Molly Hatchet-Molly Hatchet (1978)

Molly Hatchet were never as big as The Allman Brothers Band, nor as media-savvy as Lynyrd Skynyrd, and they didn't even have the commercial impact of other great Southern rock bands like The Marshall Tucker Band or ZZ Top. However, they did surpass them all in one thing: their enormous swagger and the raw, metallic sound of their music, making them the heaviest rock band in the most popular genre in the southern states of North America. They took their name from a famous 17th-century serial killer who decapitated her lovers with the hand tool that the band Lizzy Borden made popular in the 1980s. Likewise, their spectacular album covers were one of their trademarks, covers full of epic and heroic fantasies created by famous illustrators like Boris Vallejo and Frank Frazetta, which added an extra touch of mystique and celebrity to their sound. Throughout their career, this legendary band experienced a constant turnover of members, something that never diminished the talent of their lineups or the creativity of their music. For five decades, their albums overflowed with epic grandeur, gritty melodies, energetic, sharp guitar riffs, and hyperactive drums, all wrapped in a blanket of vigorous boogie blues, country rock, hard rock, and the characteristic dusty sound of the American South. From their spectacular debut album "Molly Hatchet" (1978) to their latest release, "Justice" (2010), an irresistible series of albums followed, including "Flirtin' With Disaster" (1979), "Beatin' The Odds" (1980), "Take No Prisoners" (1981), "No Guts...No Glory" (1983), "The Dead Is Done" (1984), and "Lightning Strikes Twice" (1989), some of which topped the charts and earned half a dozen gold and platinum records. All of them feature some of the generational anthems of southern rock, such as "Dreams I'll Never See", "Satisfied Man", "Fall of the Peacemakers", "Bounty Hunter", "Gator Country", "Boogie No More", and "Flirtin' With Disaster".

Graham Bond-Grahame Bond Love Is The Law (1969)

When Alexis Korner disbanded his fabulous band, Blues Incorporated, in the mid-sixties, the musicians who had accompanied him Jack Bruce, Dick Heckstall-Smith, Ginger Baker, and Graham Bond were free agents. It was Bond who took the musical reins from Korner and decided to follow in his footsteps and the path laid out by the British musician. Thus, in 1963, the Graham Bond Organisation was born, a year that saw the highest demand for rhythm and blues in history and also marked the beginning of John Mayall's Bluesbreakers and the early days of The Rolling Stones, among many others. The Graham Bond Organisation began performing in the most prestigious clubs in London and soon achieved recognition from both the public and critics of the time. However, massive success would come a little later when they toured England with Chuck Berry. The story of this seminal band can be summarized in three albums corresponding to three pivotal years in their career, beginning with "The Sound of '65", which contained the hit "Long Tall Shorty" in 1964, at the height of the beat craze; "There's a Bond Between Us" and its hit "Tammy" the following year; and their biggest chart success, "You've Gotta Have Love, Babe", in 1967, the Beatles' big year and the year the band would finally break up after a short but intense career. After the split, Graham Bond retired from active music for a time and moved to the United States, creating his own record label, Pulsar Records. Meanwhile, Jack Bruce and Ginger Baker joined the Bluesbreakers, and Dick Heckstall-Smith went on to found the progressive jazz-rock band Colosseum. In 1969, Bond returned with the album "Love Is The Law" (under the pseudonym Grahame Bond), an exquisite work of funk, jazz, rock, and rhythm and blues that revived his old sound. On this new album, Bond enlisted the help of percussionists Hal Blaine and Dave Sheehan and vocalist Diane Stewart, while Bond handled the remaining instruments and vocals. His twisted lyrics about free love, terror, and the occult, along with the blues, jazz, and rock sound that Bond achieves with the organ and mellotron, are what earned the album the recognition it deserved. Brilliant tracks like "Love Is The Law", "The World Will Soon Be Free", and "Our Love Will Come Shining Through" are among the best of his entire career. After several more albums; “Mighty Graheme Bond” (1969), “Solid Bond” (1970), “Holy Magick” (1970) or “We Put Our Magick On You” (1971), and as a consequence of his financial problems and his continuous nervous depressions, he would commit suicide under the wheels of a train at Finsbury Park station in London on May 8, 1974, thus ending the life of one of the greatest British blues musicians and one of those who have most influenced later generations of English bluesmen.

Arena-Songs From The Lion´s Cage (1995)

In the mid-nineties, two of the finest instrumentalists of neo-progressive rock, Clive Nolan, keyboardist for Pendragon, and Mick Pointer, former drummer for Marillion, joined forces to found Arena. In mid-1995, they released their monumental debut album, "Songs From The Lion's Cage", considered one of the gems of the progressive rock genre of the nineties. For this first recording, the two musicians collaborated with Marillion guitarist Steve Rothery, guitarist Keith Moore, bassist Cliff Orsi, and vocalist John Carson. Arena's approach on this first release was based on the progressive sounds of early Marillion, with echoes of the great bands of the 70s like Genesis and Yes. The sounds of Clive Nolan's eloquent and omnipresent keyboards, Mick Pointer's formidable precision on the drums, and the outstanding guitar and bass work combine to create an album as spectacular as it is surprising, featuring the epic and progressive "Valley of the Kings" and "Solomon", the powerful "Out of the Wilderness", the melodic "Jericho", and the atmospheric "Crying for Help IV". From this point on, the band would regularly release a series of high-quality works, such as the subsequent "Pride" (1996), "The Visitor" (1998), and "Contagion" (2003), among others, culminating in "Double Vision" (2018), the latest major contribution from this formidable neo-progressive band.

Jeff Lynne´s ELO-Alone In The Universe (2015)

2015 was the year chosen for Jeff Lynne's return to recording, with the release of "Alone In The Universe", an album that was well-received by nostalgic fans of his original band, Electric Light Orchestra. With this work, Lynne's aim was simply to satisfy the cravings of his millions of fans, while also not seeking to recruit new ones; he merely wanted to release and record a series of songs he had composed in recent years. Lynne's solo career, aside from the aforementioned ELO and his numerous collaborations with other artists, has always been relatively unproductive, and one would have to go back fourteen years to the release of the album "Zoom", a more organic work that, to some extent, returned to his 70s style. This time, despite being credited as Jeff Lynne's ELO, it is actually a personal project, featuring no former members of his previous lineups, with Lynne playing all the instruments himself. Even so, songs like the title track and other cuts such as "When I Was A Boy", "Is It Alright", and "Dirty To The Bone" sound like traditional ELO, mainly due to the keyboard and guitar sounds. Others, like "Ain't It A Drag", leave us with a taste of the Travelling Wilburys, another of Lynne's projects, while the rest retain the exquisite instrumental melodies and addictive vocal harmonies so characteristic of the iconic British musician and producer.

Frost-Milliontown (2006)

Frost was a one-off project led by keyboardist and producer Jim Godfrey, who wanted to venture into the challenging world of 21st-century progressive rock, composing highly enjoyable, high-quality material. To carry out this project, Godfrey enlisted some of the most renowned musicians of the neo-progressive rock scene at the time: IQ bassist and drummer John Jowitt and Andy Edwards, and Arena guitarist John Mitchell. The resulting album, "Milliontown", is a fascinating odyssey encompassing muscular and energetic passages, a wealth of electronic elements, and relaxing, atmospheric moments. All the tracks are built upon Godfrey's keyboard work, overlaid by a simply masterful instrumental explosion. From art rock pieces like "The Other Me", to the progressive metal of "No Me No You", passing through the progressive "Black Light Machine" or the superb pyrotechnic and musical display of the enormous suite "Milliontown", this record effort is a vigorous and impeccable work of the best modern progressive rock.

Rush-Roll The Bones (1991)

After four albums firmly rooted in synthesizer-driven, technological sounds, the Canadian band Rush began the 90s with a new work that recaptured their more direct, rock essence, while solidifying their melodic style and maintaining their unique sound, remaining, as was their custom, detached from the musical trends of the time. However, this shift was already hinted at in their previous album, "Presto", though still lacking the conviction and determination of "Roll The Bones". This melodic hard rock is present in the sublime "Dreamline" and "Bravado", two commendable tracks that, along with the instrumental "Where's My Thing", elevate the album to heights they hadn't reached in years. The rest of the album, while not reaching their peak, is still of a very high standard. To reaffirm this, there's the magnificent "Roll the Bones", a peculiar rock track with a short but interesting rap section; the ethereal "The Big Wheel", the frenetic "Face Up", the dark "Neurotica", and the melancholic "Heresy". In short, "Roll The Bones", despite not surpassing their best work, is composed of a series of very appealing tracks, both in terms of composition and instrumentation, demonstrating the trio's enormous capacity for constant evolution in crafting another excellent album.

Alice Cooper-School´s Out (1972)

It's curious how a single song can overshadow much of the rest of the tracks on an album, despite their immense quality. This is evident in Alice Cooper's fifth album, "School's Out", released in early 1973, which simultaneously became one of his most successful works and a peak moment alongside "Billion Dollar Babies" and "Killer". Recorded at the Record Plant studios in New York, Cooper enlisted the help of guitarist Dick Wagner and the esteemed production of Bob Ezrin, in addition to his regular band comprised of Dennis Dunaway, drummer Neal Smith, and keyboardist Michael Bruce. “School’s Out” was created as a concept album and contains certain progressive elements, at least in concept, and where the irresistible title track stands out, a classic of youth rock, the cabaret “Gutter Cat vs. The Jets”, the gritty and punk “Luney Tune”, the jazz-influenced “Blue Turk”, with a sound very close to The Doors, the Stones-esque “Public Animal #9” or the opulent “Grande Finale”, all of which make up a superb work, but which in a way unfairly unbalances the final result, due to the tremendous hit that was the single “School’s Out” and which to some extent buried a repertoire of great songs.

Michael Thompson Band-Future Past (2012)

Michael Thompson is a renowned and prolific American session guitarist who, in addition to collaborating on hundreds of albums for other artists, has also enjoyed a brilliant solo career. His numerous collaborations include artists of the caliber of Stephen Bishop, Michael Bolton, Kenny G., Joe Cocker, Brenda Russell, Neil Diamond, Bob Seger, Michael Jackson, and Al Jarreau. His first album with his band MTB (Michael Thompson Band), titled "How Long", was released in 1989, achieving overwhelming success on the American melodic rock charts thanks to hits like "Can't Miss" and establishing himself as an absolute masterpiece of AOR and melodic rock. In 2012, he released his fifth album with the Michael Thompson Band, "Future Past", another extraordinary record of elegant and energetic melodic rock, featuring sharp hard rock guitars and excellent vocal lines courtesy of the versatile singer Larry King. Textbook AOR songs like "Gypsy Road", "High Time", "Can't Be Right", "When You Love Someone", "End Game", "Can't Miss" or "Fight For Your Life", make it another gem of melodic rock.

Chris Duarte & Bluestone Company-396 (2009)

Another memorable album of high-voltage, gritty blues rock, this is the eighth release from Texas-born guitarist Chris Duarte, who, along with the Bluestone Co., has produced one of those essential albums of the best modern Southern blues. Here, his backing band is the Japanese Bluestone Company, a tight and precise instrumentation that doesn't let up for a single moment throughout the entire album. From the dusty Southern rock of "Chattahoochee Side" and "396", to the blues rock of "Mad As I Can Be", and including more conventional tracks like the bluesy rock and roll of "Put Up or Shut", the funk rock of "Funky Mama", the frenetic "Give It Back to Me", and the powerful "Angelina".

Larry Carlton-Alone But Never Alone (1985)

Larry Carlton is one of the great jazz guitarists. His versatile style and immense talent have been demonstrated throughout a fruitful career spanning more than 50 years, leaving behind over thirty solo albums that have explored jazz fusion, jazz rock, blues, and rock. In addition to his solo albums, he has been a prolific session musician, collaborating on hundreds of recordings for other artists, including Steely Dan, Al Jarreau, Michael Franks, Spyro Gyra, and Randy Crawford, among many others. He has even composed various soundtracks for television and film series, such as the famous "Hill Street Blues", for which he won a Grammy Award in 1981. His first album, "With a Little Help from My Friends", released in 1968, was met with great acclaim from both audiences and critics worldwide. In the early 1970s, he joined the jazz-rock band The Crusaders, with whom he recorded eleven albums, beginning with "Crusaders 1" (1972) and ending with "Those Southern Knights" (1976). However, on the latter, he appeared as a guest musician, and he continued to participate in subsequent albums with the group, contributing his own compositions and melodic style with his famous Gibson ES-335 guitar. Carlton himself nicknamed this guitar "Mr. 335", even creating his own recording studio, which he called "Room 335". After leaving The Crusaders, Larry Carlton signed with Warner Bros. and released a string of great albums focused on jazz fusion. Among these albums, highlights include the debut “Larry Carlton” (1978), the live album “Mr. 335: Live in Japan” (1979), and the brilliant “Sleepwalk” (1981), “Strikes Twice” (1981), “Eight Times Up” (1983), and “Friends” (1983). All of them feature exquisite production, brimming with rich nuances and a wide variety of styles, encompassing jazz, rock, funk, soul, and blues. In 1985, with his ninth album, “Alone But Never Alone”, he reached number one on the Billboard Jazz charts, and even won another Grammy Award for the track “Minute by Minute”. He also received a nomination in the “Best Jazz Fusion Performance” category for his live album “Last Nite” (1986). In the late 1980s, he released his most rock-oriented album to date, "On Solid Ground", but before its release, an event occurred that would mark Larry Carlton's life. One night, outside the recording studio, an unknown assailant shot him several times, nearly killing him. This dramatic event led to a long hospitalization followed by endless and painful recovery sessions. Some time later, the guitarist began to rebuild his personal and professional life, drastically reducing his live appearances, although he gradually resumed his career as a session musician, reaching an astonishing number of nearly three thousand collaborations by the mid-1990s. At the end of the 20th century, he participated in the Fourplay project, a jazz supergroup formed by Bob James, Nathan East, and Harvey Mason, with whom he recorded a total of ten albums. 

Larry Carlton-Plays The Sound Of Philadelphia (2010)

In 2010, legendary jazz and blues guitarist Larry Carlton left his commitments with the fusion band Fourplay, resuming his solo career and releasing his twenty-eighth album. This time, Carlton ventures into a style less explored in his long career: soul. He covers songs by one of the most famous songwriting duos in history, Kenny Gamble and Leon Huff. This duo earned over 100 Gold and Platinum records over the years, in addition to more than 70 number-one hits worldwide. Carlton, with his distinctive blend of jazz, blues, and rock, has played on hundreds of recordings, from pop stars like Barbra Streisand, Kim Carnes, Albert Hammond, and Leo Sayer, to rock bands and artists such as Steely Dan, Peter Gabriel, Peter Frampton, and Christopher Cross, as well as blues and jazz greats like T-Bone Walker, Al Jarreau, James Ingram, Eumir Deodato, and Herb Alpert. In this tribute, Larry Carlton is accompanied by the velvety voice of Bill LaBounty, organist Paul Shaffer, pianist Tony DeSare, bassist Christopher LiNard Jackson, saxophonist Max Douthit, and drummer Andrea Valentini. Adapting many of the iconic songs to his characteristic style, highlights include “Could It Be I'm Falling in Love”, “You Make Me Feel Brand New”, and “I'll Be Around”, all with a fusion twist, while in “Back Stabbers”, the guitarist transforms it into a great blues number. Even more brilliant is “If You Don't Know Me By Now”, which retains the fluidity of the popular original but incorporates Carlton at his best, with a rockier sound.

Triana-Sombra y Luz (1979)

Triana's third album marked their commercial and creative peak, selling nearly half a million copies in the Spanish market, and completing the band's progressive trilogy that had begun four years earlier with their impressive debut album, "El Patio". In this new release, "Sombra y Luz" (Shadow and Light), the band achieved better production than their previous two albums, making the content shine with catchy melodies and an ever-growing commitment to their original musical philosophy. However, it's also true that they began to lose some of their initial progressive drive, showcasing a less grounded and more conventional sound. Even so, this doesn't mean they abandoned progressive sounds, as there is still plenty of impressive material here, brimming with enormous instrumental complexity, genuine passion, and that special magic that only flamenco can bring to the final product, making it sound truly progressive. The main reason for all this is Jesús de la Rosa's less forceful and more restrained use of synthesizers, as a counterpoint to the sounds of the electric and acoustic guitars. This allows the latter to steal the spotlight and, at many points on the album, lead to more aggressive and purely rock sounds. All of this is clearly manifested in the opening track, "Un Historia", a clear rock song with blues influences, full of melancholic serenity. As a counterpoint, there's "Quiero Contarte", a cheerful piece featuring excellent electric guitar work by Pepe Roca, one of the guest guitarists, along with Antonio Pérez and Enrique Carmona, who demonstrate their undeniable talent throughout the album. With the following track, "Sombra y Luz", Triana once again demonstrates its experimental style with a tour de force that includes touches of jazz-rock and psychedelic sounds. It's here that Jesús De La Rosa's synthesizers recapture the essence of their previous albums in a brilliant and memorable piece. Following this comes the epic “Hasta Volver”, a ten-minute epic track that, along with the previous one, is the album's highlight. The beautiful “Tiempo sin saber” showcases the group's flamenco side, while “Vuelta a La sombra y a la Luz” maintains the same musical structure as its namesake, “Sombra y Luz”, but with a much shorter and more restrained duration.

The Spacelords-Liquid Sun (2016)

The Spacelords are a German band that, in the 2000s, paved the way for krautrock, a genre that was the natural evolution of progressive and psychedelic rock in Germany during the late 1960s and much of the following decade. Founded in 2008 by Marcus Schnitzler (percussion), Matthias Wettstein (guitars), and Klaus Werz (bass), the band released their debut album two years later with the addition of flautist Reinhold Pape. In that first release, the group already displayed their predilection for spacey sounds in the purest Hawkwind style. With their subsequent albums, the band went a step further, introducing strange and experimental ethnic and Eastern sonic elements. "Liquid Sun", their fourth release, featured three extensive and musically complex pieces. By the time this new album was recorded, keyboardist Didi Holzner and bassist Akee Kazmaier had joined the band, the latter replacing original bassist Klaus Werz. "Liquid Sun" is a hypnotic adventure that navigates between the sounds of 1960s American psychedelic rock/pop and 1970s German rock. 

The Ventures-Greatest Hits (1992)

With an astounding one hundred million records sold worldwide, The Ventures are the most successful instrumental band in history, even surpassing the legendary The Shadows. Formed in the late 1950s in Tacoma, Washington, by Don Wilson, Bob Bogle, Nokia Edwards, and Mel Taylor, their musical style was primarily composed of surf and instrumental light rock sounds. Songs like "Walk, Don't Run", "Hawaii Five-O", "Pipeline", "Perfidia", "Lullaby of the Leaves", "Blue Moon", and "Sleep Walk" thrilled millions of fans across the globe, especially in their native Australia, Japan (where they are the most revered Western band), and Europe. Their catalog, comprising over 1,000 songs and more than 3,000 recordings, is one of the most listened-to in the history of contemporary music. Their sound became addictive, and their incredible audacity influenced thousands of guitarists worldwide. The Ventures were among the first to employ and popularize fuzz and flanger guitar effects, concept albums, and twelve-string guitars in rock. Their impressive instrumental virtuosity, innovation, and unique sound had a profound impact on countless musicians and bands, earning them the nickname "The Band That Influenced a Thousand Bands." Artists and groups who have publicly acknowledged their enormous influence include Led Zeppelin. Led Zeppelin, Steve Miller, George Harrison, Joe Walsh, Stephen Stills, The Ramones, Dire Straits, Aerosmith, Dead Kennedys, Carl Wilson, and Elton John. Their recording of "Walk, Don't Run" was inducted into the Grammy Hall of Fame for its lasting impact, and in 2008 the group was inducted into the Rock and Roll Hall of Fame.

Ben Poole-Let's Go Upstairs (2012)

Ben Poole is a cutting-edge British blues guitarist who began his career at the dawn of the 21st century. His passion for rock and blues started in childhood, learning to play guitar with songs by Jimi Hendrix and other electric guitar greats. He initially played in a heavy metal band and later founded his first blues-rock band. Long before launching his solo career or releasing any official recordings, he was already making waves in professional guitar circles, appearing in publications such as "Total Guitar" magazine and receiving nominations in several categories at the British Blues Awards. In 2012, he finally released his self-funded debut album. On this first album, Ben Poole showcases his appealing blues style with touches of melodic rock. Songs like the melodic, AOR-influenced "Hanging in the Balance", "Love Nobody No More", "Holding Onto Love", and "Over It Now" contrast with the bluesier, rock-tinged tracks like "I'm Gonna Not Have To Be That Way", the funk-rock "Let's Go Upstairs", and the blues numbers "Play On, Play On", "After All This Time", and "Let The Rain Come Down". This debut album by Ben Poole is an excellent showcase of his guitar talent, which, without excessive flashiness or pyrotechnic displays, seeks the perfect musical cohesion between blues and melodic rock.

Lana Lane-Lady Macbeth (2005)

Lana Lane is considered the "Queen of Progressive Rock", although this singer has also explored different genres such as heavy metal and melodic rock. It was in the late 1980s that this California native met progressive metal musician Erik Norlander, whom she would later marry. For a time, Lana worked as a backing vocalist in her husband's band, Rocket Scientist. In the mid-1990s, the singer focused on her solo career, releasing her first album, "Love Is an Illusion" (1995), followed the next year by "Curious Goods", both of which achieved great media and commercial success. From then on, her career took off, releasing a dozen albums that were very well received by both the heavy metal community and prog rock fans. "Lady Macbeth", released in 2005, was her eighth album, a concept album based on the play by William Shakespeare. Among the members of her band, which is led by her husband Erik Norlander on keyboards and guitars, are several musicians from the aforementioned Rocket Scientist, including Peer Verschuren, Mark McCrite, Neil Citron, Kristoffer Gildenlöw, Don Schiff, and Ernst Van Ee. Compared to her previous work, the musical elements here are darker, combining heavy rock with progressive rock, adorned with subtle folk passages. Songs like the progressive heavy tracks "Summon The Devil", "Keeper Of The Flame", and "The Dream That Never Ends" are complemented by folk-influenced tracks such as "Shine On Golden Sun" and the enchanting melodies of "Dunsinane Walls".

Eyes Of Blue-Crossroads Of Time (1969)

“Crossroads of Time” was the debut album by Eyes of Blue, an obscure British psychedelic and progressive rock band. This legendary Welsh band consisted of guitarist and vocalist Gary Pickford-Hopkins, drummer John Weathers, singer Wyndham Reese, keyboardist Phil Ryan, guitarist Ray Williams, and bassist Ritchie Francis. In their early days, the band played a style based on soul and psychedelia, gradually moving towards the sounds of the American West Coast. With a collaboration with Quincy Jones, they contributed to the soundtrack of the film 'Toy Grabbers' and later appeared in the film 'Connecting Rooms'. In 1966, they won the prestigious Beat Contest, organized by the British music magazine Melody Maker. This led to a contract with Decca Records' progressive rock sub-label, Deram. After several singles with little commercial impact, they secured the collaboration of producer Lou Reizner, with whom they recorded their debut album, "Crossroads of Time", in 1968 in London. It was released in early 1969 by Mercury Records. This first album is a collection of songs imbued with psychedelia and typical 60s sounds, featuring a strong organ and elements of early progressive rock, rhythm & blues, pop, jazz, and Eastern influences. Highlights include the bluesy "Crossroads of Time" and "Love is the Law" (both written by Graham Bond), the psychedelic "Inspiration for a New Day" and "Prodigal Son", and the brilliant "I Wonder Why" and "World of Emotion". The album also includes several well-executed covers, such as "7+7 Is" by the band Love and the iconic "Yesterday" by The Beatles, all infused with the characteristic beat sound of the sixties. The band subsequently released their second album, "In Fields of Ardath", in the spring of 1969. Wyndham Reese no longer appeared on this album, which leaned more towards progressive sounds but still retained their wide range of influences, including psychedelic rock, blues, jazz, exotic sounds, and classical music. Later, Gary Pickford-Hopkins became one of the two lead singers in Rick Wakeman's backing band on his albums "Journey to the Center of the Earth" (1974) and "The Myths and Legends of King Arthur and the Knights of the Round Table" (1975). He also spent some time with the hard blues-rock band Wild Turkey, while John Weathers went on to become the lead drummer for the legendary Gentle Giant for many years, and later for the psychedelic and progressive rock band Man.

Pixies-Doolittle (1989)

The Pixies were one of the most important bands of the so-called alternative rock movement, reaching their peak in the late 1980s and releasing a series of essential albums for understanding the distinctive style of that era. Led by vocalist and guitarist Black Francis, they showcased a tremendously powerful side of raw, gritty rock, fueled by visceral energy and contained rage. Their ruthless and energetic debut album, "Surfer Rosa", was released in 1988, earning them acclaim from the independent press and the alternative rock scene. However, it was with "Doolittle", released a year later, that they truly achieved worldwide recognition, thanks to a style that blended the energy of their previous work with more accessible melodies. Songs like the stark "Debaser", the sharp "Gouge Away" or the conventional "Monkey Gone To Heaven", surprisingly earned this album a gold record in the United States and marked the creative and commercial peak of this band from the city of Boston.

Fats Domino-Let´s Play Fats Domino (1959)

Fats Domino was a pivotal pianist and composer in the early days of rock and roll and rhythm and blues. Born in New Orleans in 1929, he began his career with Dave Bartholomew's orchestra, and shortly after, in 1949, released his first solo album, "The Fat Man", which propelled him to become one of the biggest stars of R&B. His piano rhythms, infused with boogie-woogie, jazz, rhythm and blues, and rock and roll, made him one of the greatest pianists of the era. Often accused of creating satanic music due to his rhythms and flamboyant dance moves, Fats Domino remains a key figure in African American roots music. In the 1960s, the decline of rock and roll in favor of newer styles like the British Invasion condemned him to obscurity, though he has risen from the ashes on several occasions thanks to the revival of rock and roll and R&B. Many of his songs are considered among the greatest contributions to rock music, including tracks like "The Fat Man", "How Long", "Love Me", "Thinking of You", "Ain't That a Shame", "I Can't Go On", and "Blueberry Hill". With an impressive run of over 30 singles in the US Top 40, Fats Domino was one of the first artists inducted into the Rock and Roll Hall of Fame (1986) and received a Grammy Lifetime Achievement Award a year later. On October 24, 2017, Fats Domino passed away in his hometown of New Orleans at the age of 89, leaving behind one of the greatest legacies in 20th-century contemporary music.

Pain Of Salvation-Remedy Lane (2002)

Pain of Salvation, along with bands like Dream Theater, spearheaded progressive metal in the 1990s, constantly evolving with highly personal and unique musical approaches. With their fourth release, "Remedy Lane", this Swedish group faced the difficult task of surpassing their previous album, "The Perfect Element Part I", considered one of the best progressive metal releases of the early 2000s. With this album, the band comprised of Daniel Gildenlöw (guitars, lead vocals), Johan Hallgren (guitars), Fredrik Hermansson (keyboards), Kristoffer Gildenlöw (bass, backing vocals), and Johan Langell (drums) crafted a magnificent musical flow filled with powerful and impactful compositions, flawlessly executed. From symphonic atmospheres and superb vocals to epic narratives, thrilling melodies, and impeccable progressive rock and metal instrumentation, their repertoire is absolutely brilliant. Songs like "Rope Ends", "Waking Every God", "A Trace of Blood", "Second Love", and "Beyond the Pale" are stunning masterpieces, featuring lush and intricate acoustic string arrangements, magnificent vocals and harmonies, all underpinned by driving rock guitars and a blistering rhythm section. Without a doubt, this album perfectly embodies modern progressive rock.

Jango-Closer To Home (2000)

The second release from Californian band Jango is "Closer To Home", another exquisite example of the finest smooth jazz. Often dismissed as a modernized Steely Dan imitation, one could say that "Jango interprets Steely Dan as perfectly as Steely Dan themselves". Beyond this apt observation, the truth is that Jango managed to create a refined and versatile sound in their first two albums, brimming with funk influences, sophisticated synthesizer sounds, rich vocal harmonies, and rhythm and blues rhythms, all delivered with a vibrant and incredibly addictive style. The tenor voice of singer Steve Nieves, along with his delicate touch on saxophone and other wind instruments, the rich contribution of keyboardist Steve Le Gassick, and the brilliant work of guitarist Nick Kirgo, offer great instrumental versatility. In "Closer To Home", this American quintet once again showcases their exquisite musical taste with a repertoire of easy-listening songs at their finest. Tracks like the Steely Dan-esque "Joyful Caravan", the engaging funk jazz "Diamond Drive", the refined "Nightside Express", the consistent "Soul Casserole", the jazz fusion "The Beard" or the bittersweet "Pink Flamingos", make up a work that is as captivating as it is rewarding.

Eric Clapton-Journeyman (1989)

For much of the 1980s, Eric Clapton's musical journey was marked by albums of limited quality and commercial appeal, with predictable works far removed from his earlier output. Albums like "Another Ticket", "Money and Cigarettes", and "Behind the Sun" were experiments quite distinct from his blues style, focusing more on the electronic sounds typical of the 1980s, and featuring a watered-down Eric Clapton, both in his songwriting and instrumental performance. Toward the end of the 1980s came his eleventh album, "Journeyman", where he recovered his unmistakable style and returned to his blues roots. Recorded between The Power Station studios in New York and The Town House in London, throughout much of 1989, the album featured a string of renowned musicians, including Robert Cray (guitar), Nathan East (bass), George Harrison (guitar), Pino Palladino (bass), Phil Collins (drums), David Sanborn (saxophone), and Daryl Hall (vocals), among many others. The album opens with the spectacular "Pretending", which, along with the charming bluesy "Running On Faith", the catchy "Bad Love", and the soul-rock "No Alibis", are the highlights of this release. However his characteristic blues influence is present in the tracks "Before You Acuse Me", "Old Love", and the jazzy "Hard Times", while "Lead Me On", "Run So Far", and "Anything For Your Love" showcase Clapton's more subdued side with his usual enchanting ballads. With this album Eric Clapton returned to the top of the charts, earning half a dozen platinum records and sales exceeding four million copies worldwide. Moreover, and more importantly, he regained his credibility, which he had lost for some years, as one of the best guitarists in rock history.

Black Bonzo-Lady of the Light (2004)

Throughout much of the 1990s and 2000s, a wide variety of bands emerged, offering an exciting new sound based on the rock of the 1960s and 70s, encompassing its many stylistic variations, including progressive rock, hard rock, and folk rock. These so-called retro rock bands revived these styles and introduced them to millions of new fans drawn to the sounds of rock's golden age. One such band was the Swedish group Black Bonzo, who focused on the progressive hard rock of iconic bands like Deep Purple, Atomic Rooster, Uriah Heep, Black Widow, Quatermass, Titanic, and Lucifer's Friend, among many others that dominated the scene in the 1970s. The musical style of these Swedes could be more specifically described as a fusion of early Uriah Heep and Deep Purple from their golden era, specifically the Mark II lineup. Founded in 2003, they released their first album a year later, subsequently releasing several more projects focused on a consistent musical style. The band consists of Joakim Karlsson (guitars and vocals), Nicklas Ahlund (organ, vocals, and Mellotron), Patrick Leandersson (bass and vocals), and Mike Israel (drums). On their debut album, this formidable band presents majestic soundscapes of powerful heavy rock interwoven with 70s prog rock, where fiery guitars, the potent sounds of the Hammond organ and Mellotron, rich vocal harmonies, and dynamic instrumentation permeate every groove of this first album. Heavy tracks like "Freedom", "Jailbait", and "Lady of the Light" coexist with others of a distinctly progressive heavy nature, such as "Brave Young Soldier" and "Where the River Meets the Sea".

Elmore James-Blues After Hours (1960)

Elmore James is one of the fathers of modern blues. His personalized take on traditional Mississippi Delta blues led him to pick up the torch from the legendary Robert Johnson, and some of his iconic songs, such as "Dust My Broom," "Believe", "Standing at the Crossroads", "Dust My Blues", and "It Hurts Me Too", all released in the 1950s, cemented his status as one of the most important figures in blues. Despite a relatively short career (he began recording in the early 1950s), his musical legacy includes countless songs that have been, and continue to be, covered by hundreds of musicians who have kept his legacy alive throughout the years. With extraordinary virtuosity on the slide and bottle neck guitars, he defined a unique and original style, decisively influencing the playing of hundreds of subsequent blues and rock guitarists. Elmore James died in 1963 at the age of 43 from a heart attack, just as he was about to embark on a long tour of Europe with the American Folk Blues Festival. He was inducted posthumously into both the Rock and Roll Hall of Fame and the Blues Hall of Fame many years later. His musical legacy and influence have been acknowledged by electric guitar greats such as Jimi Hendrix, Chuck Berry, B.B. King, Hound Dog Taylor, Duane Allman, and Jerry Garcia.

John The Revelator-Wild Blues (1970)

Taking its name from a 1930s gospel/blues song popularized by Son House, John The Revelator was a short-lived Dutch band from the early 1970s that, with just one album, garnered significant critical and public acclaim, becoming a fixture on the Dutch blues circuit. Originally formed by bassist Tom Huissen, who had previously played on the London blues circuit in the late 1960s, the band returned to his homeland to form a blues group in the style of British blues bands. He named this band John The Revelator. Its initial lineup consisted of Joseph DeWilde (guitar), Charles Van Den Heuvel (piano), Henno Van Donselaar (saxophone), Fred Huissen (drums), Tom Huissen (bass), Frans Ten Kleij (guitar), and Charles Van Der Steeg (saxophone and flute). In 1970, the band won first prize at the prestigious Loosdrecht Jazz & Blues competition and were immediately signed to the Phonogram label, releasing their debut album, "Wild Blues". In 1971, they returned to the studio to record a second album, which was never officially released. Their debut album features a high-quality repertoire of tasteful blues. This debut opens with "John The Revelator", a traditional blues song sung a cappella. Throughout the album, they also include covers of blues standards such as "I Can't Stop Love You", "Talk to Me, Baby", and "Bleeding Heart", all by Elmore James, as well as "Worried Dreams" by B.B. King and "Personnel Manager" by Albert King. Among their own compositions, "Wild Blues", "No Woman", and "Charlie's Drive-In" stand out.

Kevin Gilbert-The Shaming of the True (2000)

This is one of the best progressive rock albums of the modern era. Everything about this album is absolutely perfect and brilliant, from the lyrics and vocals to the musicianship, the tight production, and the incredible melodies. Much like Pink Floyd's "The Wall", released almost two decades earlier, this is a concept album about the dramatic rise and fall of a rock star. This album represented multi-instrumentalist Kevin Gilbert's lifelong dream: to record a rock opera. Working closely with Nick D'Virgilio, Kevin dedicated himself wholeheartedly to this project. Unfortunately, he never got to see his dream realized. Kevin Gilbert died on May 17, 1996, from accidental asphyxiation, leaving the project unfinished. After his death, Jon Rubin and Nick D'Virgilio worked on the album for years, picking up where Kevin left off, and finished it with a vast array of collaborating musicians in late 1999. It was officially released in 2000. The album itself is a complete work, from the dissonant and haunting keyboard notes that open and close it. It features 14 flawless songs, most of them of a high compositional and instrumental standard, where there is room for introspection and serenity; "From There to Here", with its bitterness and sarcasm directed at the music industry; "Certifiable #1 Smash"; the charmingly conventional pop-rock of "Imagemaker" and "The Best Laid Plains"; the symphonic pop of "Water Under the Bridge"; and even a cappella pieces like "Suit Fugue (Dance of the A&R Men)".

Robert Johnson-The Complete Recordings 1936-1937 (1990)

Throughout the early days of rock and roll, we can cite strategic locations that were part of its initial origins, emblematic places like Nashville, Memphis, New Orleans, and the Mississippi Delta. It was precisely in this last area, located in the Deep South of the United States, that the figure of Robert Johnson emerged, a folk and blues singer-songwriter who, with barely a handful of songs officially recorded, became a legend. Johnson was discovered late in life and only set foot in a recording studio twice. His life, marked by numerous tragedies, including his own death, which wasn't clarified until almost three decades later, and his appearances and disappearances from the stage, gave him the aura of a supernatural legend. For some time, Johnson had been performing in many bars in the seedy underbelly of the American South. However, his performances were truly awful, to the point that he was eventually banned from all those places. One day he disappeared without a trace, until many months later he reappeared with a talent that would astonish everyone. The legend that circulated at the time was that Johnson sold his soul to the devil in exchange for great musical talent, playing guitar and composing songs. During that time, he recorded about thirty songs, the only ones that have survived from his small repertoire, in which he speaks of demonic apparitions and the selling of souls. Shortly afterward, Johnson died, and no one knows the exact cause of his death. His death, officially recorded at age 27, is considered the first of the so-called "27 Club," which also includes Jimi Hendrix, Jim Morrison, Janis Joplin, Brian Jones, Amy Winehouse, and Kurt Cobain. Rock greats such as Johnny Winter, Eric Clapton, Bob Dylan, Led Zeppelin, Cream, The Rolling Stones, and John Mayall, among many others, always considered Robert Johnson their main influence. In 1990, Columbia Records released a double album containing all of Robert Johnson's known recordings, which won the Grammy Award for Best Historical Album.

Wobbler-From Silence to Somewhere (2017)

Influenced by the sonic textures of Gentle Giant, the avant-garde of King Crimson, and the baroque sound of Genesis's more pastoral work, the Norwegian band Wobbler is another leading light of modern progressive rock. Founded in the late 20th century in the town of Hønefoss, its mentor and leader is keyboardist Lars Fredrik Frøislie, who, along with Kristian Karl Hultgren (bass), Martin Nordrum Kneppen (drums), Morten Andreas Eriksen (guitars), and Tony Johannessen (vocals), released their first album in the early 2000s with the promising "Hinterland" (2005). After several more releases where they evolved and solidified their rich and original style, they released their magnum opus, "From Silence to Somewhere", in 2017. However, by this point, the lineup had undergone several changes; guitarist Morten Eriksen and vocalist Tony Johannessen were no longer present, replaced by multi-instrumentalist Andreas Wettergreen Strømman and guitarist Marius Halleland. After 18 years in the business, Wobbler was already considered one of the best and most veteran bands on the European progressive scene, and with this release, they perfectly demonstrate that recognition, delivering a work that skillfully fuses Norwegian folk with medieval sounds, psychedelia, and symphonic rock. From their first track "From Silence to Somewhere", a brilliant journey through their diverse roots influences, with enormous instrumental dynamism, to the extensive "Foxlight", where they show different moods ranging from noisy and grandiose rhythms to dreamy acoustic sections, passing through the strident "Fermented Hours", Wobbler managed to create another of the masterpieces of modern progressive rock of the 21st century.

The White Stripes-Elephant (2003)

Spearheading the revival of 1960s garage rock in the late 20th century, the White Stripes established themselves as one of the leading alternative rock bands throughout much of the late 1990s and the first half of the 2000s. Their original musical approach encompassed genres as diverse as blues, hard rock, folk, country, punk, and rock and roll, with a style heavily influenced by the classic sound of the legendary Led Zeppelin, one of the band's main influences. Furthermore, their recordings were characterized by the simplicity of their arrangements and their effective, albeit rudimentary, songs. Formed by the duo Jack White (guitarist, vocalist, and keyboardist) and Meg White (drummer and vocalist), they were active for just over ten years, from 1999 to 2011, when they officially disbanded. During this time, they released six studio albums and several live albums, selling over ten million copies. “Elephant” was the title of their fourth album, released in early 2003, becoming one of their biggest commercial and critical successes. As was typical of their previous albums, the band opted for the analog sounds characteristic of the 1960s, using recording equipment from that era. Musically, with this new album, the White Stripes succeeded in rediscovering for new generations the primal, rootsy sounds of blues and rock, with a series of addictive tracks such as the generational anthem "Seven Nation Army", which would become a classic at sporting events worldwide. In addition to this now-universal track, there's the psychedelic "There's No Home For You Here", the powerful blues-rock "Ball and Biscuit", the dark hard rock "The Hardest Button", and the garage rockers "Girl, You Have No Faith In Medicine" and "Black Math". Meanwhile, the folk, country, and American rock influences are present in tracks like "In The Cold, Cold Night", "I Want To Be The Boy To Warm Your Mother's Heart", and "You´ve Got Her In Your Pocket".

Lou Reed-The Blue Mask (1982)

Once Lou Reed overcame his addictions to drugs and alcohol, a period that marked his most decadent phase but also produced some of his best albums, he returned in 1982 with "The Blue Mask", a magnificent album showcasing a more reflective side of him. Recorded at RCA Studios in New York and produced by Sean Fullen, Reed collaborated with a small group of musicians including Robert Quine (guitars), Fernando Saunders (bass), and Doane Perry (drums). The general tone of this new work (the eleventh chronologically by the American musician) is based on ingenious, easily digestible songs, a concise repertoire dominated by the guitar, which has a great luminous intensity and with a large majority of compositions of relaxed sounds except for the energetic "The Blues Mask", "Average Guy" and "Waves Of Fear", while others such as "My House", "Women", "The Gun", "The Day John Kennedy Died" and "Heavenly Armas", show that complacency, giving great stability to this excellent work.

Lightnin' Hopkins-Free Form Patterns (1968)

Lightnin' Hopkins was one of the greatest bluesmen in history and, at the same time, one of the most influential figures on many rock and blues guitarists. During his career, which spanned from 1940 to the 1980s, he recorded more albums than any other blues guitarist, and he was one of the first inductees into the Blues Hall of Fame in 1980. His distinctive fingerstyle (a technique that involves playing the guitar by plucking the strings directly with the fingertips or nails, as opposed to using a traditional pick) earned him a place among the 100 greatest guitarists of all time. Born in 1912 in Texas, Hopkins began by immersing himself in the rural blues of the American South, teaching himself and gradually evolving towards country blues and electric blues. His first recordings were with jazz pianist Wilson Smith, and he later collaborated with other prominent musicians such as L.C. Williams. His performances throughout the Midwest earned him a large following among African American audiences and blues fans. During the 1950s and 60s, Hopkins recorded a seemingly endless series of albums and singles for major labels such as Gold Star, Folkways, Bluesville, Prestige, Charly, Vanguard, and Polydor. Throughout the 1960s and 70s, he released several albums a year, touring extensively at folk and blues festivals around the world. One of his most popular albums is "Free Form Patterns", on which he was backed by the rhythm section of the psychedelic band 13th Floor Elevators, an album that garnered widespread acclaim as one of the finest expressions of authentic blues. Hopkins died of esophageal cancer in Houston on January 30, 1982, at the age of 69, and several of his guitars are on display in museums in Cleveland and Washington, D.C.

Porcupine Tree-In Absentia (2002)

With Porcupine Tree's seventh album, "In Absentia," the band led by Steven Wilson not only achieved their best work but also the pinnacle of the brilliant composer, singer, and guitarist's creativity undoubtedly one of the most brilliant musicians of the last two decades. While throughout much of the nineties the band built a strong reputation within the progressive rock community with such monumental albums as "The Sky Moves Sideways", "Signify", and "Stupid Dreams", in which they maintained their characteristic progressive sound but fused it with different nuances and more commercial sounds, in "In Absentia" they rationally managed to fuse psychedelic and prog elements with the power of heavy metal, as demonstrated in the opening track, "Blackest Eyes". The rest of the album moves eclectically through various styles, with complex compositions alongside simpler but incredibly addictive ones, as demonstrated in tracks like “Trains”, “Prodigal”, and “Strip The Soul”. Meanwhile, the progressive hard rock vein is very much present in cuts like “Gravity Eyelids” and “Weeding Nails”, in dark and powerful exercises like “The Creator Has A Mastertape”, and in exquisite pieces like “Heartattack In A Layby” and “Collapse The Light Into Earth”. “In Absentia” has become one of the essential works of the new century, not only for its memorable compositions but also for the superb instrumental performance of each band member, as well as the impeccable production by Steven Wilson himself.

Virus-Revelation (1971)

This German band, whose name might sound pejorative by the time we write this post (for obvious reasons that don't need mentioning), was founded in the early 70s and only released two interesting albums, though they had little commercial or media impact at the time of their release. Formed around a core of guitarist Werner Monka and organist Dieter Krahe, the band was rounded out by vocalist and flautist Bernd Hohmann, bassist Reinhold Spiegelfeld, and drummer Wolfgang Rieke. Their style was based on hard rock with psychedelic influences and hints of space rock, a style that could be classified as classic krautrock. Their first album is the most focused on these sounds, with several long, drawn-out tracks that reveal their influences, ranging from the more psychedelic Deep Purple to the more spacey Pink Floyd. Right from the opening track, “Revelation”, the band showcases the lysergic journeys of Phillip Perceptrons, led by Syd Barrett, which surprisingly evolves into a heavy and dark psychedelic version of the Rolling Stones' “Paint It Black”, “Endless Game,” on the other hand, is a dynamic progressive hard rock track with constant tempo changes that ultimately transforms into an extended psychedelic jam. The rest of the album follows similar paths, with tracks like “Burning Candle” and “Hungry Loser”, a clear nod to the sound of Jimi Hendrix, and the psychedelic and progressive “Nur Noch Zwei Lichtjahre”. Shortly afterward, several members left due to musical differences, and the band reformed with new members, releasing their second album, “Thoughts”. This album marked a departure from the musical approach of their debut, leaning towards the more predictable sounds of classic hard rock, a shift that would ultimately cut short the career of this otherwise excellent German band.

Frank Zappa-The Grand Wazoo (1972)

"The Grand Wazoo" was the last of Frank Zappa's instrumental burlesque albums, at least until "Orchestral Favorites" was recorded many years later. Recorded during Zappa's convalescence from injuries sustained when a wild fan stormed the stage during one of his concerts, Zappa ensured that each track on "The Grand Wazoo" retained a distinct stylistic flavor, always within the framework of jazz-rock. This is a purely instrumental album, save for a few vocal parts, where a large group of musicians more than twenty lend it a big band jazz style. Among these musicians were drummer Aynsley Dunbar, keyboardist George Duke, guitarist Tony Duran, percussionists Alan Estes and Bob Zimmitti, and saxophonist Ernie Watts. This release lacks Zappa's usual guitar solos, or at least not as many as in previous and subsequent releases. Instead, a wide variety of wind, brass, and percussion instruments take center stage, making it one of the most purely jazz-influenced works in his entire discography. From the gritty tones of "The Grand Wazoo" to the comical "Cletus Awreetus-Awrightus", passing through the epic riffs of "Eat That Question" or the relaxed "Blessed Relief", Zappa once again demonstrated that he was the absolute master of the bizarre, the anarchic, and everything musically established.

Black Sabbath-Seventh Star (1986)

"Seventh Star" was originally intended to be guitarist Tony Iommi's first solo album, but it was ultimately released under the Black Sabbath name due to pressure from the record label Vertigo, who argued that sales would be higher if the album were released as Black Sabbath. With three-quarters of the original lineup gone, Iommi recruited bassist Glenn Hughes, drummer Eric Singer, and bassist Dave Spitz, while other musicians such as keyboardist Geoff Nicholls and vocalist Ray Gillen also participated in the recording sessions. A far cry from the doom and dark heavy metal sound of Black Sabbath, this album saw the guitarist opting for a more conventional, radio-friendly sound of classic rock and heavy metal. The energetic melodies of Tony Iommi's riffs, backed by Glenn Hughes's soulful vocals, and underpinned by a solid, powerful rhythm section, are the common thread of an album that, while not reaching the heights of the band's best work, remains a worthy heavy metal and hard rock album released in the 80s. It's an album comprised of a solid collection of songs, including the epic title track, the bluesy "Heart Like A Wheel", the powerful ballad "No Stranger To Love", the melodic rock of "Angry Heart", and the mighty heavy rock anthems "In For The Kill" and "Turn to Stone".

Lou Reed-Rock´n´Roll Animal (1974)

In 1972, David Bowie entered Lou Reed's career and became one of his greatest influences. The British singer encouraged Reed to emphasize the ambiguous and provocative nature of his lyrics and performances, characteristics typical of the Andy Warhol factory, from which Reed himself emerged. If, until then, the New York musician had been one of the pioneers in highlighting the negative and unsettling aspects of youth subculture, with Bowie's arrival, he gradually transformed into an androgynous figure, appearing on stage with black eye and lip paint and wearing black velvet suits adorned with faux sequins. Already on his album "Transformer" (1972), he deliberately introduced the themes of homosexuality and cross-dressing, with which Reed had previously maintained a distance through irony and theatricality, but which he suddenly seemed to embrace. Bowie and Mick Ronson's collaboration on production, in addition to their participation in the album's recording, gave a great boost, coherence, and balance to a work that contained captivating songs like "Walk On The Wild Side", "Vicious", "Make Up", and "Satellite Of Love". Thanks to this LP, Lou Reed finally became a rock star; however, his consolidation at the top was cut short by his next work, "Berlin" (1973), which was produced by Bob Ezrin and featured an anthology of musicians, including Steve Winwood, Michael Brecker, Aynsley Dunbar, Steve Hunter, Dick Wagner, and Jack Bruce, among others. However, this album was scorned by the press and lost public interest, undoubtedly due to its strange music, which alternated intense orchestral passages with uneven acoustic guitar and rock sounds, prompting comparisons to the Velvet Underground's first album. Disgusted by that poor reception, Lou Reed formed a powerful and forceful rock band, which included guitarists Wagner and Hunter, plus bassist Prakash John, drummer Pentti Glan, and keyboardist Ray Colcord, and would release the vigorous and immersive live albums “Rock´n´Roll Animal” (1974) and “Lou Reed Live” (1975) in which he reviewed his classic songs in an almost hard rock style; “Sweet Jane”, “Heroin”, “Lady Day”, “Vicious” or “Walk On The Wild Side”, both albums, memorable sonic documents of the best period, at the same time the most turbulent of the American musician.

Allan Holdsworth-Metal Fatigue (1985)

Allan Holdsworth is considered one of the greatest guitarists in history, yet at the same time, he remains unjustly unknown to much of the rock community. His beginnings in the 1970s led him to participate as a member of such iconic bands as Tempest, U.K., Gong, Soft Machine, and Jean-Luc Ponty's band, in addition to numerous collaborations on albums by renowned artists like Stanley Clarke, Jack Bruce, Carl Verheyen, and John Wetton, among many others. In 1976, he released his first solo album, "Velvet Darkness", which already showcased his technique in the service of progressive jazz. With his second album, "I.O.U.", released a few years later, Holdsworth created a work with an unpredictable and surprising sound, replete with a vast array of complex progressions, chords, and atypical tonal scales. In 1983 came "Metal Fatigue", considered one of the best jazz-rock albums of the 1980s, where he demonstrated his exceptional guitar mastery. With this album, he pushed the boundaries of genres and styles, blending an instrumental-oriented sound with vocals in some of the songs. "Metal Fatigue" contains six excellent compositions that straddle the line between rock and jazz, brilliantly performed not only by the brilliant guitarist but also by the musicians who accompanied him on this recording, including drummer Chad Wackerman, bassists Jimmy Johnson and Gary Willis, vocalists Paul Williams and Paul Korda, and keyboardist Alan Pasqua. Impeccably performed tracks such as the superb jazz rock “Devil Take The Hindmost”, “Home” and “Metal Fatigue” or virtuoso exercises like “The Un-Merry Go Round” or the more accessible “Panic Station” and “In The Mystery”, make up a truly excellent jazz rock album, with absolutely fantastic musicality and impeccable instrumental execution.

Eulenspygel-2 (1971)

This is one of the most intense recordings of krautrock and German underground hard rock from the 1970s. Released in 1971, its title "2" refers to the fact that this band, then called Royal Servents, had already released a previous album. Eulenspygel consisted of Detlev Nottrodt (electric guitar and vocals), Matthias James Thurow (electric guitar, violin, mellotron, and sitar), Ronald Libal (electric bass), Mulo Maulbetsch (vocals), Günter Klinger (drums), Cornelius Hauptmann (flute and saxophone), and Karl-Heinz Großhans (Hammond organ). With a style that blends jazz, rock, and avant-garde elements, their compositions are ingeniously arranged, all driven by vibrant guitars and a frenetic organ. Tracks like "Das Lied Vom Ende", "Konsumgewasche", "Strub Auf Deinem Haar", "Son My", and "Till" are imbued with a heavy rock sound and insightful instrumentation. Eulenspygel was also one of the most politically charged bands of the era, with lyrics that were critical and ironic, targeting Western society, environmental degradation, capitalism, and the Vietnam War.

Nektar-Magic Is A Child (1977)

Shortly after releasing their sixth album, "Recycled" (1975), the British band Nektar suffered their first departure. Their principal songwriter, guitarist Roye Albrighton, left the group, refusing to relocate to the United States like the rest of his bandmates. From then on, the band attempted to cling to the progressive and magical essence of their early style with a new guitarist, American Dave Nelson. Nelson, along with Alan Freeman (keyboards, synthesizer, and vocals), Derek Moore (bass and vocals), and Ron Howden (drums), tackled a new album, which also featured Larry Fast on synthesizers, Robert Fripp on guitar, and a string quartet. This new work continued to showcase the band's signature sinuous and ingenious arrangements, exquisite vocal harmonies, atmospheric keyboards, and a harder rock guitar sound than usual. However, the musical direction becomes more accessible, without ever becoming mainstream or commercial, but rather a kind of catchy and appealing progressive rock for a wide audience. Hard rock tracks like "Midnight Lite" and "Train From Nowhere" are followed by intense cuts with progressive elements such as "Listen", "Away From Asgard", and "Magic Is A Child", the latter a beautiful melody featuring a memorable harpsichord and string quartet. With "Magic Is A Child", the British band created another of their memorable albums, adding to their extensive and brilliant discography.

Blind Guardian-Nightfall In Middle-Earth (1998)

The eighth album by the German band Blind Guardian marked the pinnacle of their creativity, while simultaneously being their least accessible and most progressive record. Based on J.R.R. Tolkien's "The Silmarillion", Blind Guardian embarked on their most ambitious work, replete with vocal harmonies and multiple layers of guitars with dense and complex sounds. By the time they recorded this album, the band had gone three years without releasing any new material, years in which they had embarked on several highly successful world tours, performing complex songs from their albums "Somewhere Far Beyond" and "Imaginations From The Other Side". These albums, while not explicitly concept albums, followed a similar pattern with progressive leanings, if not so much musically, then certainly stylistically. “Nightfall In Meddle-Earth” is an exciting album from beginning to end, with great intros, outstanding epic compositions and a clear taste towards rock opera, with narrated parts, countless choirs and sublime instrumentation made up of 22 tracks, half of which are songs and the rest narrated or instrumental interludes.