Them-Them Featuring Van Morrison (1973)

Them was one of the most influential groups of the mid-1960s, creators of one of the genre's most famous hits, "Gloria", a true classic for many years and through countless versions by numerous artists and groups. Formed in Belfast in 1963, their original lineup consisted of Van Morrison on vocals, Billy Harrison on guitar, Alan Henderson on bass, Patrick McCauley on organ, and Ronnie Millinc on drums. Later, the group underwent several lineup changes without any impact on the band's quality, which was based almost exclusively on Van Morrison's overwhelming personality. In 1964, the group moved to London, and their first albums created a powerful climax around Morrison's personality and his almost soulful voice. "Baby Please Don't Go" and "Here Comes the Night", songs written by Bert Berns (author of other hits like "Shout" and "Hang on Sloopy"), catapulted them to stardom, but their biggest hit would be the aforementioned "Gloria", a number one hit in 1965 and one of the great songs of the 1960s. In 1965, they released their first album under the Decca label, "The Angry Young Them", which included the aforementioned "Gloria" and "Mystic Eyes", both written by Morrison, as well as covers of R&B classics. Them would go on to record many other brilliant tracks such as "Call My Name", "Here Comes the Night", "It's All Over Now", and "Baby Blue", among others. A year later came their second album, "Them Again", but in 1967, with only two albums recorded, Van Morrison disbanded the group to pursue a solo career. From then on, he became one of the most important figures in rock and blues worldwide, with a career that kept him out of the mainstream charts but placed him among the best solo artists of all time. In 1973, the compilation album "Them Featuring Van Morrison" was released, featuring the group's best songs.

Strawbs-Grave New World (1972)

Strawbs were one of the most original British bands due to their constant evolution, fusing English folk and progressive rock. Founded by guitarist and singer Dave Cousins ​​in the mid-1960s, they had to wait until almost the end of that decade to release their self-titled debut album. A year later, the addition of keyboardist Rick Wakeman gave them a more avant-garde style, steering their music towards symphonic rock, as demonstrated on "Dragonfly" (1970) and with greater emphasis on the following album, "From the Witchwood" (1971). However, after this latter release, Wakeman decided to join Yes and left Strawbs, being replaced by keyboardist Blue Weaver. Weaver, along with drummer Richard Hudson, bassist John Ford, guitarists Dave Cousins ​​and Tony Hooper, and with arrangements and production by Tony Visconti, recorded Strawbs' fourth album. In this release, the band presents a concept album about the life of man, from birth to death. "Grave New World", a title that references the novel by Aldous Huxley, contains everything from pleasant melodies, along with ironic and biting lyrics in the glorious "Benedictus", to psychedelic forays in "Queen Of Dreams", passing through the energetic guitars of "Heavy Disguise", the symphonic ballad "Flower and the Young Man", and the vigorous progressive rock of "Tomorrow", all interspersed with the folk interludes "On Growing Older" and "Ah Me, Ah My".

The Pretty Things-Savage Eye (1975)

In 1973, Led Zeppelin, along with their manager Peter Grant, founded their own record label, Swan Song Records, signing some of the most popular bands of the 1970s, such as Bad Company and The Pretty Things, who released several albums under their auspices. Focusing on the latter, The Pretty Things had maintained a very stable career since the mid-1960s with a style that navigated between psychedelic pop and proto-progressive rock. Albums like "S.F. Sorrow" (1968) and "Parachute" (1970) are considered two of the great masterpieces of the era. Even after their heyday, they continued to release commendable works focused on classic rock, such as "Freeway Madness" (1972), "Silk Torpedo" (1974), and the album we're discussing today, "Savage Eye", released in 1975 and, like the previous album, published under the aforementioned Swan Song Records. In this release, the band, comprised of Phil May (vocals), Jack Green (bass, vocals, and guitars), Peter Tolson (guitars and bass), Gordon Edwards (guitars, keyboards, and vocals), John Povey (keyboards), and Skip Alan (drums), focused on a repertoire primarily oriented towards conventional rock and the typical rock 'n' roll of the 1970s. Tracks like the monolithic, Zeppelin-esque "Under the Volcano", or the melancholic folk-pop-rock "Sad Eye", along with the grandiose "My Song", are more than enough to qualify this as a magnificent album. The rest, while not reaching the heights of the previous tracks, maintains a high level of compositional and instrumental quality, as demonstrated by the upbeat rock 'n' roll "It Isn't Rock 'n' Roll", the energetic rock of "I'm Keeping", and the relaxed pop-rock of "It's Been So Long".

Thelonious Monk-Brilliant Corners (1957)

"Brilliant Corners" was Thelonious Monk's ninth solo album, recorded for the Riverside label in 1956 in New York and released the following year. With this recording, Monk began to be considered a pioneer of modern jazz, after years of being misunderstood by critics and fans due to his experimental avant-garde approach. "Brilliant Corners" not only produced one of his best works but also one of the greatest recordings in jazz history. For this recording, Monk surrounded himself with a stellar cast of musicians, including Max Roach, Clark Terry, Paul Chambers, Sonny Rollins, and Ernie Henry. Most of the melodies on this album are based on relaxed, mid-tempo blues, beginning with the tour de force title track, a song ahead of its time due to its tremendous dynamism. The avant-garde jazz-blues "Ba-Lue Bolivar Ba-Lues-Are" or the delicate ballad "Pannonica" showcase Monk's poise on the piano keys, while the Afro-Caribbean "Bemsha Swing" returns to its experimental side alongside Sonny Rollins' saxophone, who, through Monk's challenging piano sequences, displays his sublime talent with the saxophone.

The Allman Brothers Band-Enlightened Rogues (1979)

In 1979, The Allman Brothers released their sixth studio album, "Enlightened Rogues", which showcases some of the hardest and most energetic tracks of the band's entire career. Despite its undeniable quality, it's considered one of their most predictable works. Recorded during a period of creative stagnation for a carefree Gregg Allman, guitarist Dickey Betts was the main driving force, writing five of the album's eight tracks. For this recording, the Jacksonville-based lineup no longer included keyboardist Chuck Leavell or bassist Lamar Williams, who were replaced by Dan Toler (guitars) and David Goldflies (bass), respectively. The regular lineup remained: Gregg Allman (organ, electric piano, and vocals), Dickey Betts (guitars and vocals), Jaimoe (drums), and Butch Trucks (percussion). Betts' compositions resulted in a series of powerful songs like "Can't Take It With You" and "Blind Love", while the characteristic sound of Southern blues infused with jazz passages is present in "Just Ain't Easy", the bluesy "Need Your Love So Bad", an original John Mertis piece, and the guitar tour de force "Pegasus". Weighed down by the success of his earlier, enormous works, the album didn't receive the recognition it deserved, yet it still reached number nine on the Billboard charts and earned a gold record for its numerous sales in the North American market.

Status Quo-On The Level (1975)

With their eighth album, "On The Level", Status Quo achieved their second number one hit on the British charts, in addition to numerous gold and platinum records worldwide. On this release, the English band boldly embraced infectious and addictive hard rock boogie, evolving towards more seductive rhythms and solidifying their signature sound. They had already achieved great commercial success with three albums: "Piledriver" (1972), "Hello!" (1973), and "Quo" (1974), all of which combined their blues-rock roots with boogie, seasoned with brilliant acoustic songs. But it was with "On The Level" that they achieved the stylistic maturity necessary to leap into the pantheon of rock's greatest bands. Songs like the extraordinarily catchy "Down Down", the refined "Where I Am", the rock and roll "Little Lady", the boogie blues "Most Of The Time" or the boogie rock "I Saw The Light", "Over And One", "Broken Man", "What To Do" and "Nightrider", constitute the magnificent repertoire of one of the masterpieces of rock music of the 70s.

Louis Armstrong-Louis Armstrong Plays W.C. Handy (1954)

Louis Armstrong is considered by many to be the greatest musician of all time, and his legacy, not only in jazz but also in popular music, is immense. We won't discuss his impressive career here; it would be difficult to summarize it in a few lines. Instead, we'll focus on one of his best recordings, "Louis Armstrong Plays W.C. Handy", originally released in 1954. On that occasion, his big band consisted of Barney Bigard (clarinet), Arvell Shaw (double bass), Barrett Deems (drums), Billy Kyle (piano), Trummy Young (trombone), and Velma Middleton (vocals), in addition, of course, to Louis Armstrong (vocals and trumpet). In this recording, the father of jazz, Louis Armstrong, wanted to pay homage to the father of the blues, W.C. Handy, by reinterpreting some of his old blues songs in a jazz style. What we have here is traditional jazz, with the exuberance and talent of Louis Armstrong, who manages to create extraordinary Southern-influenced blues melodies. And although W.C. Handy was originally from Tennessee (born in Alabama), this is pure New Orleans jazz. The album begins with the dazzling "St. Louis Blues", the more leisurely "Yellow Dog Blues", the timeless melody of "Loveless Love", and blues standards such as "Aunt Hagar's Blues", "Long Gone", "The Memphis Blues", "Chantez-Les Bas (Sing 'Em Low)", "Hesitating Blues", and "Atlanta Blues (Make Me a Pallet on the Floor)".

Trúbrot-...Lifun (1971)

We're going to Iceland, home to Trúbrot, an eclectic band that moved between the hypnotic and atmospheric sounds of psychedelic space rock and proto-hard rock. Founded in 1969, their lineup consisted of Karl Sighvatsson (keyboards), Gunnar Jökull Hákonarson (drums), Gunnar Þórdarson (guitar), Rúnar Júlíusson (bass and vocals), and Shady Owens (vocals). After several albums focused on the typical psychedelic pop-rock of the 1960s, "Trúbrot" (1969) and "Undir Áhrifum" (1970), they moved to England where, in 1971, they recorded their most ambitious work, "Lifun". In this release, the Icelandic band showcases its great stylistic diversity with a series of songs ranging from the heavy rock of "Lives Overture" to the stimulating atmospheric pieces of "Circulation," passing through the galloping progressive "School Complex", the folk of "Hush-S-Bye", and the grandiose mini-symphonies of "Margföld er Lifun er Lifum við Ein". After several more albums, "Mandala" and "Náttúra: Magic Key", both released in 1972, they disbanded at the end of the following year.

Bolder Damn-Mourning (1971)

Here we have another formidable album of the best dark psychedelic hard rock & blues from the early 70s. It was recorded by another of those short-lived bands that flood this blog, called Bolder Damn, who hailed from Florida and consisted of bassist Ron Reffett, drummer Bob Eaton, and guitarists Glenn Eaton and John Anderson. Released on the independent label Hit Records in a limited run of 200 copies, their only album, "Mourning", was released in 1971. On this album, the quartet showcased musical inclinations closely related to other bands of the era such as Grand Funk Railroad and Steppenwolf. The fuzz guitar riffs, vocal harmonies, and intense rhythm are the common denominator of an album with a relentless and powerful proto-heavy rock-blues sound.

Stan Getz & João Gilberto-Getz/Gilberto (1964)

In 1964, saxophonist Stan Getz's album with Brazilian guitarist and singer João Gilberto became a landmark, sparking a bossa nova craze in the United States and much of the world. A native of Pennsylvania, Getz's early work was associated with bebop, influenced by the subtle and refined style of the legendary Lester Young. Amidst the vibrant Los Angeles jazz scene of the late 1940s and throughout the 1950s, Getz collaborated with prominent jazz icons such as Benny Goodman, Woody Herman, Horace Silver, Oscar Peterson, and Charlie Parker. Having firmly established himself within the West Coast Jazz scene, Getz built a formidable reputation thanks to his numerous collaborations and his own albums, such as "Stan Getz Plays" (1952), "Diz and Getz" with Dizzy Gillespie (1955), and "Stan Getz and the Cool Sounds" (1957), among many others. In the early 1960s, Getz recorded several bossa nova albums with Charlie Byrd, and years later, his partnership with Antônio Carlos Jobim proved crucial. Together with the then-promising João Gilberto, they recorded one of the most famous jazz albums of all time. "Getz/Gilberto" features not only Jobim and Gilberto, but also Milton Banana, Astrud Gilberto, and Sebastião Neto, who together create an exquisite exploration of the tranquil and delicate sounds of bossa nova. This combination of Getz's silky saxophone riffs and the smooth guitar strums is truly remarkable. Gilberto's and Astrud Gilberto's delicate voice are reflected in the mythical song "The Girl From Ipanema", undoubtedly the most popular of such an iconic and fundamental album.

Steely Dan-Two Against Nature (2000)

In 2000, Steely Dan had gone 20 years without releasing any new material, although they continued to perform regularly in the United States and more sporadically in Europe. Therefore, when they announced the release of a new album, their fans received the news with great anticipation. With this new album, the Fagen/Becker duo would once again garner numerous awards worldwide, including four Grammys and several platinum and gold records, crafting another work brimming with exquisite music, where sophisticated jazz/rock/pop remained the common thread. As with all their previous releases, Donald Fagen and Walter Becker recruited a legion of prestigious musicians for the recording, including guitarists Paul Jackson Jr. and Hugh McCracken, saxophonists Lou Marini and Chris Potter, drummer Vinnie Colaiuta, and keyboardist Ted Baker. The exceptionally high level of stylistic integrity remains evident on this new recording after so many years; in many ways, it was as if they had never retired. The fluid, slightly Latin sounds of the jazzy "What a Shame About Me", the avant-garde, Caribbean-influenced "Two Against Nature", the bluesy "Jack of Speed", the vintage rhythm and blues "Cousin Dupree", and the brilliant jazz-rock "West of Hollywood" represent another step forward in the fantastic discography of what is considered the most sophisticated group in the world of jazz-rock and rock in general.

Echo And The Bunnymen- Ocean Rain (1984)

Echo and the Bunnymen are one of the essential bands of the British post-punk sound of the 1980s. Despite being overshadowed by other contemporaries, they achieved cult status thanks to a series of emblematic albums within the genre. "Ocean Rain", their fourth full-length album, marked the definitive breakthrough for Echo and the Bunnymen, an album that moved away from the dark sound of post-punk towards a more melodic style closer to pop-rock and romantic epics. The album contains luminous melodies like "Silver", "Crystal Days", and "Seven Seas", which contrast with the epic "Nocturnal Me", "Ocean Rain", and "The Killing Moon", while "Thom of Crows" is a nod to the band's darker past.

Deep Purple-The Battle Rages On...(1993)

Six years after the last reunion of what is considered the classic Deep Purple lineup for the recording of the album "The House of Blue Light" (1987), the so-called "Mark II" lineup, they reunited for a third time to create their fourteenth studio album, "The Battle Rages On...". However, in reality, the only member who returned to the fold was singer Ian Gillan; the rest (Blackmore, Lord, Paice, and Glover) had already released the previous album, "Slaves and Masters" (1990), with singer Joe Lynn Turner at the helm. With this new release, the British band returns us to the more traditional Deep Purple sound, moving away from the AOR style of its predecessor to create a great album of classic hard rock with certain Eastern and semi-progressive influences. Comprised of a repertoire of excellent and solid hard rock, the veteran musicians continued to demonstrate that they still had much to offer the music industry, presenting a series of killer tracks such as the frenetic "Lick It Up", or the powerful and forceful "The Battle Rages On", "Anya", "One Man's Meat", "Solitaire", "A Twist in the Tale", "Time to Kill", and "Talk About Love". In all of these, Ritchie Blackmore showcased his killer side with his guitar riffs and solos, the sensational work of Ian Paice and Roger Glover in the precise and relentlessly heavy rhythm section, combined with the instrumental grandeur of Jon Lord's Hammond organ and the sublime voice of one of the greatest vocalists in history. Without a doubt, "The Battle Rages On..." was the best epitaph for Deep Purple's most legendary and successful lineup.

Shaw & Blades-Influence (2007)

Jack Blades and Tommy Shaw are two illustrious American musicians with extensive careers as founding members of two of the most legendary and successful hard rock bands in the world: Night Ranger and Styx, respectively. In the early 1990s, both musicians took a break from their main bands and joined Ted Nugent and Michael Cartellone to form the supergroup Damn Yankees. With them, they released two commercially and artistically significant albums: "Damn Yankees" (1990) and "Don't Tread" (1992). After this project ended, the two musicians decided to continue as a duo and created the melodic rock band Shaw & Blades. In 1995, the duo released their debut album, "Hallucination", showcasing acoustic rock and impeccable harmonies, as demonstrated in tracks like the irresistible and outstanding "My Hallucination", "I'll Always Be With You", "Come to Be My Friend", "I Stumble In", and "How You Gonna Get Used to This". The album's subsequent success encouraged them to collaborate on a new record. However, contractual issues with their respective bands put the project on hold until twelve years later, when they reunited to record "Influence." This album is a collection of covers, all of them rock classics, which were among their early musical influences. Here the duo presents tracks of the caliber of Simon & Garfunkel's "The Sound Of Silence", Steely Dan's "Dirty Work", Buffalo Springfield's "For What It's Worth", Emerson, Lake & Palmer's "Lucky Man", Seals and Crofts' "Summer Breeze", The Zombies' "Time of the Season", Yes' "Your Move", and The Mamas and The Papas' "California Dreamin' ", all performed with precision and refinement, featuring crystalline acoustic guitars, light percussion, subtle keyboards, and captivating vocals just the right ingredients for the album to be a huge success and become a little gem of melodic rock.

Keith Jarrett-The Köln Concert (1975)

Keith Jarrett is considered one of the greatest jazz pianists, dubbed by many critics the "Bach" of jazz, thanks to his exceptionally meticulous style of spontaneous instrumental solos. He began piano lessons at just two years old, and by seven he was already giving solo concerts. In 1962, at only 16, he gave a concert of more than two hours, composed entirely by himself. During the 1960s, he performed and collaborated with jazz greats such as Chet Baker, Art Blakey, Charlie Haden, Gary Burton, Miles Davis, and Charles Lloyd, among many others. In the early 1970s, Jarrett began to lean towards an acoustic style while continuing to diversify his creativity and explore avant-garde sounds. His album "Facing You" for ECM is an example of this decidedly minimalist period. He subsequently began a series of recitals for ECM, achieving great acclaim and increasing public interest. “The Köln Concert” captures the recital the pianist gave on January 24, 1975, at the Cologne Opera House, which was released later that year by ECM, the label headed by Manfred Eicher. It comprises 66 minutes of extended, intensely rhythmic improvisations with feverish and lyrical passages and a cathartic outpouring of emotion. The album achieved such renown that it remains the best-selling album of unaccompanied piano music to this day.

Kansas-Somewhere To Elsewhere (2000)

In 2000, after nearly 20 years apart, the original members of Kansas reunited to record a new album, much to the delight of their most devoted fans. A lot had changed since 1980's "Audio-Visions", which marked the end of a series of memorable works. While the band, with different lineups, released albums throughout the 1980s and 1990s, all of them were met with some rejection from a segment of their fanbase due to the different musical direction they had taken, moving away from their original progressive rock and American rock sound. Thus followed smaller albums like the mediocre “Vinyl Confessions” (1982) and “Drastic Measures” (1983), concept albums like the commendable “In the Spirit of Things” (1988), and forays into AOR and hard rock sounds such as “Power” (1986) and “Freaks of Nature” (1995). Throughout those years, the constant coming and going of new members was a defining characteristic of Kansas; among others, guitarist Steve Morse, singer John Elefante, violinist David Ragsdale, and bassist Billy Greer joined. It's no wonder, then, that the unprecedented anticipation surrounding the reunion of the band's most classic and successful lineup from Topeka was so high. This included guitarist and driving force Kerry Livgren, along with their longtime vocalist Steve Walsh, bassist Dave Hope, and violinist and singer Robbie Steinhardt. Also present were the only two members who had remained all these years: guitarist Rich Williams and drummer Phil Ehart, with the collaboration of another illustrious member, bassist Billy Greer. Focusing on "Somewhere to Elsewhere", the band attempts to recreate their classic 70s sound, harking back to their roots in their glory days, or at least momentarily. Not only did Kerry Livgren return to the fold as the author of all the material composed on this album and as the leading exponent of guitars and keyboards, but Robbie Steinhardt also solidified his return, resuming a crucial role in the band's new repertoire. Even Dave Hope took on his crucial role as bassist on a couple of tracks. However, it's Billy Greer who handles the majority of the guitar work on this album, even debuting as lead vocalist on "Look at the Time". It would be overly optimistic to claim that the band matches their best 70s recordings with this work; however, this is a brilliant recording that brings back the old vintage Kansas sound that we all thought was buried forever. The album begins with "Icarus II", which, despite references to the original "Icarus" theme from the 1975 album "Masque", is not a simple revision, but a new composition that, in addition to maintaining the epic feel of the previous one, is more introspective and melancholic, even in the heavy, swaying final interlude. The following tracks, “When The World Was Young” and “Grand Fun Alley”, are two powerful, melodic, and catchy rock songs, while “The Coming Dawn” is a beautiful symphonic mid-tempo piece that somehow evokes the classic “Dust in the Wind” from the late 70s. At this point, two tracks emerge that demonstrate the band's epic splendor: “Myriad”, a song that actually dates back to the band's early years but was never included on any of their albums, and “Distant Vision”, which equals the former in beauty, complexity, orchestral delicacy, and evocative passion, both under the influence of Livgren's strong Christian beliefs. In these two tracks, Walsh reminds us what a great vocalist he is and always has been, with those emotional tones that perfectly complement Livgren's intellectual insights. In contrast, the Beatles-esque tracks "Look at the Time" and "Byzantium" are the most extravagant cuts, departing somewhat from Kansas's usual sound, the latter with its exotic atmospheres inspired by Arabic and Turkish traditions. In "DST Blues," the band revels in a superb, catchy blues number, where Reinhardt's vocals and violin shine, while "Not Man Big" is the album's brilliant closer, a truly energetic finale to an album full of intense material, with diverse sonic nuances, resulting in a magnificent work both musically and lyrically.

Eric Clapton & B.B.King-Riding With The King (2000)

Eric Clapton's passion for the blues dates back to his years with John Mayall and The Bluesbreakers, continuing through his time with the legendary Cream, Blind Faith, and Derek and The Dominos, in addition to his countless collaborations and contributions to his solo albums. While in previous works like the formidable "From The Cradle", Clapton had delved deeply into the roots of the blues, with "Riding With the King", the British guitarist demonstrates his respect and fascination for the genre by recording this album with the admired B.B. King. Besides these two geniuses, the album features collaborations with prestigious musicians such as guitarists Andy Fairweather Low, Jimmie Vaughan, and Doyle Bramhall, keyboardist Joe Sample, bassist Nathan East, and drummer Steve Gadd. In this superb album, Clapton and King manage to blend together perfectly, as could not be otherwise, to give us delightful pieces such as "Come Rain Or Come Shine", "Ten Long Years", "Key to the Highway", "When My Heart Beats Like a Hammer" or "Three O'Clock Blues", achieving with all of them an exquisite album of the best blues, crafted by two of the greatest guitarists in history.

Rik Emmett-RES9 (2016)

"RES9" is the title of the thirteenth studio album by former Triumph guitarist Rik Emmett. By this point, Emmett had long since moved beyond the hard rock style with progressive elements that characterized his work with his original band in the 1970s and his early solo releases in the 1990s. In these later works, the Canadian prefers to focus on classic rock and blues rock, with an intense sound full of elegant and sophisticated arrangements. Backed by a band comprised of Dave Dunlop, Steve Skingley, Paul Delong, and featuring guest appearances by Rush guitarist Alex Lifeson and Dream Theater singer James LaBrie, the album offers energetic compositions such as the blistering tracks "Stand Still" and "End of the Line", the mid-tempo "I Sing", and the bluesy "When You Were My Baby" and "The Ghost of Shadow Town".

Touch-Touch (1969)

Touch were one of the first American progressive and avant-garde rock bands, but they have remained unjustly buried and forgotten under the shadow of so many other, more media-savvy contemporary groups. Founded by former Kingsmen member Don Gallucci, famous for his timeless guitar riff in the 1963 song "Louie Louie", and former members of Don & The Goodtimes, Jeff Hawks (vocals) and Joey Newman (guitar), they wanted to move away from the limitations of typical 1960s pop songs and delve into more daring and avant-garde compositions. As a result of this union, Touch was born. With the addition of bassist Bruce Hauser and drummer John Bordorano, they recorded a self-titled album between late 1967 and early 1968. This, their only released album, would be highly praised by legendary figures such as Jimi Hendrix, Jon Anderson (singer of Yes), and Kansas guitarist Kerry Livgren, all of whom stated that it was one of their main influences early in their careers. Composed of an amalgamation of sounds that ranged from psychedelic rock to rather pretentious progressive rock, with hints of carefree pop but also a touch of self-indulgence, it is a historical sonic document that, although it may sound somewhat primitive today, contains great performances and commendable arrangements concepts that would later be reflected in the releases of many British progressive rock bands and underground sounds.

Styx-The Grand Illusion (1977)

If there's one band that perfectly captured the theatricality of rock, it was undoubtedly the American group Styx. In their early days, they focused on a progressive rock style rooted in American music. As the years went by, Styx evolved their style, moving towards a less bombastic and more catchy sound, bordering on adult-oriented rock, but maintaining their complex and theatrical compositions. Albums like "The Serpent Is Rising", "Man of Miracles", "Equinox", "Crystal Ball", "The Grand Illusion", "Pieces of Eight", "Cornerstone", and "Paradise Theater" are considered essential works of American rock. In 1977, Styx were at the peak of their career, and that year they released their seventh album, "The Grand Illusion", which would become one of their greatest creative and commercial achievements. This excellent work fused classic rock and art rock, achieving triple platinum status for over three million copies sold in the North American market. Styx's appeal in this release lies in its great sonic diversity, where, under a wide range of styles and musical influences, the album spans from vigorous and powerful sounds like "Miss America" ​​to canvases of progressive dynamism like "Superstars", passing through the instrumental complexities of "The Grand Illusion", the melodic rock of "Come Sail Away", epic progressive pieces like "Castle Walls", and compelling hard rock like "Man in the Wilderness".

Goblin-Roller (1976)

Goblin was an Italian band that oriented its music mainly to horror movie soundtracks with dark, intriguing and progressive sounds, but also released some albums outside the film industry.
Formed in Rome in 1972 during their career they have been dissolved several times and reunited in the last 40 years.
His first and most classical formation was comprised of the guitarist Massimo Morante, the keyboardist Claudio Simonetti, the bassist Fabio Pignatelli and the drummer Walter Martino, however throughout his long career there have been innumerable line-up changes to the point that they have There have been records that have been recorded by totally different lineups. His first job was for the soundtrack of the 1975 movie "Profondo Rosso", a short job, barely 30 minutes, but where the gloomy sounds full of organs are already sensed with an approach to jazz sounds, atmospheric passages and great moments of guitars, bass and drums.
“Roller” released a year later was already a conventional album without the pressure of a Dario Argento behind it, and it showed a progressive style influenced by the British bands of the genre. Pink Floydian atmospheres, sounds in the vein of Mike Oldfield's “Tubular Bells”, long spacious passages with funk and rock tones, all with great instrumental performances by the band's musicians. Turned into a cult album for progressive fans, Goblin has continued to release both film-directed discs and mainstream parallel works, reaching his late twenties all these years.

Can-Future Days (1973)

"Future Days" is the fourth studio album by the German band Can, released in mid-1973. This album perfectly exemplifies Can's sound, with its unique and ambient style of percussive, dreamlike, and relaxing passages. In those years, many called it music for the mind and meditative music, full of hypnotic and intoxicating sounds. Can's lineup for this fourth release consisted of Damo Suzuki (vocals and percussion), Michael Karoli (guitar and violin), Irmin Schmidt (acoustic keyboards and synthesizers), Holger Czukay (bass), and Jaki Liebezeit (drums). Although the entire album is imbued with dreamy vocals, hypnotic rhythms, and organic music, there are also some chaotic moments, such as in the second half of the title track, while other pieces like "Spray" approach space rock with rich electronic textures that blend with the strange sounds of the guitars. The heavy, funky track "Moonshake", on the other hand, is an experimental piece with a steady rhythm driven by bass and drums. However, it's the suite "Bel Air" that's the album's high point, an ambitious piece that could be described as "organic and ambient progressive funk". In it, the musical energy builds within a calm and hypnotic atmosphere, shifting moods and filled with improvised and haunting passages. With this work, Can demonstrated their mastery of innovation and experimentation, creating one of the essential krautrock albums.

Delaney & Bonnie-Delaney & Bonnie & Friends On Tour with Eric Clapton (1970)

Delaney & Bonnie went on to have one of the most exciting careers in rock. Their powerful sound led some of the best musicians of their time to join them for one of the most spectacular tours of 1970. This duo was formed in the mid-60s by Delaney Bramlett and Bonnie Lynn, who had already gained experience playing with Albert King and Fontella Bass. The duo, who were also married, released their first album in 1968 on Stax Records with Booker T and the MG's as their backing band. A change of record label led them to form a new backing band called Friends; this included Leon Russell, Rita Coolidge, Duane Allman, Jerry McGee, Bobby Whitlock, and Jim Keltner, among other prominent musicians from the California rock scene. This impressive lineup of collaborators alone explains the enormous success of the album "Accept No Substitute - The Original Delaney & Bonnie", released in 1969. This album quickly became a seminal anthology of soul, blues, gospel, and country, brimming with courage and nostalgia. Widely acclaimed by critics and audiences alike, the duo soon enlisted three new collaborators: George Harrison, Eric Clapton, and Dave Mason. The culmination of this remarkable reunion was a triumphant European tour, captured on the live album "Delaney & Bonnie & Friends On Tour" in 1970. Following the tour, all the musicians returned to their individual pursuits, and the duo continued their career with a few less significant albums until their final split in 1973.

Foreigner-Inside Information (1987)

Towards the end of the 1980s, Foreigner released their last great album, "Inside Information", which, despite not reaching the heights of their earlier work, still maintained their status as a tremendously popular band worldwide. At that time, the band consisted of the same musicians who had recorded their two previous multi-platinum albums, "4" (1981) and "Agent Provocateur" (1984), with Mick Jones on guitars and keyboards, singer Lou Gramm, bassist Rick Willis, and drummer Dennis Elliott, in addition to guest appearances by Peter-John Vettese, Tom Bailey, Kevin Jones, Hugh McCracken, Sammy Merendino, Ian Lloyd, and Mark Rivera. Comprising a setlist geared towards FM radio, this album features masterful tracks like the melodic "Say You Will" and "I Don't Want to Live Without You", or irresistible AOR songs such as "Heart Turns to Stone", "Face to Face", and "Out of the Blue", which contrast with the addictive hard rock tracks "A Night to Remember", "The Beat of My Heart", and "Counting Every Minute". Despite not surpassing the commercial success of their previous albums, "Inside Information" achieved a respectable top 15 on the Billboard charts and a platinum record for its sales in the North American market.

Gary Moore-How Blue Can You Get (2021)

Ten years after Gary Moore's death, this album, composed primarily of tracks from his bluesy period, was released. All the material on this album had never before appeared on any of his official albums, and most of it was recorded in different sessions with a band consisting of Gary Moore on vocals and guitar, Darrin Mooney on drums, Vic Martin on keyboards, and bassist Pete Rees. "How Blue Can You Get" contains four covers of songs by Sonny Thompson, Leonard Feather, Elmore James, and Peter Chatman, and four original compositions by Moore himself. That Gary Moore mastered the blues is beyond question, but his assimilation of the language of this distinctly Black genre is evident in tracks like the powerful "I'm Tore Down," the instrumental "Steppin' Out," and the magnificent covers of "How Blue Can You Get" and "Done Somebody Wrong." On the other hand, the intense "In My Dreams" and "Love Can Make A Fool Of You" close a fantastic posthumous album from one of the legends of the guitar, the Irishman Gary Moore.

Colosseum-Colosseum Live (1971)

"Colosseum Live" is considered one of the best live albums in rock history, primarily due to its tremendous power. Jon Hiseman's blistering drumming, Dave Greenslade's astonishing Hammond organ, and Dave Clempson's frenetic and exhilarating electric guitar work are standouts, not to mention Chris Farlowe's sublime, thunderous vocals. The band's perfect synchronization, whether performing sophisticated and complex sections or improvisational passages, is a clear demonstration of the immense skill of these highly accomplished musicians. In addition to Hiseman, Greenslade, and Farlowe, the rest of the lineup included bassist Mark Clarke and saxophonist Dick Heckstall-Smith. This live album was preceded by Colosseum's third album, "Daughter of Time", and was released on the newly formed Bronze label as a double LP. Here, the band moves effortlessly between jazz, blues, rock, and progressive music at its finest. Thrilling tracks like the tour de force jazz-rock "Tanglewood '63" are a dazzling display of the talents of saxophonist Heckstall-Smith and keyboardist Greenslade. Meanwhile, the band's exhilarating progressive interplay is masterfully showcased in the impressive blues jazz/rock "Lost Angeles" and the progressive blues tracks "Walking in the Park" and "Stormy Monday". In conclusion, this is a legendary and iconic live album, where one of rock's most mythical bands displays the impressive instrumental prowess of each and every one of its members.

Aerosmith-Get A Grip (1993)

With "Get a Grip", Aerosmith cemented their status as one of rock and roll's greatest bands after a long period of relative obscurity, marked by a series of albums that strayed from their initial, carefree sound, such as "Night in the Ruts", "Rock in a Hard Place", and, to a lesser extent, "Done with Mirrors", as well as personal issues affecting some of its members. However, starting with their eighth album, "Permanent Vacation", the Boston band took a significant step forward, crafting an exceptional work featuring some of their best compositions, such as "Dude (Looks Like a Lady)" and "Rag Doll". Following another phenomenal release, the subsequent "Pump", they confirmed their creative resurgence with "Get a Grip", where mid-tempo tracks and ballads form the core of the album. Here appear the irresistible "Crazy", "Amazing" and "Cryin'", three great contributions to the commercial success of the group, which are followed by a set list made up of the hard rock songs "Walk This Way", "Eat The Rich", "Get a Grip" or "Fever", making it clear with all of them that the vein of the rawest and most energetic rock and roll continued to flow through the veins of these reborn Aerosmith.

Asia-XXX (2012)

With cover art that pays homage to their 1982 debut album, the third release from the reformed original lineup is titled "XXX", a clear reference to the band's thirtieth anniversary. On this eleventh album under the Asia name, the group continues to showcase the classic rock sound with melodic rock influences characteristic of almost all their previous releases, all underpinned by excellent production, exquisite melodic compositions, and refined instrumentation. Despite the progressive rock reputation of its four members (Wetton, Howe, Palmer, and Downes), it's clear that the symphonic tendencies of the past have given way to a tighter, more solid, and understated sound, moving between catchy and appealing rock and refined sounds with complex and virtuosic instrumentation. That irresistible hook of catchy sounds intertwined with a powerful force is reflected in "No Religion" and "Al Gatto Nero", which are compensated by the heavier and more unsettling "Ghost Of A Change" or "Bury Me In Willow" and by the melodic and brilliant "I Know How You Feel", "Tomorrow The World" and "Face On The Bridge".

Peter Hammill-In Camera (1974)

Very often, when Peter Hammill released a new solo album, many wondered if it was truly a new release from his main band, Van Der Graaf Generator, or his own. This doubt was reflected, for example, in his fourth album, "In Camera", which, as had happened on his previous recordings, even featured some members of VDGG. On this occasion, Hammill once again demonstrates his great creativity, composing an incredible series of dark and dramatic pieces, making intensive use of synthesizers and the Mellotron, played here by David Hentschel, and employing a great intellectual passion with reflective existentialist musings. Recalling passages from VDGG's album "Pawn Hearts", the angry "(No More) The Sub-Mariner", the philosophical "Fain-Heart and the Sermon", and the terrifying "Gog" emerge. In "In Camera", Hammill narrates, both musically and lyrically, a succession of eerie sounds, from gothic to tribal, all nuanced by electronic counterpoints. All that restlessness is wonderfully reflected in the final tour de force, "Magog (In Bromine Chambers)", where the singer explores human psychology. However, there are also more grounded and easily digestible moments, and in this context, we find the acoustic "Ferret and the Featherbird", the pastoral "Again", and the thoughtful "The Comet, The Course, The Tail". Undoubtedly, with this work, Peter Hammill once again defied convention with another album not for the general public.

Frank Zappa-Zoot Allures (1976)

“Zoot Allures” was Frank Zappa’s seventeenth solo album, released amidst the vibrant disco era of the mid-seventies. For the recording of this album, Zappa enlisted a large group of session musicians (some of whom would later become regulars on his subsequent recordings), including drummer Terry Bozzio, bassist Roy Estrada, keyboardist Ruth Underwood, and saxophonist Napoleon Murphy Brock, as well as a section of vocalists featuring Davey Moire, Rubén Ladrón de Guevara, and Sparkie Lewis. Zappa himself handled guitars, synthesizers, keyboards, lead vocals, and production. In “Zoot Allures”, Frank Zappa moved somewhat away from his usual standard sound, embracing a more direct and pure rock style. While he achieves this style at many points on the album, his characteristic music remains present in every groove. His peculiar humor continues to dominate the vast majority of tracks, such as the sordid “The Torture Never Stops” or the humorous and entertaining “Ms. Pinky”. On the other hand, “Wind Up Working In a Gas Station” and “Black Napkins” are the aforementioned moments of straightforward rock, where Zappa's guitar solos showcase his astonishing mastery of the instrument. The instrumental “Zoot Allures” is one of the album's highlights, featuring his distinctive guitar work in the foreground, a slow piece superbly sustained by an exceptional Terry Bozzio. Finally, Zappa makes his own humorous nod to disco music, which was then at its peak, with his song "Disco Boy", another spectacular number of pure rock and an excellent closing to a great album of pure fun and virtuosity from all the musicians involved.

Carlos Santana & Buddy Miles-Live! (1972)

Far from being the typical solo drummer who prioritized his personal and instrumental ego over teamwork, Buddy Miles is one of the most prolific drummers in rock history, collaborating with legendary artists such as Jimi Hendrix, Electric Flag, Muddy Waters, Santana, and John McLaughlin, among other rock greats. Beyond his virtuosity on the drums, Miles was also a very good singer and guitarist, as well as a renowned songwriter and producer. In 1972, his extensive collaborations culminated in the triumphant álbum "Carlos Santana & Buddy Miles! Live", which, in addition to the Mexican-born guitarist, also featured Neal Schon (guitar), Coke Escobedo (drums), Mike Carabello (percussion), Mingo Lewis (percussion), and Hadley Caliman (winds). Recorded live in Honolulu, Hawaii, during "The Sunshine Festival, Inside Diamond Head", held in January 1972, it showcases a style quite different from what Carlos Santana was doing in those years, with a repertoire of extensive tracks with psychedelic influences under funk, rhythm and blues, and jazz rock, making it a record clearly oriented towards jam sessions and improvisation, as demonstrated by the extensive "Free Form Funkafide Fifth", where both musicians show a great state of form, with a great interaction between the guitars and the drums.

Jimi Hendrix-Live At Woodstock (2000)

On August 18, 1969, at the crack of dawn, the final performance of the legendary Woodstock Festival began. The last figure to take the stage was Jimi Hendrix, accompanied by his short-lived backing band, Gypsy Sun and Rainbow. By that morning, only about 40,000 privileged and exhausted spectators remained after three intense days, during which the total attendance had exceeded 500,000. After a dazzling opening filled with instrumental and guitar pyrotechnics from Hendrix, and with the support of a band that brilliantly fulfilled its role, the iconic guitarist began to perform some of his most emblematic songs. In all of them, as was typical for the guitarist, the versions were expanded with improvised solos, most often chaotic, but at the same time fascinating, dizzying, and explosive. Songs like the bluesy "Red House" and "Hear My Train a Comin' ", the visceral "Fire" and "Purple Haze", the psychedelic "Voodoo Child", the hard rock "Foxy Lady", and the improvised jams "Jam Back At The House" and "Woodstock Improvisation". To close his performance, Jimi Hendrix played a distorted version of the American national anthem, "The Star-Spangled Banner". All of this is captured on this double album, released 30 years later by MCA Records, a historical document that records one of the most memorable moments in rock history, as well as being one of the best live albums in all its splendor.

Floh De Cologne-Geyer-Symphonie (1973)

Floh De Cologne was the first overtly political German krautrock group, whose Marxist and anarchist ideas permeated the lyrics of their music. Formed in Cologne in the mid-1960s as a political collective by students from the University of Cologne, their style was characterized by a direct and hard-hitting sound, a rational inheritance from the works of Bertolt Brecht and Kurt Weill. Their original lineup consisted of Gerd Wollschon (vocals, keyboards), Markus Schmidt (violin, bass), Hans-Jorg "Hansi" Frank (drums and keyboards), and Britta Baltruschat (vocals). Their first album, released in 1968 and titled "Vietnam", was a clear attack on the Vietnam War, which had become the focus of all military efforts amidst the tensions of the Cold War. This group placed far more emphasis on the political message than on the music itself, with absurd and burlesque lyrics that were closer to the realm of theater and vaudeville than to a conventional rock band. In the following years, this band released controversial albums that continued in the same political and subversive direction, such as "Fliessbandbaby's Beat-Show" (1970) and "Lucky Streik" (1972). All of them are filled with provocative and humorous messages about the political and social situations of the time. Musically, they displayed a strange fusion of avant-folk, experimental sounds, free rock, and political narrative. In 1973 came one of their masterpieces, "Geyer-Symphonie", with which they consolidated their radical approach with attacks of visceral, theatrical, and symphonic rock. From this point on, other smaller works would follow until the mid-1980s, when they released their last works, far removed from the sound and media impact of their beginnings.

Spirit-Twelve Dreams of Dr. Sardonicus (1970)

Spirit was a legendary band from Los Angeles, formed in 1967 by Randy California (guitar), Ed Cassidy (drums), John Locke (keyboards), Mark Andes (bass and vocals), and Jay Ferguson (vocals and percussion). Initially called Spirits Rebellious, they later became known simply as Spirit. Their style was influenced by blues rock, with touches of psychedelia and jazz. Randy California had previously played with Jimi Hendrix (then known as Jimmy James) in a group called Jimmy James and the Blue Flames in 1966, and Hendrix's music influenced his later career. In 1968, they released their debut album, "Spirit", a great combination of psychedelic rock, progressive rock, baroque pop, folk, raga, and jazz, which was very well received by critics and the public. Later that year, their second album, "The Family That Plays Together", was released, followed by a tour with Led Zeppelin as their opening act. Interestingly, around that time, Led Zeppelin covered Spirit's song "Fresh Garbage", which was included in one of their extensive live medleys, and they were possibly inspired by Spirit's own song "Taurus" to compose the beginning of "Stairway to Heaven". This second album is much more elaborate and varied, and is also one of the band's best. In 1969, they released "Clear", which was another excellent work. Then, in 1970, they were signed by Epic Records. With this new record label, they released their most acclaimed album, 'Twelve Dreams of Dr. Sardonicus', featuring songs much more accessible than their previous work, such as 'Nature's Way', 'Animal Zoo', and 'Mr. Skin'. This album competed on the charts that year against the best albums of 1970 and was soon considered one of the best albums released that year. After the tour following the album's release, Jay Ferguson and Mark Andes left the group to form Jo Jo Gunne. Shortly afterward, Randy California also decided to leave the group to pursue a solo career. In the following years, Randy would return to the group to record the occasional album or tour, alternating his solo career with the band, but with little of the same impact as before.

Steely Dan-Katy Lied (1975)

With Steely Dan's fourth album, its two leaders, Walter Becker and Donald Fagen, abandoned the conventional rock band approach to become a project of musical research and experimentation. From then on, each song on all subsequent albums would feature meticulously chosen musicians, musicians who adapted to the concept and idea of ​​the compositions in question. "Katy Lied" also marked a stylistic evolution from everything previously released; here they moved towards structured soft rock, leaving behind (albeit subtly) the jazz arrangements. Among the twenty or so collaborating musicians, notable figures include Larry Carlton, Jeff Porcaro, Hugh McCraken, Rick Derringer, Elliott Randall, David Paich, and Victor Feldman. These rock sounds are present in elegant and sophisticated tracks like "Black Friday", "Chain Lightning", "Everyone's Gone to the Movies", "Throw Back the Little Ones", and "Doctor Wu", while the usual pop-jazz and blues sounds appear in "Bad Sneakers", "Your Gold Teeth II", and "Daddy Don't Live in That New York City No More". "Katy Lied" is arguably their most balanced and consistent recording to date, maintaining the refined atmosphere, the usual perfectionist production, and impeccably executed compositions, all adorned by the twisted and ironic lyrics of the duo Fagen & Becker.

Ornette Coleman-The Shape Of Jazz To Come (1959)

"The Shape of Jazz to Come" is considered one of the most groundbreaking albums in the free jazz genre, recorded by one of its legendary figures, saxophonist Ornette Coleman. For this recording, Coleman dispensed with one of jazz's fundamental instruments, the piano, using a quartet composed of drums, bass, trumpet, and saxophone. Recorded at Radio Recorders Studios in Hollywood, Los Angeles, Coleman was joined by Billy Higgins (drums), Charlie Haden (bass), and Don Cherry (trumpet), under the supervision of producer Nesuhi Ertgun. With this album, the jazz world was shaken by its collectively improvised musical language, breaking the mold of established bebop rules and dismantling the most purist notions of harmony and melody. Without a doubt, this is a landmark of the free jazz movement and a cornerstone of modern music.

Billie Holiday-Lady In Satin (1958)

Billie Holiday is one of the great divas of jazz; it has been said that her voice changed the art of singing forever. Her life was always turbulent; from childhood, Holiday had a difficult and tumultuous life. Her artistic career began when she was almost a teenager in the early 1930s, singing in seedy clubs in New York. Some time later, thanks to her manipulation of phrasing and vocal style, she released her first recorded song, "Your Mother's Son-In-Law" (1933), which earned her some prestige in the city's jazz circles. From then on, her collaborations with legends like Count Basie, Lester Young, and Artie Shaw, among many others, were constant, resulting in dozens of immortal recordings. However, her tumultuous personal and emotional life took its toll, with alcohol and drug use leading to many problems, including a year in prison for heroin possession. In 1958, she released her penultimate album before her death, "Lady in Satin", with arrangements and orchestra by Ray Ellis. On this album, the singer, in a lamentable state of health, exhausted and utterly devastated by her addictions, managed to capture her tremendous vulnerability in a series of songs. Her broken, hoarse voice conveyed a powerful and overwhelming emotional intensity, blending the melancholy and bittersweet sorrows of her life with a certain indulgence and joy. Without a doubt, this was the best epitaph for one of the great storytellers in the history of jazz and contemporary music.

Count Basie-The Atomic Mr. Basie (1957)

Count Basie was one of the aristocrats of jazz, famous for his distinctive style, his diverse influences, his great dynamism, and that unique and peculiar sense of swing. All these qualities are present in one of his most dazzling and famous recordings, "The Atomic Mr. Basie", made in late 1957 at Capitol Studios in New York and released by Roulette Records. In this legendary recording, Basie managed to resurrect the Big Bands from the ashes after years in which they had lost the public's interest and were almost forgotten. All the material presented here was written by arranger Neal Hefti and features a powerful horn section. However, the common thread is Basie's understated yet fiery piano, which, with its playing, achieves moments of great instrumental cacophony. Vigorous pieces are interwoven with others of great melodic beauty, subtlety, and delicate orchestral nuances. 

GNP-Safety Zone (1989)

In 1986 the members of Saga; Jim Gilmour and Steve Negus, left the band to form the group GNP (initials of Gilmour Negus Project), next to the singer Robert Bevan.
Their only album "Safety Zone" was released in 1989 and unlike the progressive rock of Saga, the group is oriented towards more commercial sounds with an AOR in a vein to what contemporary bands like Toto or Journey did at the time. However even so, you can still sense certain sounds inherited from Saga, such as great keyboards, a very polished sound and great addictive melodies. Gilmour's skills become the highlight of this album, with the melodic voice of singer Robert Bevan.

Jefferson Starship-Spitfire (1976)

“Spitfire” was Jefferson Starship’s third album and the tenth in the Jefferson saga, not counting the work of Hot Tuna, the other side project of the dynasty comprised of Jack Cassidy and Jorma Kaukonen. On this third release, guitarist Craig Chaquico takes center stage, composing four of the album’s nine tracks and contributing his unmistakable guitar work to the final product. However, the band’s style gradually shifted towards catchier, more commercial sounds, without abandoning the characteristic complexity that Paul Katner used to infuse into Starship’s sound. Even so, the album features standout tracks such as the psychedelic “Cruisin’ ”, the dark, gospel-tinged “Hot Water” with Grace Slick’s sensitive vocals, the complex “St. Charles”, the progressive “Song To The Sun / Ozymandies / Don’t Let It Rain”, and the melodic “With Your Love” and “Switchblade”. To close out the album, they tackled the country-rock tracks "Big City" and the energetic "Love Lovely Love", creating an eclectic yet cohesive and homogeneous record. "Spitfire" didn't achieve the same sales or success as its predecessor, "Red Octopus", but it did reach platinum status and number three on the US Billboard charts.

Frumpy-Frumpy 2 (1971)

In the early 1970s, Frumpy were at the height of Krautrock's popularity and, along with Kraan, Guru Guru, Neu!, Agitation Free, and Ash Ra Tempel, were one of the most acclaimed bands in Germany and across continental Europe. Their debut album, the excellent "All Will Be Changed", was a work brimming with sounds that blended psychedelia, blues, gospel influences, soul, and progressive rock. A previous tour supporting British rock heavyweights like Yes, Humble Pie, Spooky Tooth, and Renaissance only served to solidify their status as a promising band, and this first album achieved overwhelming commercial success and garnered numerous positive reviews from the music press of the time. A year later, with the addition of guitarist Rainer Baumann, Frumpy released their second album, "Frumpy 2". On this album, the band, led by singer Inga Rumpf and featuring keyboardist Jean-Jacques Kravetz and a rhythm section comprised of bassist Karl-Heinz Schott and drummer Carsten Bohn, presents four expansive songs leaning towards progressive hard rock. With a more technical and elaborate production, they showcase superb instrumentation that at times evokes the British heavy rock of contemporary bands like Atomic Rooster, Quatermass, and Uriah Heep. Brilliant guitars, prominent Hammond organ sounds, and Rumpf's emotive and powerful vocals are present in tracks such as the mesmerizing and hypnotic "Good Wings", the heavy hard rock track "Take Care Of Illusion", the thrilling "Duty", and the progressive mini-epic "How The Gipsy Was Born". With this second release, Frumpy managed to create one of the masterpieces of the native German genre, and a true masterpiece of progressive and psychedelic rock from the 70s.

Tokyo Blade-Night of the Blade (1984)

Tokyo Blade are another essential band of the "New Wave of British Heavy Metal" (NWOBHM) movement, and along with Iron Maiden, are among the few still active today. Formed in Salisbury, near Southampton, their beginnings date back to the late 1970s when several young men Alan Marsh (vocals), Andy Boulton (guitar), Ray Dismore (guitar), Andy Robbins (bass), and Steve Pierce (drums) founded a band called White Diamond. After several name and lineup changes, and finally settling on Tokyo Blade, they signed with the independent label Powerstation, with whom they recorded their self-titled debut album in 1983. This first release features tremendous tracks with breakneck rhythms, such as the fast and powerful "Powergame", the heavy punk "Break the Chains", and the potent heavy metal "If Heaven Is Hell". A year later, now under the wing of a more prestigious label like Roadrunner, they released their second album, "Night of the Blade", in which they embellished their powerful riffs with catchy choruses, as in the monumental tracks "Love Struck", "Rock Me To The Limit", and "Someone to Love", or the epic songs "Lightning Strikes" and "Warrior Of the Rising Sun". With this album and its predecessor, Tokyo Blade secured their place of honor in the history of heavy metal. 

Shocking Blue-Best (1973)

Shocking Blue made history as the first Dutch group to reach number one on the US Billboard charts with the song "Venus", which also became a massive worldwide hit. Founded in The Hague in 1967, the band was centered around guitarist Robbie Van Leeuwen, who recruited guitarist Fred de Wilde, bassist Klassje Van der Wal, and drummer Van der Beek. After signing with Polydor Records, they recorded their first single, "Love Is in the Air", which failed to chart. However, they achieved considerable success with their next single, "Lucy Brown Is Back in Town", a song with clear British Invasion pop influences. A year later, their debut album, "Beat with Us", was released, and shortly after, Van Leeuwen added singer Mariska Veres, who was soon hailed as the Dutch Grace Slick for her versatile and powerful voice. With Mariska already in the fold, they released the vibrant song "Send Me a Postcard", with a more psychedelic sound than anything they had done up to that point. From this point on, the band established themselves as the sensation of Dutch pop-rock, achieving another hit with "Long Lonesome Road". In 1969, the song "Venus" definitively cemented their international success with numerous number one hits around the world. However, the same cannot be said for their native Netherlands, where it only reached a modest eleventh place on the charts. The following year, the band continued to release great songs that didn't achieve the worldwide success of "Venus", although they did find success in Europe with "Mighty Joe" and "Never Marry a Railroad Man", both of which reached number one in the Netherlands. During 1971 and 1972, the group released their last albums with mixed success, despite containing high-quality songs such as "Hello Darkness", "Blossom Lady", "Shocking You", and "Rock in the Sea". From that year onward, the group gradually lost the public's interest and eventually disbanded.