The Ugly Guys-Still Twenty/Five In Your Head (1978)

Another forgotten southern and country rock band is The Ugly Guys, although unlike almost all others in the genre, they were British. Their beginnings date back to the early seventies when they were one of the most popular bands in the burgeoning pub rock scene of London and its surrounding areas. "Still Twenty-Five In Your Head" was the fifth release from these Brits, offering music that draws from the roots of folk, country, bluegrass, and American southern rock. Songs like "Where Did It All Go Wrong", "Rose Tattoo", "Late Great Golden State", and "White Line Fever" are all imbued with the dusty sounds of the South and so-called roots rock with a nostalgic flavor.

Rufus Zuphall-Phallobst (1971)

Another interesting work in the krautrock genre is "Phallobst", the second album by the German band Rufus Zuphall. This record alternates psychedelic influences from the American West Coast with progressive rock and folk. For this second release, the German band introduced two new members: bassist Manfred Spangenberg and a second guitarist, Thomas Kitte. Günter Krause (guitars, keyboards, and vocals), Udo Dahmen (drums), and Klaus Gülden (flute) remained the only founding members. With better production than their debut, this album is shorter and more progressive than its predecessor, driven by the guitars and Gülden's prominent flute playing. Tracks like "Closing Time", "Makröjel", "Wasted Land", "Portland Town" and "I'm On My Way" are part of a very commendable work that, without surpassing their debut album, effectively maintains a high level of musicality.

Jim Capaldi-Let The Thunder Cry (1981)

By now, it's hard to find someone who doesn't know Jim Capaldi, the legendary drummer of the iconic band Traffic, with whom he released such emblematic works as "Mr. Fantasy", "John Barleycorn Must Die", and "The Low Spark of High Heeled Boys", in addition to collaborating with other great artists like his former Traffic bandmate, Steve Winwood, and giants such as Eric Clapton and George Harrison, among others. His solo career began while he was still with Traffic with the album "Oh How We Danced", where he showcased his great talent as a composer and multi-instrumentalist, creating brilliant albums with superb compositions that, without adhering to a specific style, were always well-received by fans and critics alike. In 1981, his eighth album, "Let the Thunder Cry", was released, on which Capaldi enlisted the help of his former Traffic bandmates, Steve Winwood and Rebop Kwaku Baah, as well as Mel Collins and Andy Newmark, with Capaldi handling vocals, guitar, and production. An album that stands out for its exquisite production, where tracks like the opening and powerful “Let The Thunder Cry” contrast with the slow and brilliant ballads “Child In The Storm”, “Warm”, “Old Photographs” or “Bright Fighter”, while its melodic side can be found in the rhythmic “Favela Music”, “Only Love”, “Dreams Do Come True” or “We Don’t Need”, all of them with Capaldi’s captivating voice and irresistible choruses, making it an essential work in rock music.

David Bowie-Hunky Dory (1971)

David Bowie's third album arrived almost a year after "The Man Who Sold the World", the work that cemented the British musician's status as a glam rock megastar and where he once again displayed that sexually ambiguous image. This time, Bowie delights us with a work brimming with folk, pop, rock nuances and hints of cabaret music, an album that became a clear landmark in the history of pop-rock. Composed of enormous compositions such as the elaborately arranged and prodigious “Life On Mars”, the sentimental “Andy Warhol”, the cheerful pop “Kooks”, the glam rock “Queen Bitch”, the innocent and playful “Fill Your Heart”, and the energetic “Changes”, all of them demonstrated the enormous creative capacity of a genius like Bowie, as chameleon-like as he was prodigious, with an extraordinary personality. His greatness lay in combining such a multitude of styles in an astonishing way without ever becoming musically incoherent. For this third release, Bowie enlisted his right-hand man Mick Ronson on guitar, Rick Wakeman on keyboards, Trevol Bolder on bass, and drummer Mick Woodmansey, and under the supervision of producer Ken Scott, they created one of the fundamental albums in the Thin White Duke's career and one of the 500 greatest albums of all time.

Eloy-Dawn (1976)

Once the tour following the album "The Power And The Passion" was over, the German band Eloy almost completely disbanded, leaving only their leader, guitarist Frank Bornemann, who soon set to work reorganizing a new lineup. To this end, he recruited keyboardist Detlev Schmidtchen, bassist Klaus-Peter Matziol, and drummer Jürgen Rosenthal, with whom he entered Tonstudio Nedeltschev in Cologne to record the group's next album. "Dawn" would be the title of this new album, the band's fifth chronologically, which creatively surpassed the excellent "The Power And The Passion", showcasing a new musical direction more focused on conventional progressive rock, abandoning the spacey hard rock of their previous releases. Here, the guitars and keyboards are more fused, the arrangements are carefully structured, and the long suites and improvisations of their earlier work almost completely disappear. However, all the album's compositions are quite complex, with preconceived ideas perfectly realized in impressive tracks. The poignant "The Sun Song", the majestic "The Dance in Doubt and Fear", and the progressive "The Midnight Fight/The Victory of Mental Force" are just a few examples of the masterful canvases of an admirable album, considered one of the masterpieces of European progressive rock of all time.

Raw Material-Time Is (1971)

Let's look at another of those strange and obscure bands from the late sixties, this time a British group called Raw Material. They had a little over two years of history, but during that time they released several very interesting albums within the nascent and early prog rock scene. Raw Material was founded in London in 1969, and its lineup consisted of guitarist Dave Green, drummer Paul Young, vocalist and wind instrument player Michael Fletcher, bassist Phil Gunn, and keyboardist Colin Catt. Under RCA's progressive label, Neon Records, they released their self-titled debut album in 1970. On it, the British band showcased a fascinating array of sonic diversity with elements of jazz, blues, and psychedelic music, all bathed in a dark and atmospheric backdrop, giving it an avant-garde sound. A year later came their second and final album, "Time Is", where they reinforced their progressive approach, with a style akin to what bands like Van Der Graaf Generator or early King Crimson were doing at the time, fused with elements of powerful rock related to their contemporaries Uriah Heep or the early Deep Purple. "Time Is" stands out for its enormous sonic diversity, ranging from heavy passages with powerful guitars, organ and synthesizer sounds, and wind instruments like the saxophone and flute, to more atmospheric and symphonic developments. Tracks like "Insolent Day", "Empty House", "Ice Queen", and "Awakening" completed an album that, while not a contemporary classic, contains a solid collection of tracks focused on early progressive rock. Unfortunately, it didn't achieve much further success due to its limited commercial impact, and Raw Material disbanded shortly after the release of this interesting album.

Joe Bonamassa-Dust Bowl (2011)

The ninth album from one of the great blues guitar talents of the 21st century. Recorded after his first tour with his side project, Black Country Communion, where he shared the stage with Glenn Hughes, Jason Bonham, and Derek Sherinian. On this album, “Dust Bowl”, Joe Bonamassa once again collaborated with producer Kevin Shirley, resulting in a superb work of powerful and forceful blues. The rhythmic “Slow Train” kicks off an album so overwhelming that it doesn't leave a second's respite, and then tracks like the rock song “Black Lung Heartache”, the splendid version of Free's “Heartbreaker”, with the estimable voice of Glenn Hughes, the introspective “The Meaning Of The Blues”, the rhythmic and cheerful “Tennessee Plates”, with John Hiatt on vocals, the rhythm and blues “You Better Watch Yourself”, a cover of the great Little Walter, the dark blues “The Last Matador of Bayone” or the immeasurable “Prisoner”, an amazing blues rock version of an old Barbra Streisand song.

UFO-Force It (1975)

"Force It" is the fourth release from the British band UFO, a much harder and more forceful album than its predecessor, "Phenomenon" (1974), which featured a somewhat excessive use of acoustic guitars, despite also including some of their immortal heavy rock anthems, "Doctor Doctor" and "Rock Bottom". For "Force It", they enlisted the production of Ten Years After bassist Leo Lyons and keyboardist Chick Churchill, who also contributed Hammond organ to the melodic "Out In The Street". With Michael Schenker now fully integrated into the band, he creates dizzying melodic riffs with his powerful guitar, perfectly complemented by the power and delicate vocals of the immeasurable Phil Moog. Packed with energetic hard rock, this album solidified UFO's musical identity, as demonstrated by the vigorous tracks "Let It Roll", "Shoot Shoot", "Love Lost Love", and "Mother Mary". "Too Much of Nothing" and "Dance Your Life Away", while the atmospheric "Between The Walls", integrated into the middle part of the dominant "This Kids", adds the psychedelic note to this legendary album.

UFO-The Wild, The Willing and the Innocent (1981)

At the start of the 1980s, the British band UFO faced a new era without their lead guitarist Michael Schenker, and a year later without their keyboardist Paul Raymond. They began this new chapter with their ninth release, "The Wild, The Willing and The Innocent". To replace both musicians, they recruited guitarist Paul Chapman and keyboardist Neil Carter, with the lineup completed by the usual members Phil Moog (vocals), Andy Parker (drums), and Pete Way (bass). While this new release didn't quite surpass the brilliant and classic works of "Phenomenon", "Force It", and "Lights Out", they still managed to create a very respectable and commendable album, showcasing Chapman's consummate talent on the guitar and a series of songs that relied more heavily than usual on Phil Moog's sensational vocals. Solid and compelling songs like "Making Movies", direct and forceful rock like "Chains Chains" and "Long Home", approaches to light and commercial rock with "It's Killing Me", or the melodic song that gives the album its title, are more than enough guarantees to consider this work as one of their best works.

UFO-Mechanix (1982)

This is another classic UFO album, a record that showcases the band's unmistakable hard rock, but this time seasoned with infectious melodies and elegant arrangements courtesy of keyboardist Neil Carter. Carter, along with guitarist Paul Chapman and bassist Pete Way, are the musicians most heavily involved in the composition of most of the album's tracks. Pure hard rock anthems like "Dreaming", "Something' Else", "The Writer", "We Belong to the Night", and "All for You" alternate with intense, powerful songs like "Terri" and "Back Into My Life". In short, with this album, the London band's tenth, they delivered another memorable release, further cementing their magnificent career and confirming their status as one of the leading hard rock bands in the world.

UFO-UFO (1970)

In 1968 Pete Way (bass), Mick Bolton (guitar) and Tic Torrazo (drums) formed the "Hocus Pocus" group, then enter Phil Mogg (vocals) and Andy Parker (drums) and the band was renamed "UFO". In 1970 they recorded their first album, "UFO", and 72 come "UFO 2" and "UFO Live", these three albums were remarkably successful in countries like Japan, Germany or France.
Then Mick Bolton left the band and after trying several guitarists (Larry Wallis and Bernie Marsden), replaces a very young Michael Schenker would mark the band's sound in the coming years. In 74 released "Phenomenon" and a year later they are joined by Paul Chapman (guitar) leaving the group before the publication of "Force It" (1975). For the recording of their sixth album, "No Heavy Petting" (1976), joins the group Danny Peyronnel (keyboards, guitar) who was replaced by Paul Raymond for recording "Lights Out" (1977). This training would publish "Obsession" (1978) and the magnificent "Strangers in the Night" (1979). Michael Schenker decided to fly solo and left the group and was replaced by Paul Chapman with that record "No Place to Run" (1980). The changes are happening and Paul Raymond left the band and was replaced by John Sloman and later by Neil Carter. In 81 came "The Wild, the Willing and the Innocent" and a year later "Mechanix". In 82 Pete Way left the band and was replaced by Billy Sheehan place with which released "Making Contact" (1983) but sales are not appropriate and decide to separate.
Some time later the band would return to relive a second youth with very good albums like Walk On Water, Covenant and The Visitor among others ...
In this first album of UFO clearly noticed its roots blues mixed with psychedelia and experimentation, the road to the hard rock was still to come. The production is not very good because they counted as few resources but we can appreciate a superb Pete Way on bass. In the recording are two versions, "Who Do You Love" by Willie Dixon and "C'mon Everybody" Eddie Cochran it would be a remarkable success in Japan. Other outstanding issues would "Unidentified Flying Object", "Boogie" or "Follow you Home".

Burning Tree-Burning Tree (1990)

Led by guitarist Marc Ford, Burning Tree was a short-lived power trio that released a superb hard rock album in the 1990s, drawing inspiration from bands like Cream and The Jimi Hendrix Experience. Formed in the late 1980s, the lineup was completed by drummer Doni Gray and bassist Mark Dutton. Their only release, which came out in 1990 on the Epic label, is a clear demonstration of powerful hard rock with early 1970s psychedelic touches. Tracks like "Wings, Blues and High Heeled Shoes", "Fly On", "Mistreated Lover", "Masquerade", and "Last Laugh" showcase Marc Ford's vintage guitar talent. The album's positive reception from critics and fans opened doors for Marc Ford, leading to a call-up to the Black Crowes, another important and successful hard rock band of the 1990s.

David Bowie-The Man Who Sold The World (1970)

David Bowie's third album marked, among other things, the beginning of his glam rock journey, although it is also, to some extent, one of his most intense works, imbuing his music with a powerful hard rock sound, a style that was the pinnacle of rock music at the time. On this new album, the Thin White Duke began to gravitate towards the sounds that would forever elevate him in the following years, as would soon be proven with the iconic "Ziggy Stardust". To begin with, "The Man Who Sold the World" already features several future members of Spiders and Mars: guitarist Mick Ronson and bassist, arranger, and producer Tony Visconti, both of whom would be fundamental to this release. Released by Mercury Records in the United States, it came out near the end of 1970, while RCA Records released it in the United Kingdom (and subsequently worldwide) six months later in April 1971. The album opens with a powerful "The Width Of A Circle", a titanic, nearly nine-minute track of mighty rock, where Ronson showcases his six-string prowess. In a similar vein are the frenetic "Black Country Rock" and the orchestral and melodic "All The Madmen". "Saviour Machine", on the other hand, is a strange piece somewhere between gothic and psychedelic, while "She Shook Me Cold" is the rare exception, a chaotic, odd instrumental that might seem like it was recorded as filler to pad out the album's runtime. The final two tracks are the enchanting "The Man Who Sold The World" and the powerful "The Supermen". This third album became one of David Bowie's best works and the prelude to his most musically creative works such as the aforementioned "Ziggy Stardust" or the fantastic "Aladdin Sane", "Hunky Dory" and "The Rise and Fall of Ziggy Stardust and the Spiders of Mars".

Charlie Haden Quartet West-Sophisticated Ladies (2010)

Considered one of the most respected bassists and composers in modern jazz, Charlie Haden began to rise to prominence in the late 1950s as a member of saxophonist Ornette Coleman's quartet. Born in Iowa in 1937, his first forays into music were as a country singer. Around that time, Haden contracted polio, a disease that affected his vocal cords, rendering him completely unable to sing. His passion for music led him to play the double bass, developing an interest in jazz, a style that would define his entire subsequent recording and artistic career. He moved to Los Angeles and joined Ornette Coleman's quartet, a leading exponent of what became known as free jazz, and later, the trio of Keith Jarrett, pianist Hampton Hawes, and saxophonist Art Pepper. Haden also achieved great renown alongside pianists Kenny Barron and Hank Jones. From then on, his collaborations with Paul Motian, Keith Jarrett, Alice Coltrane, Carla Bley, Gonzalo Rubalcaba, John Scofield, Don Cherry, and Pat Metheny were frequent. In 2010, Haden released "Sophisticated Ladies", accompanied by a quartet consisting of Ernie Watts (saxophone), Alan Broadbent (piano), and Rodney Green (drums). This album contains some of the most iconic jazz songs of the past decades, written by legendary composers such as Duke Ellington, Gordon Jenkins, Benny Harris, Johnny Mercer, and Hank Jones, and performed by some of the finest singers of recent years. Exceptional performances in the voices of Norah Jones ("Ill Wind"), Cassandra Wilson ("My Love And I"), Melody Gardot ("If I'm Lucky"), Diana Krall ("Goodbye"), Charlie Haden's own wife, Ruth Cameron ("Let's Call It A Day") or soprano Renée Fleming ("I Love Like This").

Help Yourself-Beware The Shadow (1972)

Help Yourself (known as The Helps) was a British band with a sound close to psychedelic country. They recorded four albums in the early 1970s: "Help Yourself" (1971), "Strange Affair" (1972), "Beware the Shadow" (1972), and "The Return of Ken Whaley" (1973). For many, their third album, "Beware the Shadow", was the high point of the group's career, and it is widely admired by progressive and psychedelic music fans around the world. Help Yourself consisted of Malcolm Morley (guitar, keyboards, and vocals), Dave Charles (drums and vocals), Ken Whaley (bass), and Richard Treece (guitar, harmonica, and vocals). Listening to "Beware The Shadow", you might think these Brits are actually an American Southern rock band, and indeed, from the opening track "Alabama Lady", they sound like one, with clear influences from The Allman Brothers Band and other contemporary bands from the Southern states. In contrast, there's the sublime and psychedelic "Reaffirmation", a twelve-minute jam session in the purest Grateful Dead style. The blues-rock track "American Mother" continues to reaffirm that typical American sound, as does the folk-rock "Passing Through". However, the brief and carefree "Calapso", the Beatlesque "She's My Girl", and the frivolous country-rock "Molly Bake Bean" lack the creativity and vigor of the previous tracks. In short, these Brits have left us with "Beware The Shadow", an interesting collection of brilliant folk, blues-rock, and psychedelic tracks, with a decidedly American sound.

Van Der Graaf Generator-The Quiet Zone/The Pleasure Dome (1977)

The departure of Hugo Banton's timeless organ and the diminished role of David Jackson's saxophone led to a profound shift in Van Der Graaf Generator's musical structures. This compelled their leader, Peter Hammill, to rework his original musical approach for the band's eighth album, "The Quiet Zone/The Pleasure Dome", released in 1977. This album would ultimately serve as VDGG's epilogue until their return 28 years later with "Present". Abandoning the dark, lengthy compositions and the vast, chaotic musical intricacies of their earlier work, the band here strived for shorter pieces, though nonetheless of immense complexity. Guy Evans' drums, along with Nic Potter's bass, are the driving force of an album that, together with Jackson's fleeting appearance and Graham Smith's feverish violin, strikes us as the least conventional and epic work in their entire discography released in the 1970s. Tracks like the uncertain "Lizard Play" or the resilient "The Habit of the Broken Heart" offer unchallenging developments, while the Floydian "The Siren Song" or the hypnotic "The Last Frame" stand out as the album's highlights. However, we still find glimpses of their past with the frenetic "Cat's Eye/Yellow Fever (Running)", the psychedelic "Chemical World", and the intense "The Sphinx in the Face" and its closing track, "The Sphinix Returns".

The Allman Brothers Band-Idlewild South (1970)

On their second album, The Allman Brothers Band embraced a more complex and sophisticated style, a clear foreshadowing of what the band would do in the following years. The masterful fusion of blues, rock, and funk is reinforced on "Idlewild South" by a country essence, as demonstrated in the wonderful and enthusiastic "Revival", the magnificent bluesy "Please Call Home", and the folk-rock "Midnight Rider", which contrast with the powerful bluesy "Don't Keep Me Wonderin' " and "Leave My Blues At Home". We mustn't forget the incendiary version of Willie Dixon's classic "Hoochie Coochie Man", while "In Memory of Elizabeth Reed", is the band's classic tour de force, where each member has their moment of brilliance with guitar, percussion, and organ solos, making it the high point of another masterpiece from the Jacksonville-based group.

Spyro Gyra-Alternating Currents (1985)

"Alternating Currents" is one of the essential albums by the jazz fusion and smooth jazz group Spyro Gyra. Released in 1985, it was the ninth album by the Buffalo, New York-based group and the first to feature only the core lineup, without any backing musicians or guest collaborators. At that time, the band consisted of Jay Beckenstein, Tom Schuman, Julio Fernández, Dave Samuels, Gerardo Vélez, Kim Stone, and Richie Morales. Recorded at Bear Tracks Studios in New York during the first months of 1985, the group ventured into jazz-rock territory on this album without abandoning their signature jazz fusion sound. Among their repertoire of nine tracks, the excellent "Shakedown", "Alternating Current", "PG", "Heartbeat", "Mardi Gras" and "Sunflurry" stand out. In all of these songs, the band achieves an exquisite sound, particularly highlighting the contributions of Jay Beckenstein on saxophone, Tom Schuman on keyboards, and Julio Fernández on guitar. "Alternating Currents" would eventually reach number 41 on the Billboard R&B Albums chart and number 3 on the Jazz Albums chart.

Burning Candle-Burning Candle (1981)

An interesting German band with a distinctly progressive style, founded in the mid-70s by Hans Neuber (keyboards), Rolf Vitzthum (drums), and Klaus Schmidt (guitars and bass). For a time, they became one of the sensations of German rock. Their sound was clearly related to their British contemporaries Emerson, Lake & Palmer, undoubtedly thanks to keyboardist Neuber, a classically trained musician. Consequently, there are also many elements of jazz and classical music throughout their work. Their only album became a collector's item due to the limited number of copies released and the enormous musical potential it offered. Released in 1981, the compositions on this album date back many years. The band had broken up in 1978 and reunited to record this brilliant album, at a time when progressive rock wasn't at its peak. It's curious to note how music composed during the height of the progressive rock craze was released just as the genre had lost some of its appeal. Highlights include tracks like "Stranger", a clear example of the German school of symphonic prog, featuring elements reminiscent of ELP. The rest of the album leans more towards the sounds of other German bands from the previous decade, such as Eloy, Ramses, and Novalis. The organ is present in most of the tracks, with movements reminiscent of Keith Emerson, as demonstrated in the superb "Eternal Faith". In "The Appearance of the Ghosts", they showcase their powerful symphonic rock with vibrant guitars and synthesizers featuring continuous rhythmic shifts, culminating in the acoustic "Mosella", a clear nod to Yes's "Mood for a Day", and the progressive epic "Expedition to the Sun", a clear example of the fusion of all their influenced styles and genres. Burning Candle is another example of a band that, for some strange reason, never had the chance to cross borders and reach the powerful and influential British market, achieving the well-deserved success that this magnificent and forgotten group rightfully deserved.

Alameda-Alameda (1979)

Alameda were another of the key bands that formed part of the Andalusian rock movement of the 1970s in Spain. Hailing from Seville, they were led by the Marinelli brothers, keyboardists Rafael and Manuel, along with guitarist and singer José Roca, bassist Manuel Rosa, and drummer Luis Moreno. In 1978, with a demo in hand, they sought a record deal, finally signing with CBS and releasing their self-titled debut in 1979 on their subsidiary label, Epic Records. Their sound was more akin to Andalusian romantic rock with jazz fusion influences, based on pleasing vocal harmonies and the Marinelli brothers' dual keyboard work, than to the progressive rock of Triana. The songs are characterized by catchy, flamenco-tinged melodies, featuring pianos and Rosa's guitars, partially blended with powerful Moog synthesizers and supported by a tight rhythm section. There's a very calm and positive atmosphere throughout the album; however, it lacks the intensity of their contemporary Triana, although at times their sound is quite comparable. Tracks imbued with clear jazz-rock influences (“Aires de la Alameda”, “A la vera del Jueves”), melancholic and intense Andalusian rock cuts (“La Pila del Patio”, “Ojos de Triste Llanto”, and “Amanecer en el Puerto”), and nods to progressive jazz (“Hacia el Alba” and “Matices”), make up an energetic and thrilling album of Andalusian rock fusion, instrumentally performed with enviable skill by one of the best Spanish rock bands of all time.

Badfinger-No Dice (1970)

Mentored by The Beatles themselves, Badfinger's career was anything but successful. From mismanagement and fraud by their manager to the bankruptcy of Apple Records, owned by The Beatles, and the suicides of two of its members, their story is as tragic as it is terrifying. However, musically, this band stood out for its powerful pop-rock compositions, with undeniable melodic sensitivity. Due to the aforementioned circumstances, luck always eluded them. "No Dice" was their second album, following a commendable debut that already contained gems like "Come and Get It", a song written by Paul McCartney, and where the band began to have complete freedom to compose their own material. Here you'll find gems like the rock and roll anthems "I Can't Take It" and "Love Me Do", emotive melodic ballads such as "Believe Me", "We're For The Dark", and "Without You", and energetic tracks like "Better Days" and "No Matter What". Some time later, singer Harry Nilsson covered "Without You", making it a worldwide hit and sparking controversy, as the band wasn't receiving the royalties they were legally entitled to as the song's official authors. Despite the album's undeniable quality, and due to a twist of fate, "No Dice" didn't achieve the success it deserved, peaking at number twenty-eight on the charts.

Genesis-A Trick Of The Tail (1976)

"A Trick of the Tail" was Genesis' first major test after Peter Gabriel's departure, and it proved not only a step forward in the band's career but also their most successful album to date. Far from the rumors of the band's breakup following the departure of their charismatic vocalist, the band opted not to recruit a new singer to fit their needs, but rather to have Phil Collins, the band's drummer at the time, take on the role, leveraging his vocal talent already showcased on tracks like "More Fool Me" and "For Absent Friends" from the albums "Selling England by the Pound" and "Nursery Cryme". Furthermore, Collins was ideally suited to be a live frontman, thanks to his experience as a stage actor, which he had pursued for several years before dedicating himself to music. However, it should also be noted that, in a way, Peter Gabriel's departure brought a kind of relief to the rest of the band, due to the already strained personal relationships the singer had with his bandmates. "A Trick of the Tail" was recorded during the last months of 1975 at Trident Studios in London, and the final result was a magnificent progressive rock album heavily influenced by British folk sounds, while maintaining their skills as a top-tier band. Phil Collins would demonstrate that he could not only fill Gabriel's shoes but also assume the role of leader, albeit still in a very subtle way. Compositionally, the band also benefited from a stronger presence of all its members and greater instrumental prominence for each of them, starting with Tony Banks' keyboards and Steve Hackett's guitar. Musically, the album itself is a minor masterpiece. Without comparing it to their previous work, it showcases a band that maintains an exceptionally high level of quality, both instrumentally and in their songwriting. This is evident in the opening and majestic "Dance on a Volcano", a superb track that clearly demonstrates the band's intentions, implying that they were far from finished. The rest is an amalgamation of outstanding pieces, such as the enchanting ballad "Entrangled", the rock anthem "Squonk", the intimate "Mad Man Moon", the theatrical and dynamic "Robbery, Assault and Battery", and the emotive "Ripples", concluding with the refined and commercially viable "A Trick of the Tail" and the progressive "Los Endos". Against all odds (especially from the perspective of purists and orthodox fans), this album garnered high praise from the specialized press and enormous commercial success, achieving several gold records on both sides of the Atlantic.

The Lords Of The New Church-The Method To Our Madness (1984)

Formed in the early 1980s, The Lords of the New Church was a sort of Anglo-American punk rock supergroup. Their lineup consisted of Dead Boys singer Stiv Bators, The Damned guitarist Brian James, Sham 69 bassist Dave Tregunna, and The Barracudas drummer Nick Turner. They showcased a style influenced by their punk/hardcore roots, blending punk energy with garage, gothic rock, and hard rock sounds. Their melodic songs and catchy choruses set them apart from the mainstream punk rock of the time. The Lords released only three albums during their eight years of activity, not counting live albums and compilations. These three albums were "The Lords of the New Church" (1982), "Is Nothing Sacred?" (1983) and "The Method To Our Madness" (1984), are fundamental works to understand the evolution of punk and gothic rock in the 80s.

Alice Cooper-Killer (1971)

With his fourth album, "Killer", Alice Cooper began his trilogy, which, along with "School Out" (1972) and "Billion Dollar Babies" (1973) (both reviewed in previous blog posts), formed what the Detroit-born American musician considered his finest works, now regarded as classics within his extensive and varied discography. Recorded at RCA Studios in Chicago, Cooper once again enlisted the production of Bob Ezrin and the backing of his extraordinary band, comprised of guitarist Glen Buxton, keyboardist Michael Bruce, bassist Dennis Dunaway, and drummer Neal Smith, while guest guitarist Rick Derringer lent his immense talent to several tracks on the album. Following the success of "Love It To Death" (1971), this new release solidified Alice Cooper's position, creating one of his most ambitious works, abandoning the raw, gritty rock of his early days for a more versatile and complex style. All of this is reflected in tracks like “Halo of Flies”, “Be My Lover”, and “Under My Wheels”. However, it maintains a certain parallel with his recent past, showcasing his more impetuous style in the raw “You Drive Me Nervous” and “Yeah, Yeah, Yeah”. With “Killer”, Alice Cooper would once again equal his best commercial performance to date, achieving platinum status for one million copies sold in the North American market.

Deep Purple-Burn (1974)

Deep Purple's eighth album and their fifth masterpiece, joining the masterful "In Rock", "Fireball", "Machine Head" and the double live album "Made In Japan". This album marked the debut of the "Mark III" lineup with the arrival of David Coverdale and Glenn Hughes, who had replaced Ian Gillan and Roger Glover respectively. This lineup also added a new dimension, introducing subtle touches of funk and soul alongside the powerful hard rock sound. The album opens with the superb and outstanding "Burn", one of Deep Purple's masterpieces. The aforementioned shift is already evident in the second track, the bluesy, funk-tinged "Might Just Take Your Life", undoubtedly a product of the contributions of new members Coverdale and Hughes. The energetic "Lay Down, Stay Down" showcases the irresistible duet vocals of the Coverdale-Hughes duo. "Sail Away" takes us back to classic Purple with an unforgettable guitar riff from Blackmore. The frenetic "You Fool No One" features sounds reminiscent of funk, fused with powerful hard rock. The hard blues "What's "Going On Here" showcases Lord's honky-tonk piano and Blackmore's outstanding guitar work. At this point, the band delivers a truly majestic track, a gem of hard rock: nearly eight minutes of enigmatic riffs and Coverdale's powerful vocals, combined with the driving rhythm section of Paice and Hughes, elevate this album to the pantheon of rock's greatest works. To conclude, the band indulges in the extravagant and experimental "A 200", an instrumental piece reminiscent of progressive rock, where Jon Lord and his atmospheric, ethereal keyboards take center stage.

Alice Cooper-Welcome To My Nightmare (1975)

After seven albums with his band, in 1975 Alice Cooper decided to release his first solo album, "Welcome to My Nightmare", a concept album based on theatrical performance. While this album lacks the raw energy of his earlier work with his band, it also boasts more polished and elaborate compositions. Bob Ezrin's excellent production was crucial in softening the streetwise hard rock of albums like "Killer" and "School's Out". For the recording, Cooper recruited a band of expert musicians, including guitarists Dick Wagner and Steve Hunter, bassist Prakash John, and drummer Pentti "Whitey" Glan, while Vincent Price contributed vocals alongside Cooper himself. Composed of a selection of songs ranging from the commercial rock of "Welcome To My Nightmare", the classic rock of "Cold Ethyl" and "The Black Widow", the heavy rock of "Devil's Food", the sordid orchestrations of "Steven", and the sentimental ballads of "Only Women Bleed", the album would go on to achieve five platinum records and sales that far exceeded one million copies.

Alice Cooper-Trash (1989)

For much of the 1980s, Alice Cooper struggled with severe alcohol addiction and a severe creative block. After several stints in rehab, he returned in the latter half of the decade, releasing albums like "Constrictor" (1986), "Raise Your Fist and Yell" (1987), and "Trash" (1989), works that propelled the Detroit native back to the height of his popularity. In this resurgence, Cooper showcased a style that blended heavy metal with melodic rock, a departure from the glam rock and baroque rock of his early 1970s albums. Produced by renowned producer and musician Desmond Child, "Trash" marked the culmination of Cooper's comeback, an album brimming with melodic and irresistible passages, all delivered with the raw and sharp style so characteristic of the singer. Songs like "Poison", "House Of Fire", "Only My Heart Talkin'" or "Bed Of Nails", propelled the album to the top of the charts on both sides of the Atlantic and, in doing so, did commercial justice to one of the most fundamental and influential musicians in the history of rock and roll.

Clear Blue Sky-Clear Blue Sky (1970)

Clear Blue Sky was a short-lived British power trio who released only one album in the 1970s, but who nevertheless became a sensation on the British blues-rock circuit for a time. Formed by guitarist John Sims, drummer Ken White, and bassist Mark Shealther, they had their first major success in a talent competition held in London. From there, they opened for renowned artists such as Irishman Rory Gallagher and British band Free. Their excellent instrumental skills did not go unnoticed by bassist Ashley Kozak, who at the time, in addition to her role as a musician, also managed various artists for Brian Epstein's NEMS label. She eventually managed to sign them to Vertigo Records and financed their self-titled debut album, released in 1970. Produced by the then-experienced Patrick Campbell-Lyons and featuring cover art by the then-unknown Roger Dean, the band showcased an interesting style of psychedelic hard rock with highly elaborate passages where the guitar always takes center stage with its incendiary riffs. The album kicks off with a bang with the saturated "Journey To The Inside", which, divided into several parts, is the longest track on the record with constant tempo changes. It continues with tracks like the psychedelic "You Mystify" and the more melodic and relaxed "Tool Of My Trade" and "My Heaven", before closing with the hard rock anthem "Birdcatcher". However, despite the band's high quality and this impressive debut, poor sales and a lack of public interest led these three young musicians to abandon the project, and they disbanded shortly thereafter. Many years later, in the nineties, they would release new material again in a series of albums that had no media impact.

Universe-Universe (1971)

The story of this band is quite intriguing. Relegated to the sidelines in their native England, they dedicated themselves to playing concerts throughout Northern Europe. During a tour of Norway, they met a strange character who offered to record an album for them in his home studio. This album was released in a very limited edition of just a few hundred copies, and today it is highly sought after by discerning vinyl collectors and fans of blues and rock music. Hailing from Cardiff, this band had formed in late 1968 as a blues group called Spoonful. Several years later, they changed their name to the definitive Universe, and it was in 1971, while touring Norway, that they recorded and released their only album, which was self-titled. Universe consisted of guitarist, vocalist, and harmonica player Steve Finn, guitarist Mike Lloyd, bassist John Healan, drummer Rob Reynolds, and organist Mike Blanche. Universe was made up of guitarist, vocalist, and harmonica player Steve Finn, guitarist Mike Lloyd, bassist John Healan, drummer Rob Reynolds, and organist Mike Blanche. They played progressive heavy rock, as evidenced by their only album, which features standout tracks like the psychedelic blues "Twilight Winter", the heavy blues "Universe", the progressive blues "Spanish Feeling" with its Andalusian flavor imparted by the interplay of Spanish guitar and Creole rhythm and the lilting blues "The Annexe". Back in the UK with the album in hand, they toured with leading bands such as Fleetwood Mac, Rory Gallagher, Jethro Tull, Yes, and Black Sabbath, among many others. The original edition of this record became one of the strangest progressive blues albums in history, firstly due to its limited run and secondly because of the unusual label on which it was released (Experience Records), which was never heard from again. In fact, this was the only album they ever released, and the label offered virtually no information about the musicians or other details of interest on its brief and minimalist cover. Later, in 1972, this band would finally dissolve without leaving any trace of the subsequent fate of all its members.

Carlos Santana-Santana Brothers (1994)

Although not part of Carlos Santana's official solo discography, but rather a side project, "Santana Brothers" is a collaboration between Carlos, his brother Jorge, and his nephew Jorge Hernández. Accompanied by keyboardist Chester Thompson, bassist Myron Dove, and drummers Billy Johnson, Karl Perazzo, and Walfredo de los Reyes, the three guitarists showcased their six-string talent in a work brimming with melodic atmospheres and a diverse range of styles and influences. From the opening psychedelic rock track "Transmutation Industrial" to the magnificent reinterpretation of Joaquín Rodrigo's Concierto de Aranjuez, passing through the exhilarating jazz-rock "Thoughs", the Latin-infused rock tracks "Luz Amor y Vida", "La Danza", "Smooth", and "Contigo", the bluesy melody of "Blues Latino", the energetic "Trip", and the exquisite "I Love You Much Too Much". Although all three guitarists demonstrate their tremendous skills, it is relatively easy to identify Carlos Santana's riffs and solos, even though their styles are very similar, thus demonstrating that talent with the six strings is a family trait.

Vangelis-El Greco (1998)

For many, "El Greco" is the culmination of the vast discography of the Greek composer Vangelis. Conceived as a concept album, it was officially released in 1998, following an expanded reissue of a work titled "Foros Timis Ston Greco", which had been released in limited quantities by a Greek museum in 1995. On this occasion, the Greek musician delves into the life of the Hellenic religious painter, Doménikos Theotokópoulos, known as El Greco, who lived in Spain during the 16th and 17th centuries. In this work, Vangelis continues to demonstrate that he is a true artist who pays no attention to commercialism, presenting a sober and ethereal album, emotionally profound and spiritual music for the eyes of the mind. Composed of ten extraordinary movements, it portrays the suffering of the painter and his works, almost oppressive in nature, representing life as a concept and the mortality of the physical sense. During its nearly 73-minute duration, the keyboardist attempts to convey a profound emotional charge and a pleasing, sophisticated musical aesthetic, where medieval and Byzantine music are extraordinarily intertwined, at times resembling a powerful film soundtrack. The music also possesses a delicate sphere of mysticism and melancholy, making this thirty-fourth album by the Greek musician one of his great masterpieces.

Nutz-Hard Nutz (1977)

Founded in 1970, Nutz were a hard rock band who enjoyed their moment of glory when they were chosen to support UFO, Black Sabbath, and Budgie in the mid-70s, and gave a memorable performance at Reading in 1976. Hailing from Liverpool, the band was formed by guitarist Mick Davenport, who, along with drummer Jon Maylett and bassist Keith Mulholland, cultivated a large following by playing regularly at the legendary Cavern Club. Around the same time, thanks to a television advertisement, they discovered singer Dave Lloyd, who then became the lead vocalist. For a while, the band was based at the Cavern Club itself, recording during the day and performing at night. Their performances led to a deal with A&M Records, with whom they released their first album, which failed to meet expectations. Their next album, "Nuz Too". released in 1975, achieved better results thanks in part to improved production and the outstanding tracks "Changes Coming" and "The Love That You Lost", the latter featuring former Free member John "Rabbit". From this point, the band embarked on a long tour of the United States, despite neither of their albums having been released in the North American market. Back in England, they were chosen to support Black Sabbath on their British tour in support of the album "Technical Ecstasy". This tour earned them a spot at the Reading Festival that same year. By then, the band had expanded with the addition of keyboardist Kenny Newton, with whom they recorded their third album, and ultimately their best work, "Hard Nutz". This third release showcased a much more mature band, with compositions brimming with high quality and powerful hard rock. Besides the powerful guitar riffs, addictive vocals, and driving rhythm section, it's the keyboards that give an irresistible cohesion to this memorable album. Frenetic tracks like "Seeing Is Believing" and "Wallbanger" contrast with the melodic hard rock of "Down On My Knee", "Beast Of The Field". "Loser", and "I Know The Feeling", while on "From Here To Anywhere" the band ventures into more complex and progressive sounds. A subsequent tour with Budgie, the recording of "Bootligers" for the legendary NWOBHM compilation "Metal For Mutts" and the release of several live albums were the last recorded contributions of this magnificent and now-forgotten British band.

Morningstar-Morningstar (1978)

Morningstar was a short-lived American band that, with their only two albums, achieved cult status in the United States in the late 1970s. Hailing from Kansas, they amassed a considerable following over a few years, a fact that did not go unnoticed by CBS Records, who, capitalizing on the group's fame, offered them a multi-album recording contract. Morningstar consisted of drummer Greg Harris, bassist Greg Lech, and guitarists Jerry Chambers, Michael Edmunds, and Rick Bacus, the latter also handling keyboards, and virtually all of them were vocalists. In 1978, they released their self-titled debut album, showcasing a style akin to the pom-rock bands of the era such as Styx, Angel, and Shooting Star, but with a much more rock-oriented approach, featuring prominent guitars, melodic vocals, and bombastic keyboards. Tracks like the AOR anthems "Premeditated Rendezvous" and "Too Much To Lose" contrast with the more complex "Through The Night" and "Sady Lady", while the harder rock side is represented by songs like "Turn Out All The Lights" and "Sweet Georgia Peach". A year later came "Venus", an album showcasing a much more sophisticated and polished sound, and better production. However, the music recorded on this second release was not without commercial appeal, as demonstrated by the outstanding tracks "Angel", "Never Meant To Be", "Rosie", and "Let Me Dream". Despite both albums enjoying a good commercial reception, with quite respectable sales, CBS, more focused on other, more successful bands on its label such as Journey and REO Speedwagon, among others, stopped supporting them. This ultimately led to their disbandment in the early 1980s, leaving behind two great examples of the best American pop rock of the 1970s.

Paul Rodgers-The Royal Sessions (2014)

In 2014, Paul Rodgers returned with a covers album after his blues tribute albums, the tremendous "Muddy Water Blues" and "The Hendrix Set", both released in 1993. This time, however, in addition to some blues tracks, there are also versions of soul classics, all personally selected by Rodgers himself. For this recording, the former vocalist of Free, Bad Company, and The Firm surrounded himself with a legion of musicians who had originally recorded the versions featured here, such as bassist Leroy Hodges, keyboardist Charles Hodges, and drummer Steve Potts, among many others. Recorded live at Royal Studios in Memphis, Rodgers achieves a powerful and fiery sound, which elevates this phenomenal covers album. Songs like Booker T. Jones' "Born Under A Bad Sign", Albert King's "Down Don't Bother Me", Ann Pebbles' "I Can't Stand The Rain" or Otis Redding's "I've Been Loving You Too Long" are performed by the excellent voice of a Paul Rodgers in his prime, demonstrating that the years have not taken their toll on one of the great legends of rock music.

The Brecker Brothers-The Brecker Brothers (1975)

By the time the Brecker brothers released their first album, they already had extensive experience as backing musicians for other artists. Randy and Michael Brecker had built a strong reputation in the New York jazz-rock and jazz-fusion scene, so it was no surprise that a major label like Arista quickly took notice and signed them in the mid-70s, releasing their debut album in 1975. On this first release, the Brecker brothers featured a stellar lineup of guest musicians, including David Sanborn, Ralph McDonald, Harvey Mason, Bob Mann, and Chris Parker, among others. Produced by Steve Backer and recorded at Secret Sound Studios in New York, this debut album showcases the duo's perfect synthesis of the best contemporary jazz fusion, replete with complex horn arrangements that nonetheless remain accessible to a wide audience. An album where the funk/jazz rhythms "Some Skink Funk", "Sponge" or "Rocks", coexist with smooth jazz passages "DBB", "Levitate" or "Oh My Stars" and pieces closer to contemporary soul jazz with the addictive "Sneakin' Up Behind You", forming with all of them one of the most attractive jazz fusion albums of the 70s, which had its deserved recognition at the Grammy Awards with three nominations, for best performance, best new artist and best instrumental arrangements.

Chris Youlden-Citychild (1974)

Chris Youlden was better known as the lead vocalist for the blues-rock band Savoy Brown during their heyday than for his own solo career. This singer was characterized by his superb voice and his accomplished songwriting, as demonstrated during his years with the aforementioned British band. With them, he produced high-caliber albums such as "Getting To The Point" (1968), "Blue Matter" (1969), "A Step Further" (1969), and "Raw Sienna" (1970), undoubtedly Savoy Brown's best works. However, after this last album, and due to his dissatisfaction with the musical direction the band was taking and the continuous and exhausting tours, he decided to leave the music world for several years. In 1973, he unexpectedly reappeared, debuting with his first solo album, "Nowhere Road", released by London Records (ironically, the same label as his former band). The most striking aspect of this album was his complete departure from the blues-rock sound of his previous band, focusing his compositions on a more funk-infused blues style, as heard in tracks like "Chink of Sanity" and "Mama Don't Talk So Loud", the standout "One October Day", and the radiant "Cryin' in the Road". However, this remarkable album failed to garner the desired response from the public and went largely unnoticed. A year later he would return with “Citychild”, a self-produced album, which received a similar reception to his first album, and which has a much more eclectic repertoire with songs with a clear blues rock accent very close to the style of Savoy Brown such as “Little Cog In A Big Wheel”, “Love And Pain” and “It Ain’t For Real” or close to funk blues such as the surprising “Born and Raised In The City” or “Keep You Lamp It”, while the unsettling “Spare Change” puts the rock note on this great album.

Jean-Michel Jarre-Rendez-Vous (1986)

After an experimental album like "Zoolook" (1984), French composer Jean-Michel Jarre partially returned to his classic 1970s sound with his fifth album, "Rendez-Vous". In this release, he dispensed with the heavy, multi-layered synthesizers in favor of a simpler array of instruments. This move allowed him to place much greater emphasis on composition rather than creating sounds and special effects as before. On the other hand, Jarre displays undeniable similarities to the work of Vangelis, who had already explored this territory in "Heaven and Hell" (1975) and "Albedo 0.39" (1976), not to mention the album he would release years later titled "Mythodea". A track like "Second Rendez-Vous" is one of Jarre's finest compositions, evoking a post-Beethovenian movement. Originally composed as a link to the Challenger shuttle mission, this album is a historical piece that takes on added dramatic weight due to the disaster that claimed the lives of all the astronauts on that mission. The music on this album is itself quite prosaic and predictable than the events surrounding it and was, in a way, designed to be part of the famous light and laser show that would later take place in Houston, considered the largest outdoor concert in history with over 1.5 million spectators. By 1986, events were overwhelming even Jarre himself; "Rendez-Vous" was intended to be the centerpiece of the celebrations for NASA's 25th anniversary and the 150th anniversary of the founding of Houston.

Blackfoot-Strikes (1979)

Blackfoot are one of those bands that have had a long and winding road to success and the recognition they deserve. After two commendable works, their debut album "No Reservations" (1975) and the subsequent "Flyin' High" (1976), they failed to achieve the desired notoriety due to poor marketing by the record labels Island and Epic. After another change of record company, this time with ATCO, they released their third full-length album, "Strikes", which brought them the sweet taste of success thanks in part to the album's effective promotion by the new label and an irresistible collection of great Southern rock tracks like "Highway Song" and "Train Train", which propelled it into the US Top 40, selling a million copies in the following two years. However, this album didn't just rely on the success of those two excellent tracks; it also featured addictive covers like Free's "Whising Well", Blues Image's "Pay My Dudes", and Spirit's "I Got A Line On You". With these, the band employed their tried-and-true strategy of revisiting well-known hits, but imbuing them with their own unique and unmistakable style. The album's warm reception paved the way for commercial success and widespread popularity, and for the next two years, the band toured triumphantly across the United States alongside established acts like Foreigner, Journey, AC/DC, and Blue Öyster Cult.

Blackfoot-Medicine Man (1990)

In 1990, singer and guitarist Rick Medlocke wanted to completely revamp Blackfoot, reinforcing the Southern rock that had been the band's original hallmark in the 1970s, after releasing the albums "Vertical Smile" (1984) and "Rick Medlocke and Blackfoot" (1987), which leaned more towards melodic rock. With a completely revamped lineup, except for Medlocke, featuring drummer Gunner Ross, guitarist Neal Casal, and bassist Rikki Mayr, along with contributions from keyboardist Doug Bare and guitarist Mark Woerpel, they recorded "Medicine Man", a powerful Southern rock album in the truest sense, where the guitar riffs have a distinctly hard rock edge. On “Medicine Man”, they returned to their roots with powerful, high-caliber tracks like “Doin’ My Job”, “Sleazy World”, “Soldier Blue”, “Runnin’ Runnin’ ”, and “Chilled to D’Bone”, in addition to epic songs such as “Guitar Slingers Song and Dance”. The group also included a vibrant cover of Free’s original “The Stealer”. With this ninth studio album, the Jacksonville band firmly established themselves as one of the cornerstones of American southern rock.

Blackfoot-Tomcattin´ (1980)

Blackfoot, along with Molly Hatchet, are the most hard-rocking band in Southern rock. They produced a series of highly acclaimed and commercially successful albums, especially the trilogy comprised of "Strikes" (1979), "Tomcattin'" (1980), and "Marauder" (1981). Focusing on the second of these, "Tomcattin' " is their rawest and most aggressive work, where the band, led by vocalist and guitarist Rickey Medlocke and bassist Greg Walker, delivers powerful songs like "Warped" and "Gimme, Gimme Gimme", as well as typical Southern rock anthems like "Fox Chase", "On the Run", "Dream On", and "In the Night". With this album, their fourth chronologically, Blackfoot remained true to their Southern rock roots, achieving one of their greatest successes with their devoted fans in the United States and Europe.

Wishbone Ash-No Smoke Without Fire (1978)

In 1978, the British band Wishbone Ash released their ninth album, "No Smoke Without Fire", once again working with Derek Lawrence, the producer of their early releases. This time, the quartet of guitarists Andy Powell and Laurie Wisefield, bassist and vocalist Martin Turner, and drummer Steve Upton delivered a more energetic and musically diverse sound, a stark contrast to the more relaxed "Front Page News". Here, their signature twin guitars once again took center stage, underpinned by the dynamic and powerful rhythm section of Turner and Upton. Genuinely rocking tracks like "You See Red", "Anger In Harmony", "Stand And Deliver", "Like A Child", and "Baby The Angels Are Here" showcased Wishbone Ash's talent and high level of musicianship. While not quite surpassing their early, iconic work, they maintained a high standard as one of the most important bands of the 1970s.

Ozric Tentacles-Jurassic Shift (1993)

Ozric Tentacles boast an extensive discography brimming with monumental and brilliant works, all of which showcase superb displays of progressive rock, jazz fusion, hard and heavy rock, hints of electronic music, and even sounds bordering on new age. “Jurassic Shift”, released in 1993, was the British band's fourth studio album, infused with atmospheric keyboards, sharp guitars, and dynamic instrumental passages, a powerful and precise rhythm section, and astonishingly spatial and complex soundscapes. However, there's also room for Eastern and exotic sounds, further enhancing Ozric Tentacles' already unmistakable style. This is an album where there isn't a single weak point; everything fits together perfectly, taking the listener on one of the most breathtaking and exciting musical journeys imaginable. And while it's true that we can find many other bands that are perhaps more creative and influential than them, none offer this elaborate blend of sounds and inspiration, as demonstrated in the progressive ambient electronica of "Sunhair", the space rock of "Stretchy", the esoteric "Feng Shui", the oriental "Half Light In Thillai", or the atmospheric "Jurassic Shift". Ozric Tentacles are often criticized by progressive purists for always making and sounding very similar, and while they have a point, it's also true that they never repeat the same musical structures in each track of each of their albums, combining a wide range of styles and a perfect instrumental execution that makes them unique.

Emerson, Lake & Palmer-Works Volume 2 (1977)

Like its predecessor, "Works Volume 1", Emerson Lake and Palmer's sixth studio album, "Works Volume 2", is a compilation of tracks composed individually by the three musicians, along with others created collaboratively. It again comes across as somewhat pretentious, though it must be said that this new release features a significantly more interesting and creative repertoire. Some songs feel more organic, like the instrumental "When The Apple Blossoms Bloom In The Windmills Of Your Mind I'll Be Your Valentine", a track originally intended for the album "Brain Salad Surgery" but never included. The title track from that album is another standout, a dynamic and daring piece. The jazzy "Bullfrog" is essentially a showcase of Carl Palmer's drumming prowess, while the boogie-woogie "Barrelhouse Shake-Down", the acoustic "Watching Over You", the big band jazz tracks "So Far To Fall" and "Close But Not Touching", the ragtime "Maple Leaf Rag" and the honky-tonk "Honky Tonk Train Blues", complete an album that, despite lacking a certain final cohesion, contains a repertoire of good songs, although certainly far removed from the grandiosity of his earlier studio works.