Moxy-Moxy (1975)

Moxy were one of the most promising Canadian hard rock bands of the 1970s, and although they achieved recognition in the American Midwest and their native Canada, their career didn't last long beyond a few years and four highly regarded albums that went largely unnoticed by the general public. Formed from the merger of several local Toronto-area bands (Leigh Ashford and Outlaw Music), the band eventually brought together vocalist Buzz Shearman, guitarist Earl Johnson, bassist Terry Juric, and drummer Bill Wade. After signing with Polydor Records, the band moved to California where they recorded their self-titled debut LP, released in 1975. Deep Purple's new guitarist, Tommy Bolin, played on this first album, as he was in the same studios at the time, recording his solo album, "Teaser". In this debut album, Moxy showcases an electrifying, heavy, and dark hard rock sound, with standout tracks like the powerful hard rock anthem "Fantasy", the blues rock track "Train", the energetic "Time To Move On" and "Still I Wonder", the country rock anthem "Sail On Sail Away", and the captivating "Moon Rider". Following this album, which achieved moderate success thanks to the radio hits "Can't You See I'm A Star" and "Moon Rider", the band expanded with guitarist Buddy Caine and recorded their second full-length album, "Moxy II". This album proved more commercially successful, reaching respectable high positions on the North American charts thanks to tracks like "Take It or Leave It" and "Midnight Flight", and also due in part to their frequent tours in Canada and the United States supporting bands like Boston and Black Sabbath. After a third and fourth album, "Ridin' High" and "Under The Lights", with the latter they were even proclaimed as the most promising group of the year, a series of problems and events began within the band, reasons which would precipitate their definitive dissolution in 1983.

Johnny Cash-At Folsom Prison (1968)

Johnny Cash is a true legend to the American people. He was one of the greatest exponents of country music and an institution within 20th-century rock music. A brilliant songwriter, his deep, calm voice, rebellious personality, and signature all-black attire (which earned him the nickname "The Man in Black") kept him at the top for over fifty years, during which he sold nearly one hundred million records. In mid-1968, Cash recorded one of his most famous albums, "At Folsom Prison", recorded at Folsom State Prison in California. Several years earlier, he had recorded a song titled "Folsom Prison Blues", and for some time, the idea of ​​recording an album there had been on his mind, something that initially didn't sit well with his record company, Columbia Records. After tense negotiations, Johnny Cash was finally authorized to perform a concert at Folsom Prison on January 13, 1968. He was accompanied by a band consisting of June Carter (vocals), Carl and Luther Perkins (electric guitars), Ws Holland (drums), Marshall Grant (bass), and the backing vocal group The Statler Brothers. In this legendary recording, a true historical document, Johnny Cash delivers a series of songs about prisons, crime, jails, and endless journeys to nowhere. Legendary tracks such as "Folsom Prison Blues", "Green, Green Grass of Home", "Dirty Old Egg-Suckin' Dog", "Cocaine Blues", "Orange Blossom Special", and "25 Minutes to Go", make up an extraordinary and unique repertoire in popular music. Despite Columbia's lack of promotional interest, the album reached number one on the country charts and a top ten spot on Billboard, selling over three million copies and achieving triple platinum status.

Eela Craig-One Niter (1976)

Far removed from the immense and monumental German progressive scene of the 70s, neighboring Austria also saw the emergence of some noteworthy bands, such as Eela Craig. This band was one of the most popular of the early 70s, to the point that a major label like the British avant-garde rock label Vertigo Records included them in its catalog. Formed in 1970 in Linz, their initial lineup consisted of Horst Waber (drums), Harald Zuschrader (organ, flute, guitar, and saxophone), Hubert Bognermayer (keyboards), Gerhard English (bass), Heinz Gerstenmair (guitar, organ, and vocals), and Will Orthofer (lead vocals and saxophone). In 1971, under poor production, they released their debut album, a work in which the experimental and daring sounds of progressive rock permeate every groove. Five years later they returned with "One Niter", an ingenious release featuring more progressive, symphonic sounds than its predecessor. This second album surpasses its predecessor in every way, showcasing the talent of all its members with a distinctly more symphonic, spacey sound, composed primarily of several instrumental tracks divided into easily identifiable sections. It's an album that's a true delight to listen to from beginning to end without skipping a single track. In the following years, this band expanded its discography with the interesting "Hats of Glass", "Missa Universalis", and "Virgin Oilland", all of which retained the stylistic hallmarks of the sensational "One Niter".

Leatherwolf-Street Ready (1989)

Leatherwolf are a magnificent Californian hard rock band who, despite releasing three undeniably high-quality albums during the 1980s, didn't receive the recognition they deserved (beyond a large and dedicated following worldwide), overshadowed by other, more mainstream bands of the time and by the constant musical changes of those years. Formed in 1981, they were one of the pioneers of featuring three guitarists playing together in 1980s heavy metal (unlike in other genres, where this configuration had been established since the early 1970s). Their lineup consisted of Dean Roberts (drums), Michael Olivieri (guitar and vocals), Geoff Gayer (guitar), Matt Hurich (bass), and Carey Howe (guitar). It wasn't until 1985 that they released their first album, "Endangered Species", an energetic power metal work. A year later came the self-titled "Leatherwolf", in which they moved towards a more complex and dynamic heavy rock sound. With their third album, "Street Ready", and the addition of bassist Paul Carman, the band reached their creative and commercial peak, presenting a more accessible and melodic record. Tracks like "Hideway", "Lonely Road", "The Way I Feel", "Take A Change" ,"Wicked Ways" and "Thunder", provide an excellent example of their magnificent and intricate hard rock structures, built upon their impeccable guitar virtuosity.

The Amboy Dukes-Journey To The Center Of The Mind (1968)

Formed in Detroit, The Amboy Dukes was Ted Nugent's first major project, long before he launched his meteoric solo career in the 1970s. In 1965, Nugent arrived in Detroit from his native Michigan, where he had previously founded the first incarnation of the band, which, however, had little impact. Once in the Motor City, he reformed The Amboy Dukes with a new lineup, which, in addition to Nugent himself, included bassist Bill White, drummer David Palmer, vocalist John Drake, guitarist Steve Farmer, and keyboardist Rick Lober. For several years, the band became a sensation in Detroit's clubs and venues, and in 1967 they released their self-titled debut album, "The Amboy Dukes", which featured an interesting repertoire of psychedelic tracks, hints of British pop, and energetic hard rock. However, due to dissatisfaction with the final result, the band reformed, bringing in keyboardist Andy Solomon and bassist Greg Arama, with whom they recorded their second LP, "Journey To The Center Of The Mind". This second album showcased a wide variety of sounds, ranging from blues rock to hard rock, all seasoned with touches of acid and psychedelic sounds. The excellent work of the two guitars, played by Nugent and Farmer, is a fundamental part of the sound, which, along with Arama's acid organ and a solid rhythm section, produced tracks like the title track, a superb acid rock number, followed by other outstanding pieces such as the blues rock "Mississippi Murder", the proto-psychedelic "Surrender To Your Kinks", the powerful folk rock "Scottish Tea", and the hard blues "Dr. Slingshot". After this, the band would release several more albums; The experimental "Migration" (1968) and the more predictable "Marriage On The Rocks/Rock Bottom" (1970) followed, but neither achieved the same acclaim as "Journey To The Center Of The Mind". In the early 1970s, under the name Ted Nugent and The Amboy Dukes, several more albums were released, most notably "Call Of The Wild" (1974). That same year, the band's adventure came to an end, and Nugent began his solo career, which culminated a year later with his splendid debut album.

Bill Bruford-Feels Good To Me (1978)

Bill Bruford is one of those musicians who, throughout his career, has kept busy with dozens of collaborations, both as a member of some of the biggest bands on the planet (King Crimson, Yes, and U.K.), as a guest on various projects (Genesis and Earthworks), and by contributing to albums by other artists (Rick Wakeman, Steve Howe, Roy Harper, Pavlov's Dog, etc.). Even so, he found time to pursue a parallel career, releasing half a dozen highly acclaimed albums. On his first record, released in 1977, Bruford assembled a dream band composed of guitarist Allan Holdsworth, keyboardist Dave Stewart, and bassist Jeff Berlin, while other musicians such as guitarists John Goodsall and John Clark, bassist Neil Murray, and singer Annette Peacock appeared as guest artists. Stylistically crafted in the jazz-rock vein, this album showcases the virtuosic pyrotechnics of keyboardist Stewart, the virtuosic bass playing of Berlin, the exceptional guitar work of Allan Holdsworth, and the high-level drumming technique of Bruford. The sparse vocals contributed by Annette Peacock add a distinctive touch to instrumental compositions such as the dynamic fusion track "Beelzebub", the jazz-rock number "Sample and Hold", the poignant "Either End of August", and the melodic "Back to the Beginning" and "Seems Like a Lifetime", in which Peacock delivers a highly original and captivating vocal performance.

Captain Beyond-Sufficiently Breathless (1973)

After their stunning debut, the band led by Rod Evans fully embraced the sounds of avant-garde rock with "Sufficiently Breathless", a departure from the powerful hard rock of their first album. In this new release, progressive elements appear throughout, showcasing greater compositional maturity, more imaginative work, and even enhanced instrumental technique. All these changes are foreshadowed from the start with the progressive title track, which nevertheless retains the signature effective riffs, splendid vocals, and refined instrumentation. But they soon shift into high gear, revealing their energetic side with the surprising rock of "Starglow Energy", the addictive mainstream hit "Bright Blue Tango", the rock fusion of "Drifting In Space", and the powerful "Everything's A Circle". In short, with their second release, the band formed by the aforementioned Rod Evans (vocals), Larry Reinhardt (guitars), Guille Garcia (percussion), Marty Rodriguez (drums), Lee Dorman (bass) and Reese Wynans (keyboards), wanted to expand their style by producing an album that, although initially rejected by their most purist fans, is also true to be one of the most meritorious cult works of the early 70s.

Gypsy-Gypsy (1970)

Gypsy was an interesting band focused on American roots rock, incorporating jazz, rock, soul, and folk influences, and whose origins lay in a psychedelic pop group called The Underbeats from the mid-sixties. After moving from their native Minneapolis to Los Angeles, the band toughened their musical approach, reinventing their style with sounds more in line with the cultural movements of the American West Coast. Among their seven-member lineup, guitarist and singer Enrico Rosenbaum and organist and vocalist James Walsh stood out as the two driving forces behind the band, composing most of their material and serving as their best instrumentalists. The rest of the band consisted of Preston Epps (percussion), James Jonson (guitar and vocals), James Epstein (drums), and Jimmie Haskell (strings). In 1970, they released their self-titled debut album, a double LP, on a small Californian record label. In this first release, they showcased a diverse sound ranging from soul to classic rock, with some avant-garde elements of folk and psychedelia, all delivered with vigorous and energetic rhythms. Songs like "I Was So Young", "The Third Eye", "Man of Reason", "Decisions", "The Vision", "More Times", "Here In My Loneliness", and "Gypsy Queen" are brimming with rich vocal melodies and a high level of musicianship, featuring precise and well-arranged semi-progressive structures. A year later, they released their follow-up, the more established "In The Garden", before shifting their style towards a more conventional rock sound with the subsequent albums "Antithesis" (1972) and "Unlock The Gates" (1973), their last two releases before their final disbandment.

Alan Parsons-The Secret (2019)

Fifteen years after Alan Parsons' last solo studio release, "A Valid Path" (2004), the musician and producer returned with a large lineup of musical collaborators for a new work titled "The Secret", a concept album based on the art of magic, one of the artist's fascinations. While hardly a full-fledged progressive rock concept album, what we have here is an impeccable production of smooth rock and pop melodies and elegant ballads with highly refined vocals, soothing harmonies, and rich orchestration, all in the classic tradition of the defunct Alan Parsons Project. Among the extensive list of collaborators are former Genesis guitarist Steve Hackett, former Foreigner vocalist Lou Gramm, bassist Nathan East, vocalists Jason Mraz, Mark Mikel, and Todd Cooper, drummer Vinnie Colaiuta, and his regular guitarist Ian Bairnson. An album that ranges from grandiose, orchestral moments like "The Sorcerer's Apprentice" and "One Note Symphony", to catchy pop-rock melodies like "Miracle", "As Lights Fall", and "The Limelight Fades Away", passing through the brilliant ballads "Soiree Fantastique", "Years of Glory", and "Fly to Me", without neglecting the timeless sound of his main band with tracks like "Sometimes" and "Requiem". With all this, the legendary producer, arranger, and multi-instrumentalist once again demonstrated why he is one of the great musical geniuses of the last 50 years, leaving for posterity an extraordinary album of dazzling, addictive, and catchy pop-rock tracks, superbly produced with his signature orchestral touches.

Babe Ruth-First Base (1972)

Babe Ruth were a powerful British progressive hard rock/blues band who, in 1972, released one of the greatest classic rock albums of all time. Formed in 1971 in Hertfordshire, in the east of England, around the talented guitarist Alan Shacklock, the lineup also included singer Janita Hann, keyboardist Dave Punshon, drummer Dick Powell, and bassist Dave Hewitt. In 1972, with a fantastic cover designed by Roger Dean, they released their debut album, "First Base", on EMI Odeon's progressive rock division, Harvest Records. In addition to the band, a large group of musicians played cellos, saxophones, and percussion. This abundance of musicians and instruments gave the album a complex, progressive sound. On "Wells Fardo", the band showcases their energetic style, combining powerful guitar riffs, Hann's vigorous vocals, and wind instruments. In contrast to the latter, there is the melodic "The Runaways", which, influenced by symphonic elements, showcases Babe Ruth's distinctly progressive character. The instrumental "King Kong", another energetic piece of progressive rock, is the prelude to the complex and dark "Black Dog", a song with blues influences and grand piano and guitar arrangements. This magnificent album closes with the galloping "The Mexican" and the expansive progressive jazz-rock "Joker". In the following years, Babe Ruth would release four more albums, some of them highly regarded, such as "Babe Ruth" and "Stealin' Home" (both from 1975), but none would reach the excellence of this formidable "First Base".

Camel-Rain Dances (1977)

By 1977, Camel had released four seminal albums oriented towards progressive rock, with hints of the Canterbury sound. That same year, 1977, the band underwent its first lineup change, incorporating bassist and vocalist Richard Sinclair (formerly of Caravan), replacing Doug Ferguson, and saxophonist Mel Collins (formerly of King Crimson). Both musicians enriched Camel's sound with different jazz textures and nuances, while maintaining the band's usual progressive structures. The rest of the lineup remained Andy Latimer, Andy Ward, and Peter Bardens. The result of this new Camel reorganization was their fifth album, "Rain Dances", where Latimer's crystalline guitars, along with Bardens' extensive keyboard repertoire, are supported by Collins' elegant saxophone playing and a rhythm section with a distinctly jazzy feel. From the atmospheric "First Light", or the fragile "Elke", a track featuring Brian Eno with his experimental keyboards and Fionna Hibbert with her electro-acoustic harp, to commercial melodies like the catchy "Highways of the Sun", relaxed passages like "Tell Me", convincing minimalist and orchestrated pieces like "Rain Dances", or the instrumental and carefree jazz "One Of These Days I'll Get an Early Night" or "Skylines", the result was a work that, while not reaching the excellence of their previous works, maintained the high level that was demanded of this iconic and essential British band within the progressive rock scene.

Wishbone Ash-Live Dates Volume Two (1980)

Seven years after the monumental and brilliant "Live Dates" of 1973, Wishbone Ash released "Live Dates II", another double live album with an almost identical cover, but with a different lineup and setlist. By then, Ted Turner had left the group and been replaced by guitarist Laurie Wisefield, who, along with Martin Turner, Steve Upton, and Andy Powell, made up the Wishbone Ash lineup of those years. Recorded in various locations in London, Bristol, and Wolverhampton between 1976 and 1980 during tours promoting the albums "New England" and "Just Testing", the repertoire consists of songs from their later albums. The first two sides consist of a series of melodic and energetic classic rock songs with compelling guitar solos and a solid rhythmic structure, such as "Doctor", "Runaway", "Living Proof", and "Helpless", while extended tracks with their characteristic guitar jams are interspersed between this first disc and the following two. These extended pieces include "F*U*B*B", "The Way Of The World", "Persephone", and "No Easy Road", undoubtedly the four longest and most progressive compositions on this double live album. While not reaching the heights and energy of the legendary original "Live Dates", this is generally a good live album.

Gravy Train-Second Birth (1973)

The third album from progressive rockers Gravy Train, and their first on the Dawn label after their first two releases with Vertigo. In this release, the British band's nascent avant-garde style continues to be influenced by genres like blues and folk, but always from a hard rock perspective. In the opening tracks, "Morning Coming" and "Peter", we observe that heavy rock character driven by J.D. Hughes' Hammond organ, the leadership of guitarist Norman Barratt, and a penchant for complex compositions underpinned by rich vocal harmonies. On the other hand, tracks like the bluesy "Motorway" leave us with a taste reminiscent of Ian Anderson and Jethro Tull, thanks to its bouncy flute and instrumental arrangements. The jazzy "Fields and Factories" becomes another highlight where there are deviations to the catchiest sounds and in the powerful and dark "Tolpuddle Episode", they again show those sophisticated arrangements, under the vindicatory lyrics of the martyrs who created the first British unions.

Ross-The Pit And The Pendulum (1974)

The second and final album from the British band Ross, this time conceived as a concept album based on Edgar Allan Poe's 1842 novel "The Pit and the Pendulum", which recounts the torments suffered by prisoners during the Spanish Inquisition. While their debut album featured a repertoire steeped in jazz rock, funk, hard rock, and progressive rock, this time their sound becomes more melodic without abandoning some heavier moments and the structures of classic symphonic rock. Recorded by the same lineup as the debut album: Alan Ross (guitar and vocals), Bob Jackson (keyboards), Reuben White (drums), Steve Emery (bass), and Tony Fernandez (percussion). In this second release, the magnificent work of keyboardist Jackson and the brilliant guitar work of Ross drive an excellent album that garnered high praise from critics and the progressive rock community of the time and remains highly regarded today. Replete with haunting and exquisite melodies like "Swallow Your Dreams", "Standing Alone", "Now I See", and "Nearer and Nearer", vigorous hard rock tracks like "Gotta Get It Right Back", progressive instrumentals like "The Edge", pleasant semi-progressive blues like "I've Been Waiting", and jazz and gospel sounds like "So Slow" and "Oh, I'm Happy Now", the album together forms a solid work of great musicality. This would be the epitaph of this ephemeral group, as shortly afterward, guitarist Ross would found The Alan Ross Band, while Bob Jackson would begin collaborating with the ill-fated Badfinger.

Black Birds-Touch Of Music (1971)

Black Birds are one of Germany's longest-running bands. Founded in the mid-1960s, they were still active in 2014. Hailing from Puettlingen, the band was created by guitarist Werner Breining and has seen a continuous succession of members. Their style, brimming with psychedelic sounds, rock, pop, and avant-garde elements, driven by Peter Bely's excellent Hammond organ and heavy guitar riffs, along with Breining's powerful voice, are their hallmarks. In 1971, they released their best work, "Touch of Music", their second album and ultimately their definitive discographic epitaph. At this time, Blackbirds consisted of keyboardist Peter Bely, drummer Charles Sikora, bassist Wolfgang Bode, and the aforementioned Werner Breining, who handled guitars, violin, flutes, and vocals. An album that clearly shows the band's psychedelic orientation with tracks like "Präludium" and "All You Need", while the lysergic rock "Return from the water", the sinister "Give Me Freedom" and the avant-garde "What is Free" and "Come Back", close a meritorious work of inspired germinal psychedelic and progressive rock.

Genesis-Abacab (1981)

Genesis's commercial orientation didn't begin, as many claim, with their 1980s albums. In reality, this trend started rather subtly with Peter Gabriel's departure years earlier, first with the catchy "Ripples" from the 1976 album "A Trick of the Tail", followed by "Your Own Special Way" ("Wind and Wuthering" 1976), a track clearly aimed at radio success, and finally with the pop-rock "Follow You, Follow Me" from the album "...And Then There Were Three..." (1978). Thus, with their next album, "Duke" (1980), the band, composed of Phil Collins, Mike Rutherford, and Tony Banks, delved almost entirely into less complex and ambitious sounds, producing a work that wisely blended a series of semi-progressive songs with others of a distinctly pop-rock nature. A year later, the trio capitalized on the media buzz surrounding Phil Collins and his successful "Face Value" to follow a considerably similar path, with a few exceptions, releasing their eleventh album, "Abacab". From the opening title track, the band completely sheds its past, showcasing an energetic and rhythmic piece where Banks' synthesizers, Rutherford's galloping bass, and Collins' sharp vocals combine to create an epic song with a certain progressive feel. This track, along with the brilliant "Me and Sarah Jane", represents the album's most elaborate moments, though they don't detract from other songs like the infectious "No Reply at All", the eccentric "Keep It Dark", and the dark and dynamic "Dodo/Lurker". The rest of the album consists of a series of songs that sound more like outtakes from Collins' solo work than anything else, such as "Like It Or Not", "Another Record", and "Man on The Corner". Ultimately, this was the group's riskiest proposal up to that point, creating a work full of highs and lows that would commercially achieve several platinum records and more than two million copies sold worldwide.

Sniff 'n' the Tears-The Best Of Sniff 'n' the Tears (1991)

Despite not being as famous as other contemporary new wave bands, Sniff 'n' the Tears were always characterized by their infectious and vibrant music across their four albums released during the 1980s. A hallmark of this British group was their beautiful album covers, designed by the band's songwriter, singer, and frontman, Paul Roberts. Their debut album, "Fickle Heart", released by the independent label Chiswick in late 1979, featured their biggest hit, "Driver's Seat", an irresistible song driven by catchy bass and drums and engaging electric guitar riffs. While not quite reaching the heights of this track, this debut album also contains other noteworthy power pop songs such as "Sing", "Slide Away On", and "The Thrill of It All". Over the next three years, the group released "The Game's Up" in 1980, "Love/Action" in 1981, and "Ride Blue Divide" in 1982. Despite featuring an exquisite selection of songs with atmospheres similar to "Driver's Seat", these albums failed to achieve the expected success. However, tracks like "The Game's Up", "One Love", "The Driving Beat", "Snow White", "That Final Love", "Hungry Eyes", and "Ride Blue Divide" became staples on many radio stations and in numerous nightclubs across Europe. Shortly after the release of their last album, the band disbanded, and Paul Roberts embarked on a solo career that didn't garner much attention. Meanwhile, in 1991, Chiswick Records released the compilation album "The Best Of" as a sort of epitaph. A few years later, "Driver's Seat" resurfaced after being featured in European commercials and subsequently on the soundtrack of the film "Boogie Nights", and later in the television series "The Walking Dead". A subsequent reunion, prompted by the renewed success of the song "Driver's Seat," led to the release of several albums, though these were far removed from the creativity of their earlier work.

Television-Marquee Moon (1977)

While the prototype of punk was basically angry music, with virtually no musical training, and scathing lyrics against society (the insufferable Sex Pistols being a prime example), there were other bands that, despite being categorized within that genre, broke all those rules. One of them was Television, who, led by the brilliant Tom Verlaine, drew influences from artists like Neil Young and Duane Eddy and created an intense punk full of poetic allusions, all underpinned by more than enough instrumental skill. Their emergence at a time when punk was beginning to gain public fervor, they became early standard-bearers of new wave, with original and captivating music. Formed in the first half of the seventies, their beginnings were marked by grueling sessions playing in the streets of New York City, gradually building a strong reputation in the city's underground scene. It wasn't until 1977 that they finally released their first album, "Marquee Moon", a debut as dazzling as it was original, thanks to songs like "See No Evil", "Guiding Light", "Tom Curtain", and "Marquee Moon". The band's exceptional musicianship opened many doors for them, placing them in the top ten of charts such as the British ones. "Adventures", released a year later, cemented Television's status, showcasing more mature and even more captivating compositions. However, musical tastes soon took a radical turn, and Television was forced to disband after losing the public's fervor in the late 70s, while their frontman, Tom Verlaine, immediately embarked on a successful solo career. In their brief time in the spotlight, Television thrilled audiences, and their albums still shine today as a testament to a fertile period in rock music.

Rick Derringer-All American Boy (1973)

Rick Derringer is a legendary American guitarist, creator of monumental works such as his debut album "All American Boy", a true classic of American rock, as well as his numerous collaborations with other artists including Edgar Winter, Johnny Winter, Steely Dan, Joe Bonamassa, and Donald Fagen, his albums with The McCoys, and his own band, Derringer. Although his musical career is primarily oriented towards hard blues rock, in his early days Derringer explored intense hard rock with The McCoys and on his first solo albums. His first solo recording came in 1973, produced by the renowned Bill Szymczyk, and featured the invaluable contributions of a lineup including Bobby Caldwell, Edgar Winter, Joe Walsh, Joe Vitale, Toots Thielemans, and Joe Lala, among many other musicians from the American rock scene. Thrilling rock songs like the opening "Rock and Roll, Hoochie Koo", pretentious displays of his mastery of the six strings "Joy Ride", passing through the dusty southern rock "Teenage Queen", the lively country rock "Cheap Tequila", the emotional soul "Hold", the catchy "Jump, Jump, Jump" or the galloping hard rock "Slide On Ever Slinky", gave rise to a fruitful career full of works of enormous quality that have kept him at the top of American rock for four uninterrupted decades.

Aviator-Aviator (1986) (USA)

Overshadowed by a series of huge, more media-savvy albums released the same year ("Third Stage" by Boston, "Slippery When Wet" by Bon Jovi, "The Final Town" by Europe, or "Raised on Radio" by Journey, among many others), the only release from the Americans Aviator (not to be confused with other bands of the same name that emerged over the years), is one of the hidden gems of AOR, full of magnificent choruses, catchy melodies, and energetic guitars backed by splendid keyboards. This short-lived group, comprised of drummer Michael Ricciardella, guitarist Richie Cerneglia, singer and guitarist Ernie White, bassist Steve Vitale, and keyboardist Tommy Zite, managed to create a sublime album brimming with magnificent tracks such as the intense mid-tempo songs "Front Line", "Wrong Place Wrong Time", "Magic", "Come Back", and "Through The Night", which contrast sharply with the powerful hard rock anthems "Woman in Love", "Too Young", and "Never Let The Rock Stop". Without a doubt, this debut is a classic of the melodic rock genre, though it unfortunately remained somewhat obscure, becoming a cult classic of AOR.

Iron Maiden-Dance Of Death (2003)

In 2003, Iron Maiden returned to a six-member lineup, including Bruce Dickinson and Adrian Smith, who had rejoined for the previous and magnificent "Brave New World", released three years earlier. While not a typical concept album, a somber and dark atmosphere permeates much of the record, beginning with its controversial cover, the gloomy title, and the eerie themes of almost every track. However, beyond all of this, the album showcases the band's signature epic heavy metal style in songs like the exhilarating "Rainmaker", the decadent "Montsegur", and the effective "New Frontier" and "Gates of Tomorrow". The band also delves into complex structures and virtuosic instrumental passages in songs like the captivating "No More Lies", the devastating, medieval-tinged "Dance of Death", the epic and progressive "Paschendale", and the thunderous "Face in the Sun". Finally, after the colossal and organic heavy metal, the band leaves us with the atmospheric and acoustic "Journeyman", thus ending another of the monumental works of the legendary British band.

Creedence Clearwater Revival-Willy And The Poor Boys (1969)

In 1969, Creedence Clearwater Revival's creative output was so prolific that they managed to release three albums in a single year, an unprecedented feat in the history of rock music. In January of that year, they had already released their powerful "Bayou Country", which solidified the group's sound with its raw and basic style that fused rock, blues, country, soul, and rockabilly. In August, they released "Green River", an album that maintained a high standard, giving their sound even more power and impact. Then, at the end of the year, they released "Willy and the Poor Boys", which definitively cemented their powerful and irresistible rock sound with a release that included memorable songs like "Fortunate Son" and "Down on the Corner". However, this superb fourth album did not just live off the excellence of those two songs; the rest was also made up of tremendous compositions such as the rock and roll “It Came Out Of The Sky”, the country rock “Cotton Fields”, the rhythmic “Feelin’ Blue”, the addictive rockabilly “Don’t Look Now”, the melodic rock “Midnight Special” or the bluesy “Side O’ The Road”.

Creedence Clearwater Revival-Creedence Clearwater Revival (1968)

In the late 1960s, musical movements were enveloped in a vast array of sounds, inundated with distorted guitars, Hammond organs, early synthesizers, and dozens of other complex instruments. These instruments, used in unison, created a spectacular sonic diversity, distinct from the styles that overflowed the pop and rock landscape. It was in this context that a basic, almost archaic band emerged, with a sound as abrasive as it was traditional. They not only achieved massive worldwide success but also remained at the top for more than five consecutive years. Simplicity and brilliance, combined, were the secret of Creedence Clearwater Revival, who, drawing on the ancestral sounds of North America blues, country, folk, and rock 'n' roll earned the respect and admiration of millions. Led by guitarist and vocalist John Fogerty, who had previously formed a band that contained the seeds and essence of Creedence Clearwater Revival, called The Blue Velvets, which also included bassist Stu Cook and drummer Doug Clifford, the definitive lineup of Creedence Clearwater Revival was completed with the addition of John's younger brother, Tom Fogerty. John's sonic integrity, combined with the straightforward skill of Clifford and Cook's rhythm section, and Tom's rhythmic strumming, was the perfect synthesis of their successful style known as "swamp rock," which they so brilliantly showcased on their magnificent debut album released in mid-1968. The eight-minute, powerful cover of Dale Hawkins' "Suzie Q" did nothing to prevent it from climbing to the top of the singles charts worldwide. But apart from this classic song, a true rock icon, the album contained a repertoire full of exciting songs such as "I Put A Spell On You", another cover, this time of Screamin' Jay Hawkins, "Get Down Woman", "The Working Man", "Walk on the Water" or "Porterville", which amazingly led this first record to sell close to a million copies in a single week in the United States.

Rush-Vapor Trails (2002)

"Vapor Trails", the seventeenth album by Canadian band Rush, marked Neil Peart's return after several years away from music due to a series of unfortunate family events. In this new release, the trio definitively abandoned the synthesizer sounds of their recent recordings to focus on a more direct and, to some extent, less complex rock sound. This album also ushered in a new era for Rush, featuring much heavier material filled with powerful and energetic riffs in tracks like "One Little Victory", while still retaining their progressive side, as seen in the sinister "Ghost Rider". The powerful "Peaceable Kingdom" also showcases significant lyrics, a recurring theme for Neil Peart, addressing the events surrounding September 11, 2001, while "The Stars Look Down" features a breakneck rhythm driven by Lifeson's abrasive guitar work. Meanwhile, the lively "Out Of The Cradle" or the intricate "Secret Touch" are other highlights of another of the memorable albums by the legendary Canadian group.

Allan Holdsworth-I.O.U. (1982)

“I.O.U.”, the fourth album by phenomenal guitarist Allan Holdsworth, former member of the legendary bands Soft Machine, Nucleus, Tempest, Gong, and U.K., is one of his masterpieces, presenting a style completely different from anything he had done previously. Here, the British guitarist surrounded himself with musicians Paul Williams (vocals), Paul Carmichael (bass), and Gary Husband (drums and keyboards). His new vision of jazz-rock led him to explore parameters not yet as widely as the guitarist demonstrates in this virtuosic display. The intelligent arrangements of “Checking Out”, the lush atmospheres of “Letters of Marquee”, and the heavy jazz-rock of “Out From Under”, along with the floating, ethereal guitars of “Shallow Sea”, are the highlights of an essential album of the best jazz-rock of the 1980s.

Freddie Roach-Good Move! (1963)

Freddie Roach was a renowned soul jazz musician who, throughout much of the 1960s, produced some of the genre's finest albums. Roach was one of the few jazz musicians to utilize the Hammond B-3 organ, an instrument uncommon in this genre compared to other styles such as progressive rock or psychedelic rock. In the early 1960s, Roach signed with Blue Note Records and recorded five albums between 1962 and 1964. Among these recordings is "Good Move", released in 1963, featuring collaborations with Hank Mobley on tenor saxophone, Blue Mitchell on trumpet, Clarence Johnston on drums, and Eddie Wright on guitar. On this album, the refined melodies driven by Roach's brilliant organ work firmly and solidly emanate from a series of varied and elegantly executed pieces, with sophisticated musical lines that blend seamlessly with the ingenious solos of Hank Mobley's saxophone and Blue Mitchell's trumpet.

Chris Botti-Italia (2007)

Originally from Oregon, Chris Botti first gained recognition as a trumpet player, working as a session musician for various New York studios in the mid-1980s, and performing and recording with artists such as Frank Sinatra, Aretha Franklin, Joni Mitchell, Paul Simon, and Sting, among many others. After more than ten years acquiring extensive experience with these artists, he released his first solo album, "First Wish", in 1995, skillfully blending jazz sounds with instrumental pop. With subsequent albums, Botti gradually explored smooth jazz, achieving moderate success with albums like "Slowing Down the World", "Night Sessions", and "I Fall in Love". In 2007, with his ninth album, "Italia", he achieved his greatest commercial success. This album features a series of iconic covers with lavish instrumentation, creating a captivating atmosphere and sublime melodies. Thoughtful interpretations ranging from film standards to opera classics and original compositions. This immersive atmosphere is present in pieces like "Deborah's Theme" from the film "Once Upon a Time in America" ​​and "Gabriel's Oboe" from the film "The Mission", both by composer Ennio Morricone. Botti also pays homage to Italy, evoking its exuberance and romanticism in the beautiful "Nessun Dorma" and the extraordinary "Italia", in a successful duet with Andrea Bocelli. His rendition of "Ave Maria" is simply sublime and legendary, supported by a choir that perfectly captures the religious character of the piece. Other versions include the sensual "The Very Thought of You", a classic by the great Ray Noble, sung by Paula Cole, and the enchanting "I've Grown Accustomed to Her Face" from the musical "My Fair Lady", featuring the splendid voice of a rejuvenated Dean Martin.

Wishbone Ash-Pilgrimage (1971)

Wishbone Ash's second album and their first true masterpiece, "Pilgrimage" is an excellent hard rock work focused on twin guitars, with hints of the complex sounds that would be fully realized on their next album, "Argus", released a year later. With dazzling production by Martin Birch, the band showcased their clear jazz and progressive influences, as demonstrated in the opening track, "Vas Dis", a strange and unusual blend of jazzy scat singing and powerful hard rock. Meanwhile, the signature twin guitar work of Andy Powell and Ted Turner is featured in the sensational "Pilgrim" and the powerful boogie-rock track "Jail Beat", while hints of their future musical direction can be found in the subtle "Alone" and the folky pastoral "Lubally". To conclude with the melodic and complex "Valediction" and the raw blues rock "Where Were You Tomorrow", where the interplay of the twin guitars, superbly executed, is supported by one of the best rhythm sections of the 70s, composed of drummer Steve Upton and bassist Martin Turner.

Thin Lizzy-Johnny the Fox (1976)

Johnny The Fox was published in 1976 and composed almost entirely by Lynott that same year during his recovery from a hepatitis that left him for a few months off the road (they had to cancel the American Jailbreak presentation tour that had nothing more program and nothing less than with Rainbow). 

It is the most Lynott album of Thin Lizzy since the themes of slow and melancholic cadence predominate ("Old Flame", "Borderline", "Sweet Marie") and the fusion with Pop or funk sounds, like the addictive "Jimmy The Fox Meets Jimmy The Weed". Eclectic sonorities all very liked by the iconic bass player. The album was recorded by the classic line-up of Thin Lizzy: Lynott, Downey, Gorham and Robertson and contains some of the band's essentials, which never stopped playing live, like the adrenaline-fueled "Massacre" or the mythical "Don't Believe A Word". This theme was conceived by Lynott as a half-time with a certain air of blues, as it appears in the album "Back On The Streets" (1978) by Gary Moore or in the posthumous live performance of the band "Live / Life" (1983), but finally it was recorded in an accelerated version, courtesy say of the always mischievous Brian Roberston. In fact Robertson got pissed off because he is not mentioned in the credits as co-author of the subject. 

The two initial themes show that, despite Lynott's recent illness, the group is in top form. Hard rock with all the characteristics of the Lizzy: the melancholy voice of Phil, the unmistakable melodies of the double guitars and stories of rockstars charmingly losers (Rocky) and characters with very bad luck (Johnny). Recurring themes in the discography of the group.

Bread-The Best Of (1973)

In the late 1960s, a guitarist named David Gates was well-known in the California pop scene as a session musician, singer, and producer. However, this busy schedule felt too limiting, and he decided to broaden his horizons. Together with another session musician, guitarist James Griffin, they formed a band. They called themselves Bread, and although their career was short-lived, lasting only seven years, they left behind a long list of unforgettable songs, some of which have become classics of rock. They enjoyed great success between 1970 and 1977, placing 13 songs on the Billboard Hot 100 chart during that time. They became pioneers of what would later be called Soft Rock or Melodic Rock (AOR), a style characterized by catchy melodies and lyrics that were generally uncompromising, as can be seen in one of their biggest hits: "Guitar Man". Their first album, "Bread" (1969), featured elegant, sunny Californian pop in the style of what many artists were doing at the time "California dreaming", as the song proclaimed. Gates, however, leaned more towards introspection and sentimentality than the pop/folk euphoria of his contemporaries. This led him to create a number of sophisticated ballads, which he would release in subsequent years on albums that achieved strong sales and high positions on the charts. A year later, they released their fifth album, "Guitar Man", featuring the title track, which became the group's most famous song worldwide, achieving gold certification like all their previous albums. However, it is in their compilations, such as "The Best Of" from 1973 (an album that reached five platinum records), where their power of seduction is best appreciated, giving space to the best of their entire career "If", "Make it with you", "Guitar man", "It don't matter to me", or "Everything I own", among other great songs from this legendary band.

Bob Dylan-Slow Train Coming (1979)

In 1979, Bob Dylan spent five months attending Bible school and experienced a spiritual rebirth, converting to Christianity. He subsequently released the albums "Slow Train Coming" (1979), "Saved" (1980), and "Shot of Love" (1981), a period known as his Christian years. After establishing himself in the 1960s as one of the emblems of folk and protest songs, and later causing a sensation by electrifying his sound and bringing it closer to rock, in the 1970s Dylan oscillated between notable missteps and some superb works such as "Blood on the Tracks" (1975), "Desire" (1976), and "Street Legal" (1978). However, Bob Dylan left virtually all his fans stunned with the release of "Slow Train Coming" in 1979, an album in which the Jewish-born musician openly expressed his conversion to Christianity, and in which faith was the surprising narrative driving force behind all the songs. "Slow Train Coming" features a collaboration with Mark Knopfler and was produced by veteran R&B producer Jerry Wexler. The album reached the top of the charts in the United States, achieving platinum status and winning a Grammy for the song "Gotta Serve Somebody".

Toto-Seventh One (1988)

After two albums that failed to meet expectations, "Isolation" (1984) and "Fahrenheit" (1986), Toto were determined to return to the path of success with a new work that followed in the footsteps of their acclaimed "Toto IV", released six years earlier. And they succeeded with "Seventh One", receiving a warm welcome from their fans, thanks to a collection of tracks that would once again place them among the best of melodic rock in the late eighties. For this new album, David Paich took the reins of the group, giving greater prominence to the keyboards and even greater emphasis on the vocal harmonies of Joseph Williams, Steve Lukather, and Paich himself, at the expense of the guitars. "Seventh One" contains an irresistible repertoire full of outstanding tracks such as the catchy "Pamela", the carefree "You Got Me", the rock "Stay Away", the epic with progressive airs "Home of the Brave", the spectacular "Stop Loving You" or the extraordinary ballads "Anna" and "Mushanga".

Utopia-Ra (1977)

“Ra” was the second album by Utopia, the band led by Todd Rundgren. Released in 1977, it is a truly impressive work, where space rock, progressive rock, and pop sensibilities come together seamlessly. By then, the band had been reduced to four members: in addition to Rundgren on guitars, there was Roger Powell on keyboards, Kasim Sulton on bass, and John Wilcox on drums, all four of whom also sang vocals as needed for each song. While their debut album had already explored sounds close to high-level progressive jazz with 30-minute suites, demonstrating Rundgren's great skill as a recording engineer, here the sound is more eclectic and varied, with rich sonic nuances. With a crushing opening like the pretentious instrumental “Overture: Mountaintop And Sunrise”, which segues into the rhythmic “Communion With The Sun”, where vocal melodies, keyboards, and Rundgren's arabesque solos stand out, “Magic Dragon Theatre” showcases the band's penchant for pompous pop with glam-tinged undertones of the era. This is followed by the powerful pop-rock track “Jealousy”, while “Eternal Love” is a song that approaches symphonic pop. “Sunburst Finish” and “Hiroshima” are the most powerful and visceral tracks on the album, culminating in the suite “Singring And The Glass Guitar (An Electrified)”, where every member of the band shines, with beautiful vocal harmonies and devilishly complex rhythm changes, demonstrating the virtuosity of all the musicians. In the following months the band presented this album live in a display of sophistication with a huge pyramid on the stage 7 meters high and a large golden sphinx that required 18 months of preparation and cost about 250 thousand dollars.

Camel-Camel (1973)

When Camel released their debut album, it was during the peak year of progressive rock's creative boom, meaning their music went largely unnoticed by most fans of the genre, who were more focused on listening to the dozens of established, leading bands that existed at the time. That year also saw the release of some of the genre's masterpieces, such as Pink Floyd's "The Dark Side of the Moon", Yes's "Tales from Topographic Oceans", Mike Oldfield's "Tubular Bells", Emerson, Lake and Palmer's "Brain Salad Surgery", and Genesis' "Selling England by the Pound," to name just a few examples from the vast array of albums released in 1973. Amid this whirlwind of releases, it's no surprise that Camel's first album wasn't taken very seriously by a large part of the progressive rock community. On this self-titled debut album, the band featured their classic lineup, or at least the one that would later record their masterpieces (“Mirage”, “The Snow Goose”, and “Moonmadness”): guitarist and vocalist Andrew Latimer, keyboardist Peter Bardens, drummer Andy Ward, and bassist Doug Ferguson. Recorded during the middle months of 1972 and released in February 1973 on the MCA label, it proved to be a very strong starting point for their progressive rock sound, setting them apart from their contemporaries. The influences of blues, jazz, classical music, and their own personal style combined to create a unique and distinctive sound. However, despite this, a certain musical imbalance is evident, which is understandable considering they were still newcomers and this was their debut album. Among the highlights of this first work are the melodic "Slow Yourself Down" where it already shows the duel between guitar and keyboards that will be Camel's DNA from then on, or one of their classic tracks like "Never Let Go", a piece that perfectly defines the band's style. The rest is made up of minor tracks that nevertheless attract the listener's attention, such as the instrumental "Arubaluba", the atmospheric "Curiosity" or the catchy "Separation".

Coven-Witchcraft (Destroys Minds And Reaps Souls) (1969)

Pioneers in using witches' sabbath imagery in rock music, Coven employed satanic imagery before bands like Black Sabbath or Black Widow. But while for the latter it was merely theatrical, for Coven it was their philosophy and way of life; they even used their own blood to sign their first contract with Mercury Records. And although it might seem like the typical foolishness of three young guys, the truth is that this group's satanic and occult imagery went far beyond what initially appears. They were already being associated with the image of hands with horns (the one Ronnie James Dio made famous a decade later), as well as the satanic symbol of the inverted cross. A band that, before releasing their first album, had already performed at various concerts opening for Alice Cooper and The Yardbirds. Their first album, "Witchcraft (Destroys Minds and Reaps Souls)", was released in 1969, almost at the same time as the murder of Roman Polanski's wife and several other people at the hands of Charles Manson's cult. This led to the album's rejection by many sectors of American society. The album contains tracks like the opening "Black Sabbath", with its dark sounds and atmosphere, and hints of psychedelic folk. "White Witch of Rose Hall" is a macabre true story about a mansion where voodoo rituals took place, while the occult atmosphere continues in "Coven in Charing Cross". But it is undoubtedly the strange "Satanic Mass", with its demonic references and its chants and prayers presented as dialogue, that most captures the attention of this album. "Witchcraft (Destroys Minds And Reaps Souls)" is undoubtedly one of the most interesting works of the late 60s, perhaps more for its themes than for its music itself, but with an unrepeatable creativity and experimentation.

Los Jaivas-Alturas de Machu Pichu (1981)

Los Jaivas are the most internationally renowned Chilean band, having offered one of the most extraordinary blends of folk and progressive rock ever created. Formed in 1963 in Viña del Mar, their debut album, the self-titled "Los Jaivas", didn't arrive until 1971. On this album, they began exploring, with an improvisational approach, the fusion of folk flavors and psychedelic music. In 1973, the band emigrated to Argentina due to the military dictatorship that was imposed in Chile that year. There, they continued releasing hugely popular albums until 1977, when they finally moved to France. From then on, they gradually introduced more progressive elements into their folk music, and over time, Los Jaivas created an original and unique style. In 1981, they cemented their talent and creativity with their most acclaimed album; "Alturas de Machu Picchu" is a brilliant example of Peruvian/Chilean Latin folk, fused with classic progressive rock. Conceived while the band was living in Paris, the lyrics were taken from an evocative collection of poems by Pablo Neruda, inspired by the grandeur and mysterious beauty of the Machu Picchu ruins. Here, the group conveys a range of emotions, from dramatic to melancholic, encompassing sadness, exaltation, and joy. With a spacious and ethereal sound, this album manages to emulate the Andean atmosphere, somehow transporting the listener to that magical place. Traditional Andean instruments (ocarina, flute, siku, and quena) and more modern ones (electric guitars, synthesizers, electric pianos, and drums) create a mystical and somewhat sinister atmosphere, yet simultaneously, there are festive passages brimming with life and joy. Powerful, epic, and progressive tracks like "La poderosa Muerte" (The Mighty Death), "Águila Sideral" (Sidereal Eagle), and "Antigua América" ​​(Ancient America) share the repertoire with other, purely folk-like songs such as "Amor Americano" (American Love) and "Súbete a Nacer conmigo, Hermano" (Get on Board to Be Born with Me, Brother). "Alturas de Machu Picchu" (Heights of Machu Picchu) is a profoundly emotional album, steeped in legend and history, a perfect fusion of the old and the new, of the past and the present.

Arthur Lee-Vindicator (1972)

After six albums with his band Love, in 1972, frontman Arthur Lee, completely frustrated, disbanded the group and embarked on a solo career that would prove short-lived and largely unnoticed. However, his only solo album, "Vindicator", released that same year by A&M Records, surprised everyone by radically departing from the fragile and melodic style of his band. On this album, Lee leans towards a raw, hard-hitting rock sound with hints of psychedelic rock in the style of Jimi Hendrix, as demonstrated in tracks like "Sad Song", "Love Jumped Through My Window", and "Everytime I Look Up I'm Down Or White Dog". He also delivers the magnificent blues-rock number "You Want Change For You Re-Run", the melodic "Everybody's Gotta Live", one of his most memorable compositions and the brilliant "Busted Feet", where he channels his skills into a Hendrix-esque style, both vocally and instrumentally, with outstanding and flawless blues riffs. Unfortunately, this album went completely unnoticed, fading into obscurity. Some time later, Lee resurrected Love with a new work ironically titled "False Start" (1974).

Diamond Head-Lightning To The Nations (1980)

The third wave of heavy metal, which emerged a decade after the first, was called the New Wave of British Heavy Metal, commonly abbreviated as NWOBHM. It arose in England as the 1970s drew to a close, building upon the legacy of the genre's great bands such as Led Zeppelin, Budgie, Uriah Heep, Black Sabbath, Nazareth, and Deep Purple. By the mid-1970s, the second wave had already emerged, featuring UFO, Thin Lizzy, Judas Priest, and Scorpions, among many others. These bands began to move away from the psychedelic, progressive, and blues influences of the first wave, giving the style greater power and speed, as well as incorporating other influences such as the driving force of punk and a frenetic rhythm. This third wave was spearheaded by the well-known Iron Maiden, Samson, Praying Mantis, Angel Witch, and Diamond Head, and it was precisely the latter that would produce one of the most emblematic albums of the genre: “Lightning to the Nations”, released in 1980 and considered one of the most memorable works of British heavy metal of all time. Diamond Head had formed four years earlier in the British town of Stourbridge by guitarist Brian Tatler, singer and guitarist Sean Harris, and drummer Duncan Scott. A year later, bassist Colin Kimberley joined them. With this lineup, and under the independent label Happy Face, they released “Lightning to the Nations” near the end of 1980. Composed of half a dozen songs, all of them overwhelming and intense, as demonstrated in the frenetic “Helpless”, the penetrating “It’s Electric” and “Sweet And Innocent”, the sinister “The Prince”, the sensational “Am I Evil?” or the sublime “Sucking My Love”.

Simple Minds-Sparkle in the Rain (1984)

With the sixth album by the Scottish band Simple Minds, "Sparkle In The Rain", the change in musical direction towards paths closer to mainstream British rock began to emerge, albeit still quite subtly, moving almost completely away from the post-punk of their early works. In this new release, the band led by Jim Kerr sees arena rock take center stage, as evidenced by brilliant tracks like the vibrant and iconic "Waterfront", a true pop-rock classic of the eighties, or the rhythmic "Up On The Catwalk", "Book Of Brilliant Things", and "Speed ​​Your Love To Me". Meanwhile, the mini-epic "East At Easter", the appealing synth-pop "C Moon Cry Like A Baby", and the atmospheric "White Hot Day" add a touch of sonic diversity to a work that would repeat the enormous success of its predecessor, "New Gold Dream (81/82/83/84)", on the British and European charts, ultimately solidifying Simple Minds as one of the most important new wave bands of the 80s.

Greenslade-Greenslade (1973)

Once the first Colosseum project was dissolved, two of its members, keyboardist Dave Greenslade and bassist Tony Reeves founded Greenslade, for which they recruited former King Crimson drummer Andrew McCulloch and keyboardist Dave Lawson, which turned this band into an unusual case as it had two keyboardists and no guitarist (at least in England, since the Italian group Banco already had a similar formation).
The debut album "Greenslade" was released in 1973 and is considered a classic of progressive rock, both for the music and for the cover art by the legendary Roger Dean.
The use of two keyboardists allowed them to create a texture and a very dense sound atmosphere rich in details, which at no time saturated the sound, partly reminiscent of the Yes for their constant changes of time signature but without the complexity of the latter.

Albert Collins-Ice Pickin´(1978)

In the late 1970s, the blues wasn't at its peak. New styles and musical trends that dominated the public's tastes had relegated it to the sidelines, until a few years later when the genre would resurface thanks to hundreds of new hard rock bands and the huge revival of classic rock. Even so, great albums continued to appear during those years, produced by classic bluesmen like Albert Collins, who in 1978 released "Ice Pickin' ", a true blues masterpiece. His impressive mastery of the six strings of his legendary Fender Stratocaster led him to be known as "Iceman" or "The Master of the Telecaster", for his composure and incredible simplicity on the guitar. A Grammy nominee, on "Ice Pickin!", the legendary guitarist leaves his mark on the superb blues tracks "Honey, Hush!", "Ice Pick", "Cold, Cold Feeling", "When The Welfare Turns Its Back on You", and the expansive "Conversations With Collins". "Ice Pickin!" is undoubtedly one of the sublime blues albums of the finest kind, crafted by a genius of the six-string and of the blues in general like Albert Collins, making it an absolute masterpiece of this fundamental and influential musical genre.

Howlin´Wolf-Rockin´ Chair (1962)

If there's one musician who inspired almost all the great bands of the sixties, it was Howlin' Wolf, a spectacular blues singer, guitarist, and harmonica player, and one of the most admired bluesmen in history. Chester Arthur Burnett (that was his real name), was born in West Point, Mississippi, in 1910. He was a man with a stony gaze, weighing 286 pounds and standing almost six feet six inches tall. The son of cotton farmers, he worked as a farmer until the late 1930s, when he decided to emigrate to Chicago in the 1940s. After serving in the army during World War II, he formed his own blues band and, some time later, even performed regularly on a radio station in West Memphis, Arkansas. In 1962, he released the album "Rockin' Chair", considered one of the bibles of the blues. Wolf was a genuine singer and a tireless creator who, with his raw blues, forged an expression of rage and vitality. Through his harsh and hypnotic voice, Wolf spat out all his anger and fears, everything he experienced as a farm worker in the rural South of the United States. His music was a sincere expression, capable of conveying every emotion, and his blues was a perfect reflection of himself. Hence the immense power and strength of his music, from an indestructible bluesman who has left a mark as profound as it is enduring. His legacy has left its mark on hundreds of bands, from Led Zeppelin to the Rolling Stones, including The Doors, Grateful Dead, Cream, Creedence Clearwater Revival, and many more. In “Rockin’ Chair,” Howlin’ Wolf revisits some of his greatest classics such as “Spoonful”, “Black Door Man”, “The Red Rooster”, “Who’s Been Talking?”, “Wang Dang Doodle”, “Little Baby”, “Going Down Slow”, and “Howlin’ For My Darlin’ ”, all of which he covers.