Petra-Back To The Street (1986)

Petra is one of the biggest and most successful American bands of all time, yet one of the least known outside their country. Formed in the early 1970s, with their catchy melodic hard rock style and Christian lyrics, they released around twenty albums, most of them hugely successful commercially and in the media, selling millions of records across the United States and achieving unprecedented success among their contemporaries in the same genre. Among other accolades, they have won four Grammy Awards, along with a dozen more nominations, and were the first Christian rock band inducted into the prestigious Gospel Music Hall of Fame. Pioneers in their genre, their four-decade career has been marked by numerous lineup changes, with guitarist and vocalist Bob Hartman remaining the only member of the original lineup throughout all those years. With an initial style rooted in American roots rock, they evolved towards the melodic hard rock they played throughout the 1980s, a decade in which they achieved their peak popularity, selling out every major stadium in the United States. Memorable albums such as "Never Say Die", "More Power To Ya", "Not Of This World", "Beat The System", "Captured In Time and Space", "On Fire" and "Back to the Rock" attest to the impressive career of this legendary American band. In 2005, after 30 years, the band called it quits, although they continued to perform sporadically in subsequent years. One of their greatest creative achievements came with their eighth album, "Back to the Street", which reached number four on the Billboard Top Christian Albums chart. Produced by former Kansas vocalist John Elefante, it captured the essence of AOR (Asian Rock and Roll). from other bands of the genre and mixed it with their lyrics inspired by the Psalms of the Bible, embellishing with charming gospel choruses, sharp rock guitars and fabulous and irresistible melodic lines as demonstrated in "Back to The Street", "You Are I Am", "King's Ransom", "Fool's God", "Thankful Heart" or "Run For Cover".

Road-Road (1972)

Road were a short-lived lysergic hard rock band who released only one album in early 1972. This power trio consisted of former Jimi Hendrix Experience bassist Noel Redding, guitarist and vocalist Rod Richards (formerly of Rare Earth), and drummer Leslie Sampson. Although they went completely unnoticed at the time, mainly due to the fierce competition they faced, their single album is now highly sought after by collectors of obscure and forgotten bands from the sixties and seventies. Echoes of Jimi Hendrix's distorted blues rock are present in tracks like "Mushroom Man", "Man Dressed In Red", and "Spaceship Earth", while the psychedelic hard rock of "Friends" and the folk rock of "I'm Going Down To The Country" result in a commendable and enjoyable album of acid heavy rock.

Nova-Wings Of Love (1977)

Italy has historically been the birthplace of elegant rock bands, the vast majority oriented towards symphonic, progressive, and jazz styles, many of which maintained their continued appeal to fans worldwide with their refined releases. In the mid-70s, there was a long list of these bands based in London, and one of them was UNO, formed by brothers Corrado and Danilo Rustici, both guitarists who, along with saxophonist Elio D'Anna, decided to rename the band Nova, recruiting bassist Luciano Milanese and drummer Franco Lo Previte. In 1976, under the Arista label, they released their first album, "Blink", a commendable work that, while not entirely defined, showcased a jazz-rock style with extended improvisations and rich guitar interplay and a sumptuous saxophone. Near the end of that same year, "Vimana" became their second full-length album, a more mature work where the band focused more on composition than on the individual instrumental work of its members. From this point on, the band underwent several lineup changes, with keyboardist Renato Rosset, drummer Ric Parnell, and bassist Barry Johnson joining, replacing Danilo Rustici, Lo Previte, and Milanese, respectively. With this lineup, the band recorded and released their most successful and magnum opus, "Wings of Love", which is characterized by a shift in musical direction, leaning more towards jazz funk, due in part to bassist Johnson's funky style. This album boasts exquisite musicianship, courtesy of the impeccable technical skills of all the band members, offering a repertoire of agile and dynamic, yet refined, jazz rock. Tracks like the dynamic funk-rock "You Are Light" stand out as one of their most creative moments, with silky harmonies and a contagious, catchy rhythm. The jazz fusion "Marshall Dillion" showcases Nova's energetic side, while the dreamy "Blue Lake" is the album's most intense moment. "Beauty Dream / Beauty Flame" features a gentle melody that blends delicate acoustic touches with reflective, exotic sounds. The rest of the album follows a similar path, with the frenetic funk of "Golden Sky Boat", the exhilarating jazz with Latin echoes of "Inner Star", and the elegant "Last Silence". "Sun City", their fourth album, released the following year, returned to a jazz-funk style, but one that leaned towards a more conventional and predictable jazz sound. Shortly after this final release, the band definitively disbanded, leaving behind four albums brimming with tension, energy, and technical brilliance, all considered seminal works within the European jazz-rock genre.

Frank Zappa-Hot Rats (1969)

Frank Zappa's genius is unquestionable, considered one of the most complete artists that have ever existed in rock history, his forays into almost all musical styles give him a level that very few can reach.
"Hot Rats" was his second solo album, with such a fresh and current sound, it was very advanced for his time, where he perfectly blends his experimentation with jazz and progressive rock.
An album that was one of his biggest commercial successes, reaching a ninth place on the UK charts.
Entirely instrumental, it offers an amalgamation of jazz, rock, experimentation and shows a melodic Zappa as he rarely was in his entire career.
In this work Zappa also shows his great technical variety with the guitar, with virtuosic and spectacular solos where the virtues with the six strings are outstanding.

Jade Warrior-Released (1971)

Jade Warrior is one of the quintessential cult bands, and is considered one of the most original musical acts in the history of rock music. They imbued their style with a masterful blend of ethnic sounds, jazz, psychedelia, folk, rock, and avant-garde elements. A previous post recounts the biography of this unique band, so we won't delve too deeply into their history and will instead focus on their second album, released in 1971. This album represented a dramatic shift from their self-titled debut, released that same year. In that first release, the sound was centered on elements of jazz-rock fused with African music, resulting in an experimental and avant-garde album. However, this second work is characterized by powerful and driving tracks, very close to hard rock, such as the opening track, "Three-Horned Dragon Kill", with a sound reminiscent of Led Zeppelin, but retaining the distinctive African percussion so characteristic of Jade Warrior. The playful “Eyes On You”, with its infectious rhythm, gives way to the band's more typical sound with the relaxed and atmospheric “Bride Of Summer” and “Water Curtain Cave”, which lead into the lysergic and powerful “Minnamoto’s Dream”, featuring razor-sharp guitars in the purest Jimi Hendrix style. Meanwhile, the rock and roll “(We Have) Reason To Believe” contrasts with the epic “Barazinbar”, which gradually unfolds amidst tribal percussion and flute sounds, culminating in the bucolic and acoustic “Yellow Eyes”. This album received a lukewarm reception from fans, surprised by this radical change, which is why the band would return to their unmistakable style in subsequent releases, much to the delight of their most loyal and devoted progressive rock followers.

Leo Sayer-The Very Best Of Leo Sayer (1979)

Leo Sayer was one of the most prominent artists on the charts in the first half of the seventies, with a melodic and catchy pop-rock style. His beginnings date back to the early 70s, composing songs for other artists alongside David Courtney. One of these was the hit "Giving It All Away" for The Who's lead singer, Roger Daltrey, in 1973. With the support of Adam Faith, Sayer secured a contract with the Chrysalis label, with whom he released a series of quite successful songs, such as "The Show Must Go On". From then on, he had up to a dozen hits on the British and American charts, including "One Man Band", "Long Tall Glasses (I Can Dance)", "Moonlighting", "Let It Be", "You Make Me Feel Like Dancing", "When I Need You", "How Much Love", "I Can't Stop Loving You (Though I Try)", and "More Than I Can Say". His albums during that same period also enjoyed consistent chart success between 1973 and 1977. However, from the late seventies onward, his records had less commercial and media impact, resulting in a succession of mediocre works that eventually led to a spacing out of his album releases. Just before the end of the seventies, "The Very Best Of Leo Sayer" was released, a compilation album featuring fourteen of his greatest hits, which became his best-selling album, reaching number one on the British charts and in other countries around the world. 

Fish-Sunsets On Empire (1997)

With their fifth studio album, "Sunsets On Empire", Fish delivered their best work since "Vigil In A Wilderness Of Mirrors", released seven years prior. On this album, Steven Wilson, the frontman of Porcupine Tree, co-wrote six of the songs and handled the arrangements, as well as production, actively participating in most of the guitar and keyboard parts. The album's opening track, "The Perception Of Johnny Punter", is one of their most ambitious songs, brimming with hard rock riffs and a symphonic atmosphere. Other tracks like "Goldfish & Clowns" reflect their mainstream side, as does "Change of Heart". Nods to their past with Marillion can be found in "What Colour Is God?", while "Jungle Ride" showcases an Eastern psychedelic feel. However, it is the title track, the most progressive and peak moment of the entire album, which ends in an incredible Floydian finale courtesy of vocalist Lorna Bannon and Steve Wilson performing a brilliant guitar solo inspired by David Gilmour.

Kansas-Masque (1975)

Kansas' third album, and their second release in 1975, came just seven months after "Song For America". This was partly due to pressure from Epic Records, who wanted to capitalize on the commercial success of "Song For America". However, this haste hampered the album's sales, resulting in only mediocre results, at least in the months immediately following its release. For this new album, the band went to Louisiana to In The Country Studios, but kept the same production team led by Jeff Glixman. This time, despite composing an album of very high quality, the band didn't achieve the same level of cohesion and balance as its predecessor. The commercially successful and addictive "It Takes A Woman's Love" was chosen as the promotional single, which in no way overshadowed their previous hit "Song For America". On the other hand, several of their classic tracks already appear here, such as the immortal "Icarus-Borne On Wings Of Steel", a powerful rock song with progressive touches, and the catchy "Two Cents Worth". The melodic "All the World" showcases Kansas's more symphonic side, while the dizzying "Child Of Innocence" and "Mysteries and Mayhem" display the rockier side of the Topeka group. The album concludes with the progressive and expansive "The Pinnacle", thus culminating an album considered a transitional step towards Kansas's later confirmation as one of the greatest American bands of the 1970s.

The Stone Roses-The Stone Roses (1989)

In the late eighties, The Stone Roses presented their debut album, showcasing the cheerful and carefree side of Britpop, with a series of songs that inherited the pop-rock sounds of The Beatles and the psychedelic folk of The Byrds from the 60s. Founded in the city of Manchester a few years earlier by vocalist Ian Brown along with bassist Gary "Mani" Mounfield, drummer Alan John "Reni" Wren and guitarist John Squire, they created a collection of melodic and very simple pieces with a contemporary flavor. This debut is considered one of the fundamental works in the development and evolution of the so-called Manchester movement of the late 80s and early 90s. From the psychedelic frameworks of "Don't Stop", to the chords and attractive vocals of "Waterfall", passing through the outstanding pop rock "I Wanna Be Adored", "Made of Stone" and "Bye Bye Badman", the beautiful "Lizabeth My Dear" or the complex "I Am the Resurrection", together they make up a work that was highly appreciated by critics and a resounding success on the charts in half the world.

Santana-Amigos (1976)

In the mid-seventies, Carlos Santana was determined to move away from the jazz-rock and fusion elements of his early albums and delve into more mainstream sounds. This trend was already evident on his seventh studio album, "Amigos", released in 1976, where the guitarist offered a blend of Latin rock, funk, soul, and R&B. Here, percussion once again takes center stage, the instrumentals are simpler with a solid rock foundation, and his guitar is more prominent than on his two previous albums ("Welcome" and "Borboletta"). Most of the vocal tracks showcase this new musical direction toward more commercial appeal. Retaining some of the pillars of his band, such as Armando Peraza, Greg Walker, Leon Chancler, David Brown, and Tom Coster, this release features several of his best-known compositions, including the instrumental "Europa (Earth's Cry Heaven's Smile)", with one of his most memorable solos, and the Latin-infused "Dance, Sister Dance". Among the rest, the funky tracks "Let Me" and "Tell Me, Are You Tired" stand out, as well as the jazz rock "Take Me With You", the latter clearly in tune with the 1970 album "Abraxas", the flamenco-Latin feel of "Gitano", and the elaborate jazz-based funk "Let It Shine".

The Hooters-Nervous Night (1985)

"Nervous Night", the second release from the American band The Hooters, is not only one of the most acclaimed albums of the 1980s, but also the one that definitively established this excellent band's status. While their debut, "Amore", released several years earlier on an independent label, failed to achieve mainstream or commercial success, with "Nervous Night", released on Columbia Records, this Philadelphia-based band crafted one of the most relaxed and carefree albums of 1985, thanks to a repertoire of songs that blended new wave, folk, melodic rock, and reggae. The lineup consisted of Eric Bazilian (guitar, keyboards, mandolin, saxophone, and vocals), Rob Hyman (keyboards and vocals), Andy King (bass), John Lilley (guitar), and David Uosikkinen (drums). The enthusiastic vocals of Bazilian and Hyman, along with the occasional use of instruments like mandolins, give them that distinctive sound, as demonstrated by pop-rock tracks like "And We Danced" and "Day By Day", the powerful rock song "All You Zombies", the dramatic "Where Do The Children Go", the melodic "Don't Take My Car Out Tonight", and the carefree "Hanging On A Heartbeat". The album's exceptional quality, coupled with two million copies sold in the North American market, cemented their status as one of the classic American pop-rock bands of the 1980s.

Spirit Of John Morgan-Spirit Of John Morgan (1969)

Spirit of John Morgan was a short-lived blues-rock band that released only three albums between the late sixties and early seventies. The lineup consisted of organist and vocalist John Morgan, guitarist Don Whitaker, bassist Phil Shutt, and drummer Mick Walker. Their origins date back to 1968 when they secured a contract with Carnaby Records, a subsidiary of British Columbia Records, and a year later released their self-titled debut album. In this first work, the fusion of different styles is more than evident, encompassing psychedelic sounds, folk, blues, and progressive elements. The opening track, "Orpheus and None For Ye", showcases their psychedelic side with organ and dark sounds reminiscent of The Crazy World of Arthur Brown. Meanwhile, the progressive blues track "I Want You", the dynamic instrumental "The Yodel", and the superb blues-rock "Yorkshire Blues" make for a consistent and highly accomplished album. The subsequent album, "Age Machine" (1970), despite containing certain elements of progressive avant-garde, was more oriented towards predictable folk and pop sounds. A year later, John Morgan recorded the album "Kaleidoscope", with a more pop-oriented sound that went completely unnoticed.

Gryphon-Red Queen To Gryphon Three (1974)

Gryphon are another of those great bands unknown to the general public. Their style fused different genres such as folk, Baroque and Renaissance music, avant-garde and medieval elements, and progressive rock. Their career was forged throughout much of the 1970s with five interesting albums, with "Red Queen To Gryphon Three" being their most celebrated work. Formed in London in the early 1970s by Richard Harvey (keyboards and flute) and Brian Gulland (bassoon), both students at the Royal Academy of Music, they shared a passion for Baroque sounds, traditional English folk, and a modern vision of Renaissance music. In 1973, guitarist Graeme Taylor and singer/drummer David Oberle joined the band, and with them, they recorded their self-titled debut acoustic album. A year later, bassist Philip Nestor joined the band, participating in the recording of "Midnight Mushrooms", an album featuring a greater number of original compositions and a clear inclination towards purer rock sounds. 1974 saw the release of the album we're discussing, "Red Queen to Gryphon Three", a concept album about the game of chess, inspired by typical classical music suites. A highly complex work, with a high level of song structure, constant changes of rhythm, and consisting of four extensive pieces performed impeccably. Medieval, folk, and Renaissance influences are all present, interpreted through flutes, bassoon, piano, organ, synthesizers, electric and acoustic guitars, and various percussion instruments. This is definitely a classic progressive rock album, where all the content is superb from beginning to end, with no single composition standing out above the rest.

Horslips-The Book Of Invasions-A Celtic Symphony (1976)

The Horslips are considered the greatest Irish progressive folk band, as well as the most acclaimed, and at their peak, they had the largest national following, surpassing other Irish legends like Van Morrison, Rory Gallagher, and Thin Lizzy. Musically related to other contemporary bands such as Jethro Tull, Fairport Convention, and Steelye Span, they coined the term "Celtic rock" like no other, basing their sound on Celtic mysticism mixed with hard rock. During the 1970s, they recorded a dozen studio albums and several live albums, with their first six releases being the most acclaimed of their entire career. Formed in the early 1970s by Barry Devlin (bass and vocals), Sean Fean (guitar), Eamonn Carr (drums), Charles O'Connor (violin, mandolin, and vocals), and Jim Lockhart (flute and keyboards), they released their first album in 1972, "Happy To Meet, Sorry To Part", which brought them considerable recognition. In the following years, they released a series of high-quality albums, such as the brilliant "The Táin" (1973), "Dancehall Sweethearts" (1974), "The Unfortunate Cup Of Tea" (1975), "The Man Who Built America" ​​(1978), and the one we're discussing here, "The Book Of Invasions - A Celtic Symphony". Like almost all their albums, this one is conceived as a concept album based on legendary stories from Ireland, Irish mythology, and pre-Christian pagan times. A work that is imbued, as could not be otherwise, with Celtic sounds like the opening track "Daybreak", while the more conventional rock-oriented tracks appear in "The Power and The Glory", accentuating its melodic folk rock sounds in the superb "Warm Sweet Breath Love" and "The Rocks Remain", without neglecting its approaches to progressive folk with the incredible "Ride To Hell".

Bill Bruford-One Of A Kind (1979)

Bill Bruford's track record in the 1970s was impressive; drums of the mythical Yes, King Crimson and U.K., playing on a dozen albums, in addition to having participated in albums by Rick Wakeman, Steve Howe, Chris Squire, Roy Harper or Albsolute Elsewhere among others.
Even so he had time to publish several solo albums, "One Of A Kind" released in 1979 was his second work where he had the collaborations of Allan Holdsworth, Dave Stewart and Jeff Berlin.
The talent of all these musicians, the variable melodies and keyboard solos of Dave Stewart, together with the sensational guitar of Holdsworth well supported by the rhythm section of Bruford and Berlin make up a collection of progressive pieces seasoned with a lot of jazz experimentation, with a magnificent result between jazz rock and progressive rock.

Kiss-Rock And Roll Over (1976)

Kiss's fifth album is one of their most acclaimed releases among their millions of fans. Recorded at the Star Theatre in New York City during September and October of 1976, the venue was chosen because the band wanted to capture a live sound, especially Peter Criss's drumming. However, Criss wasn't satisfied with the initial takes, so he decided to record all the drum parts in a separate, enclosed room, communicating with the rest of the band and the sound and production engineers via video conference. The album features heavy hard rock saturated with memorable guitar riffs and suggestive lyrics. Songs like "Calling Dr. Love", "Ladies Room", "Love 'Em and Leave 'Em", "Baby Driver", "I Want You", "Hard Luck Woman", and "Take Me" are all classics for the band. The album would achieve double platinum status and its cover would become one of the band's iconic images, printed on millions of posters and t-shirts around the world.

Iron Maiden-Rock In Rio (2002)

In 2002, Iron Maiden headlined the Rock in Rio festival in Brazil once again, having participated in the memorable first festival in 1985, alongside other legendary bands such as Queen, AC/DC, Scorpions, Yes, Rod Stewart, and Ozzy Osbourne. From that year onward, Iron Maiden performed regularly in Brazil before audiences exceeding 250,000 people. The Brazilian public's devotion to the British band has always been unwavering, a relationship that has remained constant for the last four decades. And the best way to thank them for that enthusiasm and loyalty was the release of the live album "Rock in Rio", which captures the band's performance at that second festival before nearly 300,000 people. The repertoire included in this live performance features a majority of songs from the album "Brave New World", including the terrifying "The Ghost of Navigator" and the exciting "Blood Brothers", as well as classic Iron Maiden anthems such as "2 Minutes to Midnight", "Iron Maiden", "The Trooper", "Sanctuary" and "The Number Of The Beast", the epic "Hallowed Be Thy Name" and the energetic "Run to the Hills".

Ten Years After-A Space In Time (1971)

Following memorable performances at the Woodstock and Isle of Wight Festivals, Ten Years After had released the splendid albums "Cricklewood Green" and "Watt," which featured iconic songs such as "Sugar the Road", "Love Like a Man", "I'm Comin' Home", and "My Baby Left Me". Months after "Watt" came "Space in Time", an album that reflected a less intense rock sound and a greater use of acoustic elements, with a clear commercial and accessible orientation. An album almost entirely filled with acoustic guitar-driven tracks, as demonstrated by the melodic "Here They Come", "I'd Love to Change the World", "I've Been There Too", "Once There Was a Time", and "Let the Sky", while also showcasing their signature power with the blues-rock anthem "One of These Days", the rock and roll number "Baby Won't You Let Me Rock 'n' Roll You", psychedelic songs like the orchestrated "Over the Hill", and even a jazzy "Uncle Jam". In short, with this sixth album, Alvin Lee and his band displayed their eclecticism and enormous stylistic range, producing one of their most versatile works.

Ozzy Osbourne-Diary Of A Madman (1981)

In the early 1980s, singer Ozzy Osbourne announced his solo career after being kicked out of Black Sabbath in 1979 due to his drug and alcohol abuse. At the time, many doubted the viability of his future career, so when he released his impressive debut album, "Blizzard of Ozz", the controversial singer proved to the world that he was still one of the greatest frontmen in the history of heavy metal. A year later, he not only created another immortal album of the genre but also cemented Randy Rhoads' status as one of the best guitarists in metal. "Diary of a Madman" is packed with metal classics such as "Over the Mountain", "Flying High Again", "You Can't Kill Rock and Roll", "Believer", and the title track itself. In all of them, Ozzy's charismatic voice combined with Rhoads' pyrotechnic skill on the six strings, fusing the heavy metal of early Black Sabbath with the neoclassical tricks that Ritchie Blackmore developed with Deep Purple and Rainbow, make this album an absolute masterpiece of heavy metal.

Egg-Egg (1970)

Egg are one of the most influential avant-garde bands of the Canterbury sound. With three splendid albums released between 1970 and 1974, they are considered a cult band in the annals of rock music. Their style, oriented towards so-called nonsense music, is represented in the emblematic "Symphony No. 2" from their self-titled album, the breathtaking jazz-rock "Long Piece No. 3" from their second album, "The Polite Force", and the ironically galloping "Germ Patrol" and the thrilling "Enneagram" from their third and final album, "The Civil Surface". For many, Egg, composed of Dave Stewart (organ and keyboards), Mont Campbell (bass and vocals), and Clive Book (drums), represent the maturity and sophistication that many less talented, though far more commercially successful, contemporary bands lacked. In all of them are present the elements of classical music driven by organ arrangements and a sober jazz structure, which led them to create three masterpieces of germinal progressive rock.

Nina Simone-Sings The Blues (1967)

Nina Simone is another of the great divas of American jazz and blues. She was a fabulous singer, a great songwriter, and an excellent pianist, as well as one of the most active advocates for American civil rights for five decades. Born in 1933 in North Carolina, she was already playing piano and singing in her local church by the young age of 10. A pivotal moment in her life was the day her parents, who had come to see her play piano in church, were forced to move to the back of the pew to make room for other white people. Around the age of twenty, Nina Simone moved to Philadelphia, where she began to earn a living giving piano lessons and singing backup vocals. Shortly after, she launched her career performing at the legendary Midtown Bar on Pacific Avenue in Atlantic City. Thanks to her impressive and soulful voice, Nina quickly rose to prominence, and her first recording, "I Loves You Porgy" by George Gershwin, achieved considerable success on the American charts. From this point on, Nina's career would be meteoric, with songs like "My Baby Just Cares For Me", "To Be Young, Gifted and Black", and "Mississippi Godman" (songs with a clear political message), as well as numerous covers of other artists such as "I Put A Spell On You" by Screamin' Jay Hawkins ,"Here Comes The Sun" by The Beatles, and "House Of The Rising Sun" by Dave Van Ronk. Following further success stemming from her participation in several Broadway musicals, her song "For All We Know" would become another of her classics. With a style that blended gospel, blues, and jazz influences, Nina Simone earned the respect and admiration of the American people, earning the title of "High Priestess of the Soul", and becoming a true legend and icon of 20th-century music.

Herbie Hancock-Man-Child (1975)

Released during Herbie Hancock's funk-jazz-rock era, "Man-Child" is his most acclaimed work within that subgenre. Featuring a larger lineup than his usual band of the time, the Head Hunters, this album boasts a stellar roster of musicians, including Harvey Mason (drums), Paul Jackson (bass), Ernie Watts (saxophone), Wayne Shorter (soprano saxophone), Stevie Wonder (harmonica), Bennie Maupin (wind instruments), and Melvin Watson (guitar and synthesizers), among a dozen others. However, despite this impressive group of talented instrumentalists, it is primarily Herbie Hancock who intelligently deploys his arsenal of keyboards and synthesizers, becoming the driving force behind all the album's songs, perfectly supported by the energetic arrangements of the wind instruments and the funky rhythm section. That varied jam of instruments proclaims pieces like "Hang Up Your Hang Ups", "Sun Touch", "The Traitor", "Steppin'in It" or "Heartbeat", as one of the discographic gems of jazz rock fusion with funk rhythms, reaffirming Hancock as one of the great innovators of the most avant-garde jazz of the 70s.

Casiopea-Thunder Live (1980)

Casiopea is a renowned Japanese jazz-rock band, highly praised worldwide, which has consistently released new albums for four decades, all of them well-received by fans of this jazz subgenre. The band was founded in 1976 by Issei Noro, the only constant member throughout Casiopea's history, and Tetsuo Sakurai, who were soon joined by Akira Jimbo and Minoru Mukaiya. In 1979, they released their self-titled debut album, which featured collaborations with American musicians Michael and Randy Brecker and David Sanborn. Their funk and rock influences, Latin rhythms, powerful percussion, dynamic yet melodic instrumental style, and the talent of the four musicians did not go unnoticed, and their albums were soon officially released in the United States and around the world. This first album was followed by other brilliant releases such as "Super Flight" (1979), "Make Up City" (1980), "Eyes of the Mind" (1981), "Mint Jams" (1982), and "Photographs" (1983), totaling nearly fifty albums, many of which reached high positions on the jazz charts in numerous countries. In 1980, they released the excellent live album "Thunder Live" (1980), a formidable showcase of the live performance of what is considered the most important group in the history of Japanese jazz-rock.

Tuck & Patti-Love Warriors (1989)

This musical duo, who are also married, began their dazzling career by chance in the late 1970s in San Francisco, where they met for an audition with a local band. Both already had extensive musical experience. Vocalist Patti Cathcart had played in various San Francisco Bay Area bands, most notably a brief stint with the Kingfish, where she met Grateful Dead guitarist Bob Weir. Tuck Andress, on the other hand, was a veteran guitarist who, despite his youth, had played in several rock and jazz bands, including Sonny and Cher and other local bands in the Los Angeles area. In 1978, after meeting, they decided to work as a duo, and for years they developed their unique style, which blended vocal jazz, intimate pop, R&B, folk, and gospel. During those years, they received several offers from different record labels, all of which were rejected by the duo, who felt they still needed to refine their style. In 1988, Windham Hill Records offered them a three-album contract, an offer they accepted. That same year, they released their debut album, "Tears of Joy", which garnered positive reviews and respectable sales. The cover of this first album featured a sticker that read, "Album recorded without overdubs, backing musicians, or electronic arrangements, just the two of us performing in real time". A year later, "Love Warriors" was released, an engaging work that alternated original compositions with captivating covers such as Santana's "Europa", Jimi Hendrix's "Castles Made of Sand/Little Wing", and The Beatles' "Honey Pie". This second album was later chosen as the best contemporary jazz album on the American West Coast, further solidifying the career of this brilliant and essential duo.

Ryan Adams-Gold (2001)

"Gold" is Ryan Adams' second album, a work more patriotic and more American than his debut, where the influences of Tom Petty and Bruce Springsteen are even more evident.
If a year before Ryan Adams had set the bar very high with his superb "Heartbreaker", with this "Gold" he would hit again with a very bright and energetic album, very close to the true canons of American classic rock.
An elegant album that shows us brilliant compositions such as "New York, New York", which unintentionally became a tribute to the city, when the promotional video for the song was recorded in front of the twin towers four days before the fateful 11 ​​of September.
An album with deep sound where acoustic guitars stand out and some careful lyrics as in "La Cienaga Just Smiled" or in "When The Stars Go Blue", or in the rockers "Firecraker", "Gonna Make You Love Me" or "Tina Toledos Street Walkin´Blues" or the beautiful blues "The Rescue Blues" that gained a lot of relevance when it was included in the movie "Proof of Life".

Imán Califato Independiente-Imán Califato Independiente (1978)

Another important band in the Andalusian progressive rock movement was Imán Califato Independiente, which originated at a convention led by meditation guru Maharajji in the mid-seventies. Like true hippies, the musicians lived together in a house in El Puerto de Santa María, Cádiz. Towards the end of the seventies, they managed to attract the attention of Columbia Records, who produced their first album, released in late 1978. On this debut album, the band displays strong jazz-rock influences reminiscent of Santana, Return to Forever, and Weather Report, with touches of progressive rock and the essence of flamenco folklore. The first side of the debut album is dedicated entirely to the suite "Tarantos del Califato Independiente," a dynamic track where synthesizers, powerful percussion, and exciting flamenco guitar solos and vibrant electric guitars combine to create an exuberant piece. The captivating “Darshan”, a clear example of Andalusian prog, the Latin jazz rock “Cerro Alegre” and the exotic progressive jazz rock with Arabic and Andalusian sounds “Canción de la Oruga”, made it one of the best debuts of Andalusian rock and Spanish rock.

Out Of Focus-Out Of Focus (1971)

Out of Focus were another band from the German krautrock movement, specifically leaning towards psychedelic folk/blues and jazz-rock sounds, not unlike those of other contemporary groups such as Kraan, Embryo, and Nucleus. Formed in the late 1960s in Munich, their initial lineup consisted of guitarist, flautist, and vocalist Remigius Drechsler, keyboardist Hennse Hering, vocalist and saxophonist Moran Neumüller, drummer Klaus Spöri, and bassist Stefan Wishen. In 1970, the German independent label Kuckuck financed their first album, "Wake Up", which showcased their psychedelic leanings with excellent guitar and Hammond organ sounds, complemented by superb flute playing and powerful drumming. A year later, they released their self-titled album, "Out of Focus", in which their approach evolved immensely from the psychedelic rock of their early days to a more jazz-oriented sound, thanks to instruments like the saxophone. These jazz impulses are more in line with the style of early Jethro Tull or Ten Years After, as demonstrated in the energetic "What Can a Poor Boy Do", the psychedelic folk of "It's Your Life", the progressive jazz-rock of "Whispering", and the folk-infused, blues-tinged psychedelics of "Blue Sunday Morning" and "Fly Bird Fly". With their third and final album, "Four Letter Monday Afternoon" (1972), they shifted towards sounds closer to brass-jazz rock, bringing to a close the journey of this magnificent band, which could have been much greater than it ultimately was.

The Moody Blues-Every Good Boy Deserves Favour (1971)

For many this is the masterpiece of The Moody Blues, although weighed down in part by the immense success of their previous "Days of future Passed" and their huge single "Nights In White Satin".
However, this is one of his most versatile, varied and superbly performed works, where the single and rocker "The Story In Your Eyes" would catapult him to the top spot on the UK charts and a staggering second spot on the US Billboard.
Here stands out the mellotron of Mike Pinder, which includes the Moog synthesizers, Hayward's guitar does the rest to make a work of art in which there are sublime and mystical moments such as "My Song" or "Emily's Song", with that bucolic sound very characteristic of this huge and essential progressive rock band.

Cai-Noche Abierta (1980)

"Noche Abierta" is one of the jewels of the Andalusian progressive rock movement, an album that displays masterful musicianship, brimming with jazz sensibility, flamenco essence, and the atmospheric sounds of progressive rock. The band behind this superb work was Cai, a Spanish group originally from Cádiz, founded in mid-1977 by drummer Diego Fopani, guitarists José Fernández and Francisco Delgado, keyboardist and vocalist Sebastian Dominguez, and bassist José Vélez. This band released three albums between 1978 and 1981, disbanding shortly after their third and final album. They reformed almost 25 years later, producing new material which they released on two new albums. The moderate success of their debut album, "Más Allá de Nuestras Mentes Diminutas" (1978), paved the way for them to sign with a major label, CBS's subsidiary Epic Records, with whom they released "Noche Abierta" in 1980. The foreseeable potential of their first album is realized in this follow-up, a first-rate Andalusian progressive rock album with symphonic and strong fusion touches in all the compositions, combined with the virtuoso performances of all its members. Hints of jazz-rock, sounds reminiscent of Canterbury, and ethereal, progressive atmospheres are very much present in tracks like "Alegrías de Cai", "Extraña Seducción", and "La Roca del Diablo". This is undoubtedly one of the high points of Andalusian progressive rock of all time and a truly timeless work.

Bachman-Turner Overdrive-Bachman-Turner Overdrive II (1973)

Bachman-Turner Overdrive is one of Canada's most famous bands, enjoying guaranteed success during the 1970s thanks to their powerful and infectious style, fueled by their blend of rock, country, and rock and roll. Led by Randy Bachman's raspy vocals and superb guitar work, the band was a true leader of the iconic group The Guess Who. By 1973, they had achieved massive success thanks to songs like "Gimme Your Money Please" and "Blue Collar", from their debut album, "Bachman-Turner Overdrive". The band's lineup at that time consisted of Randy Bachman (lead vocals and guitar), his brothers Tim Bachman (rhythm guitar) and Robbie Bachman (drums), and bassist Fred Turner. This first album clearly demonstrated the band's power, with songs showcasing their rock and roll influence, featuring fiery guitar solos and catchy lyrics, creating an energetic and transcendent sound. Later that same year, 1973, they released "Bachman-Turner Overdrive II", achieving, like its predecessor, tremendous success on the American charts, earning a gold record and selling over a million copies worldwide. Songs like "Takin' Care of Business", "Let It Ride", "Blown", and "I Don't Have To Hide" and "Give It Time" showcased strong influences from hard rock, southern rock, and country rock. From this point on, the band's popularity grew rapidly in the US and England, making them one of the most iconic groups of the mid-1970s.

Jonesy-No Alternative (1972)

Another of the lesser-known British symphonic rock bands was Jonesy, an admirable group that, under the spell of Mellotron sounds, evoked the influences of early King Crimson. Its members were trumpeter Alan Bown, guitarist John Evan-Jones, keyboardist Jamie Kaleth, drummer Plug Thomas, and bassist Gypsy Jones. Any of their three released albums are gems of early 1970s proto-progressive rock. Their debut album, "No Alternative" (1972), featured standout tracks such as the progressive heavy rock anthem "Mind of the Century", the emotive epic "Heaven", and complex compositions like "1958", all underpinned by biting lyrics on recurring themes such as political corruption and the environment. The group's strong personality and captivating style, imbued with ethereal interplay between guitars and Mellotron, are evident in their next two releases: the elaborate "Keeping Up" (1973), featuring sublime moments like the avant-garde "Critique (With Exceptions)" and the poignant "Children"; and "Growing" (1973), the band's final album, which veers towards progressive jazz rock, as exemplified by tracks like "Can You Get That Together", "Hard Road", and "Know Who Your Friends Are". Despite their visionary approach and immense talent, they didn't achieve the desired success, and some time later, they brought their fascinating musical adventure to a close.

The Four Tops-Reach Out (1967)

The Four Tops are one of the most famous groups in 1960s Black music. Some of their songs are cornerstones of soul and R&B, and several of their albums are legendary contributions to 20th-century music. Formed in the mid-1950s, its members were Lawrence Payton, Levi Stubbs, Abdul Fakir, and Renaldo Benson, all from Detroit. From the beginning, they displayed immense vocal talent, which soon led them to a contract with the Chicago-based label Chess Records. However, their massive success came when they were discovered by talent scout Berry Gordy, who was in charge of Motown Records. Thanks to the company's songwriters and producers Brian Holland, Edward Holland, and Lamont Dozier, they began producing hit after hit, such as "Baby I Need Your Loving", "I Can't Help Myself", and "It's the Same Old Song". However, their biggest hit would be the contemporary classic "Reach Out I'll Be There", a truly exciting song that combined gospel with pagan sensuality. But it was the departure of Holland, Dozier, and Holland from Motown that would radically impact the quartet's subsequent success. In the following decade, the 1970s, The Four Tops achieved moderate success with albums like "Keeper of the Castle", "Mainstreet People", and "Meeting of the Minds". As the years passed, their commercial and creative impact diminished, and they became a band that lived for many years off the royalties of their past hits, always retaining the aura of an iconic group linked to the golden age of Black music.

Stray-Saturday Morning Pictures (1972)

Stray were a legendary British hard rock band from the early 1970s. Formed in the mid-1960s in London by singer and guitarist Steve Gadd, who, along with bassist Gary Giles, drummer Ritchie Cole, and guitarist Del Bromham, earned respect within the London blues rock scene. Thanks to their incendiary live shows, they secured a contract with Transatlantic Records, with whom they released their self-titled debut in 1970, an exuberant, guitar-driven album with progressive influences. On "Suicide", released a year later, they achieved better production, and although it lacked the raw power of their first work, they created a formidable progressive hard rock album brimming with the sounds of the Mellotron and Hammond organ. On "Saturday Morning Pictures" (1972), the album we're discussing here, the band placed much greater emphasis on composition and arrangements, with a more prominent role for synthesizers, resulting in their most progressive and melodic work. Tracks like the ambitious "Move That Wigwam", the shimmering hard rock "Our Song" and "Leave It Out", the melodic "Queen of the Sea", and the complex "How Could I Forget You" brought their first era to a close with a superb album of great British hard rock.

Frank Zappa-Sheik Yerbouti (1979)

In 1977, Frank Zappa ended his time with Warner, becoming a free agent and soon after founding his own label, Zappa Records. "Sheik Yerbouti", the first album released under his own label, almost perfectly encapsulates the endless sonic experimentation that characterizes Zappa's career. Beneath his typical sarcasm, his songs brimming with obscenities, and his politically incorrect observations, Zappa showcased his most accessible and commercial side with this double album (if his music can even be called that). The repertoire consists of tracks recorded live during the late seventies, but overdubbed in the studio with various effects and vocal lines, creating one of the best live albums of the era. Except, of course, that it's not a live album in the conventional sense. Here appear almost all of Zappa's musical facets, ranging from the obscene rock comedy "I Have Been In You", the doo-wop-acid rock blues "Broken Hearts Are For Assholes", the jazz funk "City Of Tiny Lites", the psychedelic prog "Yo' Mama", the jam rock "Rat Tomago", or the satirical pop rock "Jones Crusher". Backed by an impressive roster of renowned musicians including Adrian Belew (guitar, vocals), Terry Bozzio (drums), Napoleon Murphy Brock (saxophone, vocals), and a host of top performers from the past and present of The Mothers of Invention, "Sheik Yerbouti" became Zappa's best-selling album, with over two million copies sold—an unprecedented feat for an anti-commercial, nonconformist, and anti-establishment musician who proclaimed his weariness with most of the sanctimonious, garbage music heard on radio and TV, which is still more clearly in force today than ever before.

Ultra-Ultra (1975)

Ultra is considered an institution in San Antonio, Texas. Their explosive blend of Southern rock and hard rock propelled them to legendary status in those Texan lands. Formed in the mid-70s, their lineup consisted of guitarists Galen Niles and Larry McGuffin, vocalist Don Evans, drummer Tom Schleuning, and bassist Scott Stephens. For years, this group built a strong reputation as the opening act for many iconic bands performing in San Antonio and throughout Texas. In 1975, they recorded a five-track mini-LP showcasing their powerful hard rock, replete with magnificent twin-guitar riffs with that gritty sound and extended, outstanding solos, backed by a devastating rhythm section and an energetic, powerful voice. Unfortunately, they barely had the opportunity to officially record a full-length album, beyond this promotional mini-album with a limited run and little promotional impact, mainly due to the enormous amount of competition within the southern rock genre at that time. Years later, Monster & Rockadrome Records did them justice by reissuing this mini-LP on CD, plus additional songs the band had recorded for a later album that was never released. The original mini-album featured outstanding tracks, including "Mustants", "Android", "Battery", "Ten Years Since", and "Lamp Black, White Flight", all excellent examples of their extraordinary Texas hard rock.

Mostly Autumn-For All We Shared (1998)

From the ashes of a Pink Floyd cover band, Mostly Autumn emerged in the mid-90s, an eclectic group drawing on a wide range of influences, from Irish folk to melodic rock, hard rock, and progressive rock. Hailing from the British city of York, the band's driving force is guitarist and singer Bryan Josh, who, along with singer and acoustic guitarist Heather Findlay, guitarist Liam Davison, drummer Allan Scott, bassist Stuart Carver, keyboardist Iain Jennings, violinist Bob Faulds, and traditional instrumentalist Kev Gibbons, released their debut album in 1998. This first release showcases a rich fusion of avant-garde elements influenced by Pink Floyd and Jethro Tull, framed by Celtic atmospheres and Heather Findlay's sensual vocals. Replete with melancholic and pastoral songs, creating challenging musical environments with large doses of folk, where violins, flutes, bagpipes and other traditional instruments are the perfect counterpoint to the electrifying guitars and the subtle structures of symphonic rock.

Rush-Power Windows (1985)

"Power Windows" would prove to be one of Rush's best albums of the 1980s, highly praised by both critics and fans, and also their first collaboration with producer Peter Collins. Released in 1985, and perhaps influenced by this, the album incorporates more keyboards and synthesizers into their signature sound. Furthermore, Neil Peart adds an electronic drum kit to his usual percussion setup, opening up new possibilities in his work, and this is noticeable throughout the album. But it's most apparent at the end, in the rhythm of the fantastic "Mystic Rhythms", where one wonders if this man is truly human. The answer comes when you see him perform the song live, perfectly reproducing the percussion sequence the original album version. However, one might still wish for a greater presence of Alex Lifeson and his guitars. His contribution remains merely a token presence, not only because of his infrequent appearances on the album, but also because when he does appear, it's by giving his guitar a sound that bears no resemblance to a conventional rock guitar. The album opens with "Big Money" and "Grand Designs", and from that point on, the quality of the songs gradually and spectacularly improves with "Manhattan Project", about the project that led to the first atomic bomb, and "Marathon", about this superhuman race against oneself. The album continues with "Territories", which addresses the problems that nationalism brings to humanity, and with "Middletown Dreams", a continuation of the themes of "Subdivisions", exploring the human being trapped in an oppressive reality and routine, and their attempt to escape, even if only through dreams. The album closes with "Emotion Detector", which deals with the difficulties of living in society and relating to others naturally, and with the aforementioned "Mystic Rhythms".

Jethro Tull-The Broadsword and The Beast (1982)

Framing in the most techno era of the band, which included in addition to this "The Broadsword and the Beast", the album "A" and the later "Under Wraps", it would be a work where the wise mix of hard rock with the sounds of very avant-garde synthesizers, a risky but effective gamble by Ian Anderson.
Without being a concept album to use, the theme of the album leads us to Viking mythologies and Tolkien's tales with acoustic guitars and flutes taking a leading role, combining commerciality with the quality of the songs introduced here.
From the vigorous "Beastie" to the epic "Broadsword", passing through superb songs like "Pussy Willow", the intense "Clasp" or the extravagant "Watching Me Watching You" show an album as forceful as it is commercial that, however, was something despised by his most purist fans.

Jefferson Airplane-After Bathing at Baxter's (1967)

The third album of the Jefferson Airplane would mean their most psychedelic work, where they did a great exercise in reflection compared to their enormous and superb "Surrealistic Pillow", without giving the least importance to the fact that it meant a less commercial album.
An album that is full of complex themes and a great diversity of nuances, with melodies that contain a series of diverse and in some cases chaotic sounds.
As proof of this is "The Ballad Of You & Me  Pooneil" which is the perfect demonstration of how surprising this complex but great album is.

Supertramp-Some Things Never Change (1997)

With "Some Things Never Change", Supertramp's tenth album, Rick Davies boldly embraced jazz and blues sounds, almost entirely abandoning the progressive forays and sophisticated pop tracks of their two previous releases, "Brother Where You Bound" and "Free As A Bird". On this new recording, Davies reunited with two of his bandmates from the group's golden era: saxophonist John Helliwell and drummer Bob Siebenberg. The lineup was further enhanced by guitarist Carl Verheyen, bassist Cliff Hugo, and singer, guitarist, and keyboardist Mark Hart, among other musicians. "Some Things Never Change" features exquisitely produced tracks with superb arrangements, most of them rooted in jazz and blues, but where progressive sounds still subtly coexist, as demonstrated in "It's a Hard World", a track with that typical Supertramp organic sound. Other tracks like "Live To Love You" and "Get Your Act Together" maintain that old spirit, but in a very subtle way. Following the stylistic pattern of the hit "Cannonball" comes "Some Things Never Change", a track that provides just the right amount of commercial appeal to give the album a lively and fresh feel. The vintage "You Win, I Lose" and "C'est What?", the jazz fusion "Sooner Or Later", the bluesy "Help Me Down That Road", and the melodic "Give Me A Change" all combine to form a very respectable effort that, while not reaching the heights of their excellent work from the 70s, left intact the enormous credibility of one of the greatest bands of all time.

Kiss-Love Gun (1977)

With his sixth album "Love Gun" published in 1977, Kiss closed his stage of best creativity and for many of his fans, the best of his entire career.
This superb album contains part of the history of the band with songs like "I Stole Your Love", "Shock Me" or "Love Gun" demonstrating the enormous amount of songs they composed in only three years in which they released five fantastic albums.
From here the bad addictions of its members, in particular Ace Frehley and Peter Criss and the egos of the rest of the band would take their toll on them, turning their environment into their own creative tomb.

Steeleye Span-Below The Salt (1972)

The fourth album from British band Steeleye Span showcases their evolution towards electric folk, while exploring traditional British folk. Changes in several members bring a renewed freshness and a new dimension to the band's sound. Peter Knight's magnificent contributions on violin, banjo, and mandolin, Maddy Prior's sublime vocals, and the powerful drumming of guitarist Bob Johnson and bassist Rick Kemp provide the necessary strength to consider this their best work. Songs like the traditional Scottish "Sheep-crook and black dog" become a poignant funeral dirge, featuring a sublime Maddy Prior. Another traditional song from the late 19th century, "King Henry", constitutes the album's high point, while the folk songs "Rose Bud In June", "Jigs: The Bride's Favorite, Tansey's Fancy", the lively "Royal Forester", the folk rock "Sheep-Crook And Blue Black Dog" or the version of the English folk tale "John Barleycorn", are part of an essential album of the best British folk rock.

Ozzy Osbourne-Down To Earth (2001)

Shortly after his sixth album, "No More Tears" (1991), singer Ozzy Osbourne expressed his intention to retire from the recording studio, but not from the stage, forming the successful Ozzfest festival with his wife, Sharon. However, his restless spirit wouldn't allow him to remain idle for long, and he ended up recording another album four years later, the celebrated "Ozzmosis" (1995), with which he was once again acclaimed as a metal god by his millions of fans around the world. Due to media pressure and pressure from his own record label, in 2001 Ozzy returned to writing material for a new album titled "Down to Earth". For its recording, the legendary singer enlisted his main collaborator, Zakk Wylde (guitars), as well as Mike Bordin (drums), Robert Trujillo (bass), Tim Palmer (keyboards and guitars), Michael Railo (keyboards), and Danny Saber (guitars). "Down To Earth" is undoubtedly his most relaxed work, where his characteristically poetic lyrics address everything from his personal experiences with drugs to the difficult times we are living through. Musically, the tone is quite melodic, with a solid, addictive, and infectious heavy metal sound, encompassing sophisticated ballads like "Dreamer" and "Running Out Of Time", as well as harmonic heavy metal numbers such as "Back Illusion", "Junkie", "Gets Me Through", "Can You Hear Them?", "Facing Hell", and "Alive". With this album, Ozzy adapted to the changing landscape of 21st-century heavy metal while always maintaining his timeless and distinctive style.

Marillion-Marbles (2004)

During the latter half of the 1990s, Marillion seemed to be preaching in the wilderness, releasing a series of rather predictable albums that would mark the lowest point creatively in their extensive discography. Albums like the unenthusiastic "Radiation" (1998), the predictable pop-rock "Marillion.com" (1999), and the more innovative "Anoraknophobia" (2001) left a certain unease among their more purist fans and a low commercial return, leading them to seriously reconsider their immediate future, convinced that this path was leading them nowhere. Thus, three years later they released "Marbles", a sprawling double album where they stepped outside their comfort zone to create one of their most consistent and progressive albums, meticulously delving into their musical origins with an intense and memorable neo-progressive sound. From epic progressive anthems like "Ocean Cloud" to the intense "Neverland", and from the melancholic "The Invisible Man" to the poignant "You're Gone" and "Fantastic Place", they demonstrated that they hadn't yet lost the essential original sound that had begun two decades earlier. However, there was also room for melodic and commercial soft rock, as exemplified by the catchy "Don't Hurt Yourself" and "Angelina". With this superb album (their thirteenth), Marillion entered a phase of great creativity, producing excellent works such as the subsequent "Happiness Is The Road" (2008), "Sounds That Can't Be Made" (2012), and "Fear" (2016).

Eloy-Eloy (1971)

The German band Eloy's career has always been characterized by their grandiose, spacey progressive rock style, replete with allusions to science fiction and mysticism. However, their debut album bears little resemblance to that musical orientation; in this first release, they focus on the more energetic and heavy sounds of conventional hard rock. Of the lineup that recorded this first album, only three members would continue after its release: Frank Bonermann (guitar), Manfred Wieczorke (guitar and vocals), and Wolfgang Stöcker (bass), while the rest consisted of drummer Helmuth Draht and organist and singer Erich Schriever. Although initially categorized as krautrock, their style was actually closer to the British hard rock of bands like Uriah Heep, Atomic Rooster, or Warhorse than to the German movement full of improvisation, psychedelic sounds, and experimentation. Plausible pieces such as the powerful "Today", the psychedelic "Something Yellow", the dark and heavy "Song Of A Paranoid Soldier", the relaxing "Isle Of Sun" or the hard rock groove "Voice Of Revolution", were part of the worthy debut of one of the most emblematic and famous bands that emerged from Germany during the 1970s.