Peter Hammill.

XII Alfonso-Charles Darwin (2012)

For two years, the musical project ALFONSO XII were composing, arranging, recording and mixing their new album. Composed of 3 CDs of one hour each, devoted to the life and work of historical biologist and researcher Charles Darwin, eternal curious, who loved life in all its forms and who tried, until the day he died, to decode the mysteries of it. These 3 CD's recount, in chronological order, the most important events of his life. With 22 songs and 30 instrumental pieces, XII ALFONSO try to illustrate his biography with different notes and styles, tones, sounds, rhythms, atmospheres and words. All topics we talk about their beginnings, youth, home, dreams and doubts. The instrumental pieces are an attempt to reflect the most important concepts of his thoughts: 'The coral of life', 'Descent with modification' Struggle for Existence ',' On the origin of species' ...
In this album, besides paticipating a lot of great musicians like John Helliwell, Supertramp saxophonist, Maggie Reilly, singer Mike Oldfield, Tim Renwick, Pink Floyd guitarist, Mickey Simmonds (keyboards), Terry Oldfield and John Hackett (flute ), Raphael Ravenscroft (sax), Robin BOULT FISH guitarist, guitarist Ian Bairnson Alan Parsons and Kate Bush, David Paton, bassist Alan Parsons Project, FISH and Kate BUSH, Francis Dunnery, It Bites guitarist, Elliott Murphy (voice ), Huong Thanh (vocals), her husband Hong NGUYEN (zither), Ronnie Caryl (guitar, vocals), Amy Keys, Alistair Gordon, Jayney Klimek, Gerard Lenorman and Freegh (vocals) and Ton KAYAK SCHERPENZEEL more keyboards. This is the sixth official studio album of French XII ALFONSO, group led by brothers Philippe (bass, guitars) and François CLAERHOUT (keyboards), who joined Thierry Moreno (drums) and Stéphane Ducasse (flutes), achieving between them, the musicians mentioned above and a few other less known but proven worth, an ambitious album inspired by the life and work of Charles Darwin.
For 15 years, XII ALFONSO unclassifiable has composed music that is not jazz or rock, progressive or classical, traditional nor This group has been characterized from the beginning by his imaginative musical approach (progressive symphonic as one of the best references to what do), and on this record homered. His musical style is everything they say it is not very varied thanks to the intervention of different musicians and singers in every song and every issue, but mostly thanks to a supplementary instrumentation deviates frankly than usual. A acoustic and electric guitars are added mandolins, bouzouki and Vietnamese instruments like koto or give bao (string lute), Madagascar instruments as vali (zither-bagpipe) or kraar Ethiopia, balafon, xylophone, harp Burkina Faso straw, drums, ptithécophone (monkey skull) and dolphinophone, (dolphin bones), theremin, E-Bow, rain stick, etc.

Eminently romantic life and legacy of revolutionary scientific DARWIN told in the style that has always distinguished humanist aesthetics ALFONSO XII, a melting pot of cultural influences and traditions from around the world

Metamorfosis-Papallones I Elefants (1982)

This Spanish band was founded in Tarragona in 1979, though they were originally called Companyia Oliva Negra, later changing their name to Metamorfosis (there are two other bands with the same name, one Czech and one Swiss). The lineup consisted of keyboardist and main composer Jaume Montcusi, guitarist Luis García, guitarist and percussionist Joan Ramos, bassist Jordi Papaseit, and drummer Joan Grimau. Metamorfosis released only one album in 1982, titled “Papallones i Elefants” (Butterflies and Elephants), which was entirely instrumental. Their style was an interesting hybrid of jazz-rock and jazz fusion with progressive elements, featuring competent and well-executed instrumentation, with Montcusi's keyboard work being particularly noteworthy. After this album the band broke up and Montcusi himself would dedicate himself to producing other bands throughout Catalonia, participating in albums by regional groups, while guitarist Joan Ramos would go on to join the band UCCAT.

Ry Cooder-Paris,Texas-Original Motion Picture Soundtrack (1985)

Ry Cooder will never be famous for the usual tally of millions of records sold, but he is nonetheless renowned as one of the great craftsmen of rock music, delving into hybrid and experimental sounds and exploring the deepest roots of American music. His discography is extensive and rich, ranging from his numerous film scores to his solo projects and his work with other artists. Winner of six Grammy Awards, as well as other prestigious accolades such as honorary doctorates from Queen's University in Canada and the California College of the Arts, Cooder has left behind a legacy of monumental works considered fundamental to the development of contemporary music. One of them is the soundtrack to Wim Wenders' film, "Paris Texas", a memorable journey through the Texan landscapes where he imprints on his guitar those arid and dusty sounds typical of the southern United States, in an album as exciting as it is brilliant and with which his popularity would skyrocket even more, demonstrating his enormous talent and genius.

Sea Level-Sea Level (1977)

Sea Level was a magnificent American band that had considerable impact in the mid-1970s. It was formed by some former members of The Allman Brothers Band, including keyboardist Chuck Leavell, drummer Jai Johanny Johanson, and bassist Lamar Williams. However, even before leaving The Allman Brothers Band, these three musicians had already formed the side project We Three, with whom they even opened for their main band during the North American tour promoting the album "Win, Lose or Draw", playing in both bands each night. Following the Allman Brothers' initial breakup in late 1976, the three musicians, along with guitarist Jimmy Neals, decided to continue as Sea Level, signing a contract with Capricorn Records, who produced their self-titled debut album, "Sea Level", in 1977. The style of this new band wasn't too far removed from their Allman Brothers sound, featuring southern rock with noticeable influences of jazz and funk. This first album comprises an irresistible collection of dazzling tracks, such as the jazz-rock instrumental "Tidal Wave", the jazzy "Shake Leg", the brilliant "Rain in Spain", the funk-infused "Country Fool", and the southern rock anthems "Just a Good Feeling", "Nothing Matters But the Fever", and "Grand Larceny". After receiving a warm reception from both the public and critics, the band continued to release a series of interesting albums, including "Cats On The Coast" (1977), "On The Edge" (1978), "Long Walk on a Short Pier" (1979), and "Ball Room" (1980). Later, Chuck Leavell joined the Rolling Stones as a session and backing musician, a position he held from 1983 until 2016, leading to the band's final breakup in mid-1982.

Triumvirat-Old Loves Die Hard (1976)

In 1976, the German band Triumvirat released their fourth album, "Old Loves Die Hard", which would ultimately be their last great work before veering towards the more predictable and commercial sounds of their subsequent releases. On this new album, the band introduced two new official members: for the first time, they had a vocalist, the Englishman Barry Palmer, and a new bassist, Werner "Dick" Frangenberg, who replaced Helmut Köllen. However, despite containing some great and brilliant moments throughout the album, "Old Loves Die Hard" falls far short of their excellent predecessors, such as "Illusion On A Double Dimple" (1974) and "Spartacus", released a year later, both considered masterpieces of 70s progressive rock. Created in the image of their contemporaries Emerson, Lake & Palmer a fact that would bring them considerable criticism throughout their career for being considered mere clones of the British trio Triumvirat's greatest asset was its leader, the virtuoso keyboardist Jürgen Fritz, thanks to his lavish arrangements and original style as a composer and instrumentalist. Composed of seven tracks, "Old Loves Die Hard" is distinguished above all by the complex mini-suites "A Day In A Life", "The History of Mystery", and "Panic on 5th Avenue", where the clear influence of EL&P is more than evident, but brilliantly crafted with grand and splendid symphonic arrangements. The rest is equally commendable, but lacks the excellence of the aforementioned tracks, such as the pompous "I Believe" or the melodic "A Cold Old Worried Lady". From this point on, Fritz's inspiration began to wane, resulting in a series of mediocre works: "Pompeii" (1977), "A La Carte" (1978), and "Russian Roulette" (1980), which failed to gain public traction, a fact that precipitated the band's definitive breakup at the end of 1980.

Osiris-Osiris (1981)

There are things that, if someone had told me 40 years ago, I would have dismissed the person telling them as fanciful or a liar. This brings me to one of the bands that emerged in the Middle East (there are quite a few more, however strange that may seem to us today) in the 1970s. Well, one of them is Osiris, formed in Bahrain in the late 70s and composed of a group of young people open to Western musical culture, mainly British and European. Their initial lineup consisted of Mohamed Al-Sadequi on guitar and vocals, Mohamed Abdul Razak-Aryan on keyboards, Nabil Alsedeqi on drums, Sabah Alsedqi as lead vocalist, Abdul Razzak Arian on keyboards, Nader Sharif on keyboards, and Ali Knonji on bass. It's striking that this band had three keyboardists in its lineup, something that, on the other hand, somehow gave their progressive style a solid sound. Their output isn't exactly top-notch, but we can't expect much more considering their origins. Musically, it's clear that Camel records were readily available in their country, given that their influences were largely from the legendary British band. Their debut album was released in 1981, and on it, the group alternates excellent guitar solos and fast, exciting keyboards with complex and striking organ and synthesizer arrangements. It's remarkable how a band from that remote part of the world at that time could create such incredible and superbly composed music.

America-Hearts (1975)

The first half of the 1970s was the most fruitful period for the Anglo-American band America. However, with three albums released and a number one hit with "A Horse With No Name" (1971), the single from their debut album, they decided to make a complete about-face in 1974. They chose the legendary George Martin, famous for his work with the Beatles, as their producer, and he would go on to produce their next seven albums. By that time, the band had positioned themselves at the forefront of folk rock alongside contemporaries like CSN&Y, Bob Dylan, The Byrds, and Simon and Garfunkel. The second album produced by Martin was "Hearts" (the first being "Hat Trick" in 1974), recorded in Sausalito, California, and released in 1975. These were times when bands released an album every year, something unthinkable today. It included the band's second number one hit, "Sister Golden Hair", which has since become one of their most iconic and famous songs of all time, and was written by Beckley. In addition to "Sister Golden Hair", the singles "Daisy Jane" and "Woman Tonight" propelled the album to number four on the Billboard charts and earned it a gold record for sales in the United States.

The Smashing Pumpkins-Siamese Dream (1993)

Officially categorized as part of the grunge movement, The Smashing Pumpkins never quite fit in with their contemporaries in the same genre. Their style was actually more oriented towards alternative rock, both in terms of their experimentation and the diversity they showcased throughout their work. Formed in Chicago in the late 1980s, their second album, "Siamese Dream", achieved the success necessary to be considered one of the best and most influential bands of the 1990s. This album contains an interesting mix of styles while still maintaining their nascent alternative sound. Tracks like the brilliant "Cherub Rock", with its highly addictive, crushing riffs, and "Today" demonstrate their purest rock side, while the orchestrated "Disarm", with its dark and somber tone, and the punk-infused "Geek U.S.A.", along with the acoustic "Spaceboy" and the powerful "Soma", are among the most compelling tracks on an album that ranks among the best of the entire 1990s.

Megadeth-Peace Sells...But Who´s Buying? (1986)

Megadeth's "Peace Sells...But Who's Buying?" is considered, along with Metallica's "Master of Puppets" and Slayer's "Reign in Blood", all released in 1986, to be the pinnacle of American thrash metal. Focusing on the former, "Peace Sells...", we are faced with one of the most monstrous and fastest albums ever recorded, driven by the blistering and ferocious guitar riffs of Dave Mustaine and Chris Poland and the relentless, angry rhythm section of David Ellefson and Gar Samuelson. Songs like "Peace Sells", "Wake Up Dead", "My Last Words", "The Conjuring", "I Ain't Superstitious", and "Devil's Island" are all masterpieces of instrumental execution and speed, marking an unforgettable era in heavy metal in general and thrash metal in particular.

Grand Funk-Shinin' On (1974)

By the time Grand Funk released "Shinin' On", their creative and commercial decline was more than evident, despite continuing to produce quality albums that nevertheless lacked the musical excitement and energy they had displayed on their first seven records. With production by the iconic Todd Rundgren, the band led by Mark Farmer ended up getting lost in more commercial musical meanderings, without the risk or energy of their initial output. Even so, the instrumentation remained impeccable, as is evident in tracks like the title track, the hypnotic "Carry Me Through", the exhilarating "Please Me" and "Gettin' Over You", and the hard blues rock "Little Johnny Hooker". However, songs like the less successful "To Get Back In", the mediocre pop-rock version of the classic "The Loco Motion", and the predictable bluesy "Mr. Pretty Boy" show that, in a way, the group was beginning to rest on its laurels.

Canamii-Concept (1980)

This project was inspired by the musical "theme" of The Alan Parsons Project, where, together with session musicians, they created an album of exceptional musicianship. Canamii was founded in South Africa by British descendants Phil Nel (keyboards) and Claire Whitaker (vocals), who, along with guitarist Paul Woodley, created their first and only album. Released in 1980, while the overall concept is symphonic progressive rock, they are actually better suited to a crossover sound. The music could be categorized as a hybrid of baroque and symphonic sounds, with a strong classical influence. The power of this group lies in Whittaker's voice (with a timbre very similar to Annie Haslam's of Renaissance), featuring pleasing and excellent vocal layering, as can be heard in the track "The Jester". Other tracks like "Spiral" evoke a prog jazz feel, "Afrok" is the epitome of the group's sound, while the melancholic and hypnotic "Rain" and "Feelings" showcase the rich keyboard sound and the singer's melodious voice. Their more progressive side is evident in the tracks "And The Moon Be As Bright", "Children" and "Tri".

Free-Heartbreaker (1973)

“Heartbreaker” would be the seventh and final album by Free, one of the most iconic blues-rock bands of the early 70s, composed of four outstanding musicians who left behind memorable albums such as “Fire and Water” (1970), “Free At Last” (1972), and the one we're discussing here today. By the time the band entered the Islands Records studios in London in late 1972, bassist Andy Fraser was no longer with them, having left shortly after the release of “Free at Last” due to disagreements with guitarist Paul Kossoff. His place was taken by Tetsu Yamauchi, and the band was further expanded with the addition of keyboardist John “Rabbit” Bundrik. They also featured guest appearances by Traffic percussionist Kwaku Baah of Rebop and guitarist W.G. Walden, who takes center stage at many points on the album, overshadows an apathetic and increasingly drug-addicted Paul Kossoff. The majestic rock track “Wishing Well” opens this monumental work with evocative riffs from Kossoff, followed in a similar vein by the blues-rock “Come Together In The Morning” and the exuberant “Heartbreaker”. The rest of the album showcases a band brimming with emotion and feeling, featuring heavenly blues-rock tracks like “Muddy Water”, “Easy On My Soul”, and “Seven Angels”, which close an album that couldn't have a more fitting epitaph for the immortal farewell of this fabulous British band.

Try-Just A Try (1980)

Try emerged from the collaboration of German musicians Amadeus Reineck (guitars and strings) and Michael Lapp (keyboards and guitars), who became friends in 1976 and, along with bassist Dieter Bauer, formed the short-lived folk-rock band Marzipan. In 1980, they tried again with Try, this time with a more progressive approach, fusing acoustic and electronic elements, a clear example of what artists like former Genesis member Anthony Phillips and Cluster were doing at the time. Their only album is one of the lesser-known gems of pastoral progressive rock, particularly for its more bucolic sounds and powerful electric guitar moments. It's a fine blend of symphonic, folk, and electronic elements. Both Reineck and Lapp had extensive experience in studio engineering in Berlin, which resulted in an exquisite production that still sounds amazing today. Compositions like the lengthy "Wreck On The Wire", with the enchanting voice of singer Carolyne McCombs and aggressive guitars, demonstrate the quality of this band that after this album would definitively dissolve, leaving behind a career that could have been much more promising and interesting.

Wishbone Ash-Wishbone Ash (1970)

In 1970, Wishbone Ash burst onto the world stage with their formidable debut album, "Wishbone Ash", released on the MCA label and produced by Derek Lawrence. This first release saw the band, who popularized twin guitars in rock, deliver a work featuring some of their most iconic tracks, such as "Blind Eye", "Lady Whiskey", and "Phoenix". Recorded by their most iconic and successful lineup Andy Powell (guitar and vocals), Ted Turner (guitar and vocals), Steve Upton (drums), and Martin Turner (bass and vocals), the album showcases an intriguing blend of blues, jazz, folk, progressive rock, and psychedelic improvisations, all underpinned by captivating and emotive vocal harmonies. From the classic rock of "Lady Whiskey" and "Queen Of Sorrow", to the refined "Errors Of My Way", passing through the blues-tinged epic "Phoenix" and the boogie blues "Blind Eye", they complete a fascinating classic rock album, while at the same time very accessible to the general public.

Manuel Göttsching-Inventions For Electric Guitar (1975)

Manuel Göttsching is one of the great musicians of krautrock and a pioneer of electronic music, influencing generations of musicians with emblematic pieces like "Inventions for Electric Guitar". Founder of the legendary bands Ash Ra Tempel and Ashra, he began his career alongside Klaus Schulze and Harmut Enke, creating psychedelic and cosmic sounds within the krautrock genre. "Inventions for Electric Guitar" was his second solo album, though he credited it to Ash Ra Tempel as the band's sixth album. In this ambitious work, Manuel Göttsching conducted a minimalist experiment with the guitar, highly advanced for its time. Released in 1975, it's a work in which the musician explores all the possibilities of the instrument, employing countless effects such as echoes, double speeds, and loops, achieving hypnotic and immersive sounds with an astonishing and even majestic result. An album that is undoubtedly a work that is still totally relevant today due to its originality and its importance as a historical document.

Jimmy Page & The Black Crowes-Live At The Greek (2000)

“Live At The Greek” is a double live album released in 2000, featuring the American hard rock/blues band The Black Crowes, joined by Jimmy Page, as a tribute to Led Zeppelin and other blues greats. In 1999, The Black Crowes and Jimmy Page embarked on a months-long tour, performing not only Led Zeppelin songs but also blues and rock classics, interspersed with their own material. However, Columbia Records, The Black Crowes' label, was not happy about their songs sharing the same stage time as Led Zeppelin's, and this led to The Black Crowes' songs being removed from the setlists of the recorded concerts. This displeased the Georgia band, who nevertheless continued to fulfill their contractual obligations for the tour. This “Live At The Greek” was recorded at the legendary Greek Theatre in Los Angeles on October 19th and 20th, 1999. The repertoire consists of covers of Led Zeppelin and blues greats such as B.B. King, Peter Green, Sonny Boy Williamson, Elmore James, Willie Dixon, and Jimmy Rogers, as well as The Yardbirds' classic “Shapes of Things”. On this double album, the Robinson brothers' band managed to make the covers their own, imbuing the music with their unmistakable style of hard rock and blues, adding their unique nuances while still respecting the original spirit of each song. Jimmy Page, for his part, demonstrates peak form, rejuvenated and incredibly energetic, proving why he is one of the guitar greats, especially in his musical heaven. “Live At The Greek” would once again bring them glory and millions of copies sold. A double album of the best rock performed by a group of talented musicians who know how to perceive the color and smell of the best rock music.

Tony Joe White-Black and White (1969)

Tony Joe White, one of the great standard-bearers of swamp rock, nicknamed "The Swamp Fox", always possessed the skill and talent to write songs that conveyed the idiosyncrasies and racial tensions of the American South. Many of his songs are now universal classics and have been covered by great artists such as Rod Stewart, Ray Charles, Rory Gallagher, Elvis Presley, and Tina Turner. Born and raised in a small town in southern Louisiana, he grew up harvesting cotton and corn and soon showed an interest in the blues and Southern sounds such as Cajun, zydeco, folk, and country. All of this inspired him to write songs, and after meeting a talent scout who saw in him a nonconformist genius, he secured a contract with the Nashville-based label Monument Records in late 1967. However, his early songs had little media or commercial impact until one of his tracks, "Polk Salad Annie", reached the top 40, mainly because Elvis Presley himself began including it in his concerts in the late 1960s. When "Polk Salad Annie" began receiving massive airplay on radio stations across much of the United States, many initially believed it was a new Creedence Clearwater Revival song, as its style was very similar to that of John Fogerty and company. However, Tony Joe White was actually a native of the swamps, while Creedence was from California. “Black and White”, released in mid-1969, was his first full-length album, showcasing his mastery of fusing blues, zydeco, and hillbilly rock. It features a wide array of tracks that even approach soul sounds, all delivered with that deep, highly personal voice that at times sounds almost like a Black person's. Tracks like “Don’t Steal My Love”, “Who’s Making Love”, and “Scratch My Back” reveal that profound Black sensibility, while race relations, explored in a funky style, are present in tracks like “Soul Francisco”, the luminous “Willie and Laura Mae Jones” and his splendid covers of other artists such as “Little Green Apples” and “Wichita Lineman”. All of these elements combine to form a superb debut, representing the best of the music of the American heartland.

Holding Pattern-Holding Pattern (1981)

Holding Pattern was a progressive symphonic rock band founded in 1981 in Connecticut, USA, under the guidance of guitarist Tony Spada. Alongside Spada were the expert drummer Robert Hutchinson, a veteran of the North American progressive scene who had played in bands like Elysin Field, bassist Jerry Lalancette, and keyboardist Mark Tannenbaum. This band showcased a strong symphonic progressive sound, a powerful melodic quality in their compositions, and high-energy live performances. Spada was the driving force, writing virtually all the compositions. However, although his guitar was always present, the sound was based on the interplay of keyboards and guitars, strongly supported by a solid rhythm section. Their melodic approach was influenced by groups like Camel, post-Gabriel Genesis, and bands like Happy the Man. Their only album was released in 1981, although it was actually an EP with four extended tracks. On this album, the instrumental prowess is excellent, with crisp, polished touches, but it suffers from a lack of quality production. The powerful "Another Point Of View" is a song with a complex structure. The haunting, melancholic "Honor Before Glory" possesses the characteristic sound that Steve Hackett presented on his albums from the late 70s. The agile "Jigsaw Dream" moves between funk cadences and highly dynamic symphonic developments. Meanwhile, in the closing epitaph, "Out Of The Tunnels", we find subtle Crimson-esque sounds as well as Holding Pattern's rockier side.

Caravan-Cunning Stunts (1975)

The sixth album by the British band Caravan marked the beginning of the end of their more classic era, moving towards a more predictable and conventional sound, far removed from the complexities of the Canterbury sound of their earlier work. On this occasion, their earlier jazz influences appear only sporadically, although the progressive elements of their earlier work are still present, albeit in a more accessible tone. This sixth release continues to be led by guitarist Pye Hastings and keyboardist David Sinclair, supported by Jimmy Hastings, Geoff Richardson, Richard Coughlan, and Mike Wedgwood. Tracks like "Dabsong Conshirto" retain the distinctive Caravan sound, while the orchestrated "The Show Of Our Lives", the energetic "Stuck In A Hole", and the predictable "Welcome The Day" and "Lover" close out an album that drew criticism from their more orthodox fans, but still retains much of their classic and unmistakable sound.

Wallenstein-Blitzkrieg (1972)

Wallenstein were one of the most important and longest-running bands of German rock, remaining active throughout virtually the entire 1970s and early 1980s. Formed in 1971, initially as Blitzkrieg in the city of Viersen in western Germany, the band consisted of keyboardist Jürgen Dollase, guitarist Bill Barone, bassist Jerry Berkers, and drummer Harald Großkopf. Almost immediately, they signed with the German label Pilz, who advised them to change their name to avoid coinciding with a British band of the same name. As Wallenstein, they recorded their first album, titled "Blitzkrieg" (1972), produced by the renowned Dieter Dierks. This debut album catapulted them to fame as one of the sensations of German progressive rock that year, thanks to a style that fused classical music, psychedelic rock, and progressive hard rock. Composed of four lengthy tracks, all virtuosically performed by the entire band, the album features Dollase as the main protagonist, showcasing his impeccable atmospheric keyboard skills and classical style, which perfectly complement the dizzying, blistering heavy rock guitars and energetic, dynamic rhythm section. Wallenstein holds a prominent place in the annals of krautrock history, having left behind a series of essential albums highly regarded by progressive rock fans and music critics alike.

Birth Control-Operation (1971)

Birth Control is often categorized as a krautrock band, but these Germans go a step further, fusing hard rock with progressive rock, bearing many similarities to the progressive rock being made in Great Britain at the time. "Operation" was Birth Control's second release, an album that follows a stylistic path very similar to their debut. With cover art that is, in a way, a deliberate reaction to a statement by Pope Paul VI, who categorically declared any form of contraception immoral, the group remained true to their musical roots, showcasing, as with their debut, a devastating hard rock sound infused with funk, blues, and progressive elements. Heavy hard rock tracks like "Pandemonium" and "Stop Little Lady" blend with bluesier songs like "The Work Is Done" and progressive gems like the brilliant "Just Before The Sun Will Rise" and "Let Us Do It Now".

Lethe-Lethe (1981)

After the one-album adventure of the band Mirror and an extensive tour of the Netherlands, they disbanded, and three of its members founded Lethe in 1978. These musicians were Philip De Goey (piano, flute, and oboe), Johan Saanen (bass), and Kees Walravens (guitar), who were later joined by drummer Hans Lambers and keyboardist Thuur Feyen. Like Mirror, Lethe also had a short career of barely a year, just enough time to release the album "Lethe" in 1981. This album consists of four extended instrumental pieces, beginning with the title track, a folk piece featuring elegant acoustic guitars subtly accompanied by delicate piano and oboe, and some ambient and synthesizer sounds a beginning reminiscent of the unmistakable style of the American band Oregon. The following track, “Avbury Circle”, begins with a similar musical structure and builds to a vibrant finale with hints of jazz, a brilliant Hammond organ, and pure rock guitars. The second side of the vinyl opens with the infectious and lively “Cold In Fingers” and concludes with the progressive “Le Tombeau”, brimming with glorious organ sounds, a great guitar line, and jazzy underpinnings supported by a powerful rhythm section.

Grand Funk-Survival (1971)

With their fourth album, "Survival", Grand Funk reached their popular and commercial peak with a more refined and technically advanced work than their intense and powerful earlier albums, primarily due to its exquisite and elaborate production. After three legendary albums their 1968 debut, "On Time", and the subsequent "Grand Funk" (1969) and "Closer to Home" (1970) the Michigan band was at its zenith, combining blues, psychedelia, boogie rock, and early hard rock with touches of funk and visceral soul, elevating them to the pinnacle of early 1970s rock music. On this fourth release, the band, comprised of Mark Farmer, Mel Schacher, and Don Brewer, enlisted the regular producer Terry Knight. It was recorded in March 1971 and released a month later by Capitol Records. On this album, the band showcases a sophisticated and polished sound that, while lacking the vigor and fury they had displayed up to that point, is also much more accessible and commercially viable. The refined "Country Road" opens the album, demonstrating everything mentioned above, while the psychedelic "All You've Got Is Money" highlights Mark Farmer's lysergic guitar work and his haunting vocals. The seductive "Comfort Me" reveals the group's multifaceted creativity with one of their best compositions. Closing the first side is Traffic's "Feelin' Alright", brilliantly covered here with that hypnotic and addictive touch. Towards the end are the soul rock track "I Want Freedom" and the attractive mid-tempo "I Can Feel Him In The Morning", which are the prelude to the devastating version of The Rolling Stones' "Gimme Shelter", concluding an album that was criticized for its departure from the visceral original proposal of his first works, but with a great reception from his fans and the general public, achieving an extraordinary sixth place on the North American Billboard charts.

Rare Earth-One World (1971)

If their third album, Rare Earth, once again made waves on the Billboard R&B charts, achieving a gold record and a top ten hit with the Motown classic "(I Know) I'm Losing You", their next album, "One World", was no less successful. In fact, they matched their previous achievements and even produced another worldwide hit with their own composition, "I Just Want to Celebrate". Recorded with the same lineup as their previous album, "Ecology", with the exception of guitarist Rod Richards, who was replaced here by Motown session musician Ray Monette, the rest of the band consisted of Mark Olson, Ed Guzman, Gil Bridges, John Persh, and Pete Rivera. The latter three were survivors of the original lineup that had recorded the monumental and groundbreaking "Get Ready" several years earlier. Produced by Tom Baird, it showcases Rare Earth's signature sound with its muscular and vigorous soul, jazz, blues and rhythm and blues, featuring notable tracks such as the extended version of Ray Charles' "What I'd Say", the bluesy funk rock "The Seed", the robust "Someone Of Love", the soul rock "Any Man Can Be A Fool", the country/folk rock "If Die", the melodic "The Road" or the aforementioned funk rock "I Just Want to Celebrate".

Meat Loaf-Dead Ringer (1981)

Meat Loaf's career is well known to all. This singer and actor is not only famous for the "Ball Out of Hell" trilogy of albums, which has sold nearly fifty million copies, but also for a career filled with other enormous works focused on pompous and epic rock. Born in 1947 in Dallas, this singer has released nearly thirty albums, including studio, live, and compilation albums, and has appeared in over a hundred films and television shows. In 1981, he released his second album, "Dead Ringer", which, even before its release, was already overshadowed by its predecessor, the monumental "Ball Out of Hell", considered one of the masterpieces of rock music of all time. For this second album, the singer no longer worked with producer Todd Rundgren, one of the main architects of the previous album's success. However, this didn't prevent Meat Loaf from creating another great album, though admittedly not reaching the heights of its predecessor, it was still undoubtedly outstanding. His right-hand man, songwriter Jim Steinman, once again played a fundamental role on this album, steering the sound in a more commercial and less epic direction. For this new release, Loaf surrounded himself with a select group of musicians, including guitarists Mick Ronson and Davey Johnstone, keyboardists Roy Bittan, Larry Fast, and Nicky Hopkins, drummers Max Weinberg and Liberty DeVito, and singer Cher. Less complex than the previous work, “Dead Ringer” showcases another superb album where vocal duets like “Dead Ringer For Love” or “Peel Out” stand out, as well as powerful rock songs with majestic choruses such as “I’m Gonna Love Her For Both Of Us”, “I’ll Kill You If You Don’t Come Back”, or the beautiful crescendo “Everything Is Permitted”.

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.