Yes-Big Generator (1987)

Following their successful album "90125" and subsequent world tour, Yes returned to the studio to record their next album, "Big Generator", a work that continued the symphonic pop style of their previous release. For this recording, the band retained the same lineup, led by Jon Anderson (vocals), Alan White (drums), and Chris Squire (bass), the only three remaining members of Yes's "classic" lineup, along with Trevor Rabin (guitars, keyboards, and production) and Tony Kaye (keyboards), the latter being one of the group's founding members from the late 1960s. Despite containing a repertoire very similar to the aforementioned "90125", this "Big Generator" is a more solid and consistent work with some reminiscences of the progressive rock of the group's golden age in the 70s. Songs like "Final Eyes", "Shoot High Aim Love", "Holy Lamb" or "I'm Running", recover some of that progressive essence, while others like "Love Will Find A Way" or "Rhythm Of Love" show the more commercial side of the group.

Pat Metheny Group-Travels (1983)

In 1982, the contract between the Pat Metheny Group and the German record label ECM was about to expire; in fact, it would end two years later. However, the contract stipulated that the American musician still had three more works to deliver to his label. A year later, Metheny wanted to capture his live shows on an official recording, so it was decided to release the double live album "Travels" in 1983. This double album was recorded during the second half of 1982 on the North American tour following the album "Offramp", in the cities of Philadelphia, Sacramento, and Dallas. With this release, Pat Metheny fulfilled one of the recordings he owed to ECM, and at the same time, ensured a brilliant epilogue to his time with the German label. For this tour, Pat Metheny had expanded his band with Brazilian percussionist and singer Naná Vasconcelos, whose presence lent the songs a greater atmospheric dimension, thanks to his captivating backing vocals and subtle Latin touch in the percussion. The rest of the band consisted of his regular members, including keyboardist and Pat Metheny's right-hand man, Lyle Mays, drummer Danny Gottlieb, and bassist Steve Rodby, while Pat himself handled acoustic and electric guitars and guitar synthesizer. At that time, Pat Metheny had not yet steered his music towards rock influences, although some of his earlier work contained progressive compositions, always within a jazz framework. Tracks like “Phase Dance” and “San Lorenzo”, however, are imbued with a truly symphonic and progressive grandeur, where, as usual, Pat Metheny pours all his feeling into his memorable solos, all accompanied by passionate piano and synthesizer melodies, brilliantly executed by Mays. “Travels” is full of enchanting moments, as demonstrated by the dramatic and epic “As Falls Wichita Falls, So Falls Wichita Falls”. As a counterpoint to all of this, the closest to rock music is found in the opening track, “Are You Going With Me?”, one of Pat Metheny’s most charismatic songs, with its famous guitar synthesizer solo. With “Travels”, Pat Metheny would not achieve the number one ranking of his previous “Offramp” on the Billboard Jazz charts, achieving “only” a commendable eighth place, however he would repeat the top award for the best Jazz Fusion performance of the year in 1984 at the Grammy Awards.

Santana-Guitar Heaven...The Greatest Guitar Classics of All Time (2010)

For his twenty-first album, Carlos Santana decided to indulge his nostalgic side, crafting a repertoire of all-time blues and rock classics. One of the album's strengths is the wide array of singers he features, all of them renowned talents such as Chris Cornell, Rob Thomas, Chris Daughtry, Joe Cocker, Johnny Lang, and Gavin Rossdale. In addition to these, Santana employs a vast array of collaborating musicians, including Dennis Chambers on drums, Ray Manzarek on organ, and Benny Rietveld on bass. The 14 tracks on this album sound dynamic and modern, with numerous surprising arrangements, such as the use of cello and harpsichord in George Harrison's classic "While My Guitar Gently Weeps". Santana's usual fiery guitar leaves its mark on the exciting version of Led Zeppelin's "Whole Lotta Love", in the duality with the organ in "The Riders on The Storm" by the indomitable The Doors, in the super contagious version of "Smoke on the Water" by Deep Purple, in the psychedelic with Latin touches "Sunshine Of Your Love" by Cream or in the fantastic "Little Wing" by Jimi Hendrix with the legendary Joe Cocker on vocals.

Rory Gallagher-Tattoo (1973)

Rory Gallagher is considered one of rock's most sincere and honest guitarists, with influences deeply rooted in folk and blues. For two consecutive decades, he maintained a vibrant career, exploring other styles such as hard rock, rhythm and blues, and jazz. With his fourth studio album, this distinguished Irishman received the award bestowed by the prestigious Melody Maker magazine as the best guitarist in the world in 1973. Surrounded by his regular band, composed of Gerry McAvoy (bass), Lou Martin (keyboards), and Rod de'Ath (drums), the guitarist utilizes an arsenal of instruments, starting with his iconic Fender Stratocaster, as well as acoustic guitars, harmonica, saxophone, mandolin, and bouzouki. In this release, the musician delves into different genres with his usual rock background, showcasing some of his most emblematic songs such as "Tattoo'd Lady", "Cradle Rock", "A Million Miles Away", "Who's That Coming" or "Just a Little Bit".

Dr.John-In The Right Place (1973)

Malcolm John Rebennack, better known as Dr. John, was one of the great pioneers of the New Orleans sound, steeped in jazz, blues, and the ancestral music of Mardi Gras, the city's famous Carnival. From a young age, his passion for these genres led him to join local bands and work as part of the backing group for such prestigious musicians as Lloyd Price. For a few years, the guitar was his primary instrument, but due to an accident during a fight, he lost part of one of his fingers. From then on, he dedicated himself to playing the piano, thus beginning an extensive and fruitful career as a session musician. He also launched his solo career in the mid-1960s, right in the midst of the burgeoning psychedelic genre. It wasn't until the end of that decade that his first album, "Gris-Gris", arrived, followed by other interesting records such as "Babylon" and "The Sun", among other works brimming with Creole, R&B, and jazz sounds, all infused with rock and roll. In 1973 came one of his best works, "In The Right Place", his sixth album, which brought him his greatest commercial success, remaining on the Billboard charts for almost eight consecutive months. Recorded in Florida and produced by another giant of the New Orleans scene, Allen Toussaint, it featured collaborations with some of the most respected musicians in the American music scene, including Art Neville, Joseph Modeliste, David Spinozza, Leo Nocentelli, Ralph McDonald, and George Porter. Based on his unmistakable sound, “In The Right Place” is a journey into the realms of R&B, world music, and jazz, featuring irresistible tracks like the carnival-like “Same Old Same Old”, the driving rhythm of “Right Place, Wrong Time”, the laid-back “Just The Same”, the swampy “Traveling Mood”, the funky “Peace Brother Peace”, and the jazzy “Such A Night”. However, John also incorporates elements of other recognizable sounds within traditional American music, such as soul in “Shoo Fly Marches On” and gospel in “I Been Hoodoo”. “In The Right Place” was one of his biggest hits, though the only one to reach the top 10. Throughout his career and countless collaborations, he won an impressive six Grammy Awards. Among many others, that list of collaborations includes The Allman Brothers Band, The Rolling Stones, Eric Clapton, Van Morrison, The Band, Bob Seger, and B.B. King.

Heart-Greatest Hits/Live (1980)

Heart are one of the greatest American hard rock and melodic rock bands, having released a series of celebrated albums over the last five decades, some of them huge worldwide hits. From their first album, "Dreamboat Annie" (1976), this Seattle-based band showcased their raw and powerful rock sound, heavily influenced by Led Zeppelin. However, the fact that they were fronted by two women (sisters Nancy and Ann Wilson) made them different and unique at the time. The rest of the band was marked by a constant influx and departure of musicians, including guitarists Howard Leese, Roger Fisher, and Gilby Clarke, among many others. After “Dreamboat Annie”, came the more folk-rock-oriented “Little Queen” (1977), the intense “Dog & Butterfly” (1978), where they combined the raw energy of their powerful rock with acoustic sensitivity, and the experimental “Bebe Le Strange” (1980), where they attempted to blend the sounds of the new musical trends of the 1980s, but with a mediocre and rather predictable result. Towards the end of 1980, the group released “Greatest Hits/Live”, a double album composed of a combination of the greatest hits from their first five albums, with live tracks and new compositions. Comprised of energetic rock tracks like “Bebe Le Strange”, “Barracuda”, and “Mistral Wind”, along with a cover of Led Zeppelin’s “Rock and Roll”, the album is interspersed with more melodic songs such as “Straight On”, “Even It Up”, “Crazy On You”, and “Magic Man”, as well as ballads and acoustic pieces like “Sweet Darlin’ ”, “Dreamboat Annie”, and “Dog and Butterfly”. It even includes more avant-garde and experimental tracks like “Hit Single” and “Strange Euphoria”. The band that recorded this album consisted of Ann Wilson and Nancy Wilson on vocals, drummer Michael DeRosier, guitarists Howard Leese and Roger Fisher, and bassist Steve Fossen. This double album was Heart’s third biggest hit to date in the North American market, reaching number thirteen on the Billboard charts and achieving multiple platinum records for its enormous sales.

Little River Band-Get Lucky (1990)

The Little River Band is one of the most famous Australian rock bands, achieving resounding worldwide success in the 1970s with their style, a blend of melodic folk and country rock from American bands like America, Poco, and The Eagles. Their first six albums topped the charts in a dozen countries around the world, beginning with the United States, where they earned gold and platinum records and sold over 30 million copies. Albums like "Diamantina Cocktail" (1977), "Sleeper Catcher" (1978), and "First Under the Wire" (1979) propelled them to the pinnacle of the rock world, to the point that Capitol Records itself signed them to a multi-million dollar contract for ten albums, which were released throughout the late seventies and much of the eighties. Under the wing of the legendary American label, a series of moderately successful albums followed, such as "Time Exposure" (1981), "Playing to Win" (1985), and "No Reins" (1988). Throughout those years, the band experienced a constant turnover of members, but this never diminished the group's immense quality. After their time with Capitol Records ended, the Australian group signed with MCA, releasing the albums "Moonson" (1988) and "Get Lucky" (1990), works that restored their former prestige and success. On "Get Lucky," they demonstrated that they could still produce great songs after fifteen years in the business. However, these songs leaned more towards melodic rock, hardening their style at the expense of folk and country, but always retaining the exceptional vocal melodies so characteristic of the Little River Band. Excellent tracks like the irresistible "If I Get Lucky", "There's Not Another You" or "Two Emotions", contrast with those closer to the group's initial style such as "Every Time I Turn Around", "I Dream Alone", "As Long I'm Alive" or "Listen To Your Heart", while the remarkable "Second Wind" or "Time & Eternity", show the most energetic side of the band with those sharp rock guitar riffs.

Spirogyra-Bells, Boots And Shambles (1973)

Another of the great prog-folk bands is Spirogyra (not to be confused with the American jazz fusion band Spyro Gyra). Although many categorized them as part of the Canterbury sound, they were never officially classified within that genre. Formed in 1967 in Bolton, in northwest England, their original lineup consisted of guitarist, composer, and singer Martin Cockerham, singer Barbara Gaskin, bassist Steve Borill, and violinist Julian Cusak, in addition to drummer Dave Mattacks, who would appear on all their albums as a guest musician. Their debut album, "St. Radiguns". was released in 1971 and achieved considerable success in the British folk scene. It featured a repertoire of politically conscious and spirited songs, along with a great deal of instrumental interplay and captivating vocals. A year later, "Old Bott Wine" was a continuation of their previous work and quite predictable. Despite its great folk harmonies, complex arrangements, and good balance between folk and rock elements, it was a slight step backward due to its predictable sound, offering nothing new compared to its predecessor. After this album, the band was reduced to just two permanent members, Cockerham and Gaskin, while collaborators and guest musicians included flautist Stan Sulzman, bassist Steve Borrill, drummer Dave Mattacks, and other musicians such as Steve Ashley, Henry Lowther, Julian Cusack, and Dolly Collins. With this lineup, Spirogyra recorded their third and final album, "Bells, Boots and Shambles", released in 1973. On this album, Spirogyra perfectly blended traditional folk elements with rock and progressive sounds, featuring tracks like the solemn and atmospheric "The Furthest Point", the acid rock anthem "The Sergeant Says", the atmospheric suite "Western World" with its grand, melancholic soundscapes, the bucolic "Old Boot Wine", and the melodic "Parallel Lines Never Separate" and "Everyday Consumption".

Dixie Dregs-Dregs Of The Heart (1980)

Although formed in the early seventies, it wasn't until the mid-seventies that the American band Dixie Dregs released their self-titled debut album, a genuine blend of styles ranging from jazz, country, bluegrass, progressive rock, and American rock. For six years, the band maintained the same lineup, recording four highly interesting albums that rank among the best of the instrumental jazz-rock scene of the 1970s. However, towards the end of the decade, some significant changes occurred. They left Capricorn Records for Arista Records, and after the magnificent "Night of the Living Dregs" in 1979, keyboardist Mike Parrish left the band and was replaced by Terry Lavitz, whose keyboards added a more symphonic feel. The rest of the lineup consisted of guitarist Steve Morse, drummer Rod Morgenstein, violinist Allen Solan, and bassist Andy West. In 1980 came Dixie Dregs' fifth album, "Dregs of the Heart", which became their best work to date. The standout track is the jazzy, progressive jam "I'm Freaking Out", a majestic piece that transforms into a symphonic tour de force and easily becomes one of the band's finest compositions. However, the rest of the album follows the group's usual musical style, with the rocker "Road Exposense", the progressive bluegrass "Pride O' the Farm", the progressive jazz "Twiggs Approved", the symphonic exercise "Hereatfer", the progressive "The Great Spectacular", and the boogie jazz "Broad Street Strut". In short, another essential Dixie Dregs album, where all the musicians demonstrate great virtuosity, particularly Steve Morse's hard rock guitar work and a repertoire of great melodies in a vast and complex, yet accessible, jazz-rock style.

Heavy Jelly-Heavy Jelly (1970)

Jackie Lomax was a British singer, songwriter, and guitarist who rose to fame in the late 1960s as one of the first artists to sign with The Beatles' label, Apple Corps Ltd., which had been founded in 1968 as a parallel record label to EMI Records. However, Lomax's career had begun much earlier with various projects as a member of some of the leading bands on the British pop-rock scene of the 1960s, such as Dee and The Dynamites. He later moved to the United States and joined The Undertakers, but without achieving the desired fame or fortune. Once back in the UK, thanks to The Beatles' manager, Brian Epstein, he signed with CBS, with whom he recorded several singles and an album that had little impact. His friendship with Epstein opened many doors and great opportunities for him, including collaborations with artists of the caliber of George Harrison and Eric Clapton, among many others. After leaving The Beatles' label, Lomax joined forces with former members of the band Aynsley Dunbar, John Morshead, and Alex Dmochowski, along with former Animals drummer Barry Jenkins, to form Heavy Jelly. In 1970, the band recorded their first and only album, which also featured Tom Evans and Pete Ham, both members of Badfinger, another Apple Records band, and the Rolling Stones' horn section, Bobby Keys and Jim Price. This debut album is essentially composed of an interesting repertoire of powerful rock tracks with psychedelic sounds, as demonstrated in "Take Me Down to the Water," while the group's melodic side is showcased in "You Better Let Me Know" and "Too Complicated". The Beatles-esque sound can be found in "Born For Something", along with darker hard blues-rock sounds in "Just Don't Feel So Good" and "F-F-F-Females", classic blues-rock tracks like "Bio-Blues", and another song with a Beatlesque flavor, "If You'd Like To". However, because the album featured artists signed to Apple Records, the label boycotted its release, preventing its official publication beyond a few promotional copies. Some of these copies served as master tapes for bootleg releases, which became highly sought after by collectors for decades. More than forty years later, after Jackie Lomax's death, his family was able to resolve the contractual issues with Apple, and the album was officially released in 2013, thus recovering one of the most famous lost albums in rock music history.

Toots & The Maytals-Funky Kingston (1973)

Toots & The Maytals were one of the first groups to popularize reggae internationally in the late 1960s and early 1970s. Formed in 1963, this group, led by Frederick "Toots" Hibbert, built a strong reputation in Jamaica throughout the rest of the decade, thanks to a long string of locally successful recordings. The rest of the lineup consisted of Jackie Jackson, Hux Brown, Paul Douglas, and Rad Bryan. Their style was steeped in multiple influences that somewhat deviated from the established norms of Jamaican music, fusing jazz, R&B, ska, and rock, resulting in what would later be called reggae. In 1966, the group triumphed at the Jamaica Song Festival with the song "Bam Bam", further boosting their already immense popularity. New songs like "Pressure Drop", "Monkey Man", "54-46 That's My Number", "Sweet and Dandy" and "Pomps and Pride" established them as one of the most influential reggae groups. Their appearance in the 1972 film "The Harder They" catapulted them to international stardom. During those years, they signed with Island Records, and under the production of Chris Blackwell, they released the successful albums "Funky Kingston" and "Reggae Got Soul". In the latter half of the 1970s, their popularity gradually declined, although they remained active and released albums fairly regularly, some of them highly significant, such as "True Love" (2004) and "Light Your Light" (2007). For many years, the band was a regular fixture at reggae festivals. On September 11, 2020, Toots Hibbert passed away at the age of 77, exactly one year after his death. Later, the group would win the Grammy Award for Best Reggae Album for "Got to Be Tough".

Body-The Body Album (1981)

Body was an interesting British progressive rock band formed in the early 1970s. However, it wasn't until 1981 that they released their only album, "The Body Album". This album is now acclaimed as an impressive and essential work within neo-progressive rock, space rock, and late psychedelic sounds. Hailing from Liverpool, the band consisted of brothers Gary and Tony Allison (drums and guitars respectively, as well as vocals), bassist Ronny Nelson, and keyboardist John Bleasdale. In the early 1980s, the group traveled to London to try their luck in search of a record deal, but after some frustrating results, they decided to self-finance their debut album. On this single album, the references to the more psychedelic sounds of Pink Floyd and the long, spacey explorations reminiscent of Hawkwind are more than evident, but framed within a very defined synth-pop sound, making them one of the seminal bands of the so-called Neo-Progressive movement, alongside Twelfth Night. The 15-minute progressive and spacey suite "Andromeda" is the standout track, while the shorter "Cheater", "Lights Out", and "Brave New World" are more commercially oriented, with a musical structure somewhere between Neo-Progressive and Symphonic Rock and electronic elements akin to the synth-pop of the era.

Little River Band-Little River Band (1975)

In late 1975, the Australian band Little River Band released their self-titled debut album, which quickly drew comparisons to bands like The Eagles, Poco, and America, thanks to their vocal harmonies and versatile compositions brimming with addictive country-rock sounds and irresistible rock riffs combined with catchy pop melodies. On this first release, the band consisted of Beeb Birtles on lead vocals and guitar, Ric Formosa on lead guitar, Graham Goble on rhythm guitar and vocals, Roger McLachlan on bass, Derek Pellici on drums, and Glenn Shorrock on vocals and harmonica. Among the tracks on this first album, the mid-tempo song "Emma" and the melodic and commercially successful "It's A Long Way There" and "Curiosity (Killed The Cat)" stand out, the latter becoming their biggest hit in the Australian market. The country rock track “Lady and Me”, the powerful “Statue Of Liberty” and the tender “I Know It” complete an outstanding debut that would allow them to get their first world tour, initially as support for Queen and later for the Average White Band, achieving great recognition in North American lands, a success that would soon be reflected in their next three works “Diamantina Cocktail” (1977), “Sleeper Catcher” (1978) and “First Under The Wire” (1979), achieving with all of them several gold records and three platinum records for their enormous sales in the North American market alone.

Marillion-Seasons End (1989)

Fish vs. Hogarth: this is undoubtedly one of the biggest catalysts for any discussion among Marillion fans, to the point that some online forums about the band categorically forbid even mentioning a comparison between these two singers, for fear of an electronic war that will clog up servers and computers. Beyond this exaggerated claim, it's relevant to the departure of the towering Fish and the arrival of Steve Hogarth as his replacement, and what Hogarth brought to Marillion, which was immense (and still is). Although the band's purists blame Hogarth for the group's musical shift towards a more pop-oriented sound, at the expense of the progressive grandeur of their early albums, the truth is that if there's one thing both sides agree on, it's his powerful voice, with its excellent range, and his talent as a great lyricist who invites reflection. All of this is clearly demonstrated on much of Marillion's first album after Fish and their first with Hogarth in the band, "Seasons End" from 1989. This was the first real testament to what the singer accomplished with Marillion as a band, and having said all that, "Seasons End" sounds brilliant and is undoubtedly an excellent and worthy successor to the superb album that preceded it with Fish in the lineup, "Clutching At Straws", released several years earlier. Right from its opening track, the incredible "King Of Sunset Town", it demonstrates the peak at which Marillion burst onto the scene and rise triumphantly, ready to begin another chapter, thus dispelling the doubts of those who predicted their downfall and eventual demise. The beautiful "Easter" is the singer's first major contribution to the group's repertoire, a track featuring one of Steve Rothery's best solos of his entire career and a rhythm as captivating as it is brilliant. The slow and mysterious “Seasons End” concludes with an epic and hypnotic finale that showcases the band's instrumental prowess. In “The Uninvited Guest”, we can already sense the direction of their new venture, a track that leans towards rock and commercial sounds with powerful guitar and bass lines. The melodic and heartfelt “Holloway Girl” is one of the album's lesser moments, while the nostalgic “Berlin” is a palpable demonstration of Hogarth's vocal excellence, a song as melancholic as it is dark, which, as it progresses, transforms into a powerful track with a stunning ending. After the short, acoustic “After Me”, comes the powerful, commercially oriented rock track “Hooks In You”, before concluding with the exquisite and progressive “The Space”, one of the album's most memorable moments and a fitting finale to Steve Hogarth's first major contribution to the Marillion universe.

Little River Band-Sleeper Catcher (1978)

In the late 1970s, the Australian band Little River Band was at the height of its popularity and commercial success. Their first three albums had garnered commendable sales and were the perfect draw for North American audiences, thanks to their exquisite country-influenced soft rock and brilliant, harmonized vocal harmonies. However, it was with their fourth album that they achieved true glory, delivering a memorable work that followed the stylistic path already established in its predecessor, "Diamantina Cocktail", released the previous year. The Australian group's refined style was further enhanced by brilliant compositions that linked them to their North American contemporaries America, The Eagles, and Poco. Exquisite tracks like "Fall From Paradise", "Lady", "So Many Paths", "Shut Down, Turn Off", and "One For The Road" share the repertoire with more ambitious pieces such as the expansive, progressive-tinged "Light Of Day" and the splendid "Take Me Home". A top 20 on the Billboard charts and three platinum records were the well-deserved recognition of this excellent fourth work by the Australians.

Jason Becker-Perpetual Burn (1988)

Jason Becker is one of the so-called heroes of 1980s neoclassical guitar. Considered one of the most talented guitarists in a long line of the genre, including Yngwie Malmsteen, Marty Friedman, Tony MacAlpine, and David Chastain, he began his career alongside Marty Friedman in the band Cacophony, recording the albums "Speed ​​Metal Symphony" and "Go Off!". In 1988, Becker released his only solo album, "Perpetual Burn", a massive showcase of his guitar prowess. His dizzying solos and riffs, descending and ascending scales at breakneck speeds, make us wonder if this musician is actually human or an alien. Songs like "Altitudes", "Perpetual Burn", "Mabel's Fatal Fable", and "Air" demonstrate the enormous complexity and astonishing mastery of this guitarist. A year later, he was voted Guitarist of the Year by the readers of Guitar Magazine. Having become a rock superstar, this album opened doors for him, leading to David Lee Roth inviting him to replace Steve Vai on the album "A Little Ain't Enough" (1991). However, shortly before recording the album, he was diagnosed with amyotrophic lateral sclerosis (ALS), a disease that, over the years, has ravaged his body to the point of complete immobility, preventing him from playing guitar. In the following years, despite being confined to a wheelchair, Becker continued to release a series of albums comprised mainly of demos and rehearsals recorded in the 1980s in his own studio and reinterpreted for the occasion by guitarist Michael Lee Firkins.

Thin Lizzy-Shades Of A Blue Orphanage (1972)

The second album from Irish band Thin Lizzy is a clear evolution from their underrated debut. Here, the band, led by bassist and singer Phil Lynott, creates a rich tapestry of styles and sounds ranging from hard rock and folk rock to semi-progressive and psychedelic flourishes. Featuring the same lineup as their debut album, in addition to Lynott, the excellent guitarist Eric Bell and the energetic drummer Brian Downey are also present, while keyboardist Clodagh Simmonds handled the mellotron and harpsichord. This strange combination of styles and sounds is reflected in the funk rock of "The Rise and Demise of the Funky Nomadic Tribes", the evocative folk rock of "Buffalo Gal", the acoustic ballad "Sarah", the heavy folk of "Brought Down", the psychedelic hard rock of "Baby Face", nods to 1950s rock and roll with "I Don't Want to Forget How to Jive", classic rock anthems like "Call the Police", and the soul/folk of "Shades of a Blue Orphanage". Considered a mere transitional album, it reflects Thin Lizzy's search for their own original style at that time, and this musical offering resulted in one of the most interesting albums of 1972.

10cc-Sheet Music (1974)

With their second release, 10cc reaffirmed their status as one of the pop-rock sensations of the early 70s, with an album as masterful as it was ingenious and diverse. The musical balance of its four members, all renowned instrumentalists and excellent songwriters, is perfect on this release. With its ironic and intelligent lyrics, Stewart's brilliant and powerful guitar work, and the beautiful vocal and instrumental harmonies of the rest of the band, the result is a captivating album. Each member interchanges instrumental roles, from Eric Stewart on guitars, mellotron, keyboards, and vocals, to Kevin Godley on drums, percussion, and vocals, and including guitars, keyboards, percussion, synthesizers, bass, tubular bells, and countless other instruments, in addition to vocals, performed by Graham Gouldman and Lol Creme. Here, the band showcases their best qualities with wonderful musical lines, as demonstrated by the irresistible songs "The Wall Street Shuffle", "The Worst Band in the World", "Hotel", "Silly Love", "Somewhere in Hollywood", and "The Sacro-Illac". With this recording, 10cc confirmed their status as one of the most innovative and original bands, a position they would solidify in the following years with the release of a series of gems such as "The Original Soundtrack" (1975), "How Dare You!" (1976), "Deceptive Bends" (1977), and "Bloody Tourists" (1978).

Freddy Lindquist-Menu (1970)

Despite not being widely known outside of Norway, Freddy Lindquist was considered one of the best Norwegian guitarists, a position he shares with another great compatriot, Terje Rypdal. Born in Oslo in 1946, his passion for music began in childhood, fostered by his parents, both musicians. After playing in numerous local bands, he released his only solo album, "Menu", in 1970. Following this release, the guitarist began working as a session musician and producer. On this album, Lindquist also plays bass, flute, and percussion, in addition to guitar. Accompanied by various Norwegian musicians, the repertoire ranges from the avant-garde sounds of the era, such as "Sellers Sundae", to the progressive rock of "The Green and Pink Little Man", smooth instrumental pieces like "Sharako", and the jazz and blues of "Join In and Freak Out".

Charlie Parker-Charlie Parker With Strings (1955)

Charlie Parker is one of the ten greatest artists in the history of jazz, on par with geniuses like Louis Armstrong, John Coltrane, Dizzy Gillespie, Duke Ellington, and Miles Davis. Known as "Bird", he is one of the finest alto saxophonists, a self-taught musician with serious self-destructive tendencies. Born in Kansas City in 1920, he played in countless jam sessions during his short career before officially recording with Jay McShann's band in 1941. His eloquent playing attracted considerable attention in the seedy bars frequented by the mob and in the jazz clubs of Kansas City. Influenced by saxophonists like Lester Young and Ben Webster, he was already an accomplished musician by the age of 17. But in addition to his talent, he struggled with persistent problems stemming from his addictions to drugs and alcohol. His music featured innovative melodic lines, with a sound radically different from anything established, and his style evolved with the use of dissonant upper intervals beyond the octave. Along with Dizzy Gillespie, he was a driving force behind the bebop movement, a sound that would radically transform the way jazz was heard, characterized by a faster tempo, harmonic refinement, and great virtuosity. In the late 1940s, the impresario and manager Norman Granz, who at the time represented Ella Fitzgerald and Oscar Peterson, among others, redirected Parker's career, which from then on would gain him considerable renown. From those years come the recordings that were included in the legendary "Charlie Parker With Strings", which was released in 1955. But his addictions were becoming increasingly urgent and on March 12, 1955, he died in New York at the age of 34, as a result of severe hemorrhage and a bleeding ulcer due to the advanced cirrhosis he suffered from.

Nicholas Greenwood-Cold Cuts (1972)

Nicholas Greenwood was a member of legendary bands such as Crazy World of Arthur Brown, alongside keyboardist Vincent Crane, and Khan, with whom he released the seminal album "Space Shanty" in 1972. Following this latter venture, Greenwood formed a band and recorded the album "Cold Cuts," considered one of the hidden gems of 1970s progressive rock. This band consisted of drummer Eric Peachy, also from Khan; keyboardist Dick Henningham; guitarists Bryn Howarth and Chris Pritchard; and Frank Zappa's former Mother of Invention member Bunk Gardner on wind instruments. Greenwood himself played bass and sang lead vocals. The rest of the lineup included violinists Janet Lakatos, Margaret Immerman, and Margaret Shipman; cellist Nils Oliver; and the vocal group The Teardrops. "Cold Cuts" is composed of a diverse amalgamation of sounds, which, without quite reaching the level of strict progressive rock, incorporates elements of psychedelic rock with passages of progressive jazz and blues rock. The album begins brilliantly with "A Sea Of Holy Pleasure Parts I, II, III", a three-part composition with superb arrangements that showcase the excellence of its talented musicians: a heavy Hammond organ, a delightful flute, effective bass lines, and exquisite drumming, all bathed in addictive vocals. The overall sound is further enhanced by subtle string and brass arrangements, which amplify the dynamism and diversity of the track and add progressive depth to its three segments. Other highlights include the bluesy "Big Machine" and "Melancholy", or the psychedelic "Hope / Ambitions" which coexist with more accessible and catchy pieces like "Lead Me On", and "Close The Doors", or the dark "Promised Land", which contrast totally with the deep and introspective "Corruption", the ambient jazz rock "Images" and the dramatic "Realisation And Death".

Eurythmics-Revenge (1986)

In the mid-eighties, Eurythmics, the duo of Annie Lennox and Dave Stewart, were firmly established within the global synth-pop scene thanks to hits like "Sweet Dreams" and "Here Comes the Rain". However, with their fifth album, "Revenge", they moved significantly closer to mainstream rock, although Lennox's powerful vocals and Stewart's distinctive guitar work remained fundamental to their characteristic sound. With the invaluable assistance of arranger Michael Kamen and other prominent British session musicians, the duo gave greater prominence to powerful guitar riffs, energetic sounds, and more pronounced melodies. Songs like "Thorn In My Side" and "When Tomorrow Comes" are clear examples of this. Meanwhile, the ballad "Miracle Of Love" leans towards melodic rock with its catchy tune, while the intense "Missionary Man" showcases that energetic rock guitar sound. Although they would not achieve the same success as previous works, "Revenge" achieved half a dozen platinum and gold records around the world.

Vinegar Joe-Rock´n´Roll Gypsies (1972)

Vinegar Joe were another of those great, short-lived British bands of the 1970s who made a name for themselves with just three albums released. Formed in 1970 under the name Dada, their initial lineup consisted of a dozen musicians, including vocalist Elkie Brooks, guitarist Pete Gage, bassist Steve York, drummer Conrad Isidore, keyboardist Dave Thompson, and saxophonist Dave Brooks.With this lineup, they recorded their self-titled album, "Dada", in 1970 for Atlantic Records, a work brimming with jazz, soul, psychedelia, and blues sounds, influenced by the soulful style of artists on the American label Stax Records. After a long tour of the United States, the band returned to the UK and changed their name to Vinegar Joe, also restructuring the lineup with the addition of singer Robert Palmer, keyboardist Tim Hinkley, and drummer Rob Tait. With a new contract, this time with Islands Records, they recorded their first album under their new name, titled "Vinegar Joe", which became one of the best albums of 1972 in the British Isles. But after this album, there were further lineup changes, with guitarist Jim Mullen, keyboardist Mike Deacon, and former John Mayall drummer Keef Hartley joining the band. With this new lineup, they recorded their second album, "Rock 'n' Gypsies", where the band's usual soul and blues style was reinforced by a greater emphasis on rock elements. Tracks like the bluesy "Angel", a cover of a Jimi Hendrix song, and brilliant rock anthems such as "So Long", "Buddy Can You Spare Me A Line", "Falling", and "It's Getting To The Point", make up an outstanding work. In addition to the superb vocal performances of Elkie Brooks and Robert Palmer, the band is supported by an excellent band in extraordinary form. After a successful tour of North America, the band released their third and final album, "Six Star General", which lacked some of the energy and creativity of their first two works. Some time later the band finally dissolved, with almost all of its members dedicating themselves to their solo careers, most notably Robert Palmer, who achieved remarkable success with some of his albums such as “Secrets” (1979), the multi-platinum “Riptide” (1985) and “Heavy Nova” (1988), or Elkie Brooks, who would begin a long and very prolific career, managing to place herself among the best British singers of all time.

Jeff Beck-Beck's Guitar Shop (1989)

No one doubts that Jeff Beck was one of the greatest guitarists in history. However, his star status was always a step below that of other, more media-savvy artists, partly due to his more collaborative approach to his work rather than focusing on his individual virtuosity on the six strings. In the late eighties, Beck ventured into familiar territory with him: straightforward rock, after significant recordings in jazz rock and blues rock. Albums like "Truth" (1968), "Beck-Ola" (1969), "Blow By Blow" (1975), and "Wired" (1976) are essential references in electric guitar history. In 1989, he released his twelfth album, his fifth under his own name, and one of his most energetic releases. "Guitar Shop" returns Jeff Beck to his natural element, showcasing a dramatic increase in quality compared to its predecessor, "Flash", an album clearly geared towards commercial success. On "Guitar Shop", Beck is supported by the tremendous poise of drummer Terry Bozzio and the virtuoso Tony Hymas on keyboards. Packed with vibrant riffs, the album unfolds through a solid and heavy repertoire of tracks, including standouts like "Savoy", "Sling Shot", "Big Block", "Stand On It", and "Guitar Shop". Beck also showcases his melodic side with a series of more hypnotic songs such as "Behind The Veil", "Where Were You", and "Two Rivers", displaying his virtuosity with smooth, ambient guitar solos. "Guitar Shop" won the Grammy Award for Best Rock Instrumental Performance, becoming his second award at that time, out of a total of eight he would achieve throughout his career.

Red Dirt-Red Dirt (1970)

Red Dirt was a British band formed in the late 1960s in Yorkshire, northeast England. They built a strong reputation for their spectacular concerts in clubs and pubs across the north of the country during 1969 and 1970. The band consisted of guitarist Kenny Giles, drummer Steve Jackson, bassist Kenny Giles, and the powerful vocals of Dave Richardson. Thanks to their success and the popularity of these concerts, they attracted the attention of various record labels, eventually signing a contract with the independent label Morgan Bluetown. With Morgan, they recorded their only album, which was distributed nationally by Fontana Records, albeit in a rather limited way and with minimal advertising. This single album was recorded at Morgan's London studios, where they spent twelve uninterrupted hours completing the recording and mixing. Composed of a series of songs focused on blues rock with hints of The Doors and The Magic Band, as can be heard in "Death Letter", "In The Morning", and "Problems", while the more rural sounds of Mississippi Delta blues are present in "Song For Pauline". On the other hand, "Ten Seconds To Go" and "Death Of A Dream" showcase a heavy blues rock side, and this dark album ends with the Hendrix-esque "Maybe I'm Right" and the boogie-rock track "I've Been Down So Long". Some time later, after finishing a tour across Great Britain supporting Mott The Hoople, the band returned to the recording studio for a second album that was never officially released and was later included as bonus tracks in a 2010 reissue of their only album on CD and vinyl. This single release is another of those LPs coveted by collectors, some of whom have paid small fortunes for an original copy of this obscure and lost Red Dirt record.

Mandrill-Just Outside Of Town (1973)

This album was the fourth by the African-American band Mandrill, their second release in 1973, and it continued their exploration of ethnic sounds adorned with funk, jazz, rhythm and blues, and Latin rhythms, styles they had already experimented with on their previous album, "Composite Truth". The album features an exciting mix of sounds driven by the horn section, as evidenced in the energetic funk track "Mango Meat". The fusion with exotic ethnic music is evident in "Never Die", the Caribbean-infused "Fat City Strut", and the melodic jazz-rock of "Africus Restrospectus". Other highlights include the jazzy "Love Song" and the Mediterranean-tinged instrumental "Aspiration Flame". While creatively a step below their earlier releases, this record remains a consistent and quite solid effort.

Toto-Isolation (1984)

In 1984, Toto returned with their fifth album, "Isolation", a work that already showed signs of a certain lack of creativity compared to their previous, multi-platinum recordings. To begin with, the band debuted a new singer, Fergie Frederiksen, who replaced Bobby Kimball, and a new bassist, David Hungate, who replaced Mike Porcaro. This brought the group's family dynamic to three brothers (four if we count Joe Porcaro, who appears here as a guest) as permanent members of Toto. The rest of the lineup remained Steve Lukather (guitars and vocals), David Paich (keyboards), Steve Porcaro (keyboards), and Jeff Porcaro (drums). These changes would result in a substantial shift in the band's characteristic style, steering their sound towards a much harder and more energetic direction. This shift is clearly evident in tracks like the opening "Carmen" and subsequent songs such as "Lion", "Angel Don't Cry", "Change of Heart", and "Isolation", which nevertheless retain the melodic elements so characteristic of the Californian band. On the other hand, the addictive and catchy "Stranger in Town" (which would become the album's hit) and "Holyanna," along with "Endless" and "How Does It Feel", are the tracks that most closely resemble Toto's usual and irresistible style.

UFO-Phenomenon (1974)

After two experimental albums brimming with psychedelic sounds infused with blues and hard rock, UFO had to reconsider their musical direction given the limited commercial success of both records. It was just after the release of their second album, "UFO 2: Flying", and while touring Germany, that vocalist Phil Moog, drummer Andy Parker, and bassist Pete Way were struck by the talent of a young guitarist named Michael Schenker. At the time, Schenker was playing with the up-and-coming band Scorpions, who had already released their debut album, "Lonesome Crow", which had established them as one of the most promising acts in the new wave of European hard rock. In a bizarre turn of events, Michael Schenker ended up joining the British group, replacing guitarist Bernie Marsden, who was temporarily filling in for Mick Bolton, who had left the band shortly before the aforementioned tour. With this new lineup, UFO recorded their third album during the final months of 1973 and the beginning of 1974 at Morgan Studios in London, produced by Ten Years After bassist Leo Lyons. It was released in March of that year by Chrysalis Records. On this third release, the band moved away from the heavy blues and space rock of their previous two albums, focusing their sound on Schenker's guitar prowess and brilliant hard rock songs. The album contains some of the tracks that would later become UFO anthems, such as the infectious "Doctor Doctor" and the powerful "Rock Bottom". In addition to these two formidable pieces, it also featured the energetic and psychedelic "Space Child", the hard-hitting rocker "Oh My", the complex "Built For Comfort", and the rhythmic "Too Young To Know". With “Phenomenon”, UFO ushered in a new era with a more carefree and intense style, as well as being more effective and dynamic, which would bring them many years of success with albums that would go on to enrich some of the golden pages of hard rock and heavy metal.

Asia-Aria (1994)

In 1994, Asia, led by Geoff Downes and John Payne, confirmed the melodic hard rock trend of their previous work with the release of their fifth album, "Aria", undoubtedly their heaviest and most energetic release to date. Although little remained of the early Asia sound, Downes' keyboards still possessed enough character to give this new release the band's signature sound. In addition to Payne (bass, guitars, and vocals) and Downes (keyboards), the band included drummer Michael Sturgis and guitarist Al Pitrelli, the latter undoubtedly the main architect of the album's power and vigor. Featuring another spectacular cover designed by Roger Dean, "Aria" showcases a range of tracks, from vintage pieces with the unmistakable sound of their early work, such as "Sad Situation", to energetic rock anthems like "Anytime", "Military Man", "Don't Cut The Wire", "Are You Big Enough?" and "Remembrance Day", thunderous ballads like "Feels Like Love", and tentative forays into progressive rock with "Desire" and the title track. While "Aria" doesn't quite surpass the creativity of their "classic" albums, it remains one of the most coherent and solid works in the legendary British band's discography.

Iron Maiden-Brave New World (2000)

In 2000, the classic Iron Maiden lineup returned, joined by Janick Gears, who had already played on the previous four albums. This marked the return of Bruce Dickinson and Adrian Smith, and also the return of the best progressive and epic heavy metal so characteristic of the British band. From the addictive "Wicker Man", with its captivating triple-guitar riffs and irresistible vocal choruses, to the epic "The Thin Line Between Love and Hate", the sextet of Bruce Dickinson, Adrian Smith, Janick Gears, Steve Harris, Nicko McBrain, and Dave Murray created another tremendous heavy metal album, a true masterpiece composed of fantastic songs with intricate instrumental arrangements and sublime progressive elements. In addition to the aforementioned songs, other highlights include the hard rock anthem "The Fallen Angel", the inspired "Ghost of the Navigator", the irresistible and memorable "Blood Brothers", the epic "The Nomad", and the sophisticated "Dream of Mirrors". With this twelfth album, Iron Maiden once again reached the pinnacle of their long career, evolving and progressing beyond their punk and metal roots, crafting another of their finest achievements within progressive heavy metal.

Someones Band-Someones Band (1970)

Someones Band is another of those strange bands that emerged in the late sixties with little impact beyond the release of a single album and little else. This one, however, is even stranger due to its unique and unusual history. Formed from an advertisement in Melody Marker, they recorded their only album in a single night session with an unknown independent producer and released it under the Decca Records label in a limited edition. This ephemeral group consisted of vocalist and percussionist Cecil James, drummer Woody Martin, guitarists John Coxen and Melvin Buckley, and bassist Terry Powney. Their sole album is a magnificent collection of progressive blues tracks, with hints of country and psychedelic sounds. Tracks like the opening “Country Ride”, a psychedelic blast complete with a drum solo, the progressive blues “How It Began”, the hypnotic “Blues For Brother E”, the psychedelic blues “Fourth I Wanna Go Where I Belong”, the country-tinged “Manhunt”, and the jazzy “Give It To You”, demonstrate that, despite not showcasing anything extraordinary or exceptional a common theme in many albums and groups of that era it is the sum of their entire repertoire that makes them unique and enduring. This magnificent collection of progressive blues rock from these Londoners has become another of those rare and coveted LPs for music lovers and fans of obscure bands from the 60s and 70s.

Guns´N´Roses-Your Illusion II (1991)

In 1991, Guns N' Roses made the unusual decision to release two double albums simultaneously, titled "User Your Illusion I & II", which astonished the world with their eclectic and visceral hard rock. With the same lineup as their previous albums, except for original drummer Steve Adler, who was replaced here by Matt Sorum, the rest of the band consisted of vocalist Axl Rose, guitarist Slash, rhythm guitarist Izzy Stradlin, bassist Duff McKagan, and keyboardist Dizzy Reed. On this second volume, highlights include the inspired "Civil War", one of Guns N' Roses' classic tracks, the epic cover of Bob Dylan's "Knockin' on Heaven's Door", the punk anthem "Shotgun Blues", the grandiose "Breakdown", the heartfelt ballad "Don't Cry" (in a different version than the one on the first volume), and the powerful rock anthem "You Could Be Mine". The subsequent commercial reception of both works resulted in much higher sales for "Use Your Illusion I", figures that currently approach thirty million, compared to the approximately twenty million of "Use Your Illusion II", but it would be the latter that reached the number one spot on both sides of the Atlantic in the charts, while volume one would not go beyond second place.

Iron Maiden-Live After Death (1985)

“Live After Death” was Iron Maiden’s first live album and would ultimately become their most representative live record and a masterpiece of heavy metal. Recorded during the tour following the 1984 album “Powerslave”, dubbed the “World Slavery Tour”, it symbolizes the peak form of a band already considered the most spectacular heavy metal band in the world, faithfully reflecting the power and force they wielded on stage. The tracks on this double album were recorded during several concerts in the United States and England and featured what is considered the band’s most stable, long-lasting, and successful lineup. In addition to bassist Steve Harris, the lineup included vocalist Bruce Dickinson, guitarists Adrian Smith and Dave Murray, and drummer Nicko McBrain. “Live After Death”, from its iconic cover art by renowned illustrator Derek Riggs, reveals a repertoire brimming with pure adrenaline, boasting an explosive arsenal of powerful tracks such as “Aces High”, “2 Minutes to Midnight”, “The Trooper”, “Revelations”, “Flight of Icarus”, “Rime of the Ancient Mariner”, “The Number of the Beast”, “Hallowed Be Thy Name”, “Sanctuary”, and “Phantom of the Opera”, all true anthems of Iron Maiden and heavy metal in general. The subsequent reception of this double live album was as phenomenal as its content, achieving countless number one hits worldwide and several platinum records for its multi-million sales.

Deep Purple - Perfect Strangers (1984)

In mid-1976, Deep Purple disbanded, just after the tour following the album "Come Taste the Band", and from then on, its surviving members focused on different projects. A year earlier, Ritchie Blackmore had founded his own band, Rainbow, and Ian Gillan had done the same with his Ian Gillan Band; both had left Deep Purple a few years prior. 

Meanwhile, Jon Lord and Ian Paice joined David Coverdale to found Whitesnake, and finally, Glenn Hughes and Tommy Bolin pursued different solo projects. Eight years later, Deep Purple's classic lineup, the so-called Mark II, the one that created such monumental works as "In Rock", "Machine Head", "Made in Japan", and "Fireball", reunited to record a new and highly anticipated album that generated immense excitement worldwide within the rock scene. This lineup, composed of the legendary Ritchie Blackmore, Ian Gillan, Ian Paice, Jon Lord, and Roger Glover, headed to Horizons Studios in Vermont and recorded Deep Purple's eleventh album, "Perfect Strangers". However, the sound departs somewhat from the characteristic style of the 70s, leaning instead towards the more modern sounds of the 80s, creating an elegant and understated work closer to classic rock than hard rock. The opening track, "Knocking At Your Back Door", is the best example of this, as is the concise "Under the Gun", while the party-ready "Nobody's Home" showcases the band's sound. the band's 80s sound. The Zeppelin-esque and epic "Perfect Strangers" is the high point, contrasting with the neoclassical tracks, heirs to Rainbow's sound, "A Gypsy Kiss" and "Hungry Daze", before ending with the breathtaking ballad "Wasted Sunsets". 

As expected, the album would achieve enormous worldwide success.

Budgie-Never Turn Your Back On A Friend (1973)

1973 was the year Budgie captured the attention of the rock world with their album "Turn Your Back On A Friend," a thunderous example of the best heavy rock of the early 70s. From the opening track, a true heavy metal anthem, "Breadfan," to the devastating and heavy hard rock track "You're the Biggest Thing Since Powdered Milk," the album explores paths that border on progressive sounds and the heavy metal cult following of contemporary bands like Black Sabbath.

Other standout tracks include the galloping "Baby Please Do Not Go" and the poignant "You Know I'll Always Love You," thus closing out a truly epic and memorable album from the Welsh band Budgie.

Dwayne Ford-Needless Freaking (1981)

We are looking at one of the gems of so-called West Coast rock, a style influenced by Californian melodic rock. "Needless Freaking" is the work of one of the most unknown musicians in Europe, but not in the United States and Canada, where he is originally from. His beginnings date back to the early 1970s, playing in bands like Los Nomads and working with Ronnie Hawkins' band. Throughout that decade, he recorded several albums, including "Friends With Bearfoot" (1973) and "Passing Time" (1975). In the early 1980s, Ford surrounded himself with a great lineup of musicians from the genre, such as the members of Toto: Mike Porcaro, Steve Lukather, and Jeff Porcaro, the group Airplay, and the renowned musician David Roberts, among many others. From these friendships and collaborations emerged "Needless Freaking", a perfect album of Californian sounds, characterized by great elegance, perfection, and sophistication. Songs like the exquisite "Lovin' and Losin' You", "The Best Will Survive", and "Am I Ever Gonna Find Your Love", the soulful "Stranger in Paradise", and the rocking "The Hurricane" and "Midnight Ride" make up a work as delightful as it is superb, a prime example of top-notch AOR. Although he would continue to release sporadic albums in the following years, this guitarist, singer, keyboardist, and composer would dedicate himself to composing film scores, in addition to working as a sought-after session musician for countless artists on the American West Coast.

The Pentangle-Basket Of Light (1969)

The Pentangle were one of the first English bands to fuse British folk with jazz and blues, at a time when the term "prog-folk" didn't yet exist, when they released their debut album. Founded in the mid-sixties by two of the greatest guitarists in acoustic folk, John Renbourn and Bert Jansch, both already had significant solo careers before joining forces for this project. Folk singer Jacqui McShee, who had already collaborated with Renbourn on his first album, also joined them, and along with former members of the Alexis Korner Blues Band, Terry Cox (drums) and bassist Danny Thompson, completed the lineup of The Pentangle. In 1968, their first album arrived, a masterful blend of jazz and folk fused with elements of blues. That same year, their second album, "Sweet Child", was released a double LP containing studio and live tracks, notably Charlie Mingus's compositions "Haitian Fight Song" and "Goodbye Pork Pie Hat". A year later came the album we're discussing here, "Basket of Light", their masterpiece, where they achieved the perfect balance between traditional folk songs and their jazz and blues style, all infused with medieval musical influences, resulting in a more cohesive sound than "Sweet Child". An album that, starting with its famous cover, which shows the band performing in a packed Royal Albert Hall, arrived at the height of their popularity. “Basket of Light” opens with one of the group's signature songs, “Light Flight”, a complex piece on which McShee lends his superb vocals. The traditional “Once I Had a Sweetheart” showcases Renbourn's virtuosity on the sitar, while “Spring Time Promises” is another elaborate composition, this time featuring Jansch on lead vocals. After the traditional jazzy “Like Wake-Up Call”, arranged for three voices, comes the somber “Hunting Song”, another popular composition, which gives way to the bluesy “Trian Song”, a superb piece with a development between accelerated and slowed rhythms, featuring McShee's vocals. Meanwhile, “Sally Go Round The Roses”, a composition by Phil Spector, is the most cheerful track with a style closer to funk, ending with the medieval “The Cuckoo” and “House Carpenter”, thus closing an album of great timeless beauty and one of the masterpieces of British jazz-folk-blues of all time.

Ozzy Osbourne-Blizzard Of Ozz (1980)

When Ozzy Osbourne was kicked out of Black Sabbath in the late 1970s due to his drug addiction and near-total withdrawal from the band's decision-making, many questioned whether the singer could even embark on a respectable solo career. However, after overcoming a severe depression following his father's death and the sad end of his original band, Ozzy partially recovered from his addictions and signed a contract with Jet Records. Determined to launch his own solo career, he formed a band comprised of Uriah Heep drummer Lee Kerslake, former Rainbow bassist Bob Daisley, former Rainbow keyboardist Don Airey, and Quiet Riot guitarist Randy Rhoads. With this formidable lineup, they recorded the spectacular "Blizzard of Ozz", which, unlike his work with Black Sabbath, showcased a more versatile and ingenious style of heavy metal. This album revealed to the world the talent of a sensational guitarist like Randy Rhoads and cemented Ozzy's status as a heavy metal superstar. Singling out just one track from "Blizzard of Ozz" is virtually impossible; its repertoire is simply sensational, featuring a series of songs that are all heavy metal classics, such as "I Don't Know", "Crazy Train", "Suicide Solution", "Mr. Crowley", "No Bone Movies", and "Steal Away". "Blizzard of Ozz" became one of the best-selling albums of the 1980s, with over seven million copies sold worldwide, and is considered an absolute masterpiece of heavy metal.

Van Der Graaf Generator-Present (2005)

After Van Der Graaf Generator disbanded in the late seventies, all the members (Peter Hammill, Hugo Banton, David Jackson, and Guy Evans) remained in regular contact, working together on various projects and performing throughout the 1990s. Finally, in mid-2004, they decided to revive the band and began composing new material. A year later, they released their first album in twenty-five years, "Present", a work that, in some ways, harks back to the days of the legendary "Pawn Hearts", with a more modern and updated sound. Released as a double album, the record opens with ambient music adorned with cymbals and flute, before welcoming Peter Hammill's powerful vocals. The track sounds like it could have been lifted from any of their seventies albums, showcasing the band's classic, high-intensity sound. Despite not reaching the intensity of the previous "Nutter Alert", it follows a similar musical pattern, while the fascinating "Boleas Panic", an amazing instrumental written by David Jackson, the melodic and dark "On The Beach" or the avant-garde "Abandon Ship", are the prelude to a second disc where the challenging improvisations lead us through cathartic and inaccessible paths, with pieces that are truly raw and difficult to digest on a first listen.

Iron Maiden-No Prayer For The Dying (1990)

In 1990, Iron Maiden experienced their first setback with their eighth album, "No Prayer For The Dying", which signaled a certain creative exhaustion on the part of the British band. However, "No Prayer For The Dying" cannot be considered a bad album; the problem lies in the fact that it lacks the usual musical hallmarks of their previous releases, it must be said, considered masterpieces of heavy metal. An important, though not crucial, factor was the change of guitarist. Adrian Smith was no longer with the band, and although he was never one of the main songwriters, his instrumental presence was fundamental to the group's final sound. His replacement was Janick Gers, a very good guitarist, and it would be unfair to blame him for the mediocrity of this new work. Unlike all their previous albums, none of their classic songs appear here, although it does contain some stellar moments such as the complex "Mother Russia" or the concentrated energy of the powerful "Tailgunner". However, the rest suffers from a certain predictability and indolence, as seen in the mediocre hard rock tracks "Holy Smoke", "Bring Your Daughter", and "Hooks In You", the dynamic "No Prayer For The Dying", and the respectable heavy rock "Run Silent Run Deep". The alarming lack of epic scope and the usual grandiloquence would creatively relegate this album to obscurity compared to everything they had done up to that point, although commercially it would once again achieve considerable success, selling over a million copies worldwide still far below their previous releases.