John Norum-Play Yard Blues (2010)

John Norum is primarily known as one of the founders of the Swedish hard rock band Europe, with whom he achieved significant media and commercial success during the 1980s thanks to excellent albums such as "Wings of Tomorrow" and "The Final Countdown", and radio hits like the title track, "Carrie", "Rock the Night", and "Cherokee". But Norum has also always maintained a parallel solo career, releasing eight studio albums. In 2010, John Norum decided to compile some of the songs that influenced his career into an album, producing a collection of his own compositions alongside blues and rock covers. His guitar style has always been characterized by its dark and raw sound, a highly valued trait perfectly suited to blues rock. Songs like the opening hard rock track "Let It Shine" and the powerful "Red Light Green High" and "Got My Eyes On You", alternate with a heavy cover of Thin Lizzy's song. "It's Only Money", the psychedelic heavy rock "Ditch Queen", (another version this time by Frank Marino), or the magnificent blues "Play Yard Blues".

Lee Abraham-The Seasons Turn (2016)

“The Seasons Turn” is a magnificent work created by Lee Abraham, a musician experienced in progressive rock thanks to his work with the band Galahad and his five previous solo albums. With this sixth album, Lee Abraham composed a repertoire of just five songs, some of them quite lengthy, which, while not exactly groundbreaking, offer pure, high-quality symphonic rock. For this endeavor, the multi-instrumentalist enlisted a wide array of collaborators, including Marc Atkinson (vocals), Martin Oxford (flute), Gerald Mulligan (drums), Christopher Harrison (guitar), and Rob Arnold (keyboards), among half a dozen other musicians. Starting an album with a mammoth 25-minute title track is not only a huge gamble, but also a bold move, and Abrahams pulls it off brilliantly, transforming it into a truly progressive structure brimming with diverse sounds, expansive layers of Mellotron, vigorous electric and acoustic guitars, overflowing emotion, and a sense of epic grandeur. Following this overwhelming adventure come "Live For Today", "Harbour Lights", and "Say Your Name Aloud", shorter pieces with a heavier, more direct tone, culminating in the musical extravaganza of the album's other suite, "The Unknown", another epic song with neo-progressive undertones, where harsh guitars and a vast arsenal of grandiose keyboards take center stage. Without a doubt, we are witnessing one of the finest works of modern progressive rock in the 21st century.

Wreckless Eric-Big Smash! (1980)

Wreckless Eric is one of the pioneers of British new wave, although he never achieved the same commercial or popular recognition as some of his contemporaries. In his early days in the mid-70s, Eric began playing bass in a band called Addis and The Flip Tops. In 1976, he submitted a demo to the independent label Stiff Records, and was immediately signed. The following year, they released his first singles, most notably "Whole Wide World", produced by Nick Lowe. A year later, Stiff Records toured England with some of its bands, a tour in which Wreckless Eric became a sensation, leading to the recording of his self-titled debut album in 1978. This first album, along with "The Wonderful World of Wreckless Eric", became a favorite with thousands of fans across the UK, thanks to John Peel's broadcasts on BBC Radio 1. Eric's third album was a double LP that cleverly combined the first two albums into a kind of compilation, spanning two of the four vinyl sides. On it, Eric gave new fans the opportunity to hear some of his best songs, such as "Whole Wide World" and "Reconnez Cherie", where his distinctive vocal style blended seamlessly with the minimalist accompaniment. New tracks included "Pop Song", "Broken Doll", "Excuse Me", and "Out of the Blue". From this point on, his carefree new wave style would become established within that genre, but in a discreet background, far removed from the charts and media stardom.

Hydra-Rock The World (1977)

Hydra was another interesting and forgotten American band belonging to the second tier of American southern rock. Founded in Georgia in the early 1970s by guitarist and vocalist Wayne Bruce, guitarist Spencer Kirkpatrick, and drummer Steve Pace, the band had a succession of bassists during its early years, including Trip Burgess and Orville Davis. During those years, the band built a strong reputation with their electrifying live performances in clubs and concert halls throughout Atlanta, a fact that did not go unnoticed by the executives at Capricorn Records, who signed them and released their self-titled debut album in 1974. On this debut, Hydra showcased their gritty Southern rock style with the energy of heavy rock, a style that would be softened on their second album, "Land of Money", when Capricorn's producers unilaterally added a horn section and keyboards, shifting the Southern style towards subtle soul and jazz sounds. After this second album, the band became a trio with Kirkptarick, Bruce, and Pace and released "Rock The World", which would ultimately be their last album and their best work. Most of the tracks on it have the classic Southern rock flavor of the 70s, with powerful guitars, melodic and catchy vocals, and a driving hard rock rhythm. Tracks like the frenetic "Shame", the powerful "Wating Time", the country rock "To The Willowed" or the attractive southern "Feel Like Running" and "Rock The World", make up an attractive album of the exclusive genre of the southern states of North America.

The John Butler Trio-Grand National (2007)

“Grand National” is the fourth album by The John Butler Trio, a phenomenal Australian roots rock trio comprised of John Butler, Shannon Birchall, and Michael Barker. Featuring a diverse repertoire brimming with harmonicas, banjos, and acoustic and electric guitars, all under a blanket of southern rock, blues, country, rock and roll, and bluegrass, this power trio delves into the roots of American rock with an accessible and catchy sound. Songs brimming with energetic vocals and captivating guitar lines, such as “Used To Get High”, blend with swampy tracks like “Better Than”, the deep-South Louisiana feel of “Daniella”, infectious melodies in “Funky Tonight”, appealing country rock in “Nowhere Man”, quirky reggae in “Groovin’ Slowly”, and funky southern rock in “Gov Did Nothin’ ”, this is what this band offers on this excellent album.

Black Sabbath-Vol. 4 (1972)

With their fourth album, Black Sabbath confirmed their tendency to experiment with heavy metal sounds. For this new album, titled "Vol. 4", Tony Iommi took the reins of production alongside Patrick Meehan, and this is reflected in the tuning of his guitar, which he altered even further than on the previous album, "Master of Reality", giving his sound a heavier and darker tone. Recorded in Los Angeles, their first album recorded outside the UK, it was marked, among other things, by the break the band had taken after a period of instability due to drug abuse by all its members and the exhausting tours around the world promoting the previous album. Despite not abandoning their roots, this new release no longer features such satanic or dark imagery in its lyrics, making it musically a less consistent work compared to their earlier albums. However, there are some memorable moments, such as the progressive heavy rock epic "Wheels of Confusion", in which Tony Iommi showcases his immense talent with impressive guitar riffs and solos. The distinctive Black Sabbath sound is still present in the heavy metal tracks "Supernaut", "Snowblind", and "Cornucopia", and in the frenetic heavy rock anthem "Under the Sun". The rest of the album consists of more predictable tracks like the stoner rock anthems "Tomorrow's Dream" and "St. Vitus Dance", and the melancholic ballad "Changes". Although for many fans this album was somewhat of a step backward in the band's career, it achieved multi-platinum status in the North American market and a gold record in the UK.

Howlin Rain-Magnificent Fiend (2008)

Another of the new roots rock bands is the American group Howlin Rain, a band from San Francisco, California, that keeps the flame of 70s rock alive. Formed in 2004 by Ethan Miller, their lineup has undergone countless changes, a constant throughout the group's career. Their first album, released in 2006, is a kind of revival of sounds that draw from the psychedelia of the Grateful Dead, the dusty rock of Lynyrd Skynyrd, and the instrumental developments of The Allman Brothers Band. Two years later they returned with "Magnificent Fiend", a harder-edged work, incorporating more hard rock guitars and a greater prominence of the Hammond organ. In this second effort, Howlin Rain give us everything from strange interludes, a prelude to the cathartic and psychedelic "Dancers At The End Of Time", to moving and melodic cuts (at least in comparison with their intense improvisations), "Nomads" and "El Rey", passing through electric folk canvases "Riverboat", southern rock "Calling Lightning Pt.2" or hypnotism in abundance with "Lord Have Mercy".

Øresund Space Collective-The Black Tomato (2007)

Øresund Space Collective is a multinational Danish-Swedish project formed in Copenhagen in 2004. Since their music is essentially a free and improvisational style of space rock with multiple influences ranging from hard rock and krautrock to jazz and psychedelic music, their recordings are as diverse as they are varied. With over 30 albums released, most of them have been recorded with different lineups in a kind of band-association of musicians that has earned them considerable prestige in the European progressive and avant-garde rock scene. Albums such as their self-titled debut (2006), "The Black Tomato" (2007), "Good Planets Are Hard To Find" (2009), "Music for Pogonologists" (2014) or "West, Space & Love Vol II" (2016), are unique and exciting experiences of galactic sounds, impeccable hypnotic rhythms, spacey guitars and predominant and driving organ and synthesizer sounds.

Smash-We Come To Smash This Time (1971)

Smash were the pioneers of what would become known as Andalusian rock, and their influence on countless subsequent groups in the years following their breakup was fundamental to the development and popularization of this style. Hailing from Seville, this band was active between 1967 and 1973. After releasing two studio albums, "Glorieta de los Lotos" and "We Come to Smash This Time", as well as a dozen singles, they disbanded. However, they reunited sporadically in the following years to keep their legacy alive. Their lineup consisted of Gualberto García (guitar), Julio Matito (bass and vocals), Antonio Rodríguez (drums), Henrik Liebgott (guitar and violin), El Lebrijano (vocals), and Silvio Rodríguez (percussion). Their debut album, "Glorieta de los Lotos", released in 1970, showcased their original fusion of psychedelic music and flamenco, featuring powerful bluesy riffs and experimental elements. A year later they returned with their second full-length album "We Come To Smash This Time", a more avant-garde and experimental record, featuring classic symphonic rock tracks "First Movement", psychedelic pop "Don't Be Sad, Baby", a fusion between raga music and flamenco "Behind the Stars", folk rock "We Come To Smash This Time" or progressive hard rock "Fail Safe", making this album a true classic of Spanish rock.

Steve Miller Band-Let Your Hair Down (2011)

Just as with their acclaimed previous album, "Bingo", the Steve Miller Band's seventeenth album delves deeper into the blues; in fact, both albums were recorded simultaneously. For this recording, Steve Miller's band included vocalist Sonny Charles, harmonica player Norton Buffalo, and guitarist Kenny Lee Lewis, who, along with Miller himself, co-wrote the riffs and solos on this album. Composed of covers of blues greats, Miller manages to make each version his own while respecting the original's essence. Robert Johnson's classic "Sweet Home Chicago", John Lee Hooker's "No More Doggin' ", Willie Dixon's "Pretty Thing", Jimmy McCracklin's "The Walk", and Muddy Waters' "Can't Be Satisfied", sound so fresh and revitalized that their original composers would surely be pleased with the final result.

Toto-Mindfields (1999)

Before the end of the 20th century, the American band Toto released their tenth studio album, "Mindfields", which showcased a return to the sound that had propelled them to fame in the late 1970s and throughout the 1980s: melodic rock brimming with irresistible choruses, rich arrangements, energetic hard rock guitar, and the rich influences of soul, blues, funk, and jazz. By this point, the band had undergone several lineup changes since their previous album, "Tambu" (1995), including the return of Bobby Kimball after some years away from Toto, and the addition of percussionist Lenny Castro, while core members Steve Lukather, David Paich, Mike Porcaro, and Simon Phillips continued to lead the legendary group. Featuring a wide variety of styles, this new release reaffirmed the Americans' status as one of the great bands of melodic rock. This eclectic fusion of styles is evident in the rock with reggae rhythms "Mindfields", in the soul-rock "Cruel", in the extensive blues "High Price of Hate", in the hard rock "Caught In The Balance", in the irresistible ballad "Last Love" or in the addictive and tremendously attractive AOR "One Road", "Melanie", "Selfish" or "Mysterious Ways".

Von Hertzen Brothers-New Day Rising (2015)

The story of this Finnish band is certainly intriguing. Formed by the Von Hertzen brothers (Mikko, vocals and guitar; Kie, guitar; and Jonne, bass), each of whom played in different bands, their father Hasse Von Hertzen was also a well-known guitarist in a 1970s band called The Roosters, and to top it all off, their uncle Lasse Von Hertzen was a member of the renowned folk-rock band Cumulus. With such a background, it's no wonder these young men have music in their blood. In 2000, the three brothers founded Von Hertzen Brothers, a band that fused progressive rock, folk, and classic rock. "New Day Rising" is the band's sixth release, an album where they expand their musical palette, adding more accessible and melodic compositions to their established style. Hard rock guitar riffs ("New Day Rising"), melodic cuts ("Trouble" and "Black Rain"), approaches to mainstream rock ("Hold Me Up"), folk ("Dreams") or thrilling rock ("You Don't Know My Name"), are what these Finns offer in this brilliant release.

Blackberry Smoke-Holding All The Roses (2015)

Blackberry Smoke's music is steeped in country rock, southern rock, bluegrass, and classic rock, making them one of the hottest acts in modern American rock. Since their beginnings back in 2001, the Atlanta band has given us some monumental albums like "Bad Luck Ain't No Crime" (2003), "The Whippoorwill" (2012), "Holding All The Roses" (2015), and "Like An Arrow" (2016). Focusing on "Holding All The Roses", the band showcases everything they offered in their previous work, but composed and performed in a more judicious and restrained manner. The energetic rhythms of classic rock are even more prominent, as demonstrated by tracks like "Let Me Help You (Find The Door)" and "Living In The Song". However, they also continue to produce their usual American roots sounds such as the southern "Holding All The Roses", "Wish In One Hand", "Payback's A Bitch" and "Fire In The Hole", or the delightful country "No Way Back to Eden", "Too High" and "Lay It All On Me".

The Rolling Stones-Blue And Lonesome (2016)

"Blue and Lonesome" is the only Rolling Stones album composed entirely of covers by artists other than themselves. This release, the band's twenty-third studio album, features twelve iconic blues tracks by legendary artists such as Memphis Slim, Howlin' Wolf, Buddy Johnson, Little Walter, Magic Slim, Willie Dixon, Otis Hicks, Jimmy Reed, and Eddie Taylor. In this compilation, the Stones strive to remain faithful to the original versions, while maintaining their characteristic flair and signature Stones sound. Eric Clapton's contribution is particularly noteworthy; he is sublime on slide guitar in the blues track "Everybody Knows About My Good Thing". With "Blue and Lonesome", the Stones wanted to pay a well-deserved tribute to their blues influences and roots throughout a long career spanning well over sixty years.

Emerson, Lake & Palmer-Black Moon (1992)

In 1992, the quintessential wizards of symphonic rock, Emerson, Lake & Palmer, reunited with their original lineup after a 14-year hiatus, despite having released the excellent self-titled album, "Emerson, Lake & Powell", in 1986 with Cozy Powell on drums. However, much had changed by then. Alternative rock, grunge, the resurgence of classic 70s hard rock, neo-progressive, and progressive metal dominated the tastes of 90s youth. Thus, the trio attempted to adapt to the changing times, crafting a commendable album that, at times, evokes their glory days, but with a modern and updated style. For this occasion, the band became more accessible, and their music more simplified, resulting in what could be considered, in many passages, sophisticated pop or commercial progressive rock. Keith Emerson's frenetic keyboards, as expected, drive many of the album's tracks. The title track, featuring a virtuosic Carl Palmer on drums, exemplifies this. That dizzying rhythm continues in the energetic, almost hard rock, "Paper Blood", while the melodic and acoustic "Affairs of the Heart" and the beautiful ballad "Footprints in the Snow", under Greg Lake's warm and commanding vocals, provide a moment of calm amidst the album's frenetic pace. The refined and vibrant "Rome and Juliet", the haunting "Close to Home", and the grandiose "Changing States" stand out on an album that, while not offering anything groundbreaking, is a worthy effort from one of the greatest bands in the history of progressive rock.

Lita Ford-Living Like A Runaway (2012)

Lita Ford rose to fame in the late seventies as a member of the American hard rock band The Runaways, an all-female group comprised entirely of teenage girls, which also featured guitarist Joan Jett, who would later form the iconic band Joan Jett & The Blackhearts. After The Runaways, Lita Ford embarked on her own solo career, a career with some ups and downs but equally successful, releasing great albums like "Lita", a veritable handbook of American hard rock and heavy metal. In 2012, the guitarist and singer released her eighth studio album, "Living Like A Runaway", offering a repertoire full of exciting songs, energetic guitars, and her masterful vocals. Songs like "The Mask", "A Song Your Wrist By", "Mother", "Branded", and "Devil In My Head", are excellent examples of the power of this brilliant Lita Ford album.

Patti Smith-Twelve (2007)

After nearly four decades in the business, in 2007 Patti Smith, the punk rock muse, feminist icon, and staunch human rights advocate, returned to delight us with a new album after several years of silence. This time, Smith boldly opted for a covers album, which, far from overshadowing the original versions, showcases the singer's remarkable flair in choosing an arsenal of iconic songs by artists such as Jefferson Airplane, Bob Dylan, The Beatles, Neil Young, Tears for Fears, The Allman Brothers, The Doors, and Nirvana. With the invaluable collaboration of guitarist Lenny Kaye, drummer Jay Dee Daugherty, and bassist Tony Shanahan, Smith brilliantly unfolds each song, imbuing it with her distinctive vocal style and indomitable spirit. Thus songs like "White Rabbit", "Soul Kitchen", "Smells Like Teen Spirit", "Changing Of The Guards", "Midnight Rider" or "Everybody Wants to Rule The World", offer an excellent different and peculiar musical approach.

Traffic-The Low Spark Of High Heeled Boys (1971)

"The Low Spark of High Healed Boys", Traffic's sixth album, was released a year after the fantastic "John Barleycorn Must Die", and showcased noticeable changes in the band's style and musical direction. Here, they moved away from folk and avant-garde leanings, orienting themselves towards a more jazz-oriented sound. However, Traffic always retained certain jazz undertones, though these were somewhat overshadowed by the psychedelic and folk style brought by their main songwriters, Jim Capaldi, Steve Winwood, and Dave Mason. Another significant aspect is the abundant percussion, thanks to the African percussionist Reebop Kwaku Baah and the two drummers, Jim Capaldi and Jim Gordon. In addition, the band introduced a new member, bassist Ric Grech, who came with an extensive career in bands such as Family, Blind Faith, and Ginger Baker's Air Force. Comprising five tracks, "The Low Spark Of High-Heeds Boys" showcases influences not only from jazz but also from other styles such as funk, rock and roll, soul, and blues, as evidenced by the warm and ambitious "Hidden Treasure", the seductive title track, the funky blues "Light Up or Leave Me Alone", and the understated "Many A Mile To Freedom". With this new release, Traffic demonstrated that despite their significant stylistic shift, they would succeed, crafting an excellent recording and their most acclaimed and commercially successful work, achieving platinum status in the always challenging North American market.

Jean-Michel Jarre-Magnetic Fields (1981)

In “Magnetic Fields”, Jean-Michel Jarre updated his sound to incorporate the latest synthesizers and new recording techniques, yet he adapted it to the overall compositional approach he had begun with “Oxygene” and “Equinoxe” (part 5 of the album, for example, is essentially a slightly more mainstream version of the “easy listening” track he added to the end of the previous album). As such, it forms the end of a trilogy of works (“Oxygene”, “Equinoxe”, and “Magnetic Fields”) that span the final days of the analog synthesizer era and the dawn of the digital synthesizer era; precisely for this reason, it is of interest to anyone with an appreciation for the history of electronic music, and it helps that it is a very enjoyable album to listen to in its own right. In some ways, this album also marks a slight shift in Jean-Michel Jarre’s sound, with music that is more compact, less ethereal and spatial, and more focused on sampling and rhythm. This was one of his first works to feature samples of human voices and "everyday" elements in the music, something Jarre would experiment with extensively on his follow-up album, "Zoolook", released a few years later. The brilliant, nearly 18-minute opening suite (comprising "Parts I and IV") is one of Jarre's signature pieces, constructed as a sequence of two successive main motifs, with a dreamy interlude that provides a kind of cosmic atmosphere. The first main motif is based on a dynamic series of synthesized chord progressions, with many soaring layers and additional harmonies that continue to unfold in a solid and elegant crescendo; The second track has a more orchestral feel, with a progressive architecture (the closest electronic pop can get to progressive), and "Part IV" is the album's most beautiful moment: evocative melodic lines and relaxing layers reminiscent of "Parts IV" and "VII" of "Equinoxe", but with a more serene atmosphere. "Part V", on the other hand, is simply a rumba: Jarre delves deeper into Latin music here, offering an interpretation of this prototype of Latin American Creole sensuality. In short, this third album by the French musician (although it was actually his fifth) proved to be an extraordinary work, as ambitious as its predecessors. While it didn't achieve the same massive sales figures, it did climb to the top of the charts in many countries around the world, with sales far exceeding 4 million copies.

Leslie West-Blue Me (2006)

Considered one of the greatest guitarists in American rock, Leslie West showcased his immense talent and genius for five uninterrupted decades, from his beginnings in the 1960s with the Vagrants, through his time leading the legendary Mountain in the 1970s and the iconic trio West, Bruce and Laing. In addition to all this, he had an extensive solo career, releasing a dozen albums, many of them veritable explosions of the best American blues rock. In 2006, West paid tribute to some of the blues classics with his album "Blue Me", featuring ten contemporary classics such as "Four Day Creep" by Humble Pie, "Hit the Road Jack" by Ray Charles, "Sinner's Prayer" by B.B. King, "Standing Around Crying" by Muddy Waters, and "Green River" by Creedence Clearwater Revival. In all of them, West demonstrates that so many years later he is still in enviable shape, with his peculiar and unique sound that he knew how to get out of his Gibson Les Paul and his tremendous voice that seems to have been born for the blues.

Wishbone Ash-Here To Hear (1989)

In 1989, the original Wishbone Ash lineup reunited to release their fifteenth album, "Here to Hear", more than fifteen years after their last studio album together ("Wishbone Four" in 1973). It's clear that we won't find the sound that made them famous in the seventies here, with the progressive and hypnotic sounds of "Argus", or the exciting and melodic twin-guitar hard rock of albums like "Pilgrimage", "Wishbone Four", "There's the Rub", or "New England". In this reunion, the band, composed of Martin Turner (bass, keyboards, vocals, and production), Ted Turner (guitars and vocals), Andy Powell (guitar), and Steve Upton (drums), opted for a sophisticated rock style, with impeccable compositions, some of them incredibly catchy, and excellent production. The elegant guitar rhythms are present, as is usual in the band, in all the songs, highlighting the initial and pulsating "Cosmic Jazz", the rhythmic "Mental Radio", the attractive "Lost Cause in Paradise" and "Why Don't We", or in the instrumental "Hole In My Heart (Part Two)".

Samson-Head On (1980)

Under the banner of the NWOBHM (New Wave of British Heavy Metal), Samson were another pioneering band of the genre, made even more significant by being the group where Bruce Dickinson showcased his talent as a vocalist before joining the legendary Iron Maiden. Formed in 1977 by guitarist Paul Samson, the rest of the band consisted of Chris Aylmer on bass, Barry Graham “Thunderstick” on drums, and the aforementioned Bruce Dickinson on lead vocals. After a commendable debut, “Survivors” (1979), the band released “Head On” a year later, considered a cornerstone of the genre, perfectly blending heavy metal and hard rock, highlighting guitarist Paul Samson's powerful riffs and Dickinson's tremendous vocals. Packed with high-quality tracks like “Hammerhead”, “Too Close To Rock”, “Manwatcher”, and “Hard Times”. “Head On” is one of those albums that hooks you with its addictive rhythm and catchy melodies. With this second album, the band achieved their best commercial success, reaching a well-deserved top 30 spot on the British charts and considerable sales in the UK.

Neil Young-Living With War (2006)

With his twenty-ninth album, Canadian Neil Young continued his politically charged themes, this time focusing, as the title suggests, on the wars waged by the American administration. This time, his target was the foreign policies of George W. Bush and his crusade in the Iraq War. Lyrically, it's very close to the protest folk that reigned during the 1960s, while musically it showcases Young's most furious and raw side. Distorted guitars, powerful rhythms, plenty of spontaneity, and a stark, honest rock sound are what we find here. Great vocal melodies, rhythmic grooves, poignant lyrics, and intense, gritty guitar riffs are present in tracks like "After The Garden", "Living With War", "Shock And Awe", "Families", "Lookin' For A Leader", and "Let's Impeach the President". Without a doubt, this is one of the most narrative and timeless albums from the brilliant Canadian musician.

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.