Three Man Army-A Third Of A Lifetime (1971)

Three Man Army was a powerful British hard rock trio who released three albums in the early 1970s. The band consisted of brothers Adrian Gurvitz (guitars, keyboards, and vocals) and Paul Gurvitz (bass and vocals), both former members of the band Gun. Their debut album, "A Third of a Lifetime", was released on Pegasus Records. This early work was a potent exercise in vigorous hard rock in the purest Cream style, featuring exuberant guitars and melodic vocals. For this debut, they were joined by drummers Buddy Miles and Tom Kellie. "A Third of a Lifetime" featured standout instrumentals such as "Nice One", "Three Man Army", "Agent Man", and "See What I Took", as well as the epic "Together" and the powerful "Another Day" and "Butler Queen". Some of these tracks even hinted at progressive rock sounds, demonstrating the musical versatility of the two brothers. The following year saw the release of "Mahesha", for which they hired drummer Tony Newman. This album showcased a more melodic approach than its predecessor. With "Two", released two years later, the band's run came to an end due to the album's limited success, despite containing standout tracks like the melodic "Today" and "Space Is The Place", and the powerful rock anthems "In My Eyes", "Polecat Woman", and "Flying". Following this, the two brothers formed Baker Gurvitz Army with former Cream drummer Ginger Baker, releasing three highly acclaimed albums: "Baker Gurvitz Army" (1974), "Elysian Encounter" (1975), and "Hearts of Fire" (1976).

Isaac Hayes-Shaft (1971)

As a composer, producer, arranger, singer, and keyboardist, Isaac Hayes was the primary architect of the signature sound of Memphis-based Stax Records. However, few foresaw his rise to global stardom, which began in 1969 with his album "Hot Buttered Soul". In this work, Hayes combined jazz with hypnotic sounds and extended passages, blending funk, soul, and psychedelia, all underpinned by dark, fuzzy guitars and his deep, sharp voice. Following this album came two more works in a similar vein, featuring expansive tracks, meticulous arrangements, and intricate orchestrations. In 1971, Isaac Hayes released two double albums: the soundtrack to the film "Shaft" and "Black Moses". With his first album, Isaac Hayes achieved his most successful work, earning an Oscar for Best Original Score and a Grammy Award, catapulting him to global stardom, thanks in part to the album's title track. On "Shaft", Hayes masterfully combined exuberant and powerful funk with smooth and delicate instrumental pieces, all infused with laconic and subtle jazz influences. Hayes's infallible melodic sense shone through in evocative and atmospheric tracks like "Bimpy's Lament", the smooth and vibrant "Elliés Love Theme", the upbeat "Cafe Regios", which evoked the sound of West Montgomery, the bold and powerful "No Namen Bar", and the Burt Bacharach-esque "Early Sunday Morning", all featuring sophisticated string and wind arrangements that complemented Hayes's melodic contours and the style demanded by Hollywood. Months later Hayes would reach his creative peak, releasing another colossal work, "Black Moses", where he would base his sound on the style of "Hot Buttered Soul", but adding more eclectic fusions and thus expanding his enormous musical canvas.

Donald Byrd-Ethiopian Knights (1972)

Donald Byrd was one of the most accomplished trumpet players of hard bop, with a prolific career spanning the 1950s and well into the 21st century. With a discography exceeding thirty albums, in addition to collaborating on over a hundred projects and albums for other artists, Byrd compensated for his lack of creative freedom in composition and his limited innovation with works characterized by grand instrumentations and an effective, dynamic jazz sound. At the height of his career, Byrd recorded a series of groove jazz albums now considered classics of the genre. "Ethiopian Knights" was one of them, an album whose enduring popularity has led to countless reissues since its release. Released on the prestigious Blue Note label, this album is divided into two extended jams, quite far removed from the conventions of structured jazz, both exceeding sixteen minutes in length. The band featured Donald Byrd on trumpet, Harold Land on tenor saxophone, and Thurman Green on tenor saxophone. Trombone, Bobby Hutcherson; vibraphone, William Henderson; Fender Rhodes, Joe Sample; organ, Ed Greene; drums, Wilton Felder; bass and guitars Don Peake, David T. Walker and Greg Poree, demonstrate the prodigy of each of them, the versatility, a great cohesion and an irresistible jazz rhythm making this album an essential work of the hard bop genre.

Supertramp-Crime of the Century (1974)

Supertramp formed in 1969 based on the talents of two great musicians Rick Davies and Roger Hodgson, supported by the Dutch millionaire Stanley August Miesegaes. In 1972 after the commercial failure of the first two albums and followed the abandonment of most of its members and the sponsor of the group, which looked like the end of the dream Supertramp, Davies and Hodgson pressed to meet the commitments of the contract with A & M Records , the group reassembled with new musicians and making classical quintet that lasted until 1982. 
Under financial pressures and contract record "Crime Of The Century", his third album and mythical absolute masterpiece that marked the beginning of the creative era of the band with his unique sound influenced by Davies and Hodgson, fusing styles Rock, Pop, Blues, Jazz, and orchestral sounds. This album marked the resurrection of the group and placed in major league music. The album was produced by the band with Ken Scott, known for his work with The Beatles, Procol Harum, Jeff Beck, Pink Floyd and David Bowie and recorded in the famous studies of Trident and Ramport latter owned by The Who . The album eventually rivaled in sales with The Dark Side and The Moody Blues. 
The album was recorded in various studios including Ramport Studios, owned by The Who, Trident Studios and Scorpio Sound (London); between February and June 1974 Many of the songs had previously been included in group shows such as "School", "Bloody Well Right", "Rudy" and the album's title track. Almost the entire album contained in the 1980 live album "Paris", although the orchestration of the songs on the original album were replaced by synthesizers played by John Helliwell with the help of Roger Hodgson. 
"Crime of the Century" marked the first Supertramp album to enter the top forty positions in the American charts. Following the release of "Even in the Quietest Moments" in 1977, "Crime of the Century" was certified gold by the RIAA. 
The album would be remastered and reissued on June 11, 2002 by A & M Records.

Rainbow-Bent Out Of Shape (1983)

This was Rainbow's last album released in the 1980s, and also their most commercially successful. Despite this, it still boasts excellent musicianship, a well-chosen collection of songs that perfectly complement Joe Lynn Turner's powerful voice, which delivers an exceptional vocal performance. Meanwhile, the impetuous guitar work of Rainbow's leader and undisputed mastermind, Ritchie Blackmore, continues to inspire awe with its sublime riffs, intricate solos, and immeasurable melodies on the six strings. Catchy AOR-oriented tracks like "Can't Let You Go", "Street of Dreams", and "Fool for the Night" stand in stark contrast to hard rock anthems such as the solid "Fire Dance", the emotive instrumental "Anybody There", the ambient "Snowman", and the rocking "Drinking with the Devil". "Bent Out Of Shape" is definitely a great epilogue to Rainbow's golden age, an elegantly arranged album with a magnificent repertoire that highlights the great talent of Joe Lynn Turner and the genius of Ritchie Blackmore.

Paul McCartney-Tug Of War (1982)

Paul McCartney's fifth solo album marked another of his great works, following several releases of undeniable quality but equally conventional and predictable soft pop and commercial rock songs, such as "London Town", "Back to the Egg", and "McCartney II". With "Tug of War", Paul not only returned to the top of the charts but also crafted a work featuring some of the best songs of his entire solo career. Moreover, the collaborations with renowned musicians like George Martin, Steve Gadd, Eric Stewart, Stevie Wonder, Stanley Clarke, Carl Perkins, Ringo Starr, and Denny Laine added the perfect extra layer of appeal for a wider audience. Songs like "Ebony and Ivory" sung as a duet with Stevie Wonder, "Take it Away", "Somebody Who Cares", "Tug Of War", "Get It" or "Here Today", strengthened a work full of unforgettable melodies, under numerous musical styles that would reach the top of the charts in numerous countries around the world.

The Alan Parsons Project-Ammonia Avenue (1984)

Two years after the success of "Eye in the Sky", The Alan Parsons Project returned to recording with "Ammonia Avenue", a work initially conceived as a double concept album. With two distinct parts, the first would explore loneliness and the lack of communication in contemporary society, while the second would focus on the problems of a competitive, capitalist society in today's world. Ultimately, however, two separate albums were recorded: "Ammonia Avenue", released in 1984, and "Vulture Culture", released the following year. For "Ammonia Avenue", Alan Parsons continued as keyboardist, arranger, and composer, while Eric Woolfson sang on most of the tracks and co-wrote all the songs with Parsons. As was typical for Alan Parsons, he enlisted a stellar lineup of collaborators for the recording, including Mel Collins, Ian Bairnson, Colin Blunstone, David Paton, Andrew Powell, Stuart Elliott, Chris Rainbow, and Lenny Zakatek. The album comprises nine songs, which, while not reaching the heights of his previous work, constitute one of his most successful albums. On the progressive side, the album features the grandiose and intense title track. The rest of the songs navigate between pop-rock and art rock, such as the firm melody of "Prime Time", the powerful "Let Me Go Home", the sinuous "One Good Reason", the romantic "Since The Last Goodbye", the monumental "Don't Answer Me", and the instrumental "Pipeline". Not forgetting the magnificent "You Don't Believe", these tracks provide ample evidence to classify this work as one of the best contributions of this project in the 1980s.

John Cale-Guts (1977)

During his brief stint with the Velvet Underground, John Cale shared leadership with Lou Reed, and although Reed largely monopolized the band's songwriting, Cale became the catalyst for the more experimental side of this New York group. John Cale was always a multifaceted and spontaneous musician, and his subsequent career was marked by the exploration of cutting-edge music. Examples of this can be found on his albums "The Academy In Peril" (1972) and "Church of Anthrax" (1971), the latter a collaboration with American composer Terry Riley. However, his first solo album was actually "Paris 1919" (1973), one of his best works, from a period in which he showcased his visceral and schizophrenic side with albums like "Fear" (1974), "Slow Dazzle" (1975), and "Helen of Troy" (1975). After those recordings, Cale took several years off, until 1981 when he released "Honi Soit". But before the release of this album, John Cale was still signed to Island Records, and to finalize his contract, he decided to release the compilation album "Guts" in 1977, thus concluding his association with the label. Featuring several tracks from the three aforementioned albums, as well as an unreleased song ("Mary Lou"), this compilation emphasized the most energetic material from those records, with absolute bangers like "Helen of Troy", "Pablo Picasso", "Gun", "Dirtyass Rock 'n' Roll", one of his most popular songs, and a devastating and unrecognizable version of Elvis Presley's "Heartbreak Hotel", which was always a staple of his beloved concerts.

The Climax Chicago Blues Band-A Lot Of Bottle (1970)

The Climax Chicago Blues Band was one of the greatest bands of the so-called British white blues scene, rivaling contenders like Savoy Brown, The Keff Hartley Band, Fleetwood Mac, Chicken Shack, and John Mayall and The Heartbreakers, among many others, throughout the late sixties and much of the seventies. By 1970, this legendary band had released two immense albums focused on avant-garde blues rock, pushing their style towards exploration and the creation of new sonic heights. That same year, the band underwent its first lineup changes, with Arthur Word joining on keyboards and drummer George Newsome. These new members, along with founding members Peter Haycock (guitarist), Colin Cooper (saxophonist and guitarist), and Derek Holt (bassist), recorded two spectacular albums that definitively established them in the public eye, demonstrating their formidable talent and exceptional creative and instrumental intelligence. The first of these was "A Lot Of Bottle", where, in addition to their ingenious blues rock, they spiced it up with a touch of commercial appeal. From catchy bluesy tracks like "Brief Case" and "Morning Noon and Night", to conventional country blues like "Alright Blue", "Country Hat", and "Louisiana Blues", and including rhythmic and energetic blues rock like "Cut You Loose". A year later, they released their fourth masterpiece, "Tightly Knit", an album on which they shortened their name, becoming known from then on as Climax Blues Band.

Dies Irae-First (1971)

Dies Irae was a German band formed in 1968 that built a strong reputation through their wild concerts throughout southern Germany and countries like Switzerland and France in the late 1960s and early 1970s, until the prestigious German label PILZ offered them a contract and released their first and only album in 1971. Their lineup consisted of Rainer Wahlman on lead vocals and harmonica, Harald Thoma on guitar and vocals, Joachim Shiff on bass, and Andreas Cornelius on drums. Dies Irae's style was a strange mix of progressive and psychedelic heavy metal with strong influences from dark, heavy blues. Their only album, "First", is a hallucinogenic musical journey with a heavy emphasis on acid guitars and trance-like states, a result of the band members' LSD use. This debut album contained some truly interesting moments, such as the opening heavy rock track "Lucifer", the psychedelic jam "Witches Meeting", the intense heavy rock of "Another Room", and the acid rock of "Trip". After its release, the band gained considerable notoriety, even though most German radio stations refused to play the record due to its connotations of drug use and its links to religious rituals. However, a music video was broadcast on a German television network, providing them with enough publicity to achieve underground and cult status a connotation that persists to this day.

McChurch Soundroom-Delusion (1971)

McChurch Soundroom was an unusual Swiss progressive folk-blues band that released only one album in 1971 (with a rather sinister and unfortunate cover, by the way), before vanishing without a trace. The only information about the band is on the album's back cover, which, aside from the track listing, lists the members: vocalist and flautist Sandy McChurch, keyboardist Alain Veltin, bassist Kurt Hafen, guitarist Heiner Althaus, and drummer Norbert Jud. Their music showcased a heterogeneous sound that drew on German krautrock with elements of jazz and progressive hard rock, fused with British folk and blues. This album, titled "Delusion", was released by the underground label Pilz and showcases the musical eclecticism of McChurch Soundroom. It ranges from sounds reminiscent of early Jethro Tull in the opening track, which lends its name to the album, to complex compositions like "Time Is Flying", superb forays into progressive jazz such as "Trouble", and typical 70s hard rock like "Dream of Drummer". While not an exceptional or particularly original work, its music is nonetheless captivating and features excellent instrumental performances from all its members, especially the flute, guitar, and Hammond organ.

Freedom-Is More Than A Word (1972)

During much of the second half of the 1960s and the early 1970s, countless great bands emerged, barely managing to release one or two albums at most. These anonymous bands are often considered cult classics, boasting legions of collectors and fans today. They poured their hearts and souls into the few works they managed to release, only to vanish without a trace in most cases, but leaving behind recordings that are a fundamental part of rock music history. Freedom is one such band, formed by former Procol Harum members Bobby Harrison (drums and vocals) and Ray Royer (guitar), who, along with Peter Dennis (bass, keyboards, and vocals), Steve Jolly (guitar), and Roger Saunders (vocals, guitar, and keyboards), released three superb albums. "Is More Than A Word", their last and finest work, was released in 1972 on the Vertigo label. An album that boasts memorable moments like the blues-rock with a funk edge "Sweaty Feet", the expansive funky rock "Brainbox Jam", the powerful cover of Don Nix's "Going Down", the pastoral "Direction", and the complex "Ladybird". Freedom didn't achieve massive success at the time, but they offered psychedelic hard rock, and their first two albums garnered favorable reviews and comparisons to leading bands like Jimi Hendrix, Led Zeppelin, and Cream. However, their style for this third album shifted towards funkier and blues-rock sounds, gaining depth with rich nuances and greater musical versatility, at the expense of their original sound, but with too much competition surrounding them in those magical musical years.

Paul McCartney-Ram (1971)

Paul McCartney's second album sparked some controversy among his most devoted fans, mainly because it was officially credited to Paul & Linda McCartney. This led many to initially wonder why a photographer with no musical background (Linda's profession, in addition to being the heiress to the Kodak fortune) was involved in recording an album with Paul. Many were immediately reminded of the disastrous recordings of his former bandmate John Lennon and his wife Yoko Ono. But nothing could be further from the truth. On this album, the former Beatle demonstrated why he was the driving force behind the Liverpool group, creating a record that is a clear influence on many subsequent musical styles. For the recording, McCartney enlisted the help of prestigious session musicians such as guitarists Hugh McCracken and David Spinozza, and drummer Denny Seiwell, while Paul himself handled bass, vocals, keyboards, and rhythm guitars. For many, this release is clearly related to the sound of the album "Abbey Road", as is evident in the epic "Uncle Albert/Admiral Halsey", while the reminiscences of 1950s rock and roll are present in tracks like "Legs" and "Smile Away". On the other hand, the folk-infused "Ram On", the energetic "Monkberry Moon Delight", and the exquisite "The Back Seat of My Car" evoke the spirit of his main band's "White Album". Ultimately, with "Ram", Paul McCartney created a work that was both groundbreaking and influential, achieving multiple platinum records and considerable sales worldwide.

U.K.-U.K. (1978)

This short-lived supergroup was one of the last of the golden age of progressive rock in the 1970s, born from the dissolution of an original idea by John Wetton, Bill Bruford, and Rick Wakeman. However, Wakeman ultimately left the project, and his replacement was former Roxy Music keyboardist and violinist Eddie Jobson, with former Soft Machine and Gong guitarist Allan Holdsworth completing the lineup. With the definitive band in place, they entered the studio and recorded their self-titled debut album, "U.K." (1978), released on the E.G. label. This first album showcased a group of highly skilled musicians who fully lived up to the expectations of the time, displaying superb precision, great compositional inspiration, and an exceptionally high level of technical prowess. Tracks like the sweeping and Crimson-esque “In the Dead of Night”, the grandiose “Presto Vivace and Reprise”, the atmospheric “Thirty Years”, the brilliant progressive hard rock “Alaska” and the progressive jazz “Mental Medication”, made up a work that would go down in history as one of the most important of the progressive style of the late 70s.

Jackal-Awake (1973)

Jackal was a short-lived Canadian progressive rock band that released only one album in 1973, reminiscent of bands like Kansas, Warhorse, and even their compatriots Rush. Formed in the late 1960s in Toronto by brothers Chris and James Kellesis (keyboards and drums), along with singer Charlie Shannon and guitarist Dave Bernard, their sole recording was "Awake", released by the Periwinkle label in 1973, although it appears to have been recorded two years earlier in 1971. This album showcases a wide range of influences, from American progressive rock to early 1970s British symphonic rock, with elements of Southern rock and hints of American hard rock. These influences are perfectly reflected in the opening track of this album, "At The Station", a memorable exercise in progressive rock fused with southern hard rock, while "New Day Has Arisen" is a progressive hard rock track very much in the vein of what their British contemporaries Uriah Heep or Deep Purple were doing, or in "Awake", the most progressive piece with great interactions of the Hammond organ and Bernard's powerful guitars, supported by Shannon's excellent voice.

U2-The Joshua Tree (1987)

In 1987, the Irish band U2 released their fifth album, "The Joshua Tree", considered their masterpiece and their commercial peak, with over 14 million copies sold worldwide. While their previous album, "War", showcased their most energetic side and sharpened their lyrics, denouncing social and political issues, as evidenced in the well-known "Sunday Bloody Sunday", here they presented a repertoire of more refined and elegant songs, simultaneously darker and more accessible, incorporating subtle influences of American country and blues without losing sight of their unmistakable style. The entire album is immensely enjoyable; however, the first three songs are the record's high point. “Where The Streets Have No Name”, “I Still Haven’t Found What I’m Looking For” and “With or Without You”, which somehow overshadow other very high-level songs such as “Bullet The Blue Sky” or “In God’s Country”.

Nine Days´Wonder-Nine Days´Wonder (1971)

The story of the band Nine Days' Wonder began in late 1966, when its founder, Walter Seyffer, started developing a project, working on a series of original compositions that would become part of the repertoire of his band, The Graves. However, it wasn't until three years later that this idea began to take shape with a defined style. Seyffer was a German singer and drummer who had been part of different bands throughout the 1960s, and it wasn't until early 1970 that he finally managed to establish a stable and definitive lineup, forming Nine Days' Wonder. By the middle of that year, he had completed the group's lineup, composed of musicians of various nationalities. Seyffer was accompanied by German Rolf Henning on piano and guitar, Irishman John Earle on saxophone, flute, guitar, and vocals, Austrian Karl Mutschlechner on bass, and Briton Martin Roscoe on drums. All these musicians began working together to create an experimental style, based on a fusion of different elements and diverse influences converging essentially on krautrock, with a marked influence from Frank Zappa and the British progressive rock of the time. In 1971, they entered Dierks Studios and recorded their debut album, a prime example of the most extravagant and unusual German progressive rock ever recorded, clearly inspired by bands like King Crimson, Frank Zappa, Soft Machine, Traffic, Family, and Deep Purple, among many others. This fusion of styles is reflected in an album that features long and complex compositions of progressive music, jazz-rock, frenetic sounds, extravagant music, heavy blues-rock riffs, and avant-garde sounds. All of this is grounded in astonishing creative freedom, with altered vocals, psychedelic touches, sound effects, noise, and many moments of total musical frenzy. This debut album comprises four lengthy tracks, ranging from 12 to 15 minutes in length, beginning with "Fermillion", which, in a Monty Python-esque style, showcases the band's madness, dynamism, experimentation, and superb progressive instrumentation. This is followed by the intense "Moss Had Come", the humorous "Apple Tree", and the avant-garde and spacey "Drag Dilemma", undoubtedly the standout track on an outstanding and simultaneously schizophrenic album. It's worth noting that, unlike conventional progressive rock, there are no organs, mellotrons, or even synthesizers here three of the essential instruments of progressive rock which are replaced by the formidable interplay between wind instruments and guitars. In short, an album with some of the most unsettling music of the early 70s, combining the deranged sounds of Frank Zappa and Captain Beefheart, medieval and chamber music, and the powerful sensations of hard rock.

Kansas-Two for the Show (1978)

At the height of their popularity, Kansas released their first live album, the double album "Two For The Show", which followed their masterpiece "Point Of Know Return" from the previous year. Therefore, everything included here comes from the tour following that album. The tracks selected here were recorded at The Palladium in New York, the Pine Knob Music Theatre in Michigan, and the Merriweather Pavilion in Maryland between mid-1977 and early 1978, and the album was released near the end of that same year. 

In this superb live recording, Kansas showcases their full instrumental brilliance, with a progressive rock sound, somewhat grandiose, inherited from British symphonic rock groups, fused with elements of American rock such as blues, country, and even bluegrass. With a powerful rhythm section consisting of drummer Phil Ehart and bassist Dave Hope, two tremendous guitarists, Rich Williams and Kerry Livgren, violinist and singer Robby Steinhardt and vocalist and keyboardist Steve Walsh, the group unfolds the best of its repertoire, reviewing not only the aforementioned album "Point Of Know Return" but also its four previous albums "Kansas", "Song For America", "Masque" and "Leftoverture". From the enormous and magnificent suite “Magnus Opus”, where each band member has their moment to shine instrumentally, to their biggest commercial hits like “Carry On Wayward Son”, “Dust In The Wind”, “Point Of Know Return”, and “Song For America”, and including the epic and progressive “Excerpt From Lamplight Symphony”, “Incomudro-Hymn To The Atman”, and “Mysteries And Mayhem”, or the superb rock tracks “The Wall”, “Icarus-Bone On Wings Of Steel”, and “Closet Chronicles”, Kansas demonstrates why they were considered the greatest American progressive rock band of all time. Following in the footsteps of its predecessor, this double album achieved immediate success, going platinum and selling well over two million copies worldwide.

Genesis-We Can´t Dance (1991)

Strictly speaking, this was Genesis's last album, and the last with Phil Collins at the helm, even though six years later they released the unforgettable "Calling All Stations" under the band's name essentially a solo project by Mike Rutherford and Tony Banks with singer Ray Wilson. Released during the height of Phil Collins's solo career, it serves as a fitting epitaph for what is considered one of the most iconic progressive rock bands of all time. Much more focused on progressive sounds than the previous, more commercially oriented "Invisible Touch", this new recording saw the trio (Collins, Rutherford, and Banks) concentrate on songs with more socially conscious lyrics (social commentary and existentialism, among other recurring themes, are addressed here, with some sarcastic and humorous songs on very hot topics of the time) and more complex instrumentation. However, tracks like "Jesus He Knows Me", "Tell Me Why", and "Hold On My Heart" were clearly written for radio, yet they retained their excellent musicianship. On the other hand, the funk-rock track "I Can't Dance" is the kind of song that would fit perfectly on any of Phil Collins' albums due to its simplicity and infectious rhythm. On the more complex side, there are tracks like "Driving The Last Spike", "Dreaming While You Sleep", "No Son Of Mine", "Way Of The World", and "Fading Lights," all of which showcase their brilliant progressive side.

Keith Cross & Peter Cross-Bored Civilians (1972)

In the early seventies, the influence of the West Coast sound of the American hippies reached England, a style that would be a major influence on many British bands of the time. However, the sunny, beachy, surfer-friendly American climate was a stark contrast to the ever-rainy Great Britain, so the so-called "British West Coast" had an unmistakable melancholic and wistful tone, directly linked to its climate, although its very personal folk style also contributed to a somewhat darker and more somber feel. One of these bands was the duo Keith Cross & Peter Cross, two brothers who came from various bands such as the progressive rock band T2 and Hookfoot, the latter being Elton John's backing band. After composing a series of songs, they recruited several musicians, including guitarists Nick Lowe, formerly of Brinsley Schwartz, and B.J. Cole, ex-Cochise, as well as Caravan saxophonist Jimmy Hastings. The only recording from this collaboration was the album "Bored Civilians", one of those rare gems highly sought after today due to the combination of its impressive lineup of musicians and its extraordinary content. Tracks in the purest CSN or Seals & Crofts style, such as "The Last Ocean Ride", folk-rock tracks seasoned with heavenly vocals like "Peace in the End" (the latter a cover of a song by the misunderstood Fotheringay), songs with a clear psychedelic jam texture like "Story to a Friend", elegant compositions such as "Loving You Takes So Long", "Pastels", "The Dead Salute", and "Bo Radley", and acoustic tracks like the irresistible "Fly Home", all combine to create an album of extraordinary quality. However, shortly after its release, the band broke up, each member pursuing independent careers, thus bringing to an end the ephemeral adventure of this magnificent and now forgotten band.

Yes-Relayer (1974)

"Relayer", along with "Tales From Topographic Oceans", is one of Yes's most difficult, inaccessible, and intricate albums, but by no means a lesser work. On the contrary, both are masterpieces of progressive rock, which, despite having less commercial impact, owed it to their complexity and, at the same time, their less harmonious and accessible side. In a way, "Relayer" follows the trend of the aforementioned "Tales From Topographic Oceans", released a year earlier. But the musical epic of almost biblical proportions that was "Tales From..." claimed its first victim in Rick Wakeman, who came to loathe the complex compositions based on Eastern philosophies that singer Jon Anderson and Steve Howe composed during countless hours between concerts on the "Close To The Edge Tour". Finally, after the tour following "Tales From...", Rick Wakeman left the band to pursue his solo career, which had already begun in 1973 with his album "The Six Wives of Henry VIII". Therefore, they had to find a replacement with the ideal qualities for the position. While Vangelis was initially considered, it was ultimately the Swiss keyboardist Patrick Moraz who was chosen. Patrick Moraz already had an impressive career with the bands Mainhorse and Refugee, the latter a progressive rock band in the purest ELP style, so his integration was quick and seamless, with no one missing the blond keyboardist with long hair and colorful layers. "Relayer" structurally consists of three extensive tracks, beginning with the jazzy and progressive "The Gates of Delirium", a prodigious 23-minute piece inspired by Tolstoy's "War and Peace", which is one of Yes's compositional and instrumental peaks. On the second side, we find the brutal “Sound Chaser”, which blends elements of free jazz and visceral rock with tons of progressive sounds, featuring an immeasurable and sublime Steve Howe on guitar. The album closes with “To Be Over”, a track brimming with moments of peace and solemnity, where Jon Anderson delivers an absolutely masterful performance. “Relayer” confirmed the band's shift away from accessible and melodic sounds, towards riskier and more experimental approaches, a direction that would keep them from releasing new albums for almost three years.

Gentle Giant-Civilian (1980)

"Civilian", released in early 1980, was the last album recorded by the legendary Gentle Giant, a work that shows little trace of the band's glorious progressive past. On this release, the quintet of Derek Shulman (vocals), Gary Green (guitars), Kerry Minnear (keyboards), Ray Shulman (bass, guitars, and vocals), and John Weathers (drums and vocals) aimed for a lighter, more accessible sound, with a conventional American rock style. While not as challenging as their previous releases, the band remained in a comfortable zone, creating catchy melodies within an atmosphere reminiscent of 1980s new wave and melodic rock, as demonstrated by songs like "Convenience (Clean and Easy)", "Shadows on the Streets," and "Inside Out," and the classic arena rock of "Number One," "I Am a Camera", and "All Through the Night". With this eleventh release, Gentle Giant brought their brilliant career to a close, producing an epitaph in the form of a commendable and solid classic rock album.

David Bowie-Low (1977)

By 1977, David Bowie had been away from his glam rock journey for several years, a time during which the Thin White Duke had flirted with other styles after that period of feathers and sequins, such as the soul and rhythm and blues influences of his previous albums, "Young Americans" (1975) and "Station to Station" (1976). For his next album, "Low", Bowie had the essential collaboration of Brian Eno, who gave it a more electronic sound, but without losing the freshness and charm of the British singer's compositions. In addition to Eno, "Low" also featured musicians such as guitarist Carlos Alomar, a regular collaborator since "Young Americans", bassist George Murray, drummer Dennis Davis, keyboardist Roy Young, and guitarist Ricky Gardiner. Recorded between Chateau d'Hérouville Studios in France and Hansa Studio in Berlin during the final months of 1976, this new release comprised two distinct parts: a first side focused almost exclusively on more conventional sounds and a second dedicated to more atmospheric and instrumental tracks. The dark and rhythmic "Speed ​​of Life", with its irresistible melody, opens this work, considered by many to be one of their transitional albums, yet resulting in one of their lesser-known gems. The robotic "Breaking Glass", the electronic pop of "Sound and Vision", and the atmospheric "Always Crashing in the Same Car" conclude a dense and profound side of music that is as captivating as it is elegant. The second side features the dark and spacey "Warszawa", the ambient "Art Decade", and the experimental "Weeping Wall" and "Subterraneans". An album where Bowie once again demonstrated his different musical facets, with a collection of brilliant and unusual songs, thus achieving another essential work within his extensive and eclectic discography.

The Bubble Puppy-A Gathering Of Promises (1969)

The Bubble Puppy were a Texas band who had their moment of glory with their only album, released in 1969, titled "A Gathering of Promises". Their psychedelic style with hints of garage rock has earned them a cult following in American rock. Driven by guitarist Rod Prince and bassist Roy Cox, their main songwriters, they climbed the charts thanks to songs like "Hot Smoke and Sasafras" and "Lonely", two tracks infused with distorted fuzz guitars and magnetic vocal harmonies, supported by the superb contributions of drummer David Fore and rhythm guitarist Todd Potter. Other standout tracks here include the devastating "Elizabeth", the psychedelic pop-rock "Todd's Tune", and the more avant-garde "I've Got To Reach You". Due to the album's success, the band moved to Los Angeles but would eventually spread throughout the great musical and cultural hub of the American West Coast.

Roy Harper-HQ (1975)

With his album "HQ", singer-songwriter Roy Harper almost completely abandoned his folk roots to fully embrace progressive rock. For this project, Harper enlisted heavyweights such as Bill Bruford (Yes and King Crimson), David Gilmour (Pink Floyd), John Paul Jones (Led Zeppelin), and David Bedford (Mike Oldfield), as well as renowned session musicians like Chris Spedding, Dave Cochran, and Steve Broughton. This shift towards more experimental sounds is evident in tracks like the epic "The Game" and the reflective "When An Old Cricketer Leaves The Crease", while mainstream rock peeks through in the energy of "The Spirits Lives" and the lighthearted "Grown Ups Are Just Silly Children", two tracks that contrast with the acoustic "Referendum (Legend)" and "Hallucinating Light", the only two pieces that still retain the vintage flavor of his more recent folk past.

Blue Goose-Blue Goose (1974)

Blue Goose was a British band that rose from the ashes of a group called Zeus, which included keyboardist Nicky Hogarth and drummer Chris Perry. Along with guitarists Allan Callan and Eddie Clarke (the latter later joining Motörhead), they formed the initial core of the band. Later, before recording their first and only album, guitarist Mike Todman replaced Clarke, and together with vocalist Joey Molland, they recorded the self-titled debut, "Blue Goose", under the Anchor Records label in 1974. Although not officially a member of the band, Clarke briefly participated in the recording of the album, playing on the instrumental track "Over the Top", a song he composed himself. Musicians Alexis Corner and Steve Marriott also contributed to the album. With a strong influence from boogie rock and British hard rock blues, and a heavy emphasis on powerful twin-guitar riffs, slide guitars, and Hammond organ sounds, this debut album was an interesting record, highly praised by critics at the time. Right from the start, Blue Goose's style is evident in the jam-rock blues track "Stuffin' Stuff", featuring the entire band's participation. In "The Chorus", the band showcases their impressive vocal and melodic talents, as does the acoustic "Call On Me". Meanwhile, "Loretta" and "Snowman" display their more powerful side with two excellent hard blues tracks. The rest of the album is equally commendable, including the laid-back "Inside Yourself," the aforementioned instrumental "Over The Top", and the powerful "Let Me Know". Although the subsequent live album was quite well received, the studio album did not achieve the expected success, so all its members decided to pursue independent careers, thus ending the short career of this interesting band.

Gary Numan-The Pleasure Principle (1979)

During the late 1970s and early 1980s, Gary Numan became a media phenomenon thanks to his enormous success with a predominantly teenage audience. His journey had begun years earlier when, in the mid-1970s, he founded his first band, Tubeway Army, with whom he expanded his style of punk disguised as electronic music. His album "Replicas", released in 1979, is a seminal document of Numan's experiences in the realm of synth-pop and laid the groundwork for the genre's subsequent evolution. The album achieved a surprising number one hit on the British charts thanks to tracks like "Are Friends Electric?". However, despite this meteoric success, Numan soon disbanded Tubeway Army and continued his solo career, forming a band that featured Ultravox keyboardist Billie Currie. His debut album, "The Pleasure Principle", was a monumental success thanks to its skillful, futuristic musical exaggerations, imbuing each track with a science-fantasy concept that depicted a world dominated by machines. With his next effort, "Telekon", despite its tremendous success, the first signs of an imminent creative decline were already apparent, leading to his temporary withdrawal from the music scene. Some time later, he returned with other releases that achieved a certain degree of recognition, such as "Dance", featuring Queen drummer Roger Taylor, and "Warriors", a collaboration with jazz saxophonist Dick Morrissey. Gary Numan will always be remembered as a pioneer and a pivotal figure in the synth-pop of the 1980s

Twelfth Night-Smiling At Grief (1982)

One of the quintessential early neo-progressive bands is Twelfth Night, formed in 1978. They anticipated all the other bands that revived the baroque symphonic/progressive rock that was fading away at the time. Twelfth Night actually began as a unique blend of art rock and new wave, but unlike their synth-pop and pop-rock contemporaries, they were decidedly less commercial in their pop influences, emphasizing a more complex sound that undeniably makes them progressive. Although even today few agree on what their debut album was for many it's their iconic "Fact and Fiction" and for others their cassette release "Smiling at Grief" we'll consider the latter as their supposed first official recording, which was originally self-produced and financed by the band. In this first recording, Twelfth Night consisted of Geoff Man (vocals), Andy Revell (guitar), Rick Battersby (keyboards), Clive Mitten (bass, guitars, and keyboards), and Brian Devoll (drums). Although, as we mentioned at the beginning of this post, Twelfth Night are the main forerunners of the progressive revival known as neo-progressive, this demo/cassette still shows that stylistically they are quite far removed from that subgenre. There is a wide range of influences here, from the new wave of "Three Dancers" to funk-tinged experiments like "Fur Helene Part II", and early versions of classics such as "Puppets" and "Painted By Numbers", in which their singer still seems to be searching for his distinctive vocal style, often getting lost in meaningless meanderings. Despite being oriented towards sounds close to electro pop and new wave, this is undoubtedly a good starting point to understand the musical roots of this iconic cult band.

Headstone-Still Looking (1974)

Headstone was an American band from Indiana that released only one album in 1974, "Still Looking", in addition to several singles the following year. Formed by the Flynn brothers Bruce on guitar, Barry on bass and lead vocals, and David on drums along with keyboardist Tom Applegate, their sole release had such a limited run that it quickly became a collector's item for fans of dark, heavy prog from the 1970s. This single album is notable for its enormous, powerful, and heavy guitar riffs, a smoky organ, and catchy vocals, playing a hard rock style with progressive and psychedelic elements a style closer to that of the late 1960s than to the mid-1970s when it was recorded. Among the highlights of this album are the title track, a visceral and powerful psychedelic hard rock song, the melodic and dark "Those Days", the progressive blues "I Like It", and the psychedelic "Misery". Years later, the original tapes were discovered, and the album was reissued on CD with additional tracks by Starr Records.

Dog Soldier-Dog Soldier (1975)

Another of those hundreds of bands with a dark past was Dog Soldier, formed by the legendary drummer Keef Hartley in 1975 along with other talented musicians from the British blues and rock scene. It's certainly not easy to find a group with more collective experience than this band, which, in addition to Hartley, included singer and guitarist Miller Anderson (Jon Lord Blues Band, Savoy Brown, Keef Hartley Band, and Spencer Davis Group), bassist Paul Bliss (The Bliss Band and The David Essex Band), keyboardist Mel Simpson (Gerald Wilson & His Orchestra), and guitarist Derek Griffiths (Argent and Chuck Berry Band). However, despite the undeniable quality of the group, such collective talent resulted in a fleeting feeling that they could have achieved something far more brilliant with more continuity. All five members contributed to the compositions of this single album, which in some ways lent the group considerable musical diversity. Tracks of great blues rock such as the opening "Pillar To Post", the restrained rock songs "Several People" and "You Are My Spark", the tender country ballad "Long and Lonely Night", the catchy "Giving As Good You Get", the excellent and melodic "Thieves and Robbers" or the progressive blues "Looks Like Rain", surprise with their enormous quality, but unfortunately it did not serve to allow this band to continue exploring the talent of all its members with new releases and ended up falling into the immense obscurity of the short-lived groups of the late 60s and early 70s.

Hokus Poke-Earth Harmony (1972)

Hokus Poke was a short-lived London band that released a single album on Vertigo Records, a label specializing in progressive and underground music. The band consisted of bassist Smith Campbell, guitarist Roger Clarke, guitarist and vocalist Clive Blenkhorn, and drummer Johnnie Miles. Their only album, "Earth Harmony", was recorded at Air Studios, owned by George Martin, in 1972. [The album was titled "Air Harmony" and is not relevant to the band's output.] In this single release, this unknown band showcased a heterogeneous style encompassing acid rock ("The Poke"), psychedelic rock ("Sunrise Sunset"), boogie rock ("H.P. Boogie"), blues sounds ("Living In Harmony"), and folk and country influences ("Down In The Street") and "Big World Small Guy". Due to limited distribution and little impact on this interesting album, the band would disappear without a trace shortly after its release, making this rare record another highly sought-after collector's item.

Genesis-Invisible Touch (1986)

"Invisible Touch" is Genesis' most commercially successful album, but at the same time, it's the most hated by their purist fans. Released during the peak of drummer and vocalist Phil Collins' career, the band somewhat follows his stylistic and musical path, veering towards pop-rock with the typical addictive clichés, yet still showcasing captivating melodies, as in "In Too Deep" and "Throwing It at All". On the other hand, Collins, Rutherford, and Banks don't completely abandon progressive numbers, as demonstrated by the sophisticated "Tonight Tonight Tonight" and the atmospheric "Domino". On the pop front, there's the title track, along with "Land of Confusion" and "Anything He Does", all featuring irresistible melodies (despite their obvious simplicity and commercial intent) that ended up doing well on radio stations around the world. In short, "Invisible Touch" is, for better or for worse, a good album with a pleasant musical flow that perfectly combines complex songs and pop, demonstrating Genesis's skillful use of the new songwriting styles of the 1980s. Numerous gold and platinum records and sales exceeding 15 million copies worldwide attest to this successful album.

Kravetz-Kravetz (1972)

A twist of fate transformed Frenchman Jean-Jacques Kravetz into one of the pioneers of German rock, or as it's commonly known, "krautrock". Having settled in Hamburg in the late 1960s at just 20 years old, this Parisian multi-instrumentalist forged a strong reputation within the burgeoning psychedelic music scene, becoming one of its leading figures. A few years later, he released his only solo album, a low-key effort with virtually no promotion, alongside legendary drummer Udo Linderberg and musicians Thomas Kretzschmer on guitar, bassist Carl Stepehan, and vocalist Inga Rumpf. On this album, Kravetz masterfully blends heavy, hazy organ sounds and synthesizers with sharp, precise electric guitars. This is demonstrated in the opening track “I’d Like To Be A Child Again” and the ethereal “Ann Toomuch”, while the experimental “Routes” adds a psychedelic and dark note to this work, which culminates in the progressive jazz “Master Of Time”, bringing to a close an album that would define one of the early sounds of krautrock. In the following years, Kravetz would become a full member of three of the greatest German rock bands: Frumpy, Kin Ping Meh, and Atlantis, producing excellent albums with all of them, including some of the classics of German rock and prog rock.

Flower Travellin´Band-Anywhere (1970)

In 1970, the Japanese band Flower Travellin' Band released their first album, "Anywhere", although they had previously released the album "Challenge", a collaboration with Yuya Uchida, in 1969. For this debut, the band opted for a more forceful and raw sound, infused with the prevailing psychedelia of the time and featuring a great deal of improvisation. Their style was heavily influenced by the hard rock of British bands of the era, such as Cream, Deep Purple, and Black Sabbath. The entire album consists of a series of covers, including the Birmingham group's "Black Sabbath", an acoustic version of The Animals' "House of the Rising Sun", Muddy Waters' lysergic "Louisiana Blues", and a visceral version of King Crimson's "21st Century Schizoid Man". As with the cover of the aforementioned "Challenge", the group once again scandalized the puritanical Japanese society by appearing completely naked, this time on top of Harley Davidson motorcycles, something that transgressed the established norms in their country, making this cover an obscenity and a lack of respect for the vast majority of Japanese society, demonstrating with this fact that this radical group brazenly disregarded, without any ethics or shame, the established norms in Japanese culture.

Paul Rodgers-Now (1997)

Paul Rodgers' third solo album, "Now", comes from one of rock's greatest vocalists, who fronted legendary groups like Free and Bad Company and co-wrote the songwriting credits with Jimmy Page for the supergroup The Firm. Released in 1997, it followed Rodgers' tribute albums to Muddy Waters and Jimi Hendrix, "Muddy Waters Blues" and "The Hendrix Set", both released in 1993. After a period of extensive world tours, Rodgers had written enough material and assembled a solid band to record a new album, ironically titled "Now". The band consisted of guitarist Geoff Whitehorn, drummer Jim Copley, and bassist Jaz Lochrie. The first thing that strikes you about Paul Rodgers' third album is his excellent form. Vocally rejuvenated, he showcases his distinctive voice as it was in his golden era. Tracks like the powerful opening "Soul of Love" already demonstrate Eddie Kramer's superb production and the band's perfect cohesion. The rest of the album includes the bluesy "Overloaded", the vintage "Heart of Fire" (a nod to his past with Bad Company), the catchy "Saving Grace", the soulful blues "Love Is All I Need", and the sublime blues "I Lost It All". Together, they form an elegant album, expertly crafted with great feeling for the vocal excellence and superb instrumental performances, confirming the immense talent of one of the greatest voices in rock history.

Lady Lake-No Pictures (1977)

This Dutch group was founded in 1973 in Daventer, at the height of the progressive rock movement. The band consisted of Leendert Korstanje on keyboards, Eddie Bakker on bass, Joop Van Leeuwen on drums, and guitarist Fred Rosenkramp. In late 1977, they recorded their debut album, "No Pictures", in a limited run of 1500 copies, many of which ended up in other northern European countries such as Sweden, Norway, and even Germany, which is why they are now considered a cult band in those countries. On this debut album, Lady Lake showcases a wide range of influences, from prog rock with jazzy touches and psychedelic hints, to the more bucolic and melodic British progressive rock of bands like Camel and Genesis. Their original style features pleasant and melodic atmospheres that at times recall the Canterbury sound. "No Pictures" is a masterfully executed and perfectly crafted album with exquisite arrangements. After this release, the band disbanded until several decades later when they reunited sporadically. During one of these reunions (2005), they recorded their second album, "Supercleandreammachine", which received very positive reviews in European progressive rock circles.

Ian Gillan Band-Live At The Budokan (1978)

After leaving the legendary Deep Purple, singer Ian Gillan decided to move away from hard rock and steer his new project, the Ian Gillan Band, toward the realm of energetic jazz rock. Following the release of three magnificent albums "Child In Time" (1976), "Clear Air Turbulence" (1977), and "Scarabus" (1978), the iconic singer brought this venture to a close with the live album "Live At The Budokan", recorded during the promotional tour for "Scarabus" in Japan. The Ian Gillan Band consisted of several highly experienced American and British musicians: former Quatermass bassist John Gustafson and former ELF drummer Mark Nauseef, along with former Spencer Davis Group guitarist Ray Fenwick and keyboardist Colin Towns. Recorded at the Budokan Hall in Tokyo on September 22, 1977, the repertoire for this album is mainly composed of songs from his three albums, plus several Deep Purple covers such as "Smoke on The Water", "Child In Time" and "Woman From Tokyo", performed in a jazzy style, while the infectious rhythms of "Clear Air Turbulence", "Twin Exhausted" and "Over The Hill", would constitute one of the last and most memorable concerts of the Ian Gillan Band before their final demise some time later.

Pot Liquor-First Taste (1970)

Hailing from Baton Rouge, Louisiana, Potliquor was a band that released two excellent albums focused on Southern rock, which, however, never received the recognition they deserved due to competition from many more prominent national bands of the time. Their beginnings date back to 1969, when singer George Ratzlaff, who also played guitar and keyboards, joined bassist Guy Schaeffer, guitarist Les Wallace, and drummer Jerry Amoroso to found Potliquor. Shortly after, a well-known manager from the Baton Rouge area named Jim Brown began representing them and secured them a contract with a local label called Janus Records, with whom they released their first album, "First Taste", in 1970. Produced by Jim Brown himself, this debut showcased Potliquor's early Southern boogie-rock style with hints of the rawer sounds of American rock and touches of blues and gospel. This debut album contains a series of commendable and interesting tracks, such as the opening southern boogie rock song “Down The River Boogie”, where they showcase their rich vocal harmonies. In “Ol’ Man River”, the band embraces their religious upbringing with a superb gospel performance. Rock and roll infused with Creole sounds appears in “Riverboat”, and the heavy sound of organ and blues is present in the hallucinatory instrumental “Toballby”, which features exuberant percussion in the purest Santana style. The lysergic and acid sounds emerge with “The Raven”, undoubtedly one of the album's highlights, an epic song of dark, psychedelic sounds. The heavy blues rock, infused with soaring gospel choirs, featured on tracks like "You're No Good", the sublime "Price 20 Cents a Copy", and the Stones-esque "Driftin' ", resulting in an album that was well-received and led to a second album three years later, titled "Leeve Blues". This second album followed a similar path but with a slightly more bluesy focus. However, these godfathers of Southern rock would not release another album, although they remained active until the late seventies, performing concerts throughout Louisiana, where they had a large and devoted fanbase.

Triumph-Just A Game (1979)

Thanks to their first two albums, the Canadian trio Triumph was on an upward trajectory. Their album "Rock & Roll Machine" had launched them into the global spotlight, and their reputation as one of the emerging hard rock bands of the late seventies was steadily growing. However, constant comparisons to their contemporaries and fellow countrymen Rush would eventually stifle their progressive creativity, as they were labeled mere clones of the band comprised of Lifeson, Lee, and Peart. These accusations from the specialized press led them to focus on hard rock and melodic rock at the expense of their aforementioned avant-garde sounds. In this third release, they move away from the complexities of their earlier work, showcasing a more direct and accessible style. Even so, Rik Emmett's guitar virtuosity shines through, demonstrating with his heavy riffs and dizzying solos that he was on par with the best hard rock guitarists. Songs like "Lay It On The Line" , "Hold On", "American Girl", "Just A Game", "Suitcase Blues" or "Young Enough To Cry", are performed sublimely under careful production, thus taking the resounding step to find the definitive sound that differentiated them from their compatriots Rush.

Nazareth-Malice In Wonderland (1980)

In 1980, Nazareth were overwhelmingly immersed in the typical sounds of melodic rock, a fact confirmed by their eleventh album, "Malice in Wonderland". For this new record, the lineup remained unchanged since the previous album, "No Mean City", consisting of Dan McCafferty, Zal Cleminson, Darrell Sweet, Manny Charlton, and Pete Agnew. They had solidified their quintet configuration with the addition of guitarist Cleminson a year earlier. Despite being categorized as one of their AOR-focused works, "Malice in Wonderland" actually deviated significantly from the prevailing style of the time. They were characterized by an original sound with diverse musical nuances, which they fused with their distinctive hard rock, resulting in a highly appealing and high-quality sound. From the initial and tremendously commercial “Holiday”, through the powerful “Turning a New Leaf” or “Showdown At The Border”, the addictive “Talkin’ on One of The Boys” or “Fats Cars” and the melodic and attractive “Ship Of Dreams”, “Heart’s Grown Cold” or “Fallen Angel”, the Scots left an album with which they continued to remain at the top of hard rock and their status as a great band intact.

Triumph-Rock & Roll Machine (1977)

Perennial runners-up to their compatriots Rush, this Canadian band has left behind a series of superb and surprising albums of vibrant and powerful hard rock with some progressive influences. While they never reached the magnitude and excellence of Rush, they certainly occupy a place of honor in rock history. This power trio consisted of guitarist and vocalist Rick Emmett, drummer Gil Moore, and bassist and keyboardist Michael Leviney. Their beginnings date back to 1975 in Toronto, where they started performing in clubs and venues until late 1976 when they released their first album, "Triumph", on the Attic Records label. On this debut, the band still displayed an undefined sound; however, their influences from iconic British bands like Led Zeppelin were more than evident, thanks to powerful tracks like "Let Me Get Next To You". In 1977 came their second work “Rock and Roll Machine”, where they began to show an interest in progressive sounds that are reflected in the suite “The City” or in “New York City Streets”, while on the other hand the trio continues to show their more forceful side with the powerful “Rock and Roll Machine”, “Little Texas Shaker” or “Takes Times”, and they even dared to do the excellent version of Joe Walsh's song “Rocky Mountain Way”, masterfully executed with a sound close to blues rock.

Yngwie Malmsteen-Relentless (2010)

With "Relentless", Swedish guitarist Yngwie Malmsteen once again proved himself to be one of the greatest guitarists in classic heavy metal. This album, his eighteenth studio release, features vocalist Tim Owens, drummer Patrick Johansson, and keyboardist Nick Marino. Drawing on his unique neoclassical style, the Swedish guitarist delivers exhilarating songs brimming with intricate melodies, all underpinned by his astonishing virtuosity on the six strings. From the intro "Overture" to the instrumentals "Shot Across the Bow", "Knight of the Vasa Order", "Cross to Bear", and "Adagio in B Flat Minor Variation", and including the heavy metal tracks "Tide of Desire" and "Look at You Now", Malmsteen showcases his undeniable mastery as both a composer and guitarist.