The Jam-Sound Affects (1980)

As the 1970s drew to a close, many artists emerged in the UK who, influenced by 1960s sounds such as British mod, American garage rock, new-generation synthesizers, rock and roll, and street rock (punk rock), proposed a style that would soon be called new wave. Among a multitude of bands, about a hundred stood out, such as The Jam, who considered The Who one of their biggest influences, with a simple musical approach and a basic lineup of guitar, bass, and drums. Led by guitarist Paul Weller, they released several albums in the late 1970s, including the seminal "In The City" (1977), and the still somewhat inconsistent and immature "This Is The Modern World" (1977) and "All Mod Cons" (1978). The more developed "Setting Sons" (1979) showcased greater creativity and quality in its compositions, as well as improved instrumental refinement. This musical evolution would be rewarded with their fifth album, "Sound Affects" (1980), where both Weller's lyrics and the trio's instrumental growth are truly remarkable. Tracks like the powerful "Set the House Ablaze", the pessimistic "That's Entertainment", the rhythmic "Pretty Green", the ominous "Scrape Away", and the frenetic "But I'm Different Now" would bring The Jam the recognition and popularity they deserved, creating a magnificent album and the crowning achievement of the British trio.

Ange-Au-Delá Du Délire (1974)

Ange are one of the most important and emblematic bands in French rock history. From the early 1970s until almost the present day, they have released around thirty albums, most of them focused on avant-garde rock. Formed in the late 1960s by brothers Christian and Francis Décamps, their first two albums showcased a subtle blend of psychedelic and experimental sounds, all underpinned by humorous and sarcastic lyrics. With their third release, "Au-Delà Du Délire", they reached their artistic pinnacle, crafting a work brimming with allusions to the darker side of early King Crimson and the theatricality of Peter Gabriel's Genesis. This album is built around Christian Décamps's dark and theatrical vocals, where exuberant orchestrations and ingenuity are subject to poetic narratives, constructing evocative canvases that oscillate between the pastoral and frenetic delirium. Terrifying tracks like the lyrically scandalous "Godevin Le Vilain" or the unsettling and aggressive "Les Longues Nuits d'Isaac" transport us to the musical journeys of the Crimson King. On the other hand, "Si J'Etis Le Messie", with its demonic lyrics, reveals his anticlerical thoughts, while the sweet "Exode" provides the album's most poignant moment. In all of them, the biting lyrics written by Christian Decamps blended sarcasm, irony, anger, and obvious insinuations against the Church establishment, a fact that would lead to heavy criticism from a large segment of the wealthy and conservative French society of the time. However, all this controversy only served to increase Ange's popularity, granting them significant artistic, media, and commercial credibility.

Uriah Heep-Firefly (1977)

By 1977, Uriah Heep had nine albums under their belt, having reached the pinnacle of success and fame. These nine albums spanned everything from hard rock to progressive rock, including more mainstream FM-oriented rock. After the underrated "High and Mighty", released a year earlier, Uriah Heep underwent its first lineup changes. First, their legendary vocalist David Byron was replaced by former Lucifer's Friend singer John Lawton, and second, John Wetton was replaced by bassist Trevor Bolder. While the change in bassist didn't represent a substantial shift, the change in vocalist did, as Bolder possessed a bluesier vocal range than his predecessor. The rest of the lineup remained comprised of the band's fundamental pillars: Ken Hensley (keyboards), Mick Box (guitars), and Lee Kerslake (drums). This restructuring would be reflected in a series of songs with a clear accent to less complex classic rock as demonstrated in the classic rock songs "Who Needs Me" and "Do You Know", the attractive blues "Rolling' On", the heavy hard rock of "The Hanging Tree" and "Been Away Too Long", the catchy melodies of "Wise Man" or the nods to the past with the more progressive "Sympathy" and "Firefly".

Canned Heat-Human Condition (1978)

Canned Heat experienced their golden age in the late 1960s and early 1970s, years in which they were one of the most formidable blues and boogie-rock bands in the world, leaving behind gems of the genre such as "Boogie With Canned Heat", "Living The Blues", "Hallelujah", "Future Blues" and "Historical Figures and Ancient Heads". Throughout the rest of the 1970s, Canned Heat suffered the consequences of the public's changing musical tastes, becoming unfairly relegated to the status of blues and rock revival legends. "Human Condition", released in 1978, is the tenth album by the Los Angeles band and would be Bob "The Bear" Hite's last major contribution as the frontman of Canned Heat, as he would die several years later from an overdose of a fatal combination of heroin and cocaine. On this album, guitarist Harvey Mandel appears as a guest musician, who, along with guitarists Mark Skyer and Chris Morgan, bassist Richard Hite, and legendary drummer Adolfo de la Parra, plus the powerful vocal skills of Bob Hite, created a repertoire full of biting blues and harmonic boogie rock; "Hot Money", "House Of Blue Lights", "Just Got to be There", "You Just Got to Rock", "Human Condition" or "Open Up Your Back Door".

Talking Heads-Remain In Light (1980)

Talking Heads were one of the most avant-garde and experimental bands of the late 70s and much of the 80s. Led by guitarist David Byrne and with the essential and invaluable collaboration of Brian Eno, they created some of the most acclaimed and defining albums of the 20th century. Hailing from Long Island, New York, Talking Heads completed their lineup with drummer Chris Frantz and bassist Tina Weymouth. Along with The Ramones, B-52's, and Blondie, they were the leading lights of punk and art pop in 1970s New York. After releasing several albums focused on extravagant sounds, avant-garde art pop, and punk, such as "Talking Heads" (1977), "More Songs About Buildings and Food" (1978), and "Fear of Music" (1979), the band began the 1980s with their fourth album, "Remains in Light", This album featured an expanded lineup with guitarist Adrian Belew, and once again was produced by Brian Eno (who also handled synthesizers and other instruments). The album also included trumpeter Jon Hassell and percussionists Robert Palmer, Jose Rossy, and Nona Hendrix. In "Remain In Light", the compositions showcase a blend of African rhythms, art rock, electronic sounds related to new wave, and the frenetic energy of punk, all with subtle progressive touches, evidenced in the delicate arrangements and fascinating structures of all their songs.

Chirco-Visitation (1972)

There's no doubt that for every album reviewed from the obscure and forgotten bands of the '60s and '70s, there are hundreds upon hundreds (if not thousands) of albums and groups lost in the depths of time. This is one of those strange and obscure bands about which we can offer little information today. Hailing from Westchester, near New York, it was led by drummer Tony Chirco and backed by a dozen musicians, including vocalist Anvil Roth, guitarist John Naylor, drummer Ted MacKenzie, bassist Bruce Taylor, and keyboardist Steve Foote. Their only recording, made in a New York studio, is an ambitious and complex album, featuring a dynamic rhythm section with a touch of spirituality, fuzz guitar riffs, interesting arrangements, and a clever blend of rock passages and avant-garde sounds. However, despite the music containing characteristics of progressive rock, with its well-structured and conceptual themes, it never becomes pretentious, incorporating wind instruments that lend it certain jazzy textures and complexities. Ultimately, it's another one of those little gems lost in the vastness of rock music.

Tangerine Dream-Alpha Centauri (1971)

Experimental, intriguing, and with a touch of krautrock, that's how we could describe "Alpha Centauri", the second album by Tangerine Dream. On this second recording, the German band, led by Edgar Froese and completed by Christopher Franke and Steve Schroyder, embarks on a kind of space odyssey, abandoning psychedelic guitars and much of the acoustic drumming to focus on the strange sounds of string synthesizers and the Hammond organ. These cosmic explorations are reflected in the "Alpha Centauri" suite, twenty minutes of music filled with electroacoustic structures and understated guitar lines, forming a hypnotic and meditative piece. In contrast, stormy and sinister vocals flood the end of the piece, instantly making it a true TD classic. Other tracks on the album include the tender "Sunrise In The Third System", an organ-driven piece, the ethereal "Oszillator Planet Concert", and the distant hint of krautrock in "Fly And Collision Of Comas Sola". All of this makes "Alpha Centauri" a pivotal step from their nascent krautrock sound to the style that would define this legendary German band for the rest of their career.

Aviator-Turbulence (1980) (UK)

Aviator was a short-lived British band (not to be confused with the American band of the same name) formed by three legendary musicians from iconic groups such as Manfred Mann, Jethro Tull, and Blodwyn Pig. These were saxophonist Jack Lancaster, drummer Clive Bunker, and guitarist and singer Mick Rogers, who, along with bassist John G. Perry, released two interesting albums in the late 1970s. In 1978, under the production of Brand X keyboardist Robin Lumley, they released their debut album, showcasing an eclectic style that ranged from art rock to late progressive rock. Highlights from this first release include the hypnotic "Keep Your Heart Right", the rock melodies of "Evil Eye", and the progressive hard rock track "Morning Journey". A year later, Lancaster left the band, leaving Aviator as a trio and releasing their epitaph, "Turbulence", a work more in line with the sounds of the eighties and produced by Wil Malone, a producer who would go on to work with Black Sabbath, Iron Maiden, Depeche Mode, and The Verve. Without completely abandoning their progressive side, the album features everything from refined pop-rock tracks like "The American" to progressive blues-rock songs like "Fallen Star" and "Strange Worlds", as well as the predictable pop sounds of the newly begun decade, such as "All Your Love Is Gone" and the appealing country-rock track "Wood Wharf Gumbo". After this second and final album, the band ended their short recording career. A few years later, another American band with the same name emerged, playing melodic rock and AOR.

Brian Auger´s Oblivion Express-Straight Ahead (1974)

Brian Auger's fifth album with his band Oblivion Express features a new lineup, with Godfrey MacLean no longer on drums, replaced by the more experienced Steve Ferrone, and the addition of percussionist Mirza Al Sharif. However, what remains largely unchanged is the frenetic jazz-rock style driven by Auger's Hammond organ, even more powerful this time around thanks to the prodigious percussion work of Lennox Laington, Steve Ferrone, and Al Sharif. This vigorous rhythm section is evident in the opening track, "Beginning Again", which, based on simple jazz-rock chords, showcases the excellence of both Auger and guitarist Jack Miles. The solid jazz fusion/rock track "Bumpin' On Sunset" represents another of the highlights, which contrasts with the funk jazz "Straight Ahead" and the long and catchy "Changes", to end with the melodic "You'll Stay In My Heart", a clear cut oriented towards radio formulas due to its attractive sound.

Birth Control-Increase (1977)

Considered the final classic of Birth Control, "Increase" (the band's seventh studio album) follows the stylistic vein of their previous works, with a krautrock style influenced by jazz rock, blues, hard rock, and progressive rock. Birth Control's music was always driven by Zeus B. Held's Hammond organ, Bruno Frenzel's sharp guitars, and the galloping rhythm of their energetic rhythm section comprised of Bern Noske, Horst Stachelhaus, and Manfred Von Bohr. Intense hard rock tracks like "Domino's Hammock", the funk-jazz "We All Thought We Knew You", the bluesy "Fight For You", and the creative semi-progressive "Seems My Bike's Riding Me" marked the end of the most glorious era of this legendary German band.

Kansas-Song For America (1975)

Kansas was a band that, in its early years, didn't receive much favor from rock critics. Some accused them of being mere hicks playing progressive rock (it's true they were from a remote town in Kansas called Topeka, hence the "hick" label), while others (the purists) accused them of leaning too heavily towards the commercial sounds of AOR, and the list of unfavorable reviews went on. However, they possessed a gift few could deny them: their remarkable ability to evolve from a simple club band in their small town into one of the greatest bands to ever emerge from North America. "Song For America" ​​was the album that finally gave them the credibility they needed to be considered on a global scale, an album brimming with complex melodies, unique time signatures, and daring harmonic counterpoints, all rooted in American rock with influences like blues and country. The energetic guitar riffs of Kerry Livgren and Rich Williams are masterfully combined with Robbie Steinhardt's extraordinary violin work, while Steve Walsh's warm vocals provide a counterpoint to this whirlwind of dazzling sounds. The album features everything from American rock classics like "Down The Road" and "The Devil Game" to the astonishing progressive piece "Lamplight Symphony", the marathon-like "Song for America", and the epic "Incomudro/Hymn To The Atman". With this second release, Kansas not only created a unique work of art, but also an album that is as essential as it is indispensable in American rock and progressive rock in general.

Rubicon-Rubicon (1978)

Composed primarily of white musicians, Rubicon was one of the most renowned bands of a distinctly Black sound and style: funk rock. Formed in late 1970s California, the band was spearheaded by Jerry Martini, formerly of the legendary Sly & The Family Stone, who recruited Brad Gillis (guitar), Dennis Marcello (saxophone), Jack Blades (bass), Greg Eckler (drums), Johnny Colla (saxophone), and Jim Pugh (keyboards). Their self-titled debut album, "Rubicon", was released in 1978 and garnered significant chart success thanks to tracks like the ballad "I'm Gonna Take Care of Everything" and the powerful funk rock anthem "Vanilla Gorilla". This first release also featured other high-caliber tracks such as the powerful and exhilarating funk numbers "That's The Way Things Are", "And The Moon's Out Tonight" and "Cheatin' ", as well as the melodic rock song "Closely". The album's positive reception opened doors for them to participate in the second edition of the legendary "California Jam" festival, held in Ontario in mid-1978. A year later, with the addition of a new drummer (Kelly Keagy), they released their second and final album, "America Dreams", which continued their funk sound but with subtle melodic rock influences. Shortly after the release of "America Dreams", the band definitively dissolved, with some members (Blades, Gillis, and Keagy) joining the AOR band Night Ranger, while saxophonist Colla joined Huey Lewis and The News.

Savoy Brown-Looking In (1970)

At the beginning of the 1970s, the legendary blues-rock band Savoy Brown released their sixth album, "Looking In", continuing their triumphant run in both Britain and North America. Prior to this album, the British group had already left behind memorable works such as "Getting to the Point", "Blue Matter", "A Step Further", and "Raw Sienna", showcasing their magnificent blues-rock sound with tracks like the rhythmic "It's All My Fault", the memorable blues numbers "Tolling Bells" and "Black Night", and powerful covers such as "Ain't Superstitions". However, the constant changes in personnel continually undermined their stability, and this trend continued in 1970. "Looking In" did not feature their original singer, Chris Youlden, who had left after the previous album, "Raw Sienna", and was not even replaced; instead, guitarist Lonesome Dave took on the role. The rest of the lineup consisted of lead guitarist Kim Simmonds, bassist Tone Stevens, and drummer Roger Earl. On this sixth release, the remaining quartet went all out, crafting an anthological album of energetic blues rock, as demonstrated by an exciting repertoire featuring the lysergic "Poor Girl", the understated bluesy "Money Can't Save Your Soul", the jazzy bluesy "Sunday Night", the boogie blues "Take It Easy", and the tour de force "Leavin' Again". Despite the album's tremendous success in North America, shortly after its release, three of its members, Stevens, Earl, and Lonesome, left Savoy Brown to found the hard rock and boogie rock band Foghat.

Automatic Man-Automatic Man (1976)

This is one of those albums that always ended up in the bargain bin at record stores, and I still don't understand why, considering its enormous quality and the lineup of musicians involved. The truth is, we barely paid any attention to it, yet everyone was drawn to its alien and seductive cover, which somehow hinted at the progressive and spacey concept of its musical themes. Automatic Man was a short-lived band from San Francisco, which only released two interesting albums in 1976 and 1977. It was formed by several former members of Stomu Yamashta Go's band: former Santana drummer Michael Shrieve, guitarist Pat Thrall, and vocalist and bassist Doni Harvey, with keyboardist Todd Cochrane completing the lineup. They had no trouble getting a record label interested in their project immediately, given the professional background of its members, and that's how Island Records signed them to release several albums. On their self-titled debut album, the band follows a similar path to Go, with progressive sounds, funk, jazz, space rock, and a commercial style close to pop rock. The album is somewhat defined as a concept album with mythological references, and features standout tracks such as the synthesizer-driven intro "Atlantis Rising Fanfare", which leads into the spectacular jazz-rock track "Comin' Through". Other equally noteworthy tracks include the psychedelic "My Pearl", the atmospheric "Newspapers", the space-rock "One and One", the hard-rock "Newspapers", and the monumental and progressive "Intersteller Tracking Devices" and "Atlantis Rising Theme". Later, with the same hypnotic cover, this time in a reddish hue instead of the bluish one of the debut album, a second album was released. Shrieve and Harvey no longer appeared on this album, replaced by drummer Glen Symmonds and bassist Jerome Rimson. This album, with its more predictable funk and pop-rock sound, and less room for avant-garde, progressive, and jazz influences, ultimately led to the band's demise. After the band's final breakup, Pat Thrall enjoyed a fruitful career, participating in numerous projects and bands such as the Pat Travers Band, Meat Loaf, Asia, Glenn Hughes, and Joe Satriani, among others. Todd Cochrane contributed to hundreds of recordings by artists such as Peter Gabriel, Brand X, Jim Capaldi, and PM, and drummer Shrieve followed a similar path, collaborating on dozens of recordings by countless artists.

Toto-XIV (2015)

Toto's thirteenth album is somewhat overshadowed by the death of former bassist Mike Porcaro, which occurred a week before the album's official release. For this recording, several members who had been absent from the group for some years returned, including singer Joseph Williams, keyboardist Steve Porcaro, and bassist David Hungate. The lineup was completed by keyboardist David Paich, guitarist Steve Lukather, and drummer Keith Carlock. In this new release, they recapture the unmistakable sound of the 1980s, a decade in which they produced some of the most spectacular melodic rock albums, such as "Toto IV" and "The Seventh One". The result is an extraordinary repertoire of refined and powerful tracks, where Lukather's driving guitar blends seamlessly with the keyboards and synthesizers of Porcaro and Paich, adorned with the harmonized vocals of all the members. Catchy tracks like "Running Out Of Time", "Holy War" and "Orphan" showcase the band's most infectious side, while the more complex "Great Expectation" and "Burn" or the bluesy "21st Century Media" result in a radiant and mature work.

The Lee Riders-The Lee Riders (1972)

The Lee Riders were a short-lived Southern rock band that spawned one of the iconic country rock groups, the enduring Pure Prairie League. Hailing from Woodstock, New York, the band was formed by singer Robert Lee, who recruited musicians with similar Southern musical tastes. These included Bill Hinds (drums), Mike Reilly (bass), Mike Connor (organ), and Matt Presby (guitar). A contract with United Artists led them to England, where they recorded their self-titled debut album. However, drummer Bill Hinds chose to remain in the United States and was replaced in Britain by Roy O'Temro. Released in mid-1972, this single album features everything from classic Western country rock to stellar Southern rock tracks like "Ruby Valentino", "Highway Queen", "The Moment", and "Pale Horse", which, despite their undeniable quality, failed to garner the widespread public attention they deserved. A promotional tour across the UK, opening for David Bowie, who was touring in support of his album "Ziggy Stardust", marked the end of The Lee Riders' time in Britain. They would eventually return to the United States some time later. Once back in their home country, Connor and Reilly, along with Bill Hinds, founded the aforementioned Pure Prairie League, thus beginning a fruitful and successful career that produced some of the best albums in American country rock, such as "Bustin' Out", "Two Lane Highway", "If the Shoe Fits", and "Firin' Up". 

Talk Talk-Spirit Of Eden (1988)

Founded in the early 1980s by multi-instrumentalist Mark Hollis, Talk Talk began exploring sounds close to avant-garde synth-pop, and within that framework, they released two interesting albums: "The Party's Over" and "It's My Life", which garnered some interest among the general public. With their third and brilliant album, "The Colour of Spring," the band evolved towards a more experimental and, to some extent, progressive sound, as demonstrated in the superb compositions "I Don't Believe In You", "Living in Another World", and "Give It Up". However, the sound that would define them was their next two albums, "Spirit of Eden" and its successor, "Laughing Stock". On both albums, the band adopted a free and abstract style, with a series of tracks that reveal themselves as delicately constructed soundscapes where every note is powerfully emotional. At this point, we could consider Talk Talk to be to pop rock what King Crimson were to progressive rock, not least because of their ever-changing, abstract musical textures throughout their career. On “Spirit of Eden”, Talk Talk showcases their eclecticism and their dark, brooding side in tracks like “The Rainbow” and “Wealth”, their avant-garde challenge in “Inheritance”, their earthy melodies in the pleasant “I Believe in You”, and their conventional rock in the memorable “Desire”. “Spirit of Eden” became an album as challenging as it was captivating, demonstrating the genius of Mark Hollis in creating a work unlike anything recorded to date.

Cravinkel-Garden Of Loneliness (1971)

Officially categorized as krautrock, Cravinkel were actually a band closer to the sounds of acid folk and American country rock than to the experimentation and mystical avant-garde of their contemporary German bands in the same movement. Formed in the late sixties, the band consisted of Gerd Kravinkel (guitar), Rolf Kaiser (bass and vocals), George Haupt (drums), and Klaus Meier (guitar and vocals). Their first album, released in 1970, is a peculiar experiment in opaque psychedelic folk, fused with bucolic atmospheres and melodic rock. The solid melodies contrast with distorted guitars, emotive vocals, and a sense of melancholy. Songs like the appealing country-rock tracks "Candlelight", "Lonesome Road", and "Hidden Love", along with pastoral and nostalgic pieces like "Two Circles", are the highlights of this debut album. A year later came the second and epitaph of this dark group, "Garden Of Loneliness", which unlike the calm and peaceful debut, shows a more raw and ordinary facet with approaches to standard hard rock with subtle progressive elements as is evident in the energetic song that gives the album its title or in "Stoned", a tour de force of heavy and resounding heavy rock.

Fireballet-Night On Bald Mountain (1975)

Another band lost in the mists of time is the American group Fireballet, who released two excellent progressive rock albums in the mid-1970s. Hailing from New Jersey, the band consisted of Jim Como (lead vocals, drums, and percussion), Bryan Howe (keyboards), Ryche Chlanda (guitar and vocals), Frank Petto (keyboards and vocals), and Martyn Billing (bass). In 1975, they released their debut album, "Night On Bald Mountain", showcasing a sound very close to the British symphonic rock of the 1970s, closely related to bands like Yes, Genesis, and Van Der Graaf Generator, while also incorporating American rock influences. The excellent interplay of keyboards, along with precise guitar riffs and instrumental complexity, is complemented by rich vocal harmonies. The epic twenty-minute suite "Night On Bald Mountain" becomes the album's high point, an elegant and ambitious piece that somewhat overshadows the rest of the tracks, yet maintains a very high level with highly dynamic and musically complex instrumentation.

Golden Earring-Live (1977)

Set against a backdrop of the band on stage, this was the first live album by the Dutch group Golden Earring. Released in late 1977, it featured some of their most rock-oriented, progressive, and psychedelic material. Recorded at London's Rainbow Theatre in early 1977, the lineup that night consisted of George Kooymans (guitar and vocals), Rinus Gerritsen (bass and keyboards), Barry Hay (vocals and flute), Eelco Gelling (guitar), and Cesar Zuiderwijk (drums). Featuring a number of extended versions compared to the original studio recordings, the setlist was primarily composed of tracks from their albums "Moontan" (1973), "Seven Tears" (1971), "To The Hill" (1975), and "Contraband" (1976). However, the inclusion of so many tracks exceeding nine minutes (seven in total) comes at the expense of other great classics from the band, omitted due to space constraints. Even so, the included songs are excellent examples of why Golden Earring were always considered a better live band than a studio band. This double album captures the immense intensity Golden Earring displayed on stage, from the extended "Radar Love" to The Byrds' psychedelic epic "Eight Miles High", passing through the powerful rock of "Candy's Going Bad", the magnificent tour de force "Mad Love's Comin' ", and the progressive hard rock of "Vanilla Queen". A brilliant repertoire performed with driving and powerful rhythms, where the dense sound of its two guitarists, along with the tight and precise rhythm section, propels the live music into grand instrumental passages, making this double album one of the most famous of the 1970s.

Toto Blanke-Spider´s Dance (1975)

Hans Otto Blanke, better known as Toto Blanke, was one of the most renowned musicians of the European avant-garde jazz scene. Primarily known for his time with Association PC, led by Dutch keyboardist Jasper Van't Hof, he simultaneously launched a solo career, forming several bands in the style of American combos like the Mahavishnu Orchestra and Return to Forever, but with an added element of experimentation. His solo career began in 1975 with the release of his first album, "Spider's Dance". For this project, Toto Blanke assembled an impressive band comprised of Joachim Kühn (electric piano), "Charlie" Mariano (saxophone and flute), John Lee (bass), and Gerry Brown (drums), in addition to Blanke himself, who played both electric and acoustic guitars. In this debut album, the German guitarist makes no secret of his influences from energetic American jazz-rock/fusion with progressive elements, as demonstrated in a series of creative compositions, brilliantly executed by a band showcasing its enormous instrumental virtuosity. Pieces like the jazz-rock tracks "Lady's Bicycle Seat Smeller", "Spider's Dance", and "Intermission", are interspersed with more experimental works such as the complex "Slight Touch of Hepatitis" and the dynamic, avant-garde funk-jazz "Toto". Without a doubt, "Spider's Dance" is one of the most interesting works of European jazz-rock/fusion, a style that would continue with other highly creative albums by Toto Blanke, such as the later "Electric Circus" (1976) and "Tales of Tomorrow" (1978).

Gary Moore-Wild Frontier (1987)

In 1985, Gary Moore faced criticism from the press and his most devoted fans when he released his sixth album, "Run for Cover", which was accused of straying from his hard rock roots into a more conventional and commercial pop-rock sound. Two years later, Moore radically changed course and returned to his origins, releasing one of his most admirable works. Starting with its striking cover, the album showcases his Irish folk influences, masterfully and admirably fusing them with heavy rock. This epic tone with Celtic influences is reflected in the majestic "Over the Hills and Far Away" and the more energetic "Thunder Rising". However, it is the melodic rock tracks that dominate this new recording, such as "Johnny Boy", "Wild Frontier", and "Take a Little Time". The strange but convincing version of the Easybeats' song "Friday On My Mind" and the splendid instrumental "The Loner", along with all the previous ones, are valid and indisputable arguments for the musical excellence of this extraordinary album by the Irish guitarist.

Bob Dylan-Blood On The Tracks (1975)

Amidst a period of tumultuous personal turmoil, Bob Dylan released his fifteenth album, "Blood on the Tracks", which, perhaps due to this tense situation, became one of his finest creative achievements of the 1970s. Recorded during the final months of 1974 between New York and Minneapolis, the album featured a large group of studio musicians, including Bill Berg (guitar), Paul Griffin (keyboards), Eric Weissberg (banjo), Billy Peterson (bass), Gregg Inhofer (keyboards), Peter Ostroushko (mandolin), and Richard Crooks (drums), among others. "Blood on the Tracks" is imbued with melancholy, bitterness, and disillusionment, all framed within an acoustic folk sound characterized by beautiful melodies and tight instrumental arrangements. The bittersweet laments of the brilliant "Tangled Up In Blue" and "You're A Big Girl Now" contrast sharply with the energetic and biting "Idiot Wind", the intimate "Simple Twist Of Fate" and "If You See Her, Say Hello", the optimistic and joyful "Shelter From The Storm", the folk-tinged "You're Gonna Make Me Lonesome When You Go", and the bluesy "Meet Me In The Morning". With this album, Bob Dylan reflected his more introverted and intimate side, and despite the generally melancholic nature of his repertoire, it achieved a number one hit on the Billboard charts and several platinum records for its considerable worldwide sales.

Alphonso Johnson-Yesterday´s Dreams (1976)

Alphonso Johnson was considered one of the best jazz bassists of the 1970s and 80s. His brief stint with the legendary Weather Report and his collaborations with prestigious artists such as Chuck Mangione, Chet Baker, Horace Silver, Billy Cobham, Carlos Santana, and Phil Collins greatly boosted his popularity. In the mid-1970s, Johnson recorded his only three solo albums, of which his second, "Yesterday's Dreams", is undoubtedly his greatest artistic achievement. For this recording, he enlisted a number of accomplished musicians, including vibraphonist Ruth Underwood, guitarists Lee Ritenour and Ray Gomez, drummer Chester Thompson, saxophonists Grover Washington Jr. and Ernie Watts, keyboardists David Foster and Ian Underwood, and singer Phillip Bailey. Considered one of the most solid jazz-rock albums of the seventies, its grooves range from funk jazz instrumentals like "As Little As You" and "One To One", to vigorous jazz rock like "Balls to the Wall", passing through progressive jazz exercises like "Flight To Hampstead Heath" or concessions to jazz-pop fusion with the catchy "Love's The Way I Feel 'Bout Cha". In 2004, Johnson was appointed professor at the University of Southern California, lecturing throughout North America, Europe, and Japan, alternating this role with his professional career, collaborating with various musicians such as Bob Weir and the Grateful Dead cover band, Jazz is Dead.

Nektar-Journey to the Centre of the Eye (1971)

The debut album from the German-based British band Nektar is a stunning krautrock masterpiece and one of the greatest progressive rock albums of all time. Slightly different from the group's later releases, this first record is closer to the underground, psychedelic sounds of early Syd Barrett-era Pink Floyd. This concept album centers on the narrative of an astronaut's journey to a distant universe where he manages to survive after witnessing nuclear holocaust on Earth. The album's bleak and pessimistic tone is aptly conveyed through Roye Albrighton's aggressive guitar riffs and incendiary solos, while the oppressive harmonic organ chords and Alan Freeman's rich and varied mellotron cascades create a fluid and cohesive instrumental interplay. In general, the melodic lines are highly inspired and moving, allowing all the tracks to maintain a consistent level of intensity and grandeur throughout the album. The entire album is a pure anthology, beginning with the melancholic beauty of "Astronauts Nightmare", and continuing with the enormous progressive piece "Burn Out My Eyes", the symphonic epic "Countenance", the spacey "Warp Oversight", and the aggressive "Death of the Mind".

Nazareth-The Newz (2008)

After more than forty years, in 2008 Nazareth released their twenty-first album, "The Newz", ten years after their last studio album, "Boogaloo" (1998), which was also the last to feature founding member Darrell Sweet, who passed away at the end of 1999. By the time of this new release, the band had added two new members: drummer Lee Agnew and guitarist Jimmy Murrison. Together with founding members Pete Agnew (bass) and Dan McCafferty (vocals), they created one of their most acclaimed and critically acclaimed albums, beloved by their countless fans. Here, they once again demonstrate their tremendous skill in blending different styles and influences with a masterful display, combining everything from hard rock and classic rock to melodic rock and country rock. A string of memorable songs make up an exquisite and highly enjoyable album such as "Keep On Travellin'", "Road Trip", "Goin' Loco", "Day At The Beach", "Liar", "Mean Streets", "Gloria" or "Warning", which would once again put them at the forefront of world rock.

Rush-A Show Of Hands (1989)

Rush's third stylistic phase concluded with the release of the double live album "A Show of Hands" near the end of the 1980s, featuring a repertoire based primarily on this synthesizer-driven era, spanning from the albums "Signals" (1982) to "Hold Your Fire" (1989). This third period was marked by rejection from many of their more purist fans, due to the aforementioned shift towards digitized and cold sounds, in contrast to the raw hard rock of their early work and the expansive and intricate progressive instrumental arrangements of their second phase. This live recording reflects the virtuosity of the Canadian trio and their gradual transformation, influenced by the widespread trends of new wave music that became fashionable in the 80s. With impeccable production, a hallmark of all Rush's work, Lifeson, Lee, and Peart deliver some of the most impactful tracks from those years, such as "Big Money" and its infectious energy, "Subdivisions" with its extraordinary execution, the epic feel of the emotive "Marathon" and "Mission", Neil Peart's always amazing drum solo in "The Rhythm Method", Alex Lifeson's dazzling guitars in "Time Stand Still", and Geddy Lee's bass in the powerful "Closer to the Heart" the latter being the band's only concession to the past in this formidable live performance.

Cox Orange-Cox Orange (1978)

Appealing jazz fusion sounds, combined with the energy of rock, was the intriguing proposition of Cox Orange, a Danish band that released three studio albums between the late 1970s and early 1980s. Their large lineup consisted of saxophonists Morten Elbek, Anders Gårdmand, Holger Laumann, and Niels Mathiasen; guitarists Finn Gustafsson and Flemming Ostermann; keyboardist Karsten Simonsen; and a rhythm section comprised of Peter Danstrup (bass), Ethan Weisgard (drums), and Birger “Krølle” Sulsbrück (percussion). Released in 1978, their self-titled debut album showcases their evocative stylistic approach, which doesn't stray too far from North American jazz-rock/fusion, featuring elegant arrangements and a wide range of sounds and interplay between the wind instruments and guitars. Tracks like "Dedication to Ironside", "Always Public", and "Svend Age" made for a promising debut that garnered attention in jazz circles. Several years later, they released "Cox Orange II", where they once again demonstrated their passion for refined melodies in another commendable jazz fusion album. After a few years of inactivity, they returned with a third album, "Move Your Feet" (1984), which followed the musical style of their first two recordings.

Thirsty Moon-Thirsty Moon (1972)

Thirsty Moon were another of those legendary and obscure German bands, belonging to the krautrock genre, specifically its progressive jazz-rock subgenre, who released five albums between 1972 and 1981. Their lineup consisted of Jürgen Drogies (guitar), Norbert Drogies (drums), Michael Kobs (keyboards), Harald Konietzko (bass, guitars, and vocals), Erwin Noack (percussion), Willi Pape (saxophone and flute), and Hans Werner Ranwig (organ and vocals). Their debut album on the prestigious German label Brain is brimming with musical mastery, featuring an elegant style and meticulous instrumental precision, with elaborate horn arrangements, a heavy organ, visceral and acidic guitars, and highly experimental atmospheres. The Drogies brothers' leadership on drums and guitar is the driving force behind Thirsty Moon's psychedelic and avant-garde jazz-rock, with occasional hard rock elements. The scorching brass rock track "Big City", along with the progressive tour de force "Yellow Sunshine", are the essential elements of Thirsty Moon's style, complemented by the psychedelic melody of "Love Me", the jazz-fusion energy of "Morning Sun", and the furious heavy rock of "Rooms Behind Your Mind".

Canned Heat & John Lee Hooker-Hooker N´Heat, Live at The Fox Venice Theater (1981)

Canned Heat always owed a debt to the great legends of the blues, hence their numerous covers of mythical bluesmen such as Muddy Waters, John Lee Hooker, Willie Dixon, Robert Johnson, Sonny Boy Williamson II or Guitar Slim among many others. In mid-1970, the band wanted to pay tribute to one of the great bluesmen, John Lee Hooker, by inviting him to participate in their new album, which would eventually be titled "Hooker N' Heat". Released in 1971, it would be the last album to feature guitarist Alan Wilson, who passed away months before its release. Ten years later, singer Bob "The Bear" Hite wanted to honor his deceased former bandmate by organizing a concert at the Fox Venice Theater in Los Angeles. In addition to Canned Heat themselves and the Chambers Brothers providing backing vocals, he once again enlisted John Lee Hooker, among other guest musicians. At this concert, the spotlight was on the two vocal heavyweights (Hooker and Hite), whose sweaty performances, backed by the talented band composed of drummer Fito de La Parra, pianist Ronnie Barron, and guitarist Mark Skyer, delivered a repertoire brimming with blues feeling and boogie rock. The swaggering "Hell Hound", featuring Hite's commanding vocals and Hooker's sublime guitar, leads into the delightful blues numbers "The House of Blue Lights" and "Open Up Your Back Door". Hite, on the other hand, makes a majestic entrance with the medley "Let's Work Together"/"Going Up the Country". Meanwhile, John Lee Hooker maintains his commanding presence with his indomitable voice and stirring guitar in the fiery laments "It Hurts Me Too" and "It Serves Me Right to Surf".

Ambrosia-Ambrosia (1975)

Ambrosia are undoubtedly one of the most exquisite and refined bands to have ever existed. Their fabulous vocal harmonies, catchy yet complex and intricately arranged melodies, and impactful compositions placed them at the pinnacle of 1970s symphonic pop. A brief biography of this understated and exquisite band was already presented in a previous post, so here we will focus solely on their first and seminal debut album. Released in 1975 under the Warner Bros. label and produced by Alan Parsons, this first offering from Ambrosia showcases a hybrid of the instrumental complexities of bands like Yes and the vocal and melodic harmonies of The Eagles. With superb guitar and keyboard work, Ambrosia displays in this debut a remarkable creativity that navigates between deeply rooted synchronicity and the most addictive pop. The psychedelic and ultimately most emblematic track, "Nice, Nice, Very Nice", opens this album in extraordinary fashion, while the melodic "Time Waits For No One" adds a folk touch with its balalaika sounds and the unmistakable flavor of the 1960s. The funk-pop "Holdin' On To Yesterday" and the country-acid-rock "World Leave Me Alone" provide a counterpoint to the bucolic "Make Us All Aware". Among the other tracks, the bluesiest, "Mama Frog", with its bluesy and funky rhythm over jazzy structures, stands out, as does the Southern-influenced "Drink Of Water", a pacifist anthem that serves as the perfect epilogue to close this album. This would be Ambrosia's most creative and progressive release, which would gradually shift towards more commercial and intense sounds but of undeniable quality until 1982, the year in which they released their fifth and final album.

SBB-Memento Z Banalnym Tryptykiem (1980)

The Silesian Blues Band, later known as SBB, is a legendary Polish band with 18 albums released between 1974 and 2016, when they released their final work, "Za linią horizonte" (From the horizon line). Their origins date back to the early 1970s when vocalist and multi-instrumentalist Jozef Skrzek, guitarist Apostolis Anthimos, and drummer Jerzy Piotrowski founded the band in the Polish town of Siemianowice. In late 1971, they collaborated with one of Poland's finest musicians, Czesaw Niemen, and for a time performed as SBB & Niemen throughout Europe. During this period, they recorded three important progressive rock albums that were very well received. Later, as SBB solo, they recorded their first album, released in 1974, with a somewhat immature style featuring rock improvisations, which was a great success in Poland. From this point on, the band would go on to record a series of excellent progressive rock albums with politically charged lyrics that made them landmark achievements. Their albums are characterized by grand symphonic arrangements, spacious atmospheres, theatrical vocals, and extended passages. Towards the end of the seventies, the band released several albums focused on more accessible sounds, incorporating progressive funk and jazz-rock, and also began using English lyrics. A vast arsenal of synthesizers and other high-tech equipment, which they had amassed over the years, allowed the band to create high-quality recordings. In 1979, they expanded their lineup with guitarist Slawomir Piwowar, with whom they recorded one of their more conventional progressive rock albums, "Memento Z Banalnym Tryptykiem", released in 1980. With this album, the group broadened its commercial appeal with a style much more accessible to fans of British progressive rock. This album contains only four tracks, two of which exceed seven minutes, and one occupies the entire B-side of the original vinyl. From the opening progressive jazz-rock track "Moja Ziemio Wysniona", the band demonstrates a catchy style with infectious rhythms where funk, jazz, and progressive sounds merge with constant rhythmic shifts. The instrumental and magical "Trójkat Radosci" features Spanish guitar solos, synthesizers, and electric guitar. To close out the first side, the shortest track, "Strategia Pulsu", is a catchy funk number with heavy guitar sounds. The second side consists of the extended track "Memento Z Banalnym Tryptykiem", a piece with constant rhythmic changes, featuring Slavic influences, American folk, Floydian sounds, and grand melodies. After the subsequent tour promoting this album, the band took a break from the music scene for almost ten years. After a few short reappearances in 1991, 1993 and 1998, the band had its resurrection in 2002 with a constant lineup consisting of Józef Skrzek, Antymos Apostolis and drummer Paul Wertico, famous for having participated in the Pat Metheny Group for many years and have continued to release albums relatively frequently until 2016.

Queen-Sheer Heart Attack (1974)

Following in the footsteps of their previous album "Queen II", the band led by Freddie Mercury and Brian May would release their third work entitled "Sheer Heart Attack" just six months later. An album that marks the beginning of the transition from grandiose glam rock to hard rock and glam art rock, a style that would be further solidified in the monumental "A Night at the Opera" released a year later. Driven by Brian May's original and energetic guitar style, Freddie Mercury's operatic vocals and piano, and the powerful rhythm section of John Deacon and Roger Taylor, this became their most scorching album as well as their most eclectic offering. Visceral hard rock exercises like "Brighton Rock", "Now I'm Here", and "Stone Cold Crazy" are juxtaposed with solemn songs such as "Dear Friends", the vaudeville-esque "Bring Back Leroy Brown", the generational anthem "In the Laps of the Gods...Revisited", the semi-progressive "Tenement Funster", "Flick of the Wrist", and "Lily of the Valley", and the commercially successful "Killer Queen". With all of these tracks, they propelled the album to meteoric heights. stardom, especially his triumphant entry into the North American market thanks to the impactful hits "Now I'm Here" and "Killer Queen".

Rick Wakeman-The Six Wives of Henry VIII (1973)

Rick Wakeman's first solo album (excluding the little-known "Piano Vibrations" from 1971) was an ambitious six-track concept project, each track inspired by one of King Henry VIII's wives. Wakeman himself stated that the tracks weren't intended to depict their subjects as such, but rather to reflect his own interpretation of the figures. His role as keyboardist for the renowned band Yes meant the album was a huge success, with a public eager to acquire any work connected to the band. For this recording, Wakeman collaborated with all the members of Yes (Steve Howe, Chris Squire, Alan White, and Bill Bruford), as well as David Cousins ​​of the Strawbs, percussionist Ray Cooper, and other prominent musicians from the British progressive scene. As is typical of this entirely instrumental album, keyboards predominate, employing a wide variety of sounds, from classical piano to synthesizers. There are melodic and refined moments as well as vigorous and powerful sections, including references to classical pieces and pompous anthems. Among them, "Anne Boleyn", a beautiful piano-driven track, and "Jane Seymour", with its memorable Moog section, stand out.

Black Sabbath-Master Of Reality (1971)

In 1971, Black Sabbath released their third album, "Master of Reality". Despite its refined production, it continued down the path of gloomy and hypnotic heavy metal, albeit with a more elegant tone and much more accomplished and mature compositions. Recorded during a tumultuous period for the band, with hard drugs taking their toll on all its members, this new release continued to showcase their dark and satanic side, their constant allusions to drug use, and their anti-establishment messages a theme that, on the other hand, attracted thousands of fans to all their concerts, including the controversial Hell's Angels. In fact, they open this album with one of the anthems of cannabis, "Sweat Leaf", followed by the dark "After Forever", the grandiose and sinister "Children of the Grave", the instrumental interludes "Embryo" and "Orchid" (the latter a pleasant acoustic piece), the heavy "Lord of This World", and the powerful heavy rock tracks "Solitude" and "Into the Void". Tony Iommi's legendary and raw guitar riffs drive each and every song included here, which, supported by the excellent bass and drum lines and Ozzy's omnipresent vocals, would once again create, as had already happened with their first two releases, another classic masterpiece of the metal genre.

The Doors-An American Prayer (1978)

The Doors' ninth album, released six years after the band's breakup and eight years after the death of their lead singer, is a posthumous collection of Jim Morrison's own poetry, while the rest of the band contributed to the musical composition. Released in late 1978, it is considered the swan song of the legendary Californian band. At the time of its release, the album was quite controversial for many critics and fans, who questioned, among other things, its relevance to the general public. In this album, the music takes a backseat, for obvious reasons. However, there are some notable exceptions, and they are generally quite brilliant. For others, this record is a good example of the possible evolution of the band and its sound, had they managed to remain active for a few more years, since the music moves away from the West Coast psychedelia of the late sixties and moves towards a more modern sound, mixing rock with subtle Latin sounds, ("Black Polished Chrome/Latino Chrome"), funk ("Newborn Awakening"), jazz ("Curses, Invocations"), blues ("Stoned Immaculate"), avant-garde sounds ("An American Prayer" or "Hour For Magic"), classical music ("A Feast of Friends"), and even traces of the sounds of the prevailing disco music of the late 70s, ("The Ghost Song"). The sound and production are truly exquisite, especially considering the band was using tapes recorded with Jim Morrison's vocals from 1970. Furthermore, Ray Manzarek replaced his Vox organ with a Hammond organ, and modern synthesizers are also very prominent. There's no longer a Fender bass piano (there's a real bass played by several session musicians: Jerry Scheff and Bob Glaub), and Krieger's guitar is no longer as psychedelic and hazy as before, sounding more jazzy and melodic throughout. The album's main emphasis is Jim Morrison's poetry, and that's truly what this album is about. Without going into detail about the poetic texts, the fact is they fit the music perfectly (or rather, vice versa), creating different and effective atmospheres throughout the album. This is certainly an unmitigated work of art. None of the tracks here are sung, unlike The Doors' usual music, except for a curious live version of "Roadhouse Blues", where Morrison improvises with poetic allusions, having forgotten the lyrics due to his intoxicated state during that concert. One of the album's main points is to highlight some of Morrison's most striking poetry, and some of his most impactful passages are used, primarily those expressing his hatred for his father's position as an admiral in the U.S. Navy. Other passages contain unsettling thoughts on death and its connection to sex, while a long quest for the soul seems to be the album's central theme. Despite its unusual nature, "American Prayer" achieved gold status, a Grammy nomination, and years later, platinum status for its multi-million sales in the North American market.

Steve Harley & Cockney Rebel-Love´s A Prima Donna (1976)

Steve Harley was an extraordinary songwriter, more than just a rock star; he was a poet who crafted striking musical imagery with fiery lyrics. He fronted one of the most captivating bands in rock music, Cockney Rebel, a group that, in addition to Harley, included Milton Reame-James on keyboards, Paul Avron on bass, Paul Cocker on guitar, and Stuart Elliott on drums. Their contract with EMI in the mid-70s opened the door to the rock world with their exceptional debut album, "The Human Menagerie", in 1974. Their style, a blend of glam rock, pop, and classic rock, was infused with melancholic sounds and theatrical musical symphony, effectively complementing Harley's expressive gestures and haunting vocals. Those were the band's most glorious years, releasing works such as "The Psychomodo", "Timeless Flight", and "Love's a Prima Donna", the latter another of the great albums that led Cockney Rebel to embark on a triumphant tour throughout Great Britain. Superbly written, performed, and produced, with each song flowing seamlessly into the next, it possesses a fervor and sense of humor never equaled in the career of this formidable British group.

The Moody Blues-Keys Of The Kingdom (1991)

The Moody Blues' first album of the 1990s marked a return to their most melodic and refined sound, a far cry from the synthpop rock of their earlier 1980s work. For this new release, singer and flautist Ray Thomas rejoined the band, while the core members remained: Justin Hayward (guitars and vocals), Graeme Edge (drums), John Lodge (bass), and Patrick Moraz (keyboards). They were joined by half a dozen guest musicians, including Andy Duncan, Guy Barker, Anne Dudley, Paul Bliss, Jamie Talbot, and Tony Visconti. Composed of brilliant melodic pieces with grand arrangements such as "Bless The Wings (That Bring You Back)", "Is This Heaven?", "Lean On Me (Tonight)", "Shadows On The Wall", "Celtic Sonant", and "Never Blame The Rainbows For The Rain", while the pop-rock track "Say What You Mean (Part I & II)" is the only vestige of their more recent past. On the other hand, with the rhythmic "Magic", "Once Is Enough", and "Say It With Love", The Moody Blues made it clear beyond any doubt that after four decades of career, thirteen albums released, and millions of records sold, they could still rock with force and overwhelming power.

Trees-On The Shore (1970)

Founded amidst the explosion of British progressive folk, Trees were a band that had to endure constant criticism from the British press, who labeled them mere clones of other contemporary groups like Pentangle and Fairport Convention. Their career lasted barely four years, during which they released two commendable albums, "The Garden of Jane Delawney" and "On The Shore", both released in 1970. Formed in 1969, their original lineup consisted of Celia Humphris (vocals), Barry Clarke (guitars), David Costa (guitars), Bias Boshell (bass), and Unwin Brown (drums). The charm of this lineup lay primarily in Celia Humphris's magnificent voice, underpinned by excellent musicianship, showcased in rich and expansive instrumental passages and the precise, serene, and tranquil atmospheres. Their first release was based mainly on traditional folk with subtle nods to avant-garde sounds. In their second release, the band shifted their style towards more psychedelic elements and a sound closer to rock than traditional folk, making it a more eclectic and varied work than their debut.

Brian Auger-Brian Auger´s Oblivion Express (1970)

Brian Auger's career began in the mid-1960s, driven by the influence and allure of jazz organist Jimmy Smith. In 1964, he formed Trinity, with whom he cemented his enormous reputation over the next five years, releasing half a dozen high-quality blues, jazz-rock, and rhythm and blues albums such as "Open", "Jools and Brian", "Streetnoise", and "Befour" (the first three with Julie Driscoll). However, in the early 1970s, Brian Auger decided to form a new project and place greater emphasis on avant-garde instrumental sounds. This led to the creation of Oblivion Express, a band that included bassist Barry Dean, drummer Robbie McIntosh, and guitarist Jim Mullen. Released under the RCA label, in mid-1970 the self-titled debut of this new lineup was published, in which Brian Auger showcases his furious Hammond organ in a series of vigorous rhythmic jazz rock songs with progressive connotations such as "Dragon Song", "Total Eclipse", "The Light", "On The Road" or "The Sword", all of them under a solid rhythm section and the talented guitar backing of Jim Mullen.

Aynsley Dunbar-Blue Whale (1971)

Considered one of the greatest drummers in history, Aynsley Dunbar has enjoyed a prolific and extensive career, collaborating with countless artists including Jeff Beck, Lou Reed, Whitesnake, Frank Zappa, Eric Burdon, Jefferson Starship, and Journey. His beginnings in the mid-sixties led him to join John Mayall's Heartbreakers, recording albums such as "A Hard Road", "Looking Back", and "So Many Roads". After a brief stint with the Jeff Beck Group, Dunbar formed his first band, The Aynsley Dunbar Retaliation, with whom he released four albums between 1968 and 1970. A year later, in an attempt to form a new band, he released "Blue Whale", an ephemeral project featuring his Retaliation bandmate, organist and guitarist Tommy Eyre, as well as other musicians such as guitarists Ivan Zaghi and Roger Sutton, singer Paul Williams, bassist Peter Friedberg, and saxophonists Charles Greetham and Edward Reay-Smith. "Blue Whale" perfectly exemplifies his eclectic past, with nods to the jazz-rock and progressive blues of his previous bands. Jazz-blues is present in the upbeat "Willing to Flight", psychedelic sounds in the progressive "Willie the Pimp", jazz-rock in "It's Your Turn", and avant-garde elements in the experimental blues of "Going Home".

Rainbow-Difficult To Cure (1981)

Two years after Rainbow's fourth album, Ritchie Blackmore made further changes to the lineup, this time hiring a singer more suited to his hard rock style. The chosen singer was Joe Lynn Turner, replacing Graham Bonnet, and drummer Cozy Powell was replaced by Bob Rondinelli. The rest of the lineup remained the same: Blackmore (guitars), Roger Glover (bass), and Don Airey (keyboards). For many, this is the best Rainbow lineup after the classic one with Ronnie James Dio, Cozy Powell, Ritchie Blackmore, Tony Carey, and Jimmy Bain, who released the seminal albums "Rising" and "Long Live Rock 'n' Roll" (although David Stone and Bob Daisley also participated as official members on the latter). On "Difficult to Cure", Blackmore once again turned to another Russ Ballard cover, as he had done on the previous album, "Down to Earth", with "All Night Long" and "Since You Been Gone". This time it was "I Surrender", a catchy AOR/hard rock song with addictive choruses and Blackmore's powerful riffs. Those same powerful guitar riffs also drive "Spotlight Kid", a fast-paced hard rock track. This contrasts sharply with the hypnotic "No Release", a dark and heavy hard rock song with a dynamic rhythm and excellent work from both Blackmore and Joe Lynn Turner, showcasing his prodigious vocal range. After the irresistible AOR track "Magic", comes the superb instrumental "Vielleicht Das Nächste Mal (Maybe Next Time)", a clear statement of intent in an emotionally charged, semi-progressive vein. The hard rock tracks "Can't Happen Here" (an allusion to nuclear war) and "Freedom Fighter" (dedicated to political prisoners) are two pieces that could have fit perfectly on Deep Purple's 1980s album. To close this brilliant record are the gritty blues rock track "Midtown Tunnel Vision" and the instrumental "Difficult to Cure (Beethoven's Ninth)", a dizzying and complex hard rock tribute from Blackmore to Ludwig van Beethoven.