Grand Funk Railroad-E Pluribus Funk (1971)

In 1971, Grand Funk were at their peak. Their fourth album, "Survival", released in April of that year, catapulted them to the forefront of American rock. Seven months later, the trio of Mark Farmer (guitars, organ, and vocals), Mel Schacher (bass), and Don Brewer (drums) returned to Cleveland Company Studios in Cleveland to record their fifth album, "E Pluribus Funk". Produced by Terry Knight, it continued their triumphant run with another anthological work of energetic hard rock. However, this new album already hinted at more melodic nuances, with the band taking a step back from the accelerator pedal of its frenetic songs. Here we find one of Grand Funk's anthems, the galloping "Footstompin' Music", a track that navigates between hard rock and psychedelia. As a counterpoint to this appears the soul rock "People, Let's Stop The War", a track with a clear allusion to the Vietnam War, followed by the frenetic with a funk rhythm "Upsetter", the heavy and forceful "I Come Tumblin' " or the dark "Save The Land" which together with the epic with progressive touches "Loneliness" is the repertoire of a superb work of the best hard rock to come out of the United States in the 70s.

Hawkwind-Warrior On The Edge Of Time (1975)

With their fifth album, Hawkwind continued their progressive and lysergic journey, which they had begun with their previous album, "Hall of the Mountain Grill". "Warrior on the Edge of Time" brought together everything that had captivated Hawkwind up to that point. It's all present here, brimming with pure (and perhaps even exaggerated) poetic lyrics, tracks overflowing with flutes, echoes, saxophones, sharp, lysergic guitars, hazy bass lines, and diverse electronica with overwhelming synthesizers and mellotrons everywhere. It's an astonishing concept album based on tales of wizards and space wars, all bathed in psychedelic music. But in addition to the band's ever-intricate style, there were their frequent lineup changes, and this album was no exception. Keyboardist Del Dettmar left, and a second drummer, Alan Powell, joined, a factor reflected in the powerful and varied percussion sounds throughout much of the album. The opening track, indebted to the best of krautrock, “Assault & Battery/ The Golden Void”, immerses us in a complex composition with a stormy barrage of mellotron sounds combined with a heavy rhythm featuring flutes, organs, and a powerful bass line. “The Wizard Blew His Horn” is essentially an introductory piece by science fiction writer Moorlock, set against a backdrop of strident, surreal sounds, and serves as a prelude to the hypnotic, spacey “Opa-Loka”. This is followed by the frenetic, progressive “Magnu”, with its excellent riffs and powerful percussion, leading into the more spacey and electronic “Spiral Galaxy 28948”. The album concludes with the more purely rock tracks “Dying Seas” and “Kings of Speed.” “Warrior on the Edge of Time” is considered one of Hawkwind’s greatest contributions to history and a minor masterpiece of space rock. From here on, and following the trail of continuous defections, bassist Lemmy Kilmister would leave the band (he was actually expelled for drug smuggling and for his clashes with the rest of the members over musical differences), to later found the iconic heavy metal band, Motorhead.

Nazareth-No Mean City (1979)

In the mid-seventies, Nazareth's sound shifted towards a more melodic direction, which diminished their credibility within the hard rock community and among their own fans. Therefore, with "Expect No Mercy" (1977), they returned to a harder sound with an album packed with powerful hard rock tracks. A year later, they repeated the formula with "No Mean City", the band's tenth album. By then, the Scottish band had expanded with the addition of guitarist Zal Cleminson, formerly of The Sensational Alex Harvey Band, adding greater depth to Nazareth's unmistakable style. Replete with memorable moments like the irresistible hard rock track “Simple Solution”, which structurally recalls “Free Wheeler” from the legendary “Loud ’n’ Proud” of years past, while the energetic “Just To Get Into It” and the dark and heavy “Claim To Fame” once again leave that lingering taste of the band's powerful and forceful hard rock. Meanwhile, the rhythmic “No Mean City (Parts 1 & 2)” brings us back to Nazareth at their most dynamic. On the opposite end of the spectrum are “May The Sunshine” and “Star”, tracks with folk influences that alternate acoustic sounds with catchy choruses. Despite the positive reception from their fans, the band would choose with the following album "Malice In Wonderland" to return to playing with AOR sounds, combining the sound of melodic rock with powerful hard rock tracks, which meant acceptance or resignation (depending on how you look at it), from some sectors of their large legion of followers.

Tangerine Dream-Hyperborea (1983)

This was the last album of Tangerine Dream's most creative period and at the same time the last under Richard Branson's own label, Virgin Records. Looking back, the productivity of the band led by Edgar Froese with Virgin Records had already yielded some of their best work, such as the successful "Phaedra", the dynamic electro-psych of "Rubycon", the grandiose "Stratosfear" the orthodox "Cyclone", and the progressive rock-inspired "Force Majeure". In 1983, Froese wa,s still accompanied by Christopher Franke, and for this album, Johannes Schmoelling joined them, bringing a different perspective to the electronic samplers and repetitive rhythmic sequences. Placing greater emphasis on the electronic aspect of the music, the trio maintained their melodic sensibility, exploring the fusion of Eastern sounds and modern electronica. "Hyperborea" presents an overview of a fascinating and mysterious electronic journey with distinct tracks, such as the hypnotic "No Mans Land", the dark and atmospheric "Hyperborea", and the elaborate "Sphynx Lightning", the latter of which partially recaptures their signature sound. from the German group. In short, with this fifteenth studio album, TD offered another of their most sophisticated and avant-garde musical visions of krautrock, in its electronic and spacey form.

Toto-Hydra (1979)

After the enormous success of Toto's self-titled debut album, the American band decided to continue exploring new sounds and avoid becoming stuck in melodic rock geared towards radio hits. Unlike their debut, on their second full-length album, keyboardist David Paich didn't unilaterally take the reins of songwriting, as he had on their first album. Here, of the eight tracks, four are credited to the rest of the band, while Paich himself wrote the remaining four and co-wrote the other four. Due to David Paich's affinity for progressive rock, "Hydra" features more complex and ambitious tracks, such as the opening, progressive title track, "Hydra", which culminates in the following track, "St. George and the Dragon", in a kind of small conceptual suite. With “99”, the band returns to its comfort zone: melodic and addictive AOR, closing the first side with the epic and dynamic “Lorraine”. For the second side of the album, the band reserves its more rock-oriented tracks, such as “All Us Boys”, a hybrid of hard rock and melodic rock, the powerful “Mama”, the potent “White Sister”, and the ballad “A Secret Love”. These tracks bring to a close a release that, despite being musically far superior, received less commercial success than their debut. Even so, “Hydra” would reach high positions on the charts, achieving both gold and platinum status.

Birth Control-Backdoor Possibilities (1976)

"Backdoor Possibilities" was the sixth album by the German band Birth Control, considered one of their most ambitious works, though somewhat overshadowed by the success of its predecessor, "Plastic People", released the previous year. Conceived as a concept album based on the story of a powerful corporate executive trapped by his own success, who ultimately reflects on his life and commits suicide on the subway, it maintains the band's musical philosophy, fusing rock with jazz and symphonic passages. Featuring the same lineup as the previous album, with the addition of vocalist Bernd Noske, this new release showcases the band's brilliant compositional creativity, along with superb arrangements and excellent musicianship, including impressive instrumental passages. The album is mainly divided into three extensive suites "One first of April", Beedeepees and "La Cigüena de Zaragoza", where they show that characteristic humor inherited from Frank Zappa and those classic arrangements influenced by Gentle Giant, while their hard rock roots appear in the melodic "No Time to Die".

Budgie-Squawk (1972)

One of the best bands in British hard rock was the Welsh group Budgie, who released a series of fantastic albums, almost all of which are now considered cult classics in the proto-hard rock and early heavy metal community. Founded in Cardiff in the late 1960s, their initial lineup consisted of bassist Burke Shelley, drummer Ray Phillips, and guitarists Brian Goddard and Tony Bourge. In 1971, they released their first album on the MCA label, though Goddard was no longer with the band, thus solidifying their status as a powerful power trio. On this debut album, Budgie showcased their effervescent hard rock sound in a very early stage, featuring powerful guitar riffs and constant rhythmic shifts. A year later, and under the same label, came "Squawk", which, with a superb cover by Roger Dean, definitively confirmed the band's progression and maturity. It featured outstanding tracks such as the progressive "Young Is A World", with its great keyboard passages, and the powerful "Whisky River", "Hot As A Docker's Armpit", "Drugstore Woman", and the heavy "Stranted", while the bucolic "Make Me Happy" added a melodic touch to this interesting album from the Welsh band. A year later came the band's magnum opus and one of the best albums of the 1970s, the monumental "Never Turn Your Back On A Friend".

UFO-A Conspiracy Of Stars (2015)

Well into the 21st century, the legendary UFO were experiencing a second, or perhaps more accurately, third youth, after so many years in the music industry. In 2015, the band still retained three of its original members (Phil Moog, Paul Raymond, and Andy Parker), along with guitarist Vinnie Moore and drummer Rob De Luca. That year they released their twenty-first studio album, "A Conspiracy of Stars", an album that holds its own against many of their earlier works, especially those from their second phase in the 1980s. The distinctly 70s-tinged style of Vinnie Moore's powerful guitar work, the spectacular vocals of the seasoned Phil Moog, and the force and power of the rest of the band resulted in an album brimming with energy and intensity. Songs of tremendous hard rock hits such as "The Killing Kind", "Run boy Run", "The Real Deal", "Ballad of the Left Hand Gun", "One and Only" or "Devil's In The Detail", continue to give great credibility to a band that in 2015 had behind it more than 50 years of fruitful and successful career.

Incredible Hog-Volume 1 (1973)

Incredible Hog was a short-lived British band that released only one album packed with heavy doses of blues rock in the early 1970s. Formed by guitarist and singer Ken Gordon, bassist Jim Holmes, and drummer Tony Awin, they managed to put out a solid record where bluesy influences and hard rock intertwine in intricate tracks like the superb "Lame", while the hypnotic "Execution" offers a respite from the breakneck pace that follows with powerful hard blues numbers like "Tadpole", "Another Time", and "Warning", before bringing the energy down a bit with the more subdued "Walk The Road" and "There's A Man". However, as we've mentioned countless times, this was another band that would pass without fanfare through the annals of rock, and which is now so highly regarded by fans eager to discover obscure groups with little media exposure but enormous talent.

Tony Williams-The Joy Of Flying (1979)

This album is the second solo effort from the great drummer Tony Williams since the release of "Spring" thirteen years earlier in 1966. This time, Williams presents a collection of jazz fusion, funk, and jazz-rock, continuing the various incarnations and experiments of the seven albums he had previously released with his Tony Williams Lifetime Band. Recorded with other jazz and rock luminaries such as Jan Hammer, Herbie Hancock, Randy Brecker, David Sanborn, Tom Scott, George Benson, Brian Auger, Ronnie Montrose, and Stanley Clarke, the repertoire is primarily composed of that joyful and dynamic jazz-rock with funk, rock, and more progressive passages. While in "Going Far" and "Hip Skip" the drummer continues down that funk path, in other tracks such as the jazz-rock "Open Fire", the smooth jazz "Tony", the avant-garde "Coming Back Home" or the experimental "Morgan's Motion", Williams stays within the canons of the genre, producing an excellent sampler of the best jazz rock of the late sixties, a very complicated time for musicians and artists of avant-garde and progressive sounds or jazz fusion.

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.