Stevie Ray Vaughan and Double Trouble-Soul To Soul (1985)

With his second album, Stevie Ray Vaughan confirmed that the success of his debut was no fluke, showcasing his guitar prowess and genius as one of the greats of modern blues. With his third release, "Soul to Soul", now fully established, he took a risk by infusing his classic blues style with touches of funk, jazz, soul, and rhythm and blues. By then, Stevie had expanded his band, Double Trouble, with keyboardist Reese Wynans and saxophonist Joe Sublett, who joined regulars Chris Layton on drums and bassist Tommy Shannon. Tracks like the soulful "Change It", the jazzy "Gone Home", and the funky "Say What" clearly demonstrate this subtle shift, yet they remain firmly rooted in the essence of the blues. On the other hand, roots blues is present in Hank Ballard's versions of "Look a Little Sister", Earl King's "Come On (Part III)", and Willie Dixon's "You'll Be Mine". With "Soul to Soul", Stevie Ray Vaughan achieved his fifth consecutive platinum record, in addition to reaching the top of the Billboard Blues charts in the United States.

Black Sheep-Black Sheep (1975)

Black Sheep was a short-lived American hard rock and blues rock band from the mid-1970s, based in Rochester, near New York City. They are known for being one of the first bands to feature vocalist Lou Gramm, who would later front one of the greatest melodic rock bands, Foreigner, for the next two decades. But before that, Black Sheep had already released the hit single "Stick Around" in 1974, and a year later their self-titled album, "Black Sheep". They then released the band's epilogue, "Encouraging Words", in late 1975. Lou Gramm did not appear on this last album, having left after being recruited by guitarist Mick Jones to join Foreigner in mid-1976. At that time, Black Sheep consisted of Donald Mancuso (guitar), Larry Crozie (keyboards), Ron Rocco (drums), and Bruce Turgon (bass), in addition to Lou Gramm on vocals. It was in this band that Lou Gramm honed the impressive vocal skills that would later make him one of the greatest vocalists in AOR, as demonstrated on Foreigner's first two multi-platinum albums. In this debut with Black Sheep, Gramm displays evident and impeccable vocal mastery on tracks like "Piano Interlude / Let Me Stay", which helped Black Sheep begin to gain some notoriety in the clubs of Rochester and New York. But in addition to this magnificent piece, the band showcases its talent with high-caliber tracks such as the blues-rock anthems "Payin' Yer Dues", "A Little or a Lot", and "Freight Train", or the melodic "Broken Promises" and "Far Side of the Sun", while the sublime "Woman" is a nod to the powerful sound of the enduring Free. After their second album, Black Sheep disbanded, with Don Mancuso and Ron Rocco joining Cheater, an obscure local hard rock band. Cheater released an album titled "Ten Cent Love Affair" in 1980, which received little media attention. Later, bassist Bruce Turgon played on Lou Gramm's solo albums, "Ready Or Not" (1987), which also featured Don Mancuso, and "Long Hard Look" (1989). In the mid-1990s, Turgon officially joined Foreigner, replacing bassist Rick Willis, and recorded the band's eighth album, "Mr. Moonlight".

Tomita-Firebird (1976)

Influenced by works such as Wendy Carlos's "Switched-On Bach", an album that popularized synthesizer sounds in 1968, Isao Tomita is a legendary and influential Japanese musician who showcased the possibilities of modern synthesizers for reproducing all kinds of sounds worldwide. Born in Tokyo in the early 1930s, he studied composition, orchestration, and music theory, as well as art history, at Keio University in Tokyo. In the mid-1950s, he began his career as a composer for film, television, and theater, including composing the main theme for the Japanese gymnastics team at the Melbourne Olympics. In the 1960s, he developed an interest in electronic music, spurred by the work of Wendy Carlos and engineer Robert Moog. His first electronic music album, "Snowflakes Are Dancing", was released in 1974 and is considered a cornerstone of the genre. Nominated for several Grammy Awards, this would be the definitive boost that launched his career to worldwide acclaim with numerous albums, including soundtracks, television series scores, and solo releases. Many of his albums are electronic versions and adaptations of well-known classical pieces by Igor Stravinsky, Claude Debussy, Modest Mussorgsky, and Gustav Holst. Albums such as "Pictures at An Exhibition", "Holst: The Planets", "Firebird", and "The Bermuda Triangle" are recorded in a highly complex manner using what would be called "Pyramid Sound", a quadraphonic soundscape impossible to encode on a conventional LP. Throughout the rest of his artistic career, Tomita dedicated himself to composing classical pieces, arranging, and producing timeless, innovative, and avant-garde melodies, which remain benchmarks in the music industry today. He received several more Grammy Award nominations and is considered one of the musical pioneers of the digital age.

The Mick Abrahams Band-A Musical Evening With Mick Abrahams (1971)

Mick Abrahams is best known as one of the founders of the British band Jethro Tull in 1967, with whom he released the album "This Was" in 1968. However, Abrahams's musical career had its roots some time before, participating in various R&B bands such as The Hustlers, The Toggerty Five, and Screaming Lord Sutch. By 1968, Jethro Tull had already earned a huge reputation based on Abrahams's distinctive blues guitar and the captivating flute and fierce stage presence of Ian Anderson. Jethro Tull's original blend of blues, jazz, and rock was reflected in the aforementioned "This Was", which achieved almost immediate success on the UK charts. However, the strong charisma of its two leaders and a different musical approach led to Abrahams' departure at the end of 1968. Some time later, Mick Abrahams founded a band of his own making called Blodwyn Pig, where he gave free rein to his passion for authentic blues, leaving behind the forays into folk and jazz sounds of his previous band. With this band, the excellent albums "Ahead Rings Out" (1969) and "Getting To This" (1970) were released. But, as fate would have it, both albums went unnoticed, despite containing an exquisite repertoire of great songs focused on blues, rock, and R&B. After this venture ended, Abrahams founded The Mick Abrahams Band, recruiting drummer Ritchie Dharma, keyboardist Bob Sargeant, and bassist Walt Monaghan. With this new band, he released two more excellent albums, "A Musical Evening With Mick Abrahams" and "At Last", which enjoyed some success on the blues-rock circuit throughout Europe. However, this time, the lack of support from his record label, Chrysalis, hampered his ability to achieve sufficient promotion to secure success in England and the United States. Disillusioned, Mick Abrahams decided to leave the music business in the mid-1970s. Focusing on his album "A Musical Evening With", Abrahams showcased his considerable skills on the guitar, along with brilliant and effective compositions such as the opening track, "Greyhound Bus". In this track, the infectious rhythm of funky sounds, accompanied by soaring guitar riffs, shines alongside Bob Sargeant's dense keyboard work. In "Awake" progressive sounds are faintly foreshadowed by its dark atmosphere, a subdued voice, and the instrumental prowess of the entire band. Meanwhile, the acoustic "Wind Of Change" approaches the folk sounds of CSN with some good vocal melodies. Blues rock peeks through in "Why Do You Do Me This Way" and in the accelerated "Big Queen", to end with the extensive "Seasons", a progressive blues rock where the keyboards, the sharp guitars, and the hypnotic sounds make it the best track on the album.

Van Der Graaf Generator-Godbluff (1975)

After a four-and-a-half-year hiatus, Van Der Graaf Generator reunited and dedicated themselves to composing and recording a series of tracks that would appear on the albums "Godbluff" in 1975 and "Still Life" the following year. This time they moved away from the sonic violence, passionate lyrical imagery, and delirious melodic lines of their previous album, "Pawn Hearts" (1971), and turned towards shorter, more intricate pieces, though retaining the same sonic aggression. Here, too, Peter Hammill's guitar playing becomes progressively more prominent, while Banton, Jackson, and Evans continue to display their jazz leanings in their fluid and precise handling of their instruments. "Godbluff" consists of four tracks, beginning with the crescendoing "The Undercover Man", a solid cut that superbly balances keyboard and horn sounds, making it a great starting point. The following track, "Scorched Earth", displays a more symphonic orientation, with a grand interlude and an incredible final section, which for many is the quintessential VDGG sound. The jazzy tour de force "Arrow" showcases the band's typical aggression, which contrasts with the album's closer, "The Sleepwalkers", a track that displays sustained joy over a martial rhythmic pattern with hints of Latin jazz and rhythm and blues. A year later, the band released "Still Life", which followed a similar stylistic pattern; not surprisingly, it was largely composed at the same time as the material on this anthological and essential album, "Godbluff".

Blue Murder-Blue Murder (1989)

Guitarist John Sykes' contribution was fundamental to the success of Whitesnake's album "1987", a record that would become a landmark in hard rock history. However, after the album's release, Whitesnake frontman David Coverdale dismissed Sykes, and the exact reasons for this decision remain unknown to this day. Almost immediately, the guitarist formed the power trio Blue Murder, alongside the versatile bassist Tony Franklin and the renowned drummer Carmine Appice, two musicians with extensive careers behind them, having worked with legendary bands such as Cactus, KGB, Vanilla Fudge, Glenn Hughes, Jimmy Page, and David Gilmour, among many others. Produced by Bob Rock and released by Geffen Records, this debut album echoes the Whitesnakes of "1987", with guitars that sound identical, a crushing rhythm section, and a series of songs that seem lifted straight from that iconic album. Tracks like the Zeppelin-esque hard rock of "Sex Child", the glorious "Valley of the Kings", the thunderous "Jelly Roll", the powerful "Ptolemy", and the haunting "Black Hearted Woman" are part of an excellent and sweeping album. However, despite achieving gold status in the North American market, the expected success did not live up to the initial expectations placed on this power trio.

Winterhawk-There And Back Again (1979)

Winterhawk was an arrogant hard rock band from the late seventies that had nothing to envy in their more mainstream contemporaries. Hailing from Chicago, this band would only release one album in 1982, but long before its release, they played a series of concerts at Chicago's Aragon Ballroom between 1977 and 1978, which were rediscovered and reissued in 2002 as "There and Back Again". The Winterhawk lineup consisted of guitarist Jordan Macarus, bassist Doug Brown, guitarist Steve Brown, and drummer Steve Tsokatos. During those years, thanks to their incendiary live performances, they were in demand to open for top-tier bands such as Black Oak Arkansas, Steppenwolf, and Budgie, among others. Some of the songs performed at this live show ended up on the aforementioned and only album, released four years later, titled "Revival". This spectacular live recording showcases the immeasurable mastery of Jordan Macarus on the six strings, delivering tons of riffs and guitar solos, while the rest of the band displays a muscular instrumentation of power and force. Powerful and energetic hard rock tracks like "Sanctuary", "In The Wake Of Things Yet to Come", "Hammer And The Axe", "Creatures Of The Sea", and "Off The Bat" make up this colossal recording. "There and Back Again" is, without a doubt, one of the essential albums for all lovers of the dark and forgotten classic hard rock of the 70s.

Wet Willie-Wet Willie (1971)

Wet Willie is another iconic Southern rock band from Alabama. Their beginnings date back to the early 1970s when drummer Lewis Ross brought together several musicians to initially form a band called Fox in Mobile. These musicians were vocalist and harmonica player Jimmy Hall, guitarist Ricky Hirsch, keyboardist John David Anthony, bassist Jack Hall, and backing vocalist Donna Hall. After many months of playing gigs in clubs in their hometown, the band decided to move to Macon, Georgia, the heart of Southern rock and home to the legendary Capricorn Records label. In 1971, thanks to some excellent shows as the opening act for The Allman Brothers Band, Capricorn Records produced their self-titled debut album, "Wet Willie", which showcased their distinctive Southern style infused with funk, gospel, and boogie rock. This first album featured the powerful rock tracks “Dirty Leg” and “Spinning Round,” the commercial and gritty “Low Rider”, the funky “Rock and Roll Band”, and the powerful boogie-rock anthem “Shame, Shame, Shame”. From then on, Wet Willie would go on to record seven more studio albums between 1971 and 1979, achieving a surprising top ten hit with their third album, “Keep On Smilin’ ”, in 1974, in addition to several live albums and compilations. At the end of 1976, Wet Willie received the United States Music Award at the Alabama Music Hall of Fame. Then, in 2014, the band was inducted into the Georgia Music Hall of Fame for their outstanding contributions to rock music, and Southern rock in particular.

John Fogerty-Wrote a Song for Everyone (2013)

More than forty years after leaving Creedence Clearwater Revival, the charismatic John Fogerty returns to the stage with a new album featuring some of his iconic songs alongside the legendary American band. This time, the guitarist enlists a series of renowned singers to create a work that playfully and engagingly revisits contemporary classics such as "Fortunate Son" sung by Dave Grohl (Foo Fighters), "Have You Ever Seen the Rain" with Alan Jackson, "Who'll Stop the Rain" sung by the incomparable Bob Seger, "Lodi" with his sons Shane and Tyler Fogerty, "Born on the Bayou" sung by Kid Rock, and "Bad Moon Rising" with the Zac Brown Band. In each of these renditions, the unique voices of the singers lend a highly personal touch to the songs, yet despite all this, they don't quite surpass the legendary originals.

George Winston-Autumn (1980)

New age musicians tend to avoid the charts and media attention; their music is generally designed for a small audience seeking profound, minimalist listening experiences. However, some artists have transcended this barrier, achieving worldwide success. Andreas Vollenweider, Nightnoise, David Arkenstone, Michael Hedges, and George Winston, the musician we're discussing today, are prime examples. Winston's formula is simple: his exceptional piano talent and deep emotional sensitivity. His career began in the early 1970s with the release of his debut album, "Piano Solos" (1972), which went largely unnoticed. Years later, a demo tape of his ended up in the hands of William Ackerman, who had founded Windham Hill, a label specializing in new music. Ackerman produced George Winston's second album, "Autumn", which quickly became one of the most successful new age albums of all time. "Autumn" is composed of a repertoire that evokes in the listener moods very close to autumnal melancholy, making it, in a way, a kind of therapeutic album. Two years later, George Winston released "Winter Into Spring" and "December", which completed an excellent trilogy of new age music, and like "Autumn", became resounding worldwide hits and two essential references of this musical genre.

Ashbury-Endless Skies (1983)

Ashbury are another of those forgotten bands, buried in time, who released a legendary debut album in 1983, a true gem for fans of classic 70s hard rock. Related to the epic sound of Wishbone Ash, the vocal melodies of the Eagles or CSN, and the prog-folk mysticism of Jethro Tull, this band was actually a duo founded in Tucson, Arizona by brothers Randy and Rob Davies, both guitarists and singers. They founded Ashbury (not to be confused with the alternative rock band of the same name formed in 2005) after the breakup of the southern rock band Rigid Spur, in which Randy Davies played, in the late seventies. Once Rigid Spur disbanded, some of its members founded Ashbury South, where Rob Davies served as lighting technician. In the following years, the band gained a strong reputation in Arizona, performing in clubs and concert venues, and even winning a prestigious award from a Phoenix radio station for best live band in the entire state. By 1980, the Davis brothers decided to go solo and planned to record an album, using material they had been writing together over the past few years while with Ashbury South. The album that would finally be released in 1983, titled "Endless Skies", earned them another important award. This time, a famous Phoenix radio station proclaimed it the best rock album of 1983. "Endless Skies" is composed of a clever blend of southern rock, hard rock, and sounds very close to heavy metal with slight progressive touches, as demonstrated in "The Warning", where they show their inclination towards the heavier side of Jethro Tull, while in the melodic "Take Your Love Away", the epic, guitar-driven sounds of Wishbone Ash emerge. The heavy rock track "Vengeance", the country rock song "Madman", the epic and progressive "Hard Fight", and the southern-tinged "Mystery Man" make up an album as brilliant as it is classic. Special mention must be made of the title track of the album, a magnificent exercise in progressive and dynamic hard rock, where disparate influences are accommodated, with great vocal harmonies, delicate and melodic moments and the heavy heavy rock of the late 70s.

Atomic Rooster-Made In England (1972)

The fourth album from British progressive rockers Atomic Rooster marked another shift in direction, both stylistically and in terms of personnel. While Vincent Crane remained at the helm, this time the band featured a new vocalist: Chris Farlowe, a singer with a solid background in soul and R&B. Rick Parnell on drums and Steve Bolton on guitar completed the lineup for this new incarnation of the band. Musically, the group took a nearly radical turn towards funk, soul, and hard rock, while remaining true to their signature sound. "Made In England" kicks off with the brutal riffs and frenetic rhythm of the progressive "Time Take My Life", followed by other brilliant tracks such as the spacey "Space Cowboy", the soul-rock anthems "Stand By Me" and "People You Can't Trust", the heavy hard rock "Never To Loss", the southern rock "All In Satan's Name", and the soul-funk rock "Don't Know What Went Wrong". Although they moved away from the progressive influences of their first three albums, "Made In England" remains a highly enjoyable work, offering a diverse selection of songs with occasional progressive elements, but primarily focused on soul and funk rock sounds.

Lowell George-Thanks, I´ll Eat It Here (1979)

Lowell George is undoubtedly one of the icons of American roots music. A singer, multi-instrumentalist, and producer, he rose to fame after his time with Frank Zappa's Mothers of Invention and for leading the enduring Little Feat for almost a decade. Instrumentally, he was known for his skill with the slide guitar, but he also mastered other instruments such as the harmonica, saxophone, flute, and guitar. With Little Feat, he released a series of great works, including his self-titled debut album, and subsequent releases like "Sailin' Shoes", "Dixie Chicken", and "The Last Record Album", not to mention the double live album "Waiting for Columbus", a true classic of live recordings. It wasn't until the late 1970s that he decided to release his first solo album, "Thanks, I'll Eat It Here", showcasing his diverse musical style, alternating original songs with covers of artists like Allen Toussaint and Rickie Lee Jones. "Thanks, I'll Eat It Here" demonstrates the enormous range of Lowell George's musical sounds, as evidenced in the track "What Do You Want The Girl To Do", which confirms his New Orleans influences. His covers of Rickie Lee Jones' "Easy Money," Ann Pebbles' "I Can't Stand The Rain", and Jimmy Webbs' "Himmler's Ring" are brilliantly adapted to his eclectic and versatile style. His own compositions are also captivating, as demonstrated in the tracks "Two Trains" and "Twenty Million Things". For the recording of this album, Lowell George had enlisted the collaboration of some of the cream of the crop of West Coast music, including David Foster, Bonnie Raitt, Nicky Hopkins, Jim Price, Michael Baird, and Jim Keltner, among many others. After the album's release, Lowell George formed a band to promote it with a series of concerts across the United States, while simultaneously announcing the definitive breakup of Little Feat. But he barely had time to begin the tour; on June 29, 1979, he died of a sudden heart attack, leaving an irreplaceable void in American music. Later, a tumultuous tribute concert was held in his honor at the Forum in Los Angeles, featuring his band Little Feat, Bonnie Raitt, Jackson Browne, and Linda Ronstadt, among others. In subsequent years, several tribute albums to Lowell George have been released, such as "Rock'n'Roll A Tribute Lowell George", featuring artists like Randy Newman, Eddie Money, and J.D. Souther, while other artists like The Black Crowes and Van Halen have made reinterpretations of his songs, and others like Christopher Cross dedicated songs to him, such as the famous and well-known "Ride Like The Wind".

The Dirty Blues Band-Stone Dirt (1968)

The Dirty Blues Band was a blues rock band founded in Riverside, California, in early 1967 by vocalist and harmonica player Rod Piazza. They released two superb albums, "Dirty Blues Band" (1967) and "Stone Dirt" (1968), which were highly acclaimed by fans of the genre. This legendary band consisted of guitarist Glenn Roos Campbell, organist Pat Malone, drummer John Milliken, bassist Less Morrison, and steel guitarist Robert Sandell, in addition to the aforementioned Rod Piazza. In 1967, under the Bluesway label, they released their first album, which fused blues with jazz elements and sounds of funk and soul, all underpinned by Piazza's energetic vocals and harmonica playing. That first album featured the blues-funk track "Checkin' Up On My Baby", the jazzy "New Orleans Woman", and magnificent covers of Elvis Presley's "Hound Dog" and Sonny Boy Williamson's "Don't Start Me To Talkin' ". A year later came "Stone Dirt", released by the same record label, which contained an irresistible repertoire including the boogie-blues "Bring It On Home" and "My Baby", the lilting blues (a John Lee Hooker cover) "It's My Own Fault", the rhythm and blues "I Can't Quit You Baby" and "Tell Me", the rock and roll "She's The One", and the hypnotic "Sittin' Down Wonderin' ". After this album, Piazza definitively disbanded the group and formed another similar one called Bacon Fat, with whom he released the monumental "Tough Dude" in 1971, another outstanding example of electric blues, which was duly reviewed some time ago on this blog.

Def Leppard-Pyromania (1983)

This is one of the essential heavy metal and hard rock albums of the 80s, an irresistible blend of metal, pop-rock flourishes, and catchy, utterly captivating sounds. “Pyromania” was the third album by the British band Def Leppard, produced by Mutt Lange and recorded throughout much of 1982 at Park Gates Studios in London. In this new release, the Sheffield band cleverly moved away from the forceful and aggressive hard rock sound of their earlier work, crafting a much more accessible and infectious album of great melodic heavy metal-pop songs. Appealing tracks like the energetic “Rock! Rock! (Till You Drop)”, “Photograph”, “Foolin’ ”, “Rock of Ages”, and “Billy’s Got a Gun” brilliantly and effectively fused pop and metal. Meanwhile, tracks like "Too Late For Love" and "Comin' Under Fire" showcased another of the band's great strengths: creating seductive ballads and addictive mid-tempo songs. These, along with their previous work, were staples on FM radio stations around the world during the 1980s. A number two spot on the Billboard charts and over fifteen million copies sold worldwide confirm this as one of heavy metal's masterpieces.

Pot Liquor-Levee Blues (1971)

Pot Liquor was a short-lived band from Baton Rouge, Louisiana, who released several albums with a distinct boogie blues and southern rock sound during the early 1970s. Their initial lineup consisted of George Ratzlaff on keyboards and vocals, guitarist Les Wallace, drummer Jerry Amoroso, and bassist Guy Shaeffer. After their debut album, "First Taste", released in 1970, which was well-received in the southern states, they released "Levee Blues" a year later. Considered their best work, this album expanded their characteristic southern rock sound with elements of country, blues, and gospel. Ratzlaff's vocals and organ, along with the inclusion of a group of female backing vocalists, lend a unique gospel touch to the album's closing tracks. The lively tracks “Cheer”, “River Jordan”, “The Train”, and “Chattanooga”, along with the heavy, hypnotic blues of “Rooster Blues” and the magnificent covers of The Beatles’ “Lady Madonna” and Linda Ronstadt’s “You’re No Good”, are the highlights of an interesting but forgotten album of the best Southern rock. However, despite its quality and exquisite production, it failed to achieve the desired commercial success. Nevertheless, the band continued to perform concerts for quite some time throughout Louisiana, enjoying a good reception from the public, something that didn't do much to ensure the band's continuation, and Pot Liquor finally disbanded a few years later.

Rainbow-Down To Earth (1979)

After the album "Long Live Rock 'n' Roll", Ronnie James Dio left Rainbow due to disagreements with Ritchie Blackmore (Dio would soon join the reformed Black Sabbath), so the guitarist had to hurry to find another vocalist to continue with his band. The chosen one was Graham Bonnet, an odd choice since he was a very different singer from Dio, with a less diabolical and heavy metal look than the little elf. At this point, Blackmore wanted to enter the new decade with a lighter, less baroque, and more American sound, hence his controversial choice, and Dio's epic voice didn't quite fit that direction. Along with Roger Glover, Don Airey, and Cozy Powell, this lineup recorded the album "Down to Earth", considered by many to be the group's last great work, without in any way diminishing the magnificent "Bent Out of Shape" with Joe Lynn Turner on vocals, released years later. The Glover-Blackmore duo composed all the songs except the hit "Since You've Been Gone", a Russ Ballard composition. The set list includes great tracks such as the superb "All Night Long" with its frenetic riff, making it a lively song and a classic for the band. It is followed by the dense "Eyes Of The World", the spectacular "Makin' Love", the bluesy "Love's No Friend", the addictive "Since You've Been Gone", the commercial hard rock "Danger Zone", and the accelerated "Lost in Hollywood", which close a spectacular album by Ritchie Blackmore and his band.

Megadeth-Youthanasia (1994)

By the mid-nineties, Megadeth were already immersed in the shift that marked their renewal of thrash metal towards a more accessible sound, without completely abandoning that style, but now firmly established within a more conventional heavy metal framework. If the band had already showcased their heavier side on the previous and surprising "Countdown to Extinction", on the following album, "Youthanasia", they went a step further, creating a much more accessible work, slowing down their breakneck speed and featuring more polished and melodic vocals. At that time, the band, led by guitarist Dave Mustaine, consisted of the same lineup as their three previous albums: Marty Friedman (guitar), Nick Menza (drums), and David Ellefson (bass). Before recording this album, the band was under immense pressure, due in part to the success of "Countdown to Extinction" and the almost Solomon-like decisions of their frontman, Mustaine, who maintained near-total control over the songwriting process. Ultimately, all members participated in every song on this new record. "Youthanasia" is a pivotal album in the band's evolution, featuring some great tracks, most notably the thrilling "I Thought I Know It All", the exhilarating "Reckoning Day", the dark "Addicted to Chaos", the commercially appealing "Elysian Fields", the splendid mid-tempo "A Tout Le Monde", and the heavy and powerful "Family Tree".

Majic Ship-Majic Ship (1970)

This is one of those albums that garnered more attention after the band had already broken up than when it was originally released in 1970 on the Bel-Ami label. This was due to the album's limited initial pressing, which meant that only a small audience could acquire this outstanding psychedelic rock release. Maji Ship consisted of singer Mike Garrigan, lead guitarist Phil Polimeni, rhythm guitarist Tommy Nikosey, drummer Rob Buckman, and bassist/organist Gus Riozzi. They hailed from New York City, where they formed in late 1966. However, despite their acclaimed concerts and several hit singles, it wasn't until 1970 that they secured a serious contract with Bel-Ami Records. This debut and only album is dominated by psychedelic rock, hard rock influences, and pop sensibilities, all wrapped in powerful, choppy, fuzz-driven guitar riffs and organ sounds. The powerful “Nightmare”, the vibrant instrumental “Cosmo’s Theme”, the exhilarating “Life’s Lonely Road”, and the jam version of Neil Young’s “Down By The River” are highlights of a release that deserved far more success than it received.

Wild Turkey-Battle Hymn (1971)

In 1970, bassist Glenn Cornick left Jethro Tull, with whom he had recorded the formidable albums "This Was", "Stand Up", "Benefit", and "Living in the Past", and with whom he had played from 1968 to 1971, being considered the best bassist to have ever been part of the legendary British band. In early 1971, he formed his own band, Wild Turkey, in which he moved away from the blues and progressive folk style of the group led by Ian Anderson. For this new venture, Cornick recruited vocalist Gary Pickford-Hopkins, drummer John Weathers, and guitarist Jon Blackmore. However, in the middle of recording their first album, Jeff Jones replaced Weathers on drums, who left to join Gentle Giant. Wild Turkey would go on to release two interesting albums that achieved little commercial success, but their debut was nonetheless a good example of the hard rock being made in the British Isles at the time of its release. "Battle Hymn", as this first album is titled, is a work geared towards the powerful sound of hard rock with certain progressive elements, as demonstrated in tracks like the biting "Twelve Streets of Cobbled Back" and "One Sole Survivor", the passionate "Sentinel", the commendable "Butterfly", the bucolic "To The Stars", and the melodic "Sanctuary" and "Gentle Rain". After this first album, the band released the modest "Turkey", which marked the end of the group's run. Later, some of its members went their separate ways, such as Cornick himself, who would end up joining the German band Karthago, while Gary Pickford-Hopkins would actively participate as a vocalist in Rick Wakeman's albums "Journey to the Centre of the Earth" and "The Myths and Legends Of King Arthur and the Knights of The Round Table", among other collaborations, and finally Jeff Jones would end up joining the psychedelic and avant-garde rock group, Man.

Orang-Utan-Orang-Utan (1970)

Orang-Utan is another of those obscure British bands from the early 70s with a story as bizarre as it is unheard of. Originally called Hunter, this band had built a considerable reputation on the pub and gig circuit in North London in the late 60s. Their lineup consisted of Terry Clark (vocals), Mick Clarke (guitar), Sid Fairman (guitar), Paul Roberts (bass), and Jeff Seopardie (drums). With a style that straddled acid rock and heavy rock, tinged with the prevailing psychedelia of the time, following in the footsteps of leading bands like The Jimi Hendrix Experience, Led Zeppelin, and Cream, they soon attracted attention for their undeniable talent and skill. In 1970, they managed to record a self-financed album, produced by Roy Thomas Baker, a seasoned producer who would later become famous as the sound engineer for albums by Queen, Journey, and Hawkwind, among many others. Once the album was completed, and while waiting for a record deal, the original master tapes were stored in the recording studios for later official release. However, shortly afterward, the original tapes were stolen from the studios where they were stored and ended up in the hands of a man named Adrian Miller, who claimed credit for the album's production and sold the rights to Bell Records for release. Before doing so, he even changed the band's name to Orang-Utan and designed a cover that, frankly, looks like the work of an elementary school child. Shortly after, the band accidentally discovered that their album had been released without their consent and, to make matters worse, under a different name. This strange episode precipitated the group's dissolution shortly afterward, as they received no royalties from the released album and were financially driven to bankruptcy after investing all their money in its recording. This unique and unusual album was released only in the German and American markets, another misfortune for the group, as they couldn't even see it released in their home country. This fact also hampered their attempts to claim the rights to the released material. Musically, this obscure and lost album showcases the great talent of vocalist Clarke, fabulous guitar riffs, and brilliant and effective compositions, as demonstrated in the powerful "I Can See Inside Your Head", with its late-60s psychedelic flavor, the hard blues rock of "Slipping Away", the Zeppelin-esque "Chocolate Piano", the dusty, Southern-rooted "Fly Me High" and "Country Hike", and the experimental "Magic Playground".

Camel-I Can See Your House From Here (1979)

As the 1970s drew to a close, progressive rock wasn't at its peak. Other styles like new wave, punk, disco, and heavy metal were booming, so many of the leading bands in the symphonic genre tried to modernize their style towards more commercial sounds without falling into mediocrity or losing an ounce of their own identity. Camel was no exception to this rule, and with their seventh album, "I Can See Your House From Here", they reinvented themselves by brilliantly blending commercial appeal and virtuosity. By this point, the band had undergone several lineup changes. Pete Bardens and Richard Sinclair were no longer with the band, replaced by keyboardists Kit Watkins and Jan Schelhaas, and bassist Colin Bass, while guitarist Andy Latimer and drummer Andy Ward completed this new lineup. Produced by Rupert Hine, the album also featured collaborations with other musicians, including regular collaborator Mel Collins on saxophone and Phil Collins on percussion. Leaving behind the jazz and Canterbury sounds of yesteryear, the melodies here become more catchy, with great, highly addictive choruses, while retaining the excellent contributions of Latimer's guitar and the superb keyboards of Watkins and Schelhaas. Infectious tracks like "Your Love Is Strange Than Mine" and "Neon Magic" contrast with the frenetic "Wait", the more complex "Survival/Hymn to Her", and the expansive and progressive "Ice", the latter a clear nod to their glorious past. Despite its great diversity and appealing content, the album was rejected by a large part of their more purist fans, who accused them of selling out to the commercial soft pop sounds that were so fashionable in those final years of the 70s.

Freddie Hubbard-First Light (1971)

Freddie Hubbard is considered one of the most important trumpeters in jazz and a major rival to Miles Davis's dominance. His unique style, his ability to fuse genres, and his participation in key jazz movements, such as hard bop, free jazz, and jazz fusion, have established him as a fundamental figure in the history of jazz. Born in 1938, Hubbard was influenced by bebop trumpeters of the 1950s, such as Clifford Brown. In his early career, he played in orchestras alongside Wes Montgomery, Eric Dolphy, Sonny Rollins, Wayne Shorter, and Art Blakey. During the late 1950s and 1960s, Hubbard participated in some of the greatest recordings in jazz history. Albums like Eric Dolphy's "Out to Lunch", Herbie Hancock's "Maiden Voyage", and John Coltrane's "Ascension" are just a few of those legendary recordings. In the mid-sixties and throughout the seventies, Hubbard led his own band, recording some twenty albums, including notable works such as "Backslash", "High Blues Pressure", "Sing Me A Song Of Songmy", "Redclay", "First Light", and "Super Blue" albums that showcased his exploration of funk, soul, and rock influences. Over the next three decades, he continued to refine his modern jazz style, releasing countless albums until 2008, when he released "On The Real Side". That same year, Hubbard passed away at the age of 70 from a heart attack in Los Angeles.

The Eagles-On The Border (1974)

With their third album, The Eagles wanted to move away from their well-known folk and country influences and delve into more rock-oriented territory; however, the final result was a hybrid of all those styles. While their previous, heavily country-influenced album, "Desperado", showcased their more acoustic side with tracks like the title track, "Twenty-One", "Tequila Sunrise", and "Saturday Night", they also began to show glimpses of their rock side with "Out of Control" and the melodic "Certain Kind of Fool" and "Outlaw Man". For this third album, "On the Border", the band opted for a new producer, replacing the more refined and melodic Glyn Johns with the energetic Bill Szymczyk, although Johns also contributed to the production in a secondary capacity. All of this is evident from the start with the powerful country-rock tracks “Already Gone”, “On The Border”, “James Dean”, and “Good Day in Hell”, which provide the perfect counterpoint and balance to the more melodic and acoustic “Midnight Flyer”, “My Man”, “Ol '55”, and “The Best of My Love”, or the mid-tempo “Is It True” and “You Never Cry Like a Lover”. This progression toward a more rock-oriented sound was further solidified when the album surpassed its predecessor, “Desperado”, on the charts, matching its sales with over two million copies sold in the United States alone.

Thin Lizzy-Fighting (1975)

In 1975, Thin Lizzy focused exclusively on energetic and powerful hard rock, abandoning their eclectic funk rock and blues rock style with the album "Fighting". This album solidified their place among British, European, and North American audiences, thus beginning their golden era. On this fifth album, the band, led by bassist and singer Phil Lynott and supported by guitarists Scott Gorhan and Brian Robertson, along with drummer Brian Downey, crafted what would soon become the distinctive sound of the iconic Irish group. Songs like "Rosalie", a brilliant cover of Bob Seger's original, and thunderous hard rock anthems such as "For Those Who Love To Live", "Suicide", "Fighting My Way Back", and "Ballad of a Hard Man", share the stage with more melodic tracks like "Wild One", "King's Vengeance", and "Spirit Slips Away", all sharing a clear common thread; the powerful sound of Gorham and Robertson's twin guitars.

Led Zeppelin-The Song Remains The Same (1976)

“The Song Remains the Same” was for many years Led Zeppelin’s only official live recording, until the release many years later of the live album “BBC Sessions” (1997) and the subsequent albums “How the West Was Won” (2003) and “Celebration Day” (2012). But going back a bit in history, we find ourselves in the summer of 1975, just as Led Zeppelin were about to begin their world tour promoting their double album “Physical Graffiti”. Tragedy struck: their singer, Robert Plant, and his wife were involved in a serious car accident on the Greek island of Rhodes, where they were spending a few days on vacation, an accident that nearly cost them their lives. That accident and subsequent recovery led to the cancellation of the tour and a long delay of almost a year. Even with Plant still convalescing, recording sessions began for the next album, "Presence", which would be released in mid-1976. Taking advantage of this interruption, Atlantic Records decided to release "The Songs Remain the Same", a live album and film recorded three years earlier, from July 27th to 29th, 1973, at Madison Square Garden in New York City. These shows were part of the tour following the album "Houses of the Holy". However, the laborious process of mixing and recording in the studios delayed its release until just a few months after the release of "Presence". Another reason for the delay was Jimmy Page's dissatisfaction with the quality of the tapes recorded that night, which he felt were not suitable for release. Leaving aside the film, which is essentially concert footage plus an introduction featuring the four band members in various situations from their private and everyday lives, the album contains memorable moments such as the 27-minute "Dazed and Confused", which, given its considerable length, becomes quite tedious at times, or the thunderous "Rock and Roll" and "Whole Lotta Love". Also noteworthy are the classic "No Quarter", the bluesy "Since I've Been Loving You", and the expansive "The Rain Song", not to mention John Bonham's nearly ten-minute drum solo on "Moby Dick". But it is undoubtedly the extended version of "Stairway to Heaven" that stands out as the album's high point, where all the band members deliver outstanding and flawless performances. The album's subsequent reception was a number one hit on the British charts and a number two spot on the Billboard charts, in addition to numerous platinum records for its worldwide sales.

Rush-Signals (1982)

After eight studio albums and two live albums, synthesizers take center stage for the first time, overshadowing guitars on a Rush album, even replacing them in much of this ninth work by the Canadians. On “Signals”, Neil Peart’s signature, immeasurable drumming is still present, but progressive rock and heavy guitars have almost completely disappeared, shifting the style towards new wave sounds, albeit in a rather subtle and complex way, with those intricate, high-class arrangements and the trio’s established personality. Opening the album is one of the best songs of the era, “Subdivisions”, a track that enjoyed considerable chart success and is a true classic in their repertoire, especially its keyboard intro. Also noteworthy are some tracks revived more recently for live performances, such as “The Analog Kid” and “The Weapon”, the latter being the third installment of the “Fear” trilogy. The rest of the album revolves around technological advancements with a modern and futuristic feel, reflected in tracks like "Digital Man", "Chemistry", and "New World Man". The album closes with the fantastic "Losing It", featuring Ben Mink with a spectacular electric violin solo, and "Countdown", which attempts to recreate the experience of a space launch and brings to a close an album that would keep them at the forefront of the rock world, despite the radical stylistic shift the band introduced in this commendable new release, following their album, "Moving Pictures".

Eloy-Ocean (1977)

Eloy is perhaps the best band of German progressive rock, whose musical style includes symphonic rock and space rock, the latter with a higher prevalence in previous albums. Despite their nationality and period of activity, the band is not generally considered krautrock due to their sound, which has much more in common with English progressive rock bands like Pink Floyd, King Crimson and Yes. Moreover, the band that was always considered by the world music critics as the "German Floyd" because of its sound parallel to that of the British in many moments. It is true that sometimes sound similar, but the Germans have their unique sound, mixing rock with symphonic air space memorable.
"Ocean" is the sixth album released by the Germans. It was launched in 1977 and is considered by many their best album, a classic of the genre in Germany. 200,000 copies were sold, making it better than Genesis or Queen in the German charts at that time.

Iron Maiden-The Final Frontier (2010)

"The Final Frontier" is another monumental release from Iron Maiden, an album of biblical proportions in its musical scope, perfectly reflecting the grandeur of this legendary British band. On this occasion, the sextet delivers a sublime work of elaborate progressive structures beneath that mantle of epic and visceral heavy metal, clearly reflected in the cover art, which depicts Eddie evolving into a kind of alien extraterrestrial in a devastated and hostile surreal landscape. These apocalyptic sensations are reflected in tremendously heavy and decadent tracks like the sinister "Satellite 15..." or the experimental title track. Following a similar stylistic pattern are the emotive "Coming Home", the somber "Mother of Mercy", and the refined "Isle of Avalon" and "Starblind". The effective and tremendously vigorous "The Talisman", "The Man Who Would Be King" and "When The Wild Wind Blows", only perpetuate the impetuous tempest of this superb album from one of the greatest bands in the history of heavy metal.

Beckett-Beckett (1974)

This is one of the holy grails of progressive rock, an album as fascinating as it is monumental, from one of the most underrated and unknown bands in the rock music scene, and progressive rock in particular. We've mentioned before that almost everything has already been invented, and that somehow, at some point in history, someone conceived and created (obviously in a more rudimentary way and depending on the technological advancements of the time) something that seems novel today and is attributed to people many years later. This is precisely what happened with Beckett, a formidable band whose spectacular music a hybrid of the progressive pop of The Alan Parsons Project, with its spectacular orchestral arrangements and the dynamic heavy rock riffs that Iron Maiden would later exploit made them ahead of their time and one of the quintessential cult bands. To give a little background, this band was formed in Newcastle in the mid-70s by former Yellow guitarist Ken Mountain, guitarist Ian Murray (brother of Dave Murray of Iron Maiden), bassist Frankie Gibbon, the fantastic vocalist Terry Wilson-Slesser, and drummer Keith Fisher. However, just before recording this single album, Ian Murray left and was replaced by guitarist Arthur Ramm. The album was produced by none other than Family frontman Roger Chapman and released by Island Records, the British label specializing in avant-garde sounds. This self-titled solo album is one of the greatest and most unjustly overlooked records on any official rock music website today, yet it is highly valued by music lovers and collectors of rarities from 1970s progressive rock. This masterpiece begins with the epic intro "Once Upon A Time…The End", which leads into the following track, "Rolling Thunder", where the complex arrangements are reminiscent of what The Alan Parsons Project would later create. The beautiful "Rainclouds" is the prelude to "Life's Shadow", a superb track that Iron Maiden would later borrow musical passages from in "The Number of the Beast", something they would also do with "A Rainbow's Gold" in their song "2 Minutes to Midnight" from their 1984 album "Powerslave". The rest of the album maintains an irresistible blend of complex and sophisticated rock, captivating melodies with rich guitar and mellotron instrumentation, and Wilson-Slesser's immeasurable vocals. Despite its enormous quality, the album went unnoticed, selling little more than a hundred copies. Given the commercial failure, the band dissolved shortly afterwards, with different professional paths for its members. Terry Wilson-Slesser had a more fruitful career, playing alongside Paul Kossoff in the band Back Street Crawler, as an occasional singer in the Michael Schenker Group, and was even a candidate to replace the deceased Bon Scott in AC/DC in the late seventies.

Pat Metheny Group-Pat Metheny Group (1978)

In 1978, Pat Metheny released his first album with his band, simply titled "Pat Metheny Group". On this debut, the excellent American guitarist simply plays guitar in the old-fashioned way, without the technological flourishes that would later appear, such as synthesized guitars, 15-string harps, or the distortion of pure rock riffs, not to mention the Latin percussion and those soft, whispering vocals. Some of the tracks on this first album display a clear symphonic architecture, as is the case with "San Lorenzo" and "Phade Dance", two of the greatest compositions of Pat Metheny's entire career. Besides Metheny's guitar, Mark Egan's languid bass, Dan Gottlieb's subtle drumming, and Lyle Mays' sublime synthesizers and grand piano are also particularly noteworthy. The subtle melodies of jazz fusion tracks like "Jaco", "Aprilwind", and "April Joy" also showcase the melodic and intimate sound that permeates this album. As a counterpoint to these, "Lone Jack" emerges as the most rhythmic and energetic track on the entire album. A well-deserved fifth place on the Billboard Jazz Albums chart would be the prelude to a series of memorable albums that would follow in subsequent years, such as "American Garage" (1979), "Offramp" (1982), "First Circle" (1984), "Still Life (Talking)" (1987), and "Letter From Home" (1989).

New Order-Substance (1987)

When Ian Curtis, the frontman of Joy Division, committed suicide in 1980, the remaining members of the band decided to continue with the project. However, they would do so under the new name of New Order, for which Peter Hook, Stephen Morris, and Bernard Sumner recruited keyboardist and guitarist Gillian Gilbert. With their debut album, "Movement", New Order followed a similar path to their previous work, but delved deeper into danceable synthpop and indie rock, gradually moving away from the somber and decadent post-punk sounds of Joy Division. With their subsequent albums, the group showcased a more colorful and carefree side, navigating the waters of alternative pop-rock and dance music. Albums like "Corruption & Lies" (1983), "Low-Life" (1985), "Brotherhood" (1985), and "Technique" (1989) are influenced by the acid house sounds so popular in Manchester at the time, some remnants of their early post-punk, and the synth-pop synthesizers. At the beginning of the 1990s, New Order achieved their only number one single with "World in Motion", which was chosen as the official song of the FIFA World Cup in England. "Substance", released in 1987, compiles all the band's singles up to that point and became their best-selling and most successful album.

Navasota-Rootin´ (1972)

Navasota was a short-lived Southern rock band from Texas, formed in the early 1970s. In 1972, they released their only LP on ABC Records. On this single album, the Texan group showcased their clear influences, ranging from the powerful rock of Grand Funk and the rock and roll of the Rolling Stones to the roots rock of Creedence Clearwater Revival, all seasoned with the gritty sounds of Southern rock. The lineup consisted of guitarists Steve Log and Ray Pawlik, singer Dicky Sony, drummer Lindsey Minter, and bassist Paul Minter. Songs like “That’s how it is (playin’ in a rock’n’roll band)”, “Western boots”, the country rock “Ballad of a young man”, the carefree “Canyon ladies” or the Howlin’ Wolf cover “I’m leavin’”, are part of a great album that went totally unnoticed, due among other things to the large number of high quality records that flooded rock in those years.

Pat Metheny Group-Speaking Of Now (2002)

"Speaking Of Now" contains all the ingredients that have made Pat Metheny one of the great avant-garde musicians of jazz. Here we find everything from futuristic tales of space travel to his haunting pastoral music, along with a fusion of a wide variety of styles blended and embellished with his warm jazz sound. Featuring some of his most iconic band members Lyle Mays (keyboards) and Steve Rodby (bass) Metheny enlisted bassist Richard Bona and percussionist Antonio Sánchez, as well as trumpeter Cuong Vu and renowned percussionist Dave Samuels. Every groove of this release is filled with a wealth of exquisitely structured, memorable melodies, where Metheny's breathtaking guitar solos and Mays's keyboard work leave the listener speechless. Cuts of pure bebop jazz like "As It Is", romantic distant canvases like "Proof", the vocal interludes of Gregorian chant in "Another Life", classic pieces of contemporary jazz like "A Place in the World", and delicate and discreet epics of refined and elegant jazz like "Wherever You Go", are the perfect synthesis of what this, the twenty-sixth album by the American musician, has created during the last 40 years of an exceptional professional career, leaving for posterity some of the most emblematic albums of jazz fusion.

Grateful Dead-Workingman´s Dead (1970)

The Grateful Dead's fourth studio album, "Workingman's Dead" (1970), marked a stylistic shift from the psychedelia of their earlier work, embracing American roots sounds like folk and country. This album also showcased the songwriting talent of the duo Jerry Garcia and Robert Hunter. Echoes of the folk-rock of Crosby, Stills, Nash & Young at the time appear in songs like "Uncle John's Band", a memorable composition brimming with acoustic guitars, rich vocal harmonies, and a rustic, traditional feel. Similar paths are followed by other tracks such as "Casey Jones", "High Time", "Dire Wolf", and "Black Peter", while country rock makes an appearance in "New Speedway", and the psychedelic rock of yesteryear resurfaces in "Easy Wind", the only song that hints at their earlier, more vibrant sound.

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.