Sebastian Hardie-Four Moments (1975)

This Australian band pioneered the progressive rock genre in their country and was originally called the Sebastian Hardie Blues Band. Founded in 1967, the band underwent several lineup changes over the years until well into the 1970s, when the classic lineup emerged, consisting of vocalist and guitarist Mario Millo, keyboardist Toivo Pilt, drummer Alex Plavsic, and his brother, bassist Peter Plavsic. In 1975, under the Mercury label, they released their debut album, "Four Moments", by which time they had adopted the definitive name Sebastian Hardie. On this debut album, the band makes no secret of their strong influence from the British band Yes, with a greater emphasis on Mellotron keyboards than those typically used by Rick Wakeman. The vocals are also prominent, featuring deep and powerful tones. The first side of the album focuses on vibrant sounds with funky undertones and expansive instrumental passages in "Glories Shall Be Released" and "Dawn of Our Sun", while "Journey Through Our Dreams" is much more atmospheric, featuring outstanding guitars and frenetic rhythmic shifts. The beautiful instrumental "Rosanna" serves as a prelude to "Opening", which closes the album with excellent interplay between the four band members in a superb mini-suite of progressive rock in the purest style of classic Camel. "Four Moments" was a great success, and the track "Rosanna" won an award for best instrumental single. Their next album, "Windchase", was released in 1976, and both albums are considered by critics to be progressive rock classics, particularly within the Australian symphonic rock scene. Shortly after the release of their second album, the band broke up. Millo and Pilt adopted the name Windchase and released an album. "Symphinity" in 1977, which stayed close to the sound of Sebastian Hardie, but did not find the same success or recognition as that of his parent band.

Sex-Sex (1970)

Lascivious, powerful, and raw garage blues rock is what the Canadian band Sex showcased during a brief career in which they barely had time to release two hard-hitting albums that are now highly sought after by fans of 1970s proto-hard rock. Formed in Quebec around 1969, this power trio consisted of bassist and singer Robert Trépanier, guitarist Yves Rousseau, and drummer Serge Gratton. Their first album, released in 1970, achieved some success in the Canadian underground scene thanks to a powerful rhythm section featuring a prodigious drummer, backed by great bass lines and incendiary guitar work. On this first album, the hard rock track "Scratch My Back", the jazz-rock song "Not Yet", the bluesy "Doctor", the Zeppelin-esque "A Hard to Raper Her" (the latter with a controversial title if released today), the folk-influenced hard rock "Come, Wake Up", the rhythmic hard blues "Night Symphony", and the psychedelic blues "Love Is A Game" stood out. A year later, they were joined by flautist and saxophonist Pierre Ouellette, who had already participated as a guest musician on this first album and with whom they would release the epitaph "The End of My Life" before their final disbandment in 1972.

Iron Maiden-Fear Of The Dark (1992)

In the early 1990s, Iron Maiden was experiencing a somewhat uncertain period. The rise of grunge and alternative rock, among other genres like the resurgence of classic hard rock and neo-progressive rock, were challenging and calling into question the traditional heavy metal bands of the previous decade. To make matters worse, their last album, "No Prayer for the Dying", had shown an alarming lack of ideas. Therefore, for their next album, "Fear of the Dark", Steve Harris and company pulled out all the stops to address the dissatisfaction their previous work had caused among their millions of fans. However, "Fear of the Dark" doesn't actually stray far from its predecessor, replacing lyrics inspired by fantasy and literature with others more focused on social and everyday themes. Musically they continue to showcase epic heavy metal but without the complexities of yesteryear; even so, we can still find great heavy metal anthems like "Be Quick Or Be Dead", "From Here To Eternity", "Fear Of the Dark" or "Wasting Love", while the rest are compositions with a more sinister and dark tone but of little creative intensity.

Budgie-In For The Kill (1974)

Budgie holds a special place in the hearts of hundreds of thousands of fans of 1970s heavy rock, even though they never quite reached the commercial or media heights of many of their contemporaries during that era. Like Led Zeppelin, Budgie understood the importance of incorporating lighter, sometimes acoustic, moments and complementing them with the grandeur of heavy hard rock and heavy metal riffs, thus creating a more dynamic and engaging style. "In For The Kill", the band's fourth album, is considered one of their greatest works. On it, they seem even more confident than on their superb previous releases, making their diverse range of styles all the more captivating. Tracks like the heavy rock of "Running From My Soul" and the thunderous, ominous progressive heavy rock of "Living On Your Own" showcase this clear dynamism. On the other hand, there are the solid and conventional heavy metal tracks "In For The Kill" and "Crash Course in Brain Surgery", the acoustic and beautiful "Wondering What Everyone Knows" or the epic and powerful "Zoom Club", which creates an attractive hard rock album with subtle progressive influences from the best heavy metal band that Wales has ever produced.

Rush-Permanent Waves (1980)

At the dawn of the 1980s, Rush released the album "Permanent Waves", in which they began to gradually move away from the progressive sounds of previous works such as "2112", "A Farewell to Kings", and "Hemispheres". While not entirely abandoning that genre, they delved into more accessible and mainstream sounds, always maintaining the framework of complex compositions with high-quality instrumentation. "Permanent Waves" was the most evident work of this transition, showcasing both Rush's most epic and progressive side and their most accessible. Tracks like the lengthy and experimental "Jacob's Ladder" and the epic and sublime progressive "Natural Science" are combined with clearly commercial tracks like "The Spirit of Radio" and "Freewill", featuring deep mid-tempo grooves and impeccable technical and instrumental execution. Many of the tracks here have a more realistic theme, unlike the splendid science fiction narratives of their previous albums, where philosophical reflections are bathed in epic yet more earthly details. The revealing dreams of a prophet ("Jacob's Ladders"), the critiques of the system ("Natural Science"), and those dealing with the affirmations of individuals and their relationships, such as "Different Strings" and "Entre Nous", are clear examples of this. In contrast to the aforementioned, more addictive, AOR-influenced tracks "The Spirit of Radio" and "Freewill". Ultimately, this seventh album from the Canadians was one of their finest achievements, in which they masterfully combined echoes of the past with the most modern sounds, a style they would soon reflect in their subsequent albums, such as the monumental "Moving Pictures" released a year later.

Mark Knopfler-Local Hero (1983) - Cal (1984)

In 1983, Mark Knopfler launched his solo career alongside his main band, Dire Straits, with the brilliant "Local Hero", which was also the soundtrack to the film of the same name. On this debut, Knopfler was accompanied by some of his bandmates, including keyboardist Alan Clarke, bassist John Illsley, and drummer Terry Williams, as well as other illustrious musicians such as Michael Brecker, Mike Mainieri, Gerry Rafferty, Tony Levin, and Steve Jordan. Replete with moments that evoke Scottish folk with a subtle and elegant sound, it contains memorable tracks such as “The Way It Always Starts” featuring a sublime Rafferty on vocals, the exquisite and ambient “Wild Theme” and “The Mist Covered Mountains”, the folky “The Ceilidh Louis’ Favorite Billy Tune”, the jazzy “Boomtown”, the ethereal “The Ceilidh and The Northern” and “Stargazer”, and the extraordinary “Going Home”. A year later, he returned with a second soundtrack, this time for the Irish film “Cal”, a work more oriented towards Celtic sounds and featuring a lineup of Irish folk musicians such as Paul Brady and Liam O’Flynn, in addition to his Dire Straits bandmates. Beautiful tracks like “The Road”, “The Long Road”, “Irish Boy”, “Irish Love” or “Father And Son” showcased Mark Knopfler’s great creativity and inspiration in creating albums with beautiful melodies and captivating ambient atmospheres.

Papa Zoot Band-SWF Session´73 (1973)

This obscure German band never even released an official album, and it's hard to believe (or perhaps not, considering the sheer number of talented groups at the time) that they didn't manage to secure a record deal. Hailing from Frankfurt, they formed in the early 1970s and consisted of bassist Robby Matthes, organist Reinhard Grohe, drummer Christian Engel, guitarist Lutz Sommer, and singer Ernst Nadler. Their only recorded recording is this "SWF Session", taken from a 1973 recording session on the German radio station SWF. Their style, a blend of British hard rock and the German avant-garde krautrock, earned them some popularity, leading to performances alongside more established bands like Creation, Can, and Guru Guru. After performing on the aforementioned German radio station, which received widespread airplay throughout the country, they secured a spot at one of the biggest festivals of the era, held in Essen, in northwestern Germany. Their style, a blend of British bands like early Pink Floyd, merges with elements of the German avant-garde, resulting in dramatic and theatrical sounds reminiscent of their compatriots Eloy, Nektar, and Jane, but with a more melodic instrumental edge. Tracks like the suite "Fly Away" offer an extraordinary, lysergic, and spacey journey through progressive sounds, reminiscent of masterpieces like Pink Floyd's "Echoes". Other tracks like “Driving High” or “Hear Me When I’m Crying” are closer to the hard rock of Uriah Heep or Deep Purple, with an imposing heavy organ that delivers powerful, scorching, and dark rhythms, while the psychedelic “All The Girls” resembles the sounds of the late sixties, ending with the bluesy and Doors-indebted “Can’t Be Myself”.

Billy Cobham, Steve Khan, Alphonso Johnson, Tom Scott-Alivemutherforya (1978)

In 1975, Billy Cobham left Atlantic Records to sign with Columbia. With this new label, the drummer debuted with the album "A Funky Thirst of Sings", featuring collaborations with musicians such as John Scofield, Randy Brecker, Michael Brecker, and Alex Blake. This album received positive reviews in jazz-rock circles; however, his subsequent efforts were more of a continuation of that style without much impact. It wasn't until the album "Magic", released in 1977, that he achieved his best work for the Washington-based label. Shortly afterward, Columbia encouraged Cobham to record a live album at their studios on 30th Street in New York City, which would be titled "Alivemotherforya". This was one of the most prestigious studios in the city, but nevertheless, it was an unusual venue for recording a live album. For the recording, some of the heavyweights Columbia Records had on its roster of jazz artists at the time joined forces, including guitarist Steve Khan, bassist and keyboardist Alphonso Johnson, and saxophonist Tom Scott. Interestingly, none of them had participated in the album "Magic". After recording "Alivemutherforya", the sound engineers noticed a significant lack of applause, which wasn't surprising given that the studios only had room for a small auditorium. But desperate times call for desperate measures, and they soon found an effective solution: they added applause and the ambient sound from some live performances by the band Chicago and Laura Nyro. With a bit of creative mixing, it sounded as if Cobham, Khan, Johnson, and Scott were playing to a huge, appreciative audience. This solved the problem, and the album was released in mid-1978. The result of this live "improvised" recording is essentially a repertoire of jazz-funk tunes with a fair amount of electronics, showcasing the talent of all four musicians. Due to its variety and spontaneity, it proved to be a project far superior to the individual work of each musician at that time. Highlights include the opening track, "Anteres", featuring superb saxophone work by Scott; the melodic jazz fusion "Shadows"; the vigorous jazz-funk rock "Some Punk Funk"; and "On A Magic Carpet Ride" a jazz-rock exercise that highlights the strengths of each member of the group. "Alivemutherforya" was very well received by critics and even sold reasonably well, but below the expectations of CBS Columbia, who never attributed this album to Billy Cobham's official record label, which would lead, after the release of one more album, to the termination of the contract by both parties.

The Move-Looking On (1970)

The Move emerged from the fertile British psychedelic pop scene of the mid-sixties. Propelled by the brilliant musician Roy Wood, they conquered radio stations with a string of hits that kept them at the top for several years. With their second album, "Shazam", they took a step towards a more experimental sound, a shift that would become definitive with the arrival of Jeff Lynne, starting with their third album, "Looking On". Lynne planted the seeds for the band's music to move towards progressive ideologies. His arrival also led to experimentation by Wood, who played a wide range of instruments, giving the final sound a much more avant-garde edge. The title track of this third album is a kind of cornucopia that oscillates between blues and progressive rock, and in some ways already hints at the style that Electric Light Orchestra would develop shortly afterward. Meanwhile, "Turkish Tram Driver Blues" is a much heavier psychedelic piece, built upon a wall of sound that intertwines with more traditional guitar work. The early ELO style is also evident in "What", a reflective track composed by Lynne, and a similar path is followed by the dense "Feel To Good", another brilliant piece brimming with wind instruments and cellos, underpinned by heavy, resounding riffs. This contrasts sharply with "Brontosaurus", a clever fusion of heavy rock and roll with a honky-tonk rhythm. Ultimately, with this third album, The Move reached their artistic zenith and simultaneously became the natural link to the Electric Light Orchestra project, which Wood and Lynne would soon form and which would take over the sound and style where "Looking On" had left off.

The Rolling Stones-Some Girls (1978)

The end of the 1970s was characterized by the explosion of new musical movements that drew a segment of the public to them, such as disco and new wave. Within this context, The Rolling Stones released one of the most varied albums of their entire career. "Some Girls" was preceded by a series of scandals involving their guitarist Keith Richards, who a year earlier had been accused of drug possession in Canada, and to top it all off, had a subsequent affair with Margaret Trudeau, the wife of Canadian Prime Minister Pierre Trudeau. Amidst all these scandals, Mick Jagger was the main songwriter for the new album, which reflects the singer's musical tastes at the time. Released in mid-1978, the album revolves around the super hit "Miss You", a funky, bluesy track that opens the album spectacularly, while still maintaining a quintessential Stones sound. The rest of the album comprises a vibrant and exceptional repertoire of outstanding tracks, such as the rock 'n' roll anthem "When The Whip Comes Down", followed by the incendiary "Lies" and "Respectables", two of the hardest-hitting songs on their entire discography. They also venture into soul with "Just My Imagination (Running Away With Me)", country with "Far Away Eyes", and the then-fashionable punk of "Shattered", concluding with the quintessential Stones ballad "Beast Of Burden". All of this demonstrates that intelligence and creativity remained hallmarks of the best rock and roll band on the planet. "Some Girls" achieved six platinum records in the United States alone and worldwide sales exceeding 8 million copies.

Wishbone Ash-Nouveau Calls (1987)

For the first time in many years, the original Wishbone Ash lineup returned in 1987 to create one of their most experimental albums, while subtly recapturing the signature sound that had brought them so much success in the 70s. Martin Turner, Steve Upton, Andy Powell, and Ted Turner crafted a completely instrumental album, even incorporating additional instruments they hadn't used before. Although criticized by some of their most devoted fans, the group aimed to showcase a musical evolution that, while misunderstood by many, remains a kind of avant-garde album, adding touches of Eastern, jazz, and Caribbean influences. Tracks like "Tangible Evidence", "Clousseau", "Real Guitars Have Wings", "Arabesque", "The Spirit Flies Free", and "Johnny Left Home Without It", however, still bear the unmistakable mark of the twin guitars and precise rhythm section of this popular British group, despite all the criticism.

Trace-Birds (1975)

Trace was a Dutch band from the city of Haarlem, founded by keyboardist Rick van der Linden in 1974. For several years, they enjoyed a remarkable career, releasing several albums of excellent progressive rock. From a young age, Rick van der Linden had taken piano lessons, undoubtedly influenced by his father, who was also a pianist. Later, he learned to play the organ and eventually enrolled in the conservatory in his hometown. From there, the young Rick joined various local bands, playing in nightclubs. Even then, his style was based on the influence of keyboardists such as Brian Auger and Keith Emerson. In 1974, he founded Trace with bassist Jaap van Eik and drummer Pierre van der Linden, both of whom had extensive experience playing in bands like Solution, Focus, and Living Blues. With Trace, Rick was able to develop his own ideas, creating a symphonic rock sound dominated by keyboards. That same year, thanks to the Dutch label Philips, they released their first album, "Trace", already showing similarities to early Emerson, Lake & Palmer. Both this debut and its follow-up, "Birds" (1975), offered a sumptuous and exciting symphonic rock sound, driven by Rick's wide range of keyboards (Hammond B3, ARP synthesizers, and Mellotron), with a primarily instrumental style where the aforementioned Mellotron and Hammond sounds are majestic, supported by a powerful rhythm section. A testament to this band's potential is the epic "King-Bird", a track from their second album, a progressive exercise in dazzling keyboard work, rhythmic shifts, electric guitars, and dynamic interplay. "The White Ladies", the third and final album released a year later, showed a lack of ideas. Despite being conceived as a concept album, it was a discreet continuation without the excellence of its predecessors, which would prematurely end the adventure of this formidable Dutch band.

Vangelis-Chariots Of Fire (1981)

This is the most accessible and successful album by the Greek keyboard wizard Evangelos Odysseas Papathanassiou, better known as Vangelis. For millions of people around the world, this was their introduction to Vangelis's music, thanks to the enormous popularity of the film "Chariots of Fire" and its instrumental accessibility. Unlike much of Vangelis's work, the music on this album is not overly complex, presenting a romantic and sensitive atmosphere in its piano and synthesizer melodies. The main theme is a beautiful, majestic symphonic piece and boasts one of the most recognizable melodies ever written. This theme, along with the entire repertoire of the album's first part, unfolds with epic mastery, reaching an emotional climax in the final epic an extensive suite of unparalleled atmospheres, melodies, and grandeur. Four Oscars, including Best Picture and Best Original Score, and over three million copies sold, attest to this fundamental work by Vangelis and to electronic music in general.

Caravan- If I Could Do It All Over Again, I'd Do It All Over You (1970)

Masters of the Canterbury sound, Caravan created absolute masterpieces with their first four albums, not only of that quintessentially British style but also of progressive rock in general. Their second album is a truly rewarding musical journey, brimming with addictive atmospheres, vibrant jazz sounds, flawless vocals, and superb instrumental performance. Here, the lineup of Pye Hastings (guitars and vocals), Richard Coughlan (drums and percussion), David Sinclair (organ and keyboards), Richard Sinclair (bass and vocals), and Jimmy Hastings (saxophone and flute) wove a complex musical tapestry where precise rhythmic sections stand out, all under a distinctly avant-garde musical spirit. From the monumental and flawless jazz-rock track "Can't Be Long Now/Françoise/For Richard/Warlock", a tremendous 15-minute whirlwind of catchy choruses, exhilarating rhythms, and outstanding keyboards, to the crescendoing "And I Wish I Were Stoned-Don't Worry", and the progressive experiments of "With an Ear to the Ground You Can Make It/Martinian/Only Cox/Reprise", Caravan positioned themselves at the forefront of the Canterbury scene with this album, crafting a record that would astonish everyone and become one of the gems of rock history.

Mike Bloomfield & Al Kooper-The Live Adventures of Mike Bloomfield and Al Kooper (1969)

This is a historic album, one of those magical evenings of wonderful jam sessions featuring two of the greatest icons of American music: Al Kooper and Mike Bloomfield. For three consecutive nights, September 26, 27, and 28, 1968, these two legendary musicians recreated the magic that had been born on the acclaimed album "Supersession" a few months earlier. The venue chosen for these concerts was the already legendary heart of the Californian music scene, the Fillmore West in San Francisco. With only a few days of rehearsal, the two musicians, along with drummer Skip Prokop and bassist John Khan, delivered concerts filled with superb renditions of blues and rock classics, interspersed with their own compositions. During these concerts, one of the most curious moments occurred: Bloomfield decided to take the microphone and debut as a singer. The legendary guitarist had never before assumed that role in his already extensive career. However, on the third night, Bloomfield was unable to perform due to several nights of partying without sleep. Al Kooper had to improvise, replacing the guitarist with two young musicians who were already beginning to make a name for themselves in the music world. These two young men were Carlos Santana and Elvis Bishop (the latter being Bloomfield's bandmate in the Paul Butterfield Blues Band). The result was a powerful testament to the formidable chemistry between these rock legends, beginning with Bob Dylan's classic "Highway 61 Revisited", followed by a wide variety of melodies, including Kooper and Bloomfield's song "Her Holy Modal Highness", and a repertoire of covers such as Paul Simon's "The 59th Street Bridge Song (Feelin' Groovy)", Elvis Presley's classic "That's All Right", The Band's "The Weight", Booker T. and the MG's "Green Onions", and Albert King's "Don't Throw Love on Me So Strong". These concerts were so acclaimed and important that they had to repeat the performances on an intense tour of different North American cities, concluding the tour at the other iconic venue of the era, the Fillmore East in New York, on December 12th and 13th of the same year. For these last two concerts, they were also joined by Johnny Winter on B.B. King's "It's My Own Fault", which he performed as a duet with Mike Bloomfield. Many years later, the original tapes were rediscovered and released as "The Lost Concert Tapes". From this point on, the careers of both are well known. Al Kooper continued as a producer and collaborator with greats such as The Who, The Rolling Stones, Jimi Hendrix, Blood, Sweat & Tears, Bob Diddley, The Tubes, Roger McGuinn, and Neil Diamond, among many others, in addition to being responsible for discovering the legendary Lynyrd Skynyrd. For his part, Mike Bloomfield continued with a fruitful career, until his death in 1981, contributing his magic with the six strings on his own and other people's albums, collaborating on records by Janis Joplin or Muddy Waters, or publishing the meritorious "If You Love These Blues, Play 'Em As You Please" (1976) or "Between A Hard Place and the Ground" (1979), leaving his legacy to the legend that has made him one of the great guitarists in the history of rock.

The Blues Project-Reunion In Central Park (1973)

In 1973, The Blues Project reunited after a six-year hiatus. This took place at the Schaffer Festival in New York's Central Park. The Blues Project had formed nine years earlier in the city of skyscrapers by guitarists Steve Katz and Danny Kalb, along with drummer Roy Blumenfeld, bassist Andy Kulberg, and singer Tommy Flanders. Al Kooper joined in 1965, arriving in time for the recording of their first album, "Live At The Cafe Au Go Go" (1966). From there, the band toured extensively across the United States, subsequently releasing their second album, "Projections". After this album, departures began, the first being Al Kooper, followed by other members. Despite this, the remaining members released two more albums, "Live At Town Hall" (1967) and "Planned Obsolescence" (1968). After this last album, there was a general breakup, until in 1970 some of its former members, such as bassist Don Kretmar, along with guitarist Kalb and drummer Blumenfeld, joined guitarist Bill Lussenden and keyboardist Gabriel Mekler and revived The Blues Project, releasing the albums "Lazarus" (1971) and "Blues Project" (1972). Then in 1973, at the aforementioned Schaffler Festival, the original members of the band were reunited, with the exception of singer Flanders. In a memorable and historic performance, the band played an excellent repertoire of blues, rock and country, including versions of the blues classics “Louisiana Blues” by Muddy Waters and “Caress Me Baby” by Jimmy Reed, the country songs “Steves Song” and “Fly Away”, the melodic folk song “Catch The Wind”, the jam blues song “Wake Me, Shake Me” and the superb and hypnotic blues song “Two Trains Running”.

Uriah Heep-Sonic Origami (1998)

After a few years of hardship due to their diminished prominence in the hard rock world, Uriah Heep experienced a resurgence thanks in part to the contribution of vocalist Bernie Shaw. The first album with Shaw on vocals was 1989's "Raging Silence", after which they were reborn, releasing excellent albums with considerable frequency. Released in 1998, "Sonic Origami" is Uriah Heep's third consecutive album with Shaw, in addition to original members Mick Box (guitar), Lee Kerslake (drums), and Trevor Bolder (bass), plus keyboardist Phil Lanzon. Following the magnificent "Sea of ​​Light" from three years prior, this new record sees the iconic British band shifting their style towards a more melodic sound, though with occasional tracks of raw, hard rock energy. Lanzon's magnificent keyboards, Mick Box's ever-present guitar, and Shaw's exceptional voice, which has become the group's new identity, give us everything from hard-hitting rock tracks like "Between Two Worlds", "Everything In Life", and "Feels Like" to excellent melodic rock songs that lean towards AOR, such as "Only The Young", "In The Moment", "Heartless", "Question", and "Shelter From The Rain".

Toe Fat-Toe Fat (1970)

Let's return to the topic of obscure bands from the late sixties, and this time it's Toe Fat's turn. This short-lived group included future Uriah Heep members Ken Hensley and Lee Kerslake. Another notable member was John Glascock, who would later join Ian Anderson's Jethro Tull, and the lineup was completed by vocalist Cliff Bennett. Their first album was released by Parlophone, an EMI subsidiary, in 1970, and despite its commercial failure, it garnered considerable praise from critics and fans alike. This led to them being hired as the opening act for Eric Clapton, Dave Mason, and Duane Allman's band, Derek and The Dominos, on a US tour for several months in 1970. After this tour, Hensley and Kerslake left Toe Fat to form Uriah Heep and were replaced by guitarist Alan Kendall and drummer Brian Glascock, with whom they released the band's second and final album, "Toe Fat Two", at the end of that same year, 1970. Focusing on their first album, with its striking cover art by Hipgnosis, Toe Fat showcased an energetic hard rock sound with bluesy touches and certain progressive influences, reminiscent in some ways of early Uriah Heep. Energetic proto-hard rock tracks like the opening "That's My Love For You" contrast with the bluesy "Bad Side of the Moon" and the lysergic, heavy "Nobody", while "The Wherefores and the Why" is a melodic, psychedelic composition. Other standout tracks include the hard rock "But I'm Wrong", the folky boogie "Just Like All the Rest", and the rhythmic, acid-tinged "I Can't Believe". After the second album, the band broke up, and some members went their separate ways. Guitarist Kendall joined the Bee Gees, and drummer Glascock, after a brief stint with Rod Evans's former Deep Purple band, Captain Beyond, joined The Motels and later collaborated with artists like Iggy Pop and Joan Armatrading.

Aum-Bluesvibes (1969)

Aum was a psychedelic blues-rock band that emerged during the vibrant flower power era in San Francisco, but their career was short-lived, releasing only two interesting albums of great blues-rock. It was 1968 when guitarist and lead vocalist Wayne Ceballos founded Aum with Kenneth Newell on bass and Larry Martin on drums. They managed to get Bill Graham, the producer and owner of the legendary Fillmore West, to hire them as the opening act for bands like Creedence Clearwater Revival, among others. Their style, steeped in the traditional sounds of San Francisco's burgeoning hippie movement, was influenced by blues with gospel influences and the prevailing psychedelia. They quickly gained recognition thanks to their engaging live performances, which included typical jams with their powerful blues-rock sound. This caught the attention of Sire Records, a subsidiary of Polydor, which offered them a recording contract. On their debut album, "Bluesvibes", the band showcased their perfect affinity for West Coast-influenced blues, immediately establishing their credentials: a great guitar, backed by a solid rhythm section and a fine harmonica, with a repertoire brimming with feeling and rich instrumentation. This debut opened with a fantastic cover of the classic "Tobacco Road", but it was their own original songs that truly shone, such as the fast-paced blues "You Can't Hide", the soulful blues "Chilli Woman", and the lilting "A Little Help From You" and "Movin' Man". That same year, 1969, they released a second album, "Resurrection", featuring a harder sound but still firmly rooted in the blues. Then, after barely two years, they vanished from the music scene forever.

Motörhead-Ace Of Spades (1980)

In the midst of a particularly prolific period, Motörhead released their fifth studio album, "Ace of Spades", another impressive showcase of their frenetic, abrasive, ferocious, and dizzying style of heavy metal punk. This time, their sound was more refined than their previous raw and gritty albums, yet retained their primal essence. Led by the cavernous Lemmy, whose gravelly, somber vocals, machine-gun-like, killer bass, and master-of-ceremonies demeanor surrounded a band of colossal musicians including the blistering drummer Philthy "Animal" Taylor and Eddie Clarke's superb guitar riffs and solos they left behind a monumental work of furious and ruthless heavy metal. Songs like the title track foreshadowed what would soon arrive in the world in the form of thrash metal, here disguised as punk rock. Other tracks like the immense "Love Me Like A Reptile" and "Live To Win", the brutality of "(We Are) The Road Crew" or the overwhelming "Bite The Bullet", "Dance" and "Fast And Loose", make up a sweeping and monolithic album that is an essential masterpiece in the history of rock.

Chicago-X (1976)

One of the leading proponents of jazz brass rock is the American band Chicago, one of the most successful bands of all time with over 100 million records sold worldwide. However, their style wasn't always tied to jazz rock. During their long career, spanning from 1967 to 2022, they explored a wide variety of styles, including blues, rock, rhythm and blues, pop rock, and psychedelic music. By the mid-seventies, Chicago was fully immersed in a period where they blended their jazz-rooted sound with mainstream rock. From this era comes "Chicago X", the eighth album by this large group comprised of Peter Cetera, Terry Kath, Laudir de Oliveira, Danny Seraphine, Walter Parazaider, James Pankow, Lee Loughnane, and Robert Lamm. This album features one of their most famous songs and a true classic of 20th-century music, the timeless ballad "If You Leave Me Now", which, along with the album itself, led the band to win three Grammy Awards the following year, in addition to several platinum and gold records. Although this iconic song might initially seem to overshadow the rest of the album, it contains enough merit to consider it another of their great masterpieces, as evidenced by the rock & soul track "One Or Twice", the dramatic mid-tempo "Hope For Love", the luminous "Another Rainy Day In New York City", and the jazz-rock anthems "Skin Tight" and "You Are On My Mind".

Van Der Graaf Generator-Still Life (1976)

"Still Life" was Van Der Graaf Generator's second album following their magnificent return with "Godbluff" a year earlier, and was the sixth album chronologically from the band led by singer, songwriter, and guitarist Peter Hammill. VDGG released two of their best albums after a four-year hiatus, brilliantly showcasing their signature sound once again. However, the organ is much more prominent here than on later albums, and the saxophone becomes a less fundamental instrument than it was on previous releases. Despite this, the music doesn't suffer in the slightest; in fact, it's a subtle and very rewarding change that remains true to their earlier work, allowing them to explore new musical ideas. Peter Hammill's songwriting reached its creative peak during this second period; his lyrical work on this album is absolutely brilliant and metaphorical, as was already the case on their previous five albums. However, here the meanings of the songs are less literal (as literal as Peter Hammill can be). These songs are brilliant observations on humanity, including the quest for immortality, which It eventually strips life of all meaning. The internal struggle that arises when considering destroying friendship for an intimate relationship, and ultimately, where the human race is headed in this era. All of this is magnificently written and supported by glorious music. The opening track, "Pilgrims", ​​with its slow, solemn crescendo and haunting atmosphere; the expansive "La Rossa", where they showcase their affinity for Italian lyricism; and the superb "My Room", featuring excellent work from bassist Hugh Banton, David Jackson's ambient saxophone, and drummer Guy Evans' jazzy texture, along with the chilling and desperate "My Room (Waiting for Wonderland)" and the radiant epic "Childlike Faith in Childhood's End", form a perfect repertoire that could easily be proclaimed one of the best in progressive rock of all time.

Pure Prairie League-Bustin´Out (1972)

Pure Prairie League is one of the most important bands in American country rock, often overlooked in the annals of rock, despite a career filled with great works, some of them essential to the history of American popular music. Hailing from Columbus, Ohio, their origins date back to mid-1969 when guitarist Craig Fuller, bassist Jim Lanham, and drummer Tom McGrail founded a band they called Pure Prairie League. After securing a contract with RCA Records, they recruited guitarist John David Call and recorded their debut album, which was released in early 1972. The cover of this first release featured the iconic "Luke", a fictional character created by the renowned illustrator Norman Rockwell, who became the group's symbol. Despite the strong country rock repertoire on their debut album, it went largely unnoticed, which encouraged the band to compose and record a second album, "Bustin' Out", released at the end of 1972. However, for this second album, the band had undergone some changes, with only Fuller remaining as a founding member. The rest of the lineup consisted of drummer William Frank Hinds and guitarist George Ed Powell, along with guest appearances from David Bowie's guitarist Mick Ronson, keyboardist Michael Connor, and bassist James Rolleston, among other musicians. This time, they achieved better results thanks to their single "Amie", which charted, and a repertoire of great songs. In the following years, the band maintained a privileged position in the world of American country rock, releasing a series of interesting albums such as "Two Lane Highway" (1975), "If The Shoes Fits" (1976), "Just Fly" (1978), and "Firin' Up" (1981). On this last album, they softened their sound with a more commercial country rock style, achieving their highest chart position. A year later came their final album, "Something In The Night", after which the band disbanded until 2005, when they reunited to release "All In Good Time...", the last album by this American band. Throughout these years, Pure Prairie League have left behind a series of albums and songs that are part of the history of country rock, such as "Amie", "Two Lane Highway", "That'll Be Tha Day", "I Can't Stop The Feelin' ", and "Let Me Love You Tonight", making them one of the undisputed cult bands of North America.

Zomby Woof-Rinding On A Tear (1977)

Zomby Woof was a German symphonic rock band that took its name from a song by Frank Zappa and The Mothers from their album "Overnite Sensation". The band was formed in 1971 by guitarists Henrich Winter and Udo Kreuss, along with bassist Frank Keinath and drummer Thomas Moritz. After several lineup changes, keyboardists Matthias Seelman and Matthias Zumboich joined, bringing about a substantial change in their sound, heavily influenced by the symphonic style of Procol Harum. In 1974, the band performed alongside established acts Kraan, Birth Control, and Embryo at the Hayinger Festival. After some time trying to secure a record label to release their debut album, the German label Jupiter signed the band, and they entered Olympia Music Studios in Munich. There, they discovered a Mellotron, which they would later use extensively during the recording of their first album. Finally, in the autumn of 1977, the LP “Rinding On A Tear” was released by Jupiter and distributed nationally by BMG Ariola. Sales are estimated to have eventually reached 5,000 copies, an astonishing figure for an unknown band with minimal promotion from the record label. This first and only album boasts an absolutely stunning symphonic sound, a superb work by a fully accomplished band. From the well-developed melodies to the rich interplay of organ, bass, and solid vocals in correct English, the excellent instrumental development that Zomby Woof delivers on this album places them somewhere between the symphonic sounds of Nektar and the progressive hard rock of Eloy. “Rinding On A Tear” is considered by many critics to be one of the finest works of German symphonic rock.

Tangerine Dream-Electronic Meditation (1970)

We are looking at one of the most underrated debut albums in history, a fascinating record by one of the most amazing bands in rock music. However, its lack of widespread appreciation among fans stems primarily from what it offers within its grooves compared to everything this iconic German group would produce in later years. The original lineup of this first incarnation of TD consisted of Edgar Froese (guitars, keyboards, organ, and special effects), Conrad Schnitzler (violin, guitar, and cello), Klaus Schulze (percussion), Jimmy Jackson (organ), and Thomas Keyserling (flute). This is undoubtedly their most rock-oriented album, brimming with incredible guitar solos, astonishing sonic journeys, and hypnotic atmospheres that fuse electronica with savage rock fragments. Disturbing tracks like "Genesis", the mental ecstasy of "Journey Through a Burning Brain", the captivating "Ashes to Ashes" or the chaotic acidity of "Cold Smoke", make up a mind-blowing album of infernal rock that was far removed from the later recordings with the characteristic meditative electronic music of Tangerine Dream.

David Bowie-Diamond Dogs (1974)

David Bowie's eighth album is undoubtedly the third classic work of his glam period, if we consider the previous one, "Pin-Ups", as a transitional record. Therefore, we could consider "Diamond Dogs" as the natural conclusion of the emotional spectrum that runs from "Ziggy Stardust" to "Aladdin Sane". While "Ziggy Stardust" came from space with a message of hope and descended into the degeneration of rock and roll, and "Aladdin Sane" reveled in the resulting collapse, "Diamond Dogs", for its part, presented a post-glam vision of a post-apocalyptic future inhabited by punk bands of starving youths, in which a horrific totalitarian society emerges. This latter work is often linked to Bowie's own aborted project, "1984", due to its cannibalistic and savage treatment of the songs. For the recording of this new album, Bowie made several changes to his regular band, replacing longtime members Mick Ronson and Trevor Bolder with Alan Parker (guitar) and Herbie Flowers (bass), respectively. He also brought in a second drummer, Tony Newman, while keyboardist Mike Gerson and percussionist Aynsley Dunbar returned. Bowie himself handled lead guitar, Mellotron, and Moog synthesizers. “Diamond Dogs” features deceptively conventional glam rock songs, such as the title track “Diamond Dogs” and “Rebel Rebel”, which alternate with irresistibly captivating tracks like the sweeping and majestic trilogy of “Sweet Thing/Candidate/Sweet Thing (Reprise)” and the mournful lament of “We Are the Dead”. On the other hand, the inclusion of the funky influences of "1984" foreshadows Bowie's transformation into a modern, electronic soul robot, a transformation we would see on his next album, "Young Americans". In conclusion, "Diamond Dogs" captured Bowie freeing himself from the chameleon-like glam rock model he had championed up to that point, incorporating a wider range of musical influences into his eclectic style.

Mike Rutherford-Smallcreep´s Day (1980)

Once Genesis had finished their world tour promoting the album "...And Then There Were Three...", its three members, Phil Collins, Mike Rutherford, and Tony Banks, decided to take a break from the band to pursue their solo projects. Thus, in 1980, Mike Rutherford released his first solo album, "Smallcreep's Day", for which he collaborated with his former Genesis bandmate, Anthony Phillips, who handled keyboards (a departure from his usual guitar), drummer Simon Phillips, percussionist Morris Pert, and singer Noel McCalla, while Rutherford played guitar and bass. Recorded at Polar Studios in Stockholm, it was produced by David Hentschel, the engineer who had worked on Genesis's later albums, in the final months of 1977. With "Smallcreep's Day", Mike Rutherford demonstrated his enormous talent for composing great pieces with excellent progressive melodies, alongside others with a clear symphonic pop feel. Instrumentally, the choice of the almost unknown McCalla was a wise decision, with very emotive and convincing vocal performances, while Anthony Phillips does an excellent job with an instrument that is not his usual one, while the rest show the perfect solidity for the execution of the pieces on this album. The album has two quite distinct parts. The first is composed of progressive and symphonic sounds, featuring the extensive suite "Smallcreeps' Day", divided into seven parts. While it's certainly more focused on individual pieces than a concise, cohesive theme, it boasts a wide variety of progressive rhythms, styles, and atmospheres, with numerous 12-string guitar passages, electric guitar solos, and sublime synthesizers and mellotron. All of this is supported by the magnificent work of a powerful rhythm section and the vocals of Pert and McCalla, which perfectly complement the album's musical philosophy. It culminates in the wonderful melody "At The End Of The Day", an epic song worthy of any of their main band's greatest hits. The second side has a much more commercial orientation with a symphonic undercurrent, featuring powerful tracks like "Moonshine", the passionate "Time and Time Again", and the progressive "Romani". This is undoubtedly one of the best solo albums by one of the members of Genesis and one of the great albums of the eighties, where you can still hear the echoes of such emblematic works as "A Trick Of The Tail", "Wind & Wuthering" or "...And Then There Were Three...".

Herbie Hancock-Crossings (1972)

"Crossings" was Herbie Hancock's tenth album and the second of his "Mwandishi" period, his era of experimentation with electronica and funk. It was also the first album to feature a new member in the Chicago-born musician's band: keyboardist Patrick Gleeson, an experienced player with synthesizers, mini-Moogs, and cutting-edge electronics. Considered one of the best albums of abstract jazz fusion, it features electronic sounds, African polyrhythms, and superb psychedelic production that pays meticulous attention to detail, creating a futuristic jazz style. An album that, four decades later, still sounds incredibly ahead of its time. Composed of only three tracks, the first side focuses on the expansive "Sleeping Giant", a vast, futuristic African suite that alternates intense avant-funk improvisations with darker passages. Herbie Hancock's performance during the abstract improvisations is incredibly intense, showcasing his mastery in constructing cohesive and original sounds. He also demonstrates his genius for composition and modern orchestration, utilizing his horn section and electronics to build mini-orchestral textures reminiscent of classics like Stravinsky and Ravel. The ability to compose at such a sophisticated level is one of the things that sets Hancock and the members of his band, The Sextant, apart from other psychedelic ensembles of their time. The second side is dedicated exclusively to the virtuoso wind instrument player Bennie Maupin, who also demonstrates his writing and orchestration skills, transforming two incredible and superb pieces into delightful melodies. The first track is the tense and mysterious "Quasar", featuring a futuristic soprano melody similar to the classic Star Trek theme. Much of the performance of this song is abstract and improvised, but the musicians remain calm and focused, avoiding indulgent improvisational clichés. The resulting music is delicate and sensitive, far removed from the 'freak out' avant-jazz cliché, with melodies that often recall Mussourgsky, Stravinsky, and many others from the sound of early 20th-century Russian or French chamber music. The second side closes with "Water Torture", in which a deep, slow bass line doubled on the bass clarinet sounds like a cross between a slow funk rhythm and a dark Russian composition, highlighting Hancock's Mellotron electronics and a carefully orchestrated trumpet section, achieving a futuristic orchestral sound. However, despite the superb instrumental performances and the enormous composition, it is the producer David Rubinson who is the true protagonist of this album, one of the most meticulously produced with every single note, reverberation, echo, and volume carefully considered… a titanic work of millimeter-by-millimeter attention to detail, resulting in an absolute sonic masterpiece

Bill Withers-Bill Withers´ Greatest Hits (1981)

This iconic soul and R&B singer and songwriter would go down in history for a series of impactful hits that are among the most successful in both genres, such as the well-known "Ain't No Sunshine", "Use Me", "Lovely Day", and "Just the Two of Us". Bill Withers was born and raised in Virginia in the late 1930s. Years later, after being discharged from the U.S. Navy, he settled in Los Angeles with the intention of launching a music career. For some time, he composed and wrote songs primarily focused on soul and rhythm and blues. His style, based on rich melodies and refined arrangements, caught the attention of Stax Records, the leading label in Black music, who offered him a contract to record an album featuring some of the demos he had composed during those years. Produced by one of Stax Records' legendary musicians, Booker T. Jones, the resulting album, "Just As I Am" (1971), reached number five on the Billboard Black Album charts, while the single "Ain't No Sunshine" became a massive hit, achieving multiple platinum records and reaching number three on the Billboard Hot 100. In the following years, Bill Withers would have other similarly commercially successful hits with songs like "Grandma's Hands", "Lean On Me", "Us Me", "Lovely Day", and "Just the Two of Us", the latter featuring jazz fusion saxophonist Grover Washington Jr. However, his studio albums did not achieve the same level of success, with the exception of "Still Bill" in 1972 and "Menagerie" in 1977, both of which were certified gold. Towards the end of 1981, the compilation album "Bill Withers' Greatest Hits" was released, a superb collection of all his greatest hits, which became his biggest commercial success, selling nearly a million copies and reaffirming the brilliant career of this extraordinary singer and songwriter. Over the years, his popularity has been further enhanced by several popular films and TV series that have included the song "Ain't No Sunshine" in their soundtracks, such as "Third Watch", "Notting Hill", "When We Were Kings", and "Flight".

Jethro Tull-Crest of a Knave (1987)

With this work, the sizzling Jethro returned to find the right path that had separated slightly mid 80 discs as loose as "A" or "Under Wraps" discs too "electronic" and uninspired. However, and without Peter-John Vetesse (whom I consider guilty and a bad influence musically Anderson) getting both synthesizer, the great Ian Anderson finally managed to become close to classic and traditional sound of the band and produce a handful of great songs, as always superbly accompanied by his faithful squire Martin Barre, who also performs work as always very noticeable on guitars. Surprisingly is appreciated resemblance to Dire Straits on tracks like "Budapest", "Said she was a dancer" or "The Waking Edge" especially in the vocal aspect, as Anderson suffered a throat operation and closely resembles vocal that of Mark Knopfler. This work received a Grammy for best album of Hard Rock-Metal in 1989, I think more in recognition of his long career, which was relaunched and strengthened. In short, it's a very appealing, with that exquisite style as always, mixing elements of Blues, Hard Rock and Folk to create a delicious work.

West, Bruce & Laing -Why Dontcha (1972)

Mountain were one of the most important bands in the development of American hard rock, comprised of two legends: Leslie West and Felix Pappalardi. They released two superb albums considered fundamental to the development of heavy metal: "Climbing!" (1970) and "Nantucket Sleighride" (1971). After releasing the latter album in 1971, the band broke up due to Pappalardi's health problems. However, Leslie West decided to continue and called on former Cream member Jack Bruce, who, along with his former Mountain bandmate Corky Laing, founded the band West, Bruce and Laing. Essentially, West aimed to continue the Mountain sound, with a style that drew from blues and Southern sounds, focusing on powerful, dense, and distorted hard rock. Thanks to the managers of Jack Bruce and Leslie West (Robert Stigwood and Bud Prager, respectively), they secured a lucrative contract with CBS/Polydor for one million dollars to release three albums. But before entering the studio, the band toured extensively, performing Cream and Mountain songs as well as covers of rock and blues classics. In 1972, they released their first album, and ultimately their best work, titled "Why Dontcha". It featured standout tracks like the psychedelic "Out Into The Fields" and "Pollution Woman", the rock and roll anthems "The Doctor", "Pleasure", and "Shake Ma Thing", and the blues rock tracks "Turn Me Over" and "Love Is Worth The Blues", all of which combined to create a superb record of the best American hard rock.

Sweet Smoke-Just A Poke (1970)

Just as happened with other bands like Nektar or Barclay James Harvest, who had to emigrate from England to Germany to achieve mainstream success, Sweet Smoke moved to Germany to gain widespread recognition. Sweet Smoke was founded in the United States in the late 1960s by a group of young musicians based in New York: Andy Dershin on bass, Jay Dorfman on drums, Marvin Kaminowitz on vocals and guitar, Michael Paris on saxophone and vocals, and Steve Rosenstein on guitar. Their style was one of the loosest and most elaborate in psychedelic rock. Their first album, "Just A Poke", was released by the German subsidiary Columbia in 1970. It contained only two tracks, one on each side of the LP. The tracks were "Baby Night" on side A and "Silly Sally" on side B; however, due to a manufacturing error, they were pressed in that order. Both tracks exceed 16 minutes in length. The first, "Silly Sally", is a kind of psychedelic jam with a medieval-sounding, jazzy opening and a prominent flute, gradually building to an extended jam with guitar riffs and a powerful, frenetic, acid-tinged rhythm section. "Baby Night", on the other hand, is dominated by groove and blues sounds, featuring a great drum solo, various percussion elements, and powerful guitar riffs and wind instruments. Due to their location, where they first gained recognition, this band was categorized within the Krautrock genre; however, they never sounded like that German movement, primarily due to the absence of keyboards, with guitars and wind instruments dominating Sweet Smoke's music. Some time later they would release two more albums "Darkness To Light" (1973) and "Live" (1974), before finally disbanding, eventually returning to the United States in the mid-1970s.

SBB-The Rock (2007)

After beginning their long journey in the early 1970s, the Polish group SBB released their first album in 1975, followed by a long succession of albums (ten in total) well into the 1980s. After that, there was a hiatus of more than 20 years before they returned with a new album in 2002, "Nástroje". By the time of its release, the band had changed drummers; Paul Wertico, formerly of the Pat Metheny Group, replaced Jerzy Piotrowski, while Józef Skrzek and Anthimos Apostolis remained the core members of SBB. Following another recording, "New Century" (2005), the group returned to the studio to record "The Rock", released several years later. This album featured a different drummer, Gabor Nemeth. "The Rock" lives up to its title, showcasing a solid style that ranges from hard rock to prog rock with neo-progressive influences. Tracks like the heavy rock anthems "Skala" and "Zug A Zene Mindenhol" demonstrate that the band has moved beyond its purely progressive past, while the reflective and atmospheric "Płonące myśli", the ethereal "In Heaven and Hell", the sober "My Paradise", and the subtle, Celtic-influenced "Pielgrzym" make up one of the most powerful works from this legendary Polish band.

The 5Th Dimension-The Age Of Aquarius (1969)

The 5th Dimension are considered one of the most formidable vocal groups in history. They achieved around twenty hits on the Billboard Hot 100 between 1966 and 1976, with the distinction that their style was more closely related to the flower power movement than to the Motown sound (all of its members were African American). Their lineup consisted of singers Billy Davis Jr., Florence LaRue, Marilyn McCoo, Lamonte McLemore, and Ron Townson, while the backing band featured guitarists Mike Deasey, Bill Fulton, and Tommy Tedesco, drummer Hal Blaine, bassist Joe Osborn, and keyboardist Pete Jolly, among other prominent session musicians from the Los Angeles area. Their captivating voices, upbeat and relaxed pop, and great compositions written by people like Jimmy Webb, Gene Raskin, and Laura Nyron propelled them to the pinnacle of the quintessential hippie genre of the late sixties, thanks to major hits such as “Go Where You Wanna Go” (1966), “Up-Up and Away” (1967), “Ticket To Ride” (1967), “Stoned Soul Picnic” (1968), “California Soul” (1968), “Weeding Bell Blues” (1969), and “Medley: Aquarius/Let The Sunshine In (The Flesh Failures)” (1969). The latter, a cover of the song from the musical Hair, which would catapult them to worldwide stardom, was included on their fourth album, “The Age Of Aquarius”, achieving tremendous success on the world charts and earning them two Grammy Awards. This album also featured an irresistible collection of songs, all of them covers, such as “Blowin’ ”, “Away”, “Workin’ On a Groovy Thing”, “Those Were The Days”, “Sunshine Of Your Love”, “Let It Be Me” or “Wedding Bell Blues”, performed with those fascinating voices, supported by intoxicating instrumentation and bathed in attractive winds, the only hint of soul that brought them closer to their black origins.

Whitesnake-Trouble (1978)

With the first breakup of Deep Purple, the so-called "Purple Saga" emerged, comprised of the bands led by Ritchie Blackmore and Rainbow, the one led by Ian Gillan and his Ian Gillan Band, and the one David Coverdale would form with Whitesnake. All three were tremendously popular in the late seventies, although it was the latter that enjoyed much greater continuity and commercial success. In 1977, David Coverdale released a four-song EP titled "White Snake" under the name David Coverdale Band. This band included, in addition to the vocalist, his former Purple bandmate Roger Glover, guitarist Micky Moody, and drummer Simon Phillips. This EP already featured two of his classic tracks, "Come On" and "Ain't No Love in the Heart of the City", although these were rather rudimentary versions compared to the arrangements that would later be added. “Trouble”, released a year later, is officially considered Whitesnake’s first album. The band was almost entirely reformed with the addition of former Deep Purple member Jon Lord (keyboards), Bernie Marsden (guitar), Neil Murray (bass), and Dave Dowle (drums), in addition to Coverdale (vocals) and Micky Moody (guitar). On this debut, the band showcased the sound that would define them for much of their career: hard blues rock and boogie rock that established them as one of the leading acts in the genre during the late 1970s. Among its tracks, the energetic and seductive “Take Me with You”, the dynamic “Love To Keep You Warm”, and the vintage, Deep Purple-infused “Nighthawk (Vampire Blues)” and “The Time Is Right For Love” stand out, not forgetting the powerful “Don’t Mess With Me” or the exceptional “Belgian Tom’s Hat Trick”.

Bull Angus-Bull Angus (1971)

Bull Angus was a hard rock and psychedelic blues band formed in Poughkeepsie, New York, in the late 1960s. Their lineup consisted of guitarists Larry LaFalce and Dino Paolillo, Geno Charles (drums), Frankie Previte (vocals, flute, and percussion), Ron Piccolo (keyboards), and Lenny Vendetti (bass). In 1971, they signed a contract with Mercury Records and, under the production of Vinniy Testa, recorded their debut album, which went largely unnoticed due to minimal promotion from their record label. A year later, they released "Free For All", which would serve as the epitaph for the brief but interesting career of this little-known American band. With a style akin to Grand Funk Railroad, Groundhogs, and Titanic, and bearing certain similarities to bands like Uriah Heep and Deep Purple, their sound was infused with heavy hard rock, blues, psychedelic music, and progressive influences. All these styles are perfectly represented on their first two albums, as demonstrated by the bluesy "Uncle Duggiés Fun Bus Ride", the southern rock "Miss Casey", the progressive hard rock tracks "A Time Like Ours" and "Pot of God", and the folk rock "Cry". With their second album, the band displayed an even more ambitious approach, as evidenced by tracks like "Loving Till End", which leans towards progressive folk, and the psychedelic "Train Woman Lee". Bull Angus is considered another of those cult bands, who despite the enormous quality of their two devastating and superb albums, passed without fanfare through the often unfair world of rock music and have become one of the most sought after by vinyl collectors and fans of proto-prog and early 70s hard rock.

The Chick Corea Elektric Band-The Chick Corea Elektric Band (1986)

Nearly ten years after Return to Forever's last album, Chick Corea founded a new band, almost identical to its predecessor but with new members, a new (and not so new) style of jazz, and a different approach to a genre in which he was a consummate master. It was the mid-eighties, and the Massachusetts-born pianist formed The Chick Corea Elektric Band with guitarist Scott Henderson, bassist John Patitucci, and drummer Dave Welck, releasing their self-titled album, "The Chick Corea Elektric Band", in 1986. This first album did not yet feature the more classic lineup that would later include Welck and Patitucci, as well as guitarist Frank Gambale and saxophonist Eric Marienthal, in addition to, of course, Chick Corea himself. Unlike the style of Return to Forever, this "electrified" version of the band didn't showcase the avant-garde jazz-rock sounds of RTF, although it did retain, to some extent, the experimentation so characteristic of almost all of Corea's work. On this debut, the Latin jazz track "Rumble" stood out, with Welck and Patitucci delivering superb work on the rhythm section while Corea emulated the style of Joe Zawinul. The jazz fusion "Cool Weasel Boogie", the jazz-rock "King Cockroach", the hypnotic "Side Walk", and the guitar-driven "Go Match?" featuring a Welck in top form, give way to the more solemn "India Town", with its exotic sounds and ambient synthesizer passages.

Styx-Paradise Theatre (1981)

Few bands today could record an album as conceptually well-executed as "Paradise Theatre", a product of the American band Styx, a group voted one of the 10 most popular bands in the world in 1981. Although many critics and fans argued that Styx were beginning to diversify their style towards more commercial levels during those years, it's also true that they still possessed an impressive ability to blend catchy and accessible sounds with complex and daring structures. And while the concept itself hints at a more progressive direction, the entire repertoire here is geared towards melodic rock with a high level of compositional and instrumental skill. The concept, somewhat reminiscent of Broadway, is literally based on the closure and demolition of the legendary Paradise Theatre, located on the west side of Chicago. The music contained here includes some of the most refined melodies composed by the duo of Dennis DeYoung and Tommy Shaw (vocals, keyboards, and vocals and guitar, respectively), who, along with the rest of the band brothers Chuck and John Panozzo (bass and drums) and James Young (guitar) closed their most glorious period with this album. Superb songs like the immortal "The Best Of Times", the powerful rocker "Rockin' The Paradise", the energetic danceable "Too Much Time On My Hands", the controversial "Snowblind", a daring track about cocaine addiction, and the outstanding "Lonely People" and "Nothing Ever Goes as Planned" place this album among the most remarkable releases in soft rock, achieving resounding success on charts worldwide.

Rainbow-Rising (1976)

Rainbow's second album, released almost a year after their debut, "Ritchie Blackmore's Rainbow", is unanimously considered a masterpiece of hard rock, as well as a cornerstone upon which prog metal would later be built. 

Overflowing with stunning tracks, they are performed by a dream band comprised of Ritchie Blackmore, Ronnie James Dio, Tony Carey, Cozy Powell, and Jimmy Balin, under the production of Martin Birch. 

From the opening track, "Tarot Woman", with its hypnotic synth-driven introduction that then transforms into a crushing hard rock anthem, to the blistering "A Light in the Black", eight minutes of frenetic rhythms where Carey's keyboards and Powell's drums dispel any doubt about the instrumental prowess of both musicians, the album unfolds in an unparalleled and legendary fashion. 

The rest of the album is equally impressive, featuring the intriguing "Starstruck", the tour de force "Stargazer", and the catchy "Do You Close Your Eyes", all performed in a grandiose and even positively pretentious manner, with Blackmore delivering a stunning performance on guitar and Dio delivering an operatic and sublime vocal performance, confirming his status as one of the five greatest vocalists in the history of heavy metal and hard rock. "Rising" is undoubtedly one of the crown jewels of contemporary music and an essential addition to any serious rock collection.