Can-Soundtracks (1970)

Between 1969 and 1970, the German krautrock group Can composed a series of songs that were included on the soundtracks of several independent films: "Cream", "Bottom", "Deadlock", and "Deep End". In late 1970, the group decided to compile all these songs on their second album, "Soundtracks", marking a new step in Can's musical development. The album features seven very different compositions that range from jam sessions and free-flowing rock to strange sounds and emotive atmospheres characterized by repetitive guitar lines, chaotic percussion, and minimalist rhythmic passages. Songs like the scorching "Mother Sky" alternate with others with a distinctly psychedelic feel, such as "Tango Whiskyman", the jazzy textures of "She Brings the Rain", and poignant pieces like "Deadlock". Despite not being one of their most memorable works, with this second album the German group continued to evolve artistically, evoking the excellent experimental forays that had begun a year earlier with their recording debut.

Kaleidon-Free Love (1973)

The excellent Italian pianist Stefano Sabatini founded the Kaliedon project in the early seventies, a brilliant experiment that, despite going largely unnoticed, is a noteworthy work focused on free jazz and low-key jazz-rock, primarily due to the absence of an electric guitar. Its origins date back to the end of the previous decade when Sabatini himself led a psychedelic pop band called Free Love. However, a tragic car accident claimed the lives of two of the musicians, leaving Sabatini seriously injured. Years later, Sabatini formed a new band, which he named Kaliedon, recruiting Massimo Balla (saxophone and flute), Franco Tallarita (bass), and Giovanni Liberti (drums), while Sabatini himself handled the keyboards and electric piano. Their only release, titled "Free Love" as a tribute to his former band and released in 1973, is a true reflection of jazz driven by the sounds of the saxophone and electric piano. Composed of a series of elegant pieces of melodic jazz such as the homonymous "Free Love", the melancholic "Inverno'43" or the jazz fusion "Polvere", demonstrating in all of them the instrumental talent of Sabatini, one of the outstanding keyboardists of European jazz.

Arkus-1914 (1981)

Arkus is a Dutch band that has the distinction of being one of the very first to release a neo-progressive album, a subgenre that emerged in the early 1980s. Formed in the late 1970s by guitarist and singer Frans Smits, bassist John Bouman, drummer Erik Van Duin, keyboardist Jan-Henk Wiggerlinkhuizen, and guitarist Ron Willems, their debut album, "1914", was recorded and released privately by the band and is based on the writings of the renowned Dutch author Bert Voeten. This record is an effective example of early neo-progressive rock, featuring a repertoire full of catchy and cohesive melodies. However, the band's style leans more towards the atmospheric and melodic sounds of late 1970s progressive rock than the pastoral and theatrical style of the early 1970s.

Christmas-Christmas (1970)

Christmas was an excellent Canadian avant-garde psychedelic rock band formed in Ontario in late 1969. Created from the ashes of another Canadian band called Reign Ghost, it consisted of guitarist and singer Bob Bryden, vocalist Lynda Squire, and percussionist Helge Ritcher. However, some time later, Lynda Squire was replaced by guitarist Robert Bulger and bassist Tyler Reizanne, a lineup that solidified and went on to record several highly regarded albums. After a respectable debut release titled "Heritage," they released their best effort, this self-titled work, which, despite a truly horrendous cover, managed to create a record worthy of the best Canadian acid and psychedelic rock bands of the era. Here, the band delivers everything from psychedelic passages like the opening track "Just Suppose," to progressive exercises like "Christmas," and hypnotic experimental endeavors like "Jungle Fabulous," a sublime epic where they unleash their brilliant compositional and instrumental creativity.

Jane-Jane At Home Live (1977)

“Jane at Home Live” is another of those fantastic double live albums released in the 1970s, this one specifically from the legendary German band Jane, a vigorous group that during that decade moved between a fusion of classic rock with hard rock influences and elements of progressive rock. On their early albums, their progressive roots led them to create two superb works: “Together” (1972) and “Here We Are” (1973). On their third and fourth albums, “Jane III” (1974) and “Lady” (1975), they veered towards blues rock and more conventional classic rock, before returning to the progressive path with their next album, “Fire, Water, Earth & Fire” (1976), an effective and excellent concept album. The material for this double live album was captured from the tour following their last concert. In it, the German band delivers an intense and powerful performance of some of their most emblematic songs, such as the space rock epics "Windows", "Hangman", and "Daytime", interwoven with other sublime, avant-garde compositions of hard rock and blues rock. The album also showcases the immense skill of keyboardist Manfred Wieczorke and extraordinary guitarist Klaus Hess. "Live At Home" reflects everything from the virtuosity of its members to the immense instrumental creativity of their powerful progressive rock, as well as the band's remarkable ability to seamlessly transition from highly complex pieces to simpler structures.

This Oneness-Surprize (1975)

This Oneness is another of those thousands of short-lived bands that only released one obscure and little-known album of estimable art rock. Their story is as simple as this: they were "basically" the backing band for singer Olivia Newton-John on a tour of North America in the mid-seventies. At the end of that tour, all the musicians involved decided to try their luck composing and recording the album "Surprise", a record with a multitude of influences ranging from jazz rock to progressive rock, including the more accessible melodies of American rock. The lineup of The Oneness consisted of Dale Strength (vocals and guitars), Robyn Lee (keyboards and vocals), Bernard Pershey (drums), Douglas Nelson (bass), and Greg Inhofer (keyboards and guitars). In their only recording they showcase an eclectic style that moves between complex and spacey pieces like "You Can't Do That/Surprise", to attractive and accessible melodies like "Please Let The Sunshine", passing through thrilling old school Canterbury jazz rock like "In Out In Out" or progressive jazz rock like "Surprise (Reprise/Go In Peace").

The Mahavishnu Orchestra-Visions Of The Emerald Beyond (1975)

After three intense albums, "The Inner Mounting Flame" (1971), "Birds of Fire" (1973), and "Apocalypse" (1974), the group led by John McLaughlin returned with the same lineup as on this latest release, marking the second iteration of the Mahavishnu Orchestra. It's worth noting that the previous album, "Apocalypse", featured new members: violinist Jean-Luc Ponty, keyboardist Gayle Moran, bassist Ralphe Armstrong, and drummer Michael Walden, replacing former members Jan Hammer, Jerry Goodman, Rick Laird, and Billy Cobham. With this new lineup, they recorded their fourth album, "Visions of the Emerald Beyond", recorded at Electric Lady Studios in New York in late 1974 and released in February 1975. In this new release, the band maintains its approach and musical style from the previous work, but subtly shifts towards bluesier territory, as we can hear in the opening tracks, "Eternity's Breath Part 1" and "Eternity's Breath Part 2". These tracks, with a solid bluesy foundation, ingenious violin solos, and Gayle Moran's excellent vocals, along with McLaughlin's guitar exploration, result in a very harmonious and balanced song. In "Lila's Dance", the band continues down the path of the previous track with an even bluesier approach, where McLaughlin takes center stage with a long and superb guitar solo. Meanwhile ,“Can’t Stand Your Funk”, as its title implies, is a clear example of funk jazz rock with a great combination of bass, rhythm guitar, and the powerful horn section. The melodic “Pastoral”, the coherent and very well-structured jazz rock “Faith”, the haunting “Pegasus”, and the superb and spacey “Earth Ship” make up an excellent album that, while not reaching the heights of their first two works, would maintain their position as one of the leading bands in the global jazz rock scene, alongside contemporary bands like Weather Report and Return to Forever, and would also complete an essential quadrilogy within the aforementioned style.

The Mahavishnu Orchestra-Apocalypse (1974)

In 1974, John McLaughlin reformed the Mahavishnu Orchestra, bringing in keyboardist Gayle Moran, violinist Jean-Luc Ponty, bassist Ralphe Armstrong, and drummer Michael Walden, who replaced Jan Hammer, Jerry Goodman, Rick Laird, and Billy Cobham, respectively. With this new lineup, he recorded the band's third album, which also featured the London Symphony Orchestra, conducted by Michael Tilson Thomas, as well as session musicians Marsha Westbrook (viola), Carol Shive (violin and vocals), and Philip Hirschi (cello and vocals). The fiery rhythm section of Armstrong and Walden propelled Ponty's rich instrumental passages and the London Symphony's orchestral arrangements, all underscored by McLaughlin's dark and gritty guitar work, creating an album that, as its title suggests, is apocalyptic. All of this is reflected in the captivating "Power of Love", with its astonishing work by the French violinist, a dark guitar, and subtle orchestral passages. The terrifying "Vision Is A Naked Sword", the orchestral interlude of "Wings of Karma", and the heart-wrenching "Hymn to Him" ​​combine to create another masterpiece of jazz-rock, demonstrating the immense creative capacity of the brilliant John McLaughlin.

The Mahavishnu Orchestra-Between Nothingness & Eternity (1973)

"Between Nothingness & Eternity" was the only live album officially released by the Mahavishnu Orchestra, and it came out amidst strained relations within the band, a situation that would lead John McLaughlin to reform the group shortly after its release. Composed of three extended tracks not included on their studio albums, it was recorded during the summer of 1973 in New York's Central Park and features the original Mahavishnu lineup: John McLaughlin (guitar), Jan Hammer (synthesizers and keyboards), Billy Cobham (drums), Rick Laird (bass), Jerry Goodman (violin), and Sri Chinmoy (vocals). Replete with intense jazz fusion/rock sounds, it showcases the astonishing instrumental mastery of each and every musician in the band, from McLaughlin's virtuosity on the six-string to Cobham's superb skill with the drumsticks, Hammer's powerful Moog synthesizer notes, and Jerry Goodman's tremendous talent on the electric violin. The live performance begins with the exhilarating "Trilogy Medley", a piece where the instrumental chemistry between all the musicians demonstrates they were at a superior level within the jazz-rock of that era. This is followed by "Sister Andrea", which maintains a similar style but slows the frenetic pace of the previous piece, veering towards progressive jazz-rock. The finale is reserved for "Dream", a tour de force of over twenty minutes divided between initial ambient and atmospheric sounds and a fiery jam session in its closing section. As we said at the beginning, this was the last official recording of the original band, a fact that would not surprise anyone due to the talent and individual ego of each of them, so a year later Mahavishnu would return with a completely different lineup except for its leader John McLaughlin.

Cannonball Adderley-Cannonball Adderley Sextet: Planet Earth (1969)

Cannonball Adderley was one of the greatest saxophonists in the history of jazz, a musician with a unique and innate ability to communicate his music to a wide audience and make it incredibly popular. With an established career behind him, in the mid-1950s he moved to New York from his native Florida, where he quickly became a sensation and ended up playing in Miles Davis's band. At the end of that decade, he released some of his masterpieces, such as "Somethin' Else" with Miles Davis, Hank Jones, and Art Blakey. During the 1960s, his soulful hard bop style shone through, and he recorded prestigious albums for the Riverside and Capitol labels, including "Know What I Mean" with Bill Evans and "Accent on Africa". With Capitol Records, his albums shifted towards more mainstream and commercial sounds, as demonstrated by his tremendous success "Mercy, Mercy, Mercy" in 1966. Towards the end of the sixties, the now-defunct Riverside label released the live album "Cannonball Adderley Sextet: Planet Earth", featuring notable collaborations with Joe Zawinul, Louis Hayes, Nat Adderley, Yusef Lateef, and Sam Jones. A technically impeccable album, it included a series of modern jazz compositions such as the soulful "Seventh Son", exotic performances like "Brother John", and intriguing hard bop like "Syn-Anthesia", all reflecting an avant-garde style with clear Eastern influences.

Granada-España, Año 75 (1976)

Granada was a Spanish symphonic rock band that, with a very particular and unique style, released three magnificent albums in the 1970s. Led by multi-instrumentalist Carlos Cárcamo, the band also included drummer Juan Bona, bassist Antonio García, and guitarist Michael Vortreflich. In 1975, the group released their debut album, "Hablo de una Tierra" (I Speak of a Land), an eclectic work that fused different styles such as blues and rock, always through a progressive lens. On this debut, the sound of the sharp guitars and the omnipresent Mellotron take us on pleasant journeys with a Mediterranean and Andalusian flavor. A year later came their second album, "España Año 75" (Spain Year 75), an ironic title for a crucial year in Spanish history. The entire album is full of magnificent displays of symphonic progressive music with abundant folkloric allusions. The jazzy nuances and Mediterranean atmospheres, along with the atmospheric and tranquil passages, are the highlights of an album that features standout tracks such as the epic "El Calor que pasando este verano" (The Heat We Experienced This Summer), the atmospheric "Septiembre" (September), and the progressive folk songs "Noviembre Florido" (Flowery November) and "Ahora vamos a ver que pasa (vámonos para el Mediterráneo)" (Now Let's See What Happens (Let's Go to the Mediterranean)). With this album, Granada and Spanish progressive rock in general demonstrated the solid style that the Spanish music scene was producing during the musically fertile 1970s.

Rose´s Pawn Shop-Dancing On The Gallows (2010)

Rose's Pawn Shop are a band that gave a breath of fresh air to the American sound in 2005, when they were founded (this does not mean that there are not many others that have also contributed to keeping the legacy alive). They make everything from classical music ("classical" if you were born in the southern United States), from bluegrass to country to folk, rock and blues.
"Dancing On The Gallows" was the second album by this magnificent band released in 2010. By then the band consisted of Paul Givant, vocalist, guitar and banjo, Tim Weed, Mandolin, fiddle and vocals, John Kraus, banjo, mandolin and guitar, Stephen Andrews, bass and drums, Christian Hogan, Debtors of the sounds that The Byrds or The Band created in the sixties, Rose's Pawn Shop manifest their style in superb songs like "Strangers", "Debt Collector" or "Pine Box", themes that if they had been published in the 70s, we would speak of a jewel of the genre.

Rush-Clockwork Angels (2012)

Five years would pass before the Canadian band Rush released their next album, which would ultimately become their discographic epitaph. On "Clockwork Angels", the trio returned to their heavy hard rock style, but blended it with a series of highly complex and progressive pieces. With brilliant musicianship, Lifeson, Lee, and Peart created another concept album about a traveler and his various encounters, involving law enforcement, chaos, the world of piracy, and other surreal scenarios. The album opens with the heavy hard rock track "Caravan", a highly accomplished instrumental piece, followed by the thunderous "BU2B", another energetic song with heavy riffs, galloping bass lines, and virtuosic, dynamic drumming. However, it's with the track "Clockwork Angels" that the trio begins to expand into progressive and complex sounds, an inspired piece that continues with the elaborate "The Garden", the haunting "Headlong Flight", the exotic "The Anarchist", and the catchy "Wish Them Well". For many, this was Rush's finest conclusion, an album closer to the musical philosophy of the distant and spectacular "Moving Pictures" (1981) than to almost all of their subsequent releases in the eighties and nineties.

Manfred Mann´s Earth Band-Watch (1978)

In 1978, Manfred Mann's Earth Band were at the height of their success and worldwide recognition; however, creatively they seemed to have stagnated, if anything, regressing towards a more commercial sound. That said, they were still producing excellent progressive rock albums. "Watch" is undoubtedly Earth Band's last great album, a stunning progressive rock record that gradually morphed into a commercial regression. Although it closely resembles their most commercially successful songs to date, such as "Blinded By The Light" from their previous album, "The Roaring Silence" (1976), they even achieved significant commercial success with the single "Davy's On The Road Again". Despite this, it remains a certified minor masterpiece of the progressive rock genre. This is underscored by the superb mellotron sounds, the addictive choruses, and the catchy acoustic and electric guitars that permeate the entire album. "Watch" is undoubtedly the last great Earth Band album, thanks to its stunning mellotron work, addictive choruses, and infectious acoustic and electric guitars. Tracks like the brilliant “Circles” or the brilliant “Drowning on Dry Land/ Fish Soup”, “Chicago Institute” and “Mighty Quinn” demonstrate the potential of an album of abundant quality, a product of the unquestionable talent of one of the greatest British progressive bands of the 70s.

Spooky Tooth-The Mirror (1974)

The origins of this important British blues-rock band with progressive influences date back to late 1964, when a band called The V.I.P.'s released several singles with little success. These singles paved the way for Spooky Tooth, specifically for a group called Art, who released the album "Supernatural Fairy Tales" (1967). Just a year later, singer Mike Harrison, keyboardist and vocalist Gary Wright, guitarist Luther Grosvenor, bassist Greg Ridley, and drummer Mike Kellie officially formed Spooky Tooth, releasing their first album, "It's All About a Roundabout" (1968), on the Island label. On this first album, the psychedelic influences of their predecessor, Art, are quite evident, but the blues-rock sound that would later become the band's hallmark is also timidly emerging. The album alternated between covers and original songs, but it ultimately met with little fanfare. The same could not be said for their second album, the magnificent "Spooky Two" (1969), which managed to carve out a place for itself on the British and American charts, thanks in part to tracks like "Evil Woman" and "Waitin' For The Wind". After the album, Greg Ridley left the group to join Humble Pie. With a new bassist, Andy Leigh, they released "Ceremony" (1970), which, due to the shift towards a more electronic sound, suffered a monumental failure and precipitated the general exodus of almost all the band members. From this point on, Luther Grosvenor joined Stealers Wheels and Gary Wright founded Wonderwheel. In the middle of that same year, the group reformed with the addition of some members of Joe Cocker's Grease Band, such as Chris Stantion, Henry McCulloch, and Alan Spenner, but they were unable to revive the group's career with the recording of the album "The Last Puff" (1970). This latest failure led to the band's disbandment in late 1970. But three years later, Spooky Tooth resurfaced with a harder rock sound. The return of keyboardist Gary Wright and Mike Harrison, along with new members like singer Mike Patto, guitarist Mick Jones, drummer Bryson Graham, and bassist Ian Herbert, seemed to breathe new life into the group. With this lineup, they released the albums "You Broke My Heart So I Busted Your Jaw" (1973) and "Witness" (1973), achieving respectable sales and even better reviews, marking the band's peak period. On "The Mirror" (1974), the group recruited new members, including former Van Der Graaf Generator bassist Keith Ellis. However, despite containing strong tracks like "Kyle", "Fantasy Satisfier", "The Mirror", and "The Hoofer", it failed to achieve the desired success. In 1974 the band officially broke up, although this didn't prevent the occasional reunions with some of the original members. A year later, Island Records released the compilation album "The Best Of" (1976). Subsequently, some of the members went on to join bands such as Foreigner (Mick Jones) and The Alvin Lee Band (Bryson Graham).

Manfred Mann´s Earth Band-The Roaring Silence (1976)

Fueled by a hugely successful single with their rendition of Bruce Springsteen's "Blinded by the Light", Manfred Mann's Earth Band produced one of their best albums in the mid-seventies with "The Roaring Silence". However, by this point, vocalist and guitarist Mick Rogers had left the band after the release of the previous and epic album, "Nightingales & Bombers". This was a mutual decision, the result of his almost obsessive interest in the music of Frank Zappa and his desire to take the band in an avant-rock jazz direction. In Rogers' place, the band expanded to a quintet, recruiting vocalist Chris Thompson and guitarist Dave Flett. The rest of the lineup remained the same, having left behind such widely acclaimed albums as the outstanding "Messin'" (1973), "Solar Fire" (1973), "The Good Earth" (1974), and the aforementioned "Nightingales & Bombers" (1975). These musicians were Manfred Mann (keyboards), Chris Slade (drums), and Colin Pattenden (bass). In addition, a dozen more musicians contributed to the recording process, including saxophonist Barbara Thompson and a large group of backing vocalists. Among those featured were Chris Hamlet Thompson, Irene Chanter, Suzanne Lynch, and Mick Rogers. The album opens with a cover of "Blinded by the Light", featuring a magnificent keyboard solo by Manfred Mann. While the song clearly has a pop-rock foundation, it differs significantly from the original with a lengthy middle section that reinforces the group's progressive credentials and became a true avant-garde hit. This is followed by "Singing the Dolphin Through", a fine piece of melodic progressive rock, and the atmospheric and chaotic "Waiter There's A Yawn in My Ear". The B-side features "Road to Babylon" and "This Side of Paradise", two tracks with a leisurely progressive rhythm, strong melodies, and complex instrumental work. The album closes with the simple yet beautiful "Questions", where Chris Thompson's distinctive voice showcases his talent as a superb vocalist. The album went on to achieve several gold and silver records, achieving great success in the North American market.

Manfred Mann´s Earth Band-The Good Earth (1974)

Manfred Mann's Earth Band's fifth album, "The Good Earth", sits between their two masterpieces: "Solar Fire" (1973) and "Nightingales Bombers" (1975), which might have relegated it to the status of a mere media transitional album. However, on this new release, the group, led by Manfred Mann (organ and synthesizers) and supported by Mick Rogers (guitar and vocals), Colin Pattenden (bass), and Chris Slade (drums), created an ingenious blend of 70s guitar-driven heavy rock and the familiar patterns of progressive blues rock. Purely instrumental tracks like "Sky High" and "Earth Hymn" showcase that hard rock power, while the progressive "Give Me The Good Earth" (an excellent cover of Gary Wright's song) and "Launching Place" perfectly exemplify the triumphant interplay between Rogers' electric guitar and Mann's synthesizers, all under the cloak of cryptic and chaotic lyrics. On the more melodic side, there's the catchy cover of Mike Rudd's "I'll Be Gone" and the country/folk rock-tinged "Be Not Too Hard". Despite being somewhat hidden among the albums mentioned earlier, "The Good Earth" is another indelible mark left by the legendary Manfred Mann's Earth Band.

Manfred Mann´s Earth Band-Manfred Mann´s Earth Band (1972)

Manfred Sepse Lubowitz, better known as Manfred Mann, began his career in the early 1960s, releasing a series of works focused on jazz, rhythm and blues, and pop, achieving several hits in the British market such as "Do What Diddy Diddy" and "Pretty Flamingo", among others. At the end of that decade, he formed Manfred Mann Chapter Three, a group that steered his style toward the experimental realm of jazz. After two noteworthy albums, the South African-born keyboardist created Manfred Mann's Earth Band, in which the restless musician sought to expand his sonic palette by exploring the progressive rock trends that were flourishing at the time. For this new lineup, he recruited drummer Chris Slade, guitarist Mick Rogers, and bassist Colin Pattenden, a lineup that would remain unchanged for the next five albums. The first album of this new venture, released in 1972 on the Polydor label, was met with great acclaim in the British and American markets thanks to its eclectic progressive style. Tracks like the midstream rock of "California Coastline", the progressive blues-gospel of "Captain Bobby Stout", the jazzy "Jump Sturdy", and the experimental psychedelic "Sloth", contrasted with the progressive folk melodies of "Part Time Man" and "I'm Up and I'm Leaving". From then on, a series of excellent examples of the talent and creativity of Manfred Mann's Earth Band followed, with highly acclaimed albums that achieved enormous commercial success.

Manfred Mann´s Earth Band-Glorified Magnified (1972)

Released the same year as their debut but several months later, Manfred Mann's Earth Band's second album is a clear indication of the sound that would become the group's signature. It showcases a brilliant variety of styles, which the band performs with considerable fluency and confidence. In fact, on their subsequent albums, these sounds become even more pronounced and progressively more expansive. The lineup remains the same as on the first album: Manfred Mann (organ, synthesizers, and vocals), Mick Rogers (guitar and vocals), Colin Pattenden (bass), and Chris Slade (drums). Those eclectic sounds we mentioned earlier are present in the colorful and picturesque rock of "Meat", the intense hard rock of "Look Around", with its outstanding and enormous guitar solo by Rogers, the semi-acoustic "One Way Glass", the emotive "Ashes to the Wind", and a nod to 60s rock with their cover of Bob Dylan's "It's All Over Now, Baby Blue". The album delves into the roots of country blues with "Down Home" and the dense mid-tempo "Our Friend George". Finally, the album closes with more experimental approaches in the hypnotic instrumental "Wind" and the progressive "Glorified Magnified".

Manfred Mann´s Earth Band-Messin´ (1973)

In 1973, Manfred Mann's Earth Band released their third album, "Messin' ", a record that followed the stylistic path of their first two works, with its blues and R&B influences interwoven with their burgeoning progressive rock sound. The lineup of Mick Rogers (vocals and guitar), Manfred Mann (keyboards), Colin Pattenden (bass), and Chris Slade (drums) was beginning to solidify, and some time later they would create one of their best albums, "Solar Fire". But focusing on "Messin' ", they began to showcase characteristics that would establish them as one of the best progressive rock bands, such as the expansive tracks, an almost hard rock rhythm in many passages, and the interplay between guitars, Hammond organ, and synthesizers. The swampy "Mardi Gras Day", the bluesy "Black and Blue", the jazzy "Messin'", the emotive "Cloudy Eyes" or the energetic "Pretty Good", make up a solid work that little by little approached the sound that would make them world famous in the years to come.

Manfred Mann´s Earth Band-Angel Station (1979)

As we've mentioned before, the 1980s marked a turning point for all those bands that had achieved creative and commercial success during the 1970s. Manfred Mann's Earth Band was no exception, adapting to the changing times while preserving their original musical philosophy. It was in this context that the band, led by keyboardist Manfred Mann, released their ninth album, "Angel Station" (a title referencing a London Underground station). Mann, along with Chris Thompson (vocals), Geoff Britton (drums), Pat King (bass), and Steve Waller (guitar), created a solid work that displayed certain new wave influences and commercial sounds within their usual progressive framework. That commercial appeal is evident in the opening track, "Don't Kill It Carol", a thunderous classic rock song driven by bass, guitar, and keyboards. Another rock classic appears in their version of Bob Dylan's "You Angel You", which showcases the band's knack for performing such successful covers. On the other hand, the hypnotic and sublime "Angels at My Gate", the bluesy "Belle of the Earth", the sarcastic "Resurrection", the epic and iconic "Waiting for the Rain", and the somber "Hollywood Town" complete an album that is as enjoyable as it is commendable, at a time in history when artists had to tread carefully to avoid musical bankruptcy.

Aragorn-The Suite (1973)

Aragorn's short career lasted only a few months, just enough time to record an album that was initially released in a limited edition of fifty copies, until many years later it was rediscovered and reissued on CD. This Australian band was led by a talented classically trained musician named Oleg Dietrich, who in 1967 had begun composing a work called "The Suite", influenced by the book "The Lord of the Rings". Years later, he finished most of the composition and formed a band called Aragorn to record and officially release it. With a fully established lineup, they recorded "The Suite", a record that draws directly from the roots of British progressive rock with echoes of medieval folk and jazz. The work displays great intensity, with a sober and complex composition, featuring dense passages in a series of fluid, separate pieces that result in a hidden masterpiece of progressive rock.

Premiata Forneria Marconi-Storia di Un Minuto (1972)

In the late sixties, the British progressive rock movement was in full swing, and hundreds of bands from numerous countries influenced by the genre ventured to experiment with their own sounds in search of success and glory. One of these many bands was the Italian group Premiata Forneria Marconi, who absorbed this new rock sound, fusing it with different elements such as Italian music, creating their own unique identity. In this context of effervescence and creativity, this Italian band released their second album in 1971, "Storia di Un Minuto", a record that departed completely from the melodic, psychedelic pop sound of their debut. This second album is characterized by reflective and complex passages that support impeccable instrumentation, as demonstrated in the pastoral "Impressioni di Settembre". The following tracks, such as "Paloma…Quando", a sentimental piece reminiscent of medieval music, and the atmospheric "La Carrozza di Hans", continue in this introspective vein, with touches of drama. The popular Italian tarantella style shines through in the lively "E Festa", driven by extroverted keyboards, while jazz improvisation is present in "Paloma…Quando Part II". To close the album, the band reserves its most progressive moment with the experimental "Grazie Davvero", which features precise orchestral arrangements and an outstanding acoustic ending. "Storia di Un Minuto" proved to be an excellent starting point for Premiata Forneria Marconi, who in the following years would release such monumental works as "Per Un Amico" and "Photos of Ghosts", “L´ Isola Di Niente” or “Chocolate Kings”, becoming one of the biggest bands of the Italian progressive movement and the one with the greatest international impact.

Premiata Forneria Marconi-L'Isola di Niente (1974)

Amidst the buzz surrounding the success of “Photos Of Ghosts” in the English-speaking market, the Italian band Premiata Forneria Marconi embarked on a new project, their fourth release chronologically titled “L'Isola Di Niente” (The Island of Nothing). Recorded with meticulous production, the band took significantly more time to develop the musical structures, resulting in greater instrumental and lyrical depth. This shift is evident in the opening track, the title track, an instrumental interlude where Franco Mussida's guitar and Franco Premoli's keyboards, accompanied by a haunting choral arrangement, showcase the strength of their new sound. This track is followed by the progressive “La Luna Nuova” (The New Moon), where the keyboardist once again takes center stage with his Moog synthesizer sounds. The Mediterranean melody of “Dolcissima Maria” and the jazzy “Is My Face On Straight” are the tracks that lead to a spectacular closing with the lively “Via Lumiere”, the culmination of another masterpiece from one of the best bands to have emerged from Italy.

Premiata Forneria Marconi-Jet Lag (1977)

With their eighth album, "Jet Lag", the Italian band Premiata Forneria Marconi forged a new musical path, abandoning their poetic lyrics and singing in English without the involvement of lyricist Peter Sinfield, who had translated the albums "Per Un Amico" (released as "Photos of Ghosts") and "L'Isola Di Niente" (released as "The World Became the World"), both for the English-speaking market. This time, the band focused primarily on the ambitious North American market, producing a work closer to the jazz fusion/rock style so popular in the late seventies. The interplay of the rhythm section, composed of Franz Di Cioccio and bassist Jan Patrick Djivas, is truly electrifying and complex, while the absence of the usual horn section, due to Mauro Pagani's departure, is compensated for by Gregory Bloch's excellent violin. Special mention must be made of Franco Mussida's guitar, displaying an unusual intensity with dizzying riffs reminiscent of hard rock. From the incredible title track, a superb progressive jazz-rock composition, to the pastoral and instrumental "Peninsula", the Italian band delves into and finds an unclassifiable sound within progressive rock, always remaining true to the essential Italian progressive approach. The vocals perfectly complement the overall musical philosophy, and while they don't quite reach the eloquence of their emblematic works, they still retain moments of grandeur. The rest of the repertoire consists of pieces that navigate between pure progressive rock ("Traveler"), highly talented instrumental exercises ("Meridiani"), and avant-garde explorations like the energetic "Left-Handed Theory". Without a doubt, "Jet Lag" is another essential work from Premiata Forneria Marconi, despite the substantial stylistic shift from their initial sound.

The Next Morning-The Next Morning (1971)

The Next Morning was a short-lived American band founded in New York City by Trinidadian guitarist Scipio Sargeant, who had emigrated to the Big Apple in the late 1960s. Once settled in the city, he formed a close friendship with guitarist Bert Bailey, and together they decided to create a band in the style of the Jimi Hendrix Experience's hard rock and psychedelic, acid blues rock. To this end, they recruited drummer Herb Bailey, organist Earl Arthur, and singer Lou Phillips. After a series of concerts in various New York venues, the band garnered significant media attention and was signed to a subsidiary of Rhino Records. With the support of this label, they recorded their first and only album at Electric Lady Studios in New York City. The final result of this album is a clear example of Jimi Hendrix's tremendous influence on the band, who, driven by a dizzying and strident organ and fuzz guitars, left a repertoire full of psychedelic and hard rock sounds, with hints of funk and soul as demonstrated in the tracks "Jam Of Love", "Life Is Love", "The Next Morning", "Changes of the Mind" or "Back to the Stone".

Frank Marino-The Power Of Rock and Roll (1981)-Juggernaut (1982)

In 1981, Canadian guitarist Frank Marino parted ways with Mahogany Rush to begin releasing his subsequent albums under his own name. His first solo album was "The Power of Rock and Roll", released on Columbia Records. However, his backing musicians on this album remained the same as in his band, starting with his brother Vince Marino on guitar, bassist Paul Harwood, and drummer Jim Ayoub. What didn't change was his characteristic incendiary style, as demonstrated in the tracks "The Power of Rock and Roll", "Play My Music", "Stay With Me", and "Young Man", while the exhilarating hard rock emerges in the fantastic guitar tour de force "Runnin' Wild" and the dizzying "Go Strange". A year later, Frank Marino paid homage to AOR sounds with the release of "Juggernaut", in which the man considered the Canadian Hendrix showed himself to be quite comfortable setting aside his guitar hero to focus on the songs. An album featuring tracks such as "For Your Love", "Stories Of a Hero" or "Strange Dreams".

Frank Marino & Mahogany Rush-What´s Next (1980)

At the start of the 1980s, Canadian guitarist Frank Marino released his seventh album with his inseparable band Mahogany Rush, this time with the addition of Vince Marino (Frank's brother) on second guitar. The rest of the lineup remained the same: bassist Paul Harwood and drummer Jimmy Ayoub. Despite the growing emphasis on melody and the ubiquitous keyboards that were beginning to take hold in rock music during those years, Frank Marino was still determined to expand his powerful 1970s hard rock sound, as evidenced by "What's Next", with a repertoire packed with tremendous songs like "Loved By You", "Finish Line", "Something's Comin' Our Way", and powerful covers such as the traditional blues "Rock Me Baby", Bob Diddley's exhilarating "Mona", and The Doors' frenetic "Roadhouse Blues".

Etna-Etna (1975)

Etna was an interesting Italian band with a curious career, reflected in three albums released under different names. Formed in the early 1970s in Sicily by brothers Agostino and Antonio Marangolo (drums and keyboards respectively), guitarist Carlo Pennisi, and bassist Elio Volpini, they moved to Rome in early 1971. There, they established their base of operations and released several albums focused on progressive hard rock under the name Flea On The Honey. After several lineup changes, the band disbanded for a time until 1975, when the original members reunited and, under the name Etna, released their only self-titled album. In this new release, the band shifted towards melodic jazz-rock, creating a superb instrumental jazz-rock fusion album driven by guitar and keyboards. Echoes of iconic bands like the Mahavishnu Orchestra, Weather Report and Nucleus, seasoned with influences from the Canterbury sound, made up one of the most appreciated albums of transalpine and European jazz rock.

Streetwalkers-Red Card (1976)

After the breakup of Family, two of its members, Roger Chapman and John Whitney, formed Streetwalkers, a group that followed a similar stylistic pattern to its predecessor. Originally called the Chapman Whitney Band, after signing with Reprise Records, they recorded the album "Chapman Whitney Streetwalkers", with a lineup that also included other former Family members such as Ric Grech and John Wetton, as well as former King Crimson members Mel Collins, Ian Wallace, and Michael Giles. After several concerts in Great Britain, the group changed its name to Streetwalkers, with the addition of drummer Nicko McBrain. "Downtown Flyers" was Streetwalkers' debut album, which had little impact in the United States, but was very well received in Europe. A year later, they released "Red Card", which achieved considerable success on the British charts. For this album, the band had expanded with guitarist Bobby Tench (formerly of Jeff Beck) and bassist Jon Plotel. The reception of this splendid second album led to them being chosen for various tours across England alongside Outlaws, Little Feat, the Sensational Alex Harvey Band, and The Who. "Red Card" comprises a repertoire of infectious, classic-rock-oriented songs, with Chapman's raspy vocals as the main attraction. The opening groove of "Run For Cover", the spontaneous and carefree "Roll Up Roll Up", the bluesy groove of "Me An' Me Horse An' Me Rum", the magnificent "Shotgun Messiah" and "Decadence Code", and the hypnotic "Crazy Charade" are all part of one of the gems of the best British rock of the 70s.

Eric Clapton-461 Ocean Boulevard (1974)

Few musicians like Eric Clapton can boast of having belonged to four of the greatest bands in history: The Yardbirds, John Mayall and The Bluesbreakers, Cream, and Blind Faith, with whom he left behind some of the masterpieces of rock music, and yet having a solo career full of ups and downs. This somewhat diminished his credibility, not as a guitarist, which is beyond question, but due to his consistently limited songwriting ability. Even so, his extensive discography includes some of the best albums recorded in the 1970s, such as "461 Ocean Boulevard", released in 1974. This second album was his second and definitively cemented his solo career. In this second release, Clapton skillfully delves into the roots of American music, blending blues, country, and R&B with pop, reggae, and rock. Suggestive tracks like "Let It Grow" alternate with exquisite versions such as Bob Marley's "I Shot The Sheriff", Willie Dixon's "I Can't Hold Out" or Johnny Otis' "Willie and the Hand Jive", while the traditional and lively "Motherless Children" or the beautiful folk blues "Please Be With Me", led the album to the top of the charts on both sides of the Atlantic.

Asia Minor-Between Flesh And Divine (1980)

Asia Minor was a French band that emerged as the golden age of progressive rock was ending and the European neo-progressive movement was beginning to take hold. Formed by several musicians of Turkish and French descent, they released two magnificent albums that are among the finest recordings of the European avant-garde genre. Influenced by the atmospheric and symphonic sound of Camel, their debut in the late seventies showed great promise thanks to their exuberant symphonic style. However, all their creativity and immense talent would be fully realized on their second full-length album, "Between Flesh and Divine", considered one of the jewels of French progressive rock. It features highly musical compositions brimming with intricate interplay between all the instruments, as exemplified in tracks such as the harmonious "Nightwind", the bucolic "Northern Lights", the dark psychedelic "Lost in a Dream Yell", and the dynamic "Dreadful Memories". However, the lack of media recognition, both commercially and critically, would precipitate the dissolution of Asia Minor some time after the release of this second album. 

Electric Light Orchestra-Eldorado (1974)

In 1974, Electric Light Orchestra was still in the midst of a perfectionist process, searching for a distinctive style that blended progressive rock with the pop melodies inherited from The Beatles. That same year saw the release of "Eldorado", the band's fourth album, where frontman Jeff Lynne began exploring how to make his progressive and complex sound both addictive and popular. Conceived as a concept album about dreams and the magic of humankind, this new release features a 30-piece orchestra conducted by Louis Clark, in addition to Lynne's own band, comprised of Richard Tandy (keyboards), Hugh McDowell (cello), Bev Bevan (drums), Michael Edwards (cello), Mike Kaminski (violin), and Mike de Albuquerque (bass). This arsenal of musicians and instruments transforms the album into an uplifting torrent of grandiose progressive pop. This grandiosity is reflected in the opening "Eldorado Overture" and the closing "Eldorado-Finale". Here also appears one of the band's iconic pieces, the exuberant pop "Can't Get It Out Of My Head", a clear indication of what was to come in the following years. The poignant "Boy Blue", a classic piece featuring prominent brass instruments and string interludes, the melodic "Laredo Tornado", the rocking "Poorboy", the ingenious "Nobody's Child", and the brilliant "Eldorado" showed that Jeff Lynne was on the right track, gradually developing the characteristic sound of Electric Light Orchestra, a distinctive style that would later bring them definitive acclaim.

Beyond-O-Matic-Sonic Reclaimator (1996)

Beyond-O-Matic was an interesting American space rock band that released four noteworthy albums between 1994 and 2010. In 1996, with their second album, "Sonic Reclaimator", this band comprised of Peter Fuhry (vocals, guitar, accordion, flute, and clarinet), Glenn Wilcox (drums), and Kurtz Stenzel (keyboards), demonstrated the compositional maturity that had been somewhat lacking in their first and commendable release, "The Flight of Luis García" (1994). On this album, their brilliant approach, featuring expansive tracks, atmospheric and relaxed passages under the ever-present ambient synthesizers, and hard rock influences, makes this release one of the best American progressive efforts of the 1990s.

Flame Dream-Out In The Dark (1981)

In the 1980s, among the hundred or so progressive rock or art rock bands, few adhered to the avant-garde philosophy of the 1970s. However, several dozen maintained the germinal spirit of the genre's beginnings in the late 1960s. One of these was Flame Dream, a Swiss band that drew from the classic symphonic rock of Yes and Genesis during their golden age. Their style, driven by Ronald Ruckstuhl's keyboards, clearly displays these influences but with an added accessibility for modern audiences. The addition of wind instruments like the flute and saxophone broadens their musical palette, making them much more than mere imitators. Formed in 1977 in Lucerne, they released five superb albums over ten years, highly regarded today by proghead fans. "Out In The Dark", released in 1981, was the third album by this Swiss band, comprised of Roland Ruckstuhl (keyboards and synthesizers), Peter Wolf (wind instruments and vocals), Urs Hochuli (bass and vocals), Peter Furrer (drums), and Dale Hauskins (guitar). Tracks like "Wintertime Nights", "Nocturnal Flight", and "Strange Meeting", with their vintage Genesis influence, along with the elaborate instrumental "Kaleidoscope", make up a work that both revived and maintained a musical essence that seemed somewhat outdated in the early 1980s.

Blue Oyster Cult-Curse Of The Hidden Mirror (2001)

After a three-year hiatus, in 2001 the New York band Blue Oyster Cult released their fourteenth album, a prequel to "Heaven Forbid", showcasing a lighter sound but still clearly rooted in the metal of their 1970s era. At that time, Blue Oyster Cult still consisted of three of its founding members: Eric Bloom (vocals and guitar), Buck Dharma (guitar and vocals), and keyboardist Allen Lanier, while drummer Bobby Rondinelli and bassist Danny Miranda completed the lineup. "Curse of the Hidden Mirror" features memorable tracks such as the heavy rock anthem "Showtime", the hard rock songs "The Old Gods Return" and "Eye of the Hurricane", the dynamic "Pocket", the heavy metal track "One Step Ahead of the Devil", and the semi-progressive "Dance on Stilts". While not reaching the creative heights of their 70s masterpieces, "Curse Of The Hidden Mirror" is another magnificent recording from this legendary American band.

Frank Zappa-Roxy & Elsewhere (1974)

Recorded at Hollywood's legendary Roxy Theatre between December 10 and 12, 1973, "Roxy & Elsewhere" was Frank Zappa's third live album. Released as a double LP, it contained previously unreleased material of unquestionable quality, while also showcasing the enormous versatility of the brilliant American musician. During those years, Zappa had assembled one of his best lineups, featuring George Duke (keyboards), Don Preston (synthesizers), Frank Zappa (guitar and vocals), Chester Thompson (drums), Tom Fowler (bass), Jeff Simmons (guitar), Ruth Underwood (vibraphone), Bruce Fowler (trombone), Napoleon Murphy (saxophone), Walt Fowler (trumpet), and Ralph Humphrey (percussion). The content of this live recording ranges from jazz rock and fusion to operatic and ironic rock, with a bluesy undercurrent and a series of ingenious instrumentals, in addition to Zappa's usual banter and humorous, sarcastic dialogue. The jazz rock/blues of "Penguin In Bondage", the humorous funk of "Dummy Up", the twisted rhythm and blues of "Village of the Sun", the energetic jazz rock of "Cheepnis", and the progressive jazz fusion of "Be-Bop Tango" showcase the excellent talents of all the musicians involved in this double album, beginning with Zappa's heart-wrenching guitar solos and continuing with the magnificent work of George Duke, Ruth Underwood, Chester Thompson, and Napoleon Murphy.

Mahalia Jackson-In The Upper Room (1959)

Mahalia Jackson is undoubtedly the most admired and respected gospel singer and African American religious music artist in history. Considered a diva of the genre, she transcended being a prominent singer and performer; her religious and social commitment led her to participate in numerous advocacy activities alongside Reverend Martin Luther King Jr. Despite collaborating with jazz greats like Duke Ellington, she never accepted offers to record or participate in projects within that genre, limiting herself to singing spiritual music and recording countless works within that style. Nominated for several Grammy Awards and winner of other prestigious prizes, her discography, while not extensive, is one of the richest and most fundamental in the history of gospel music, having resonated worldwide and cementing her status as one of the great icons of contemporary music.

The Small Faces-Ogdens´Nut Gone Flake (1968)

One of the quintessential mod groups was Small Faces, who, with four extraordinary albums, firmly established their influence and were the only band to challenge the kings of the genre, The Who. Formed in the mid-1960s, it all began when guitarist Steve Marriott, who already had the experience of releasing the commercially unsuccessful track "Give Her My Regards", met bassist Ronnie Lane by chance in a music shop. Their shared musical tastes soon inspired them to form a band, recruiting drummer Kenny Jones and keyboardist Jimmy Winston. Taking advantage of Winston's influence (his parents owned a famous pub), they rehearsed and played their first gigs there. Shortly after, in the summer of 1965, Decca produced their single "Whatcha Gonna Do About It", which became a significant hit on the British charts. However, it was their next single, "Sha La La La Lee", that would propel them to the top of the charts. Before this, Winston left the group and was replaced by Ian McLagan, a keyboardist with greater technical skill. With a string of more good songs charting, the group immersed themselves in early 1966 in recording their self-titled debut album, "Small Faces", which contained the aforementioned hits, as well as others like the bluesy "You Need Loving" and their cover of Sam Cooke's "Shake". By this point, the group had achieved the perfect balance, particularly with the Marriott-Lane duo, and the results were reflected in their numerous concerts throughout Great Britain. This was a time of heightened mod fervor, so it was no surprise that the group consistently sold out venues. A series of great songs, such as "All or Nothing", "My Mind's Eye", and "I Can't Make It", foreshadowed their second album, "From the Beginning" (1967). That same year, the track "Itchycoo Park" became the English response to the hippie utopias of American music arriving in Europe. Another album, also titled "Small Faces" (1967), preceded their masterpiece, "Ogdens Nut Gon Flake" (1968), a work heavily influenced by The Beatles' "Sgt. Pepper's Lonely Hearts Club Band", but far more psychedelic, experimental, and conceptual. However, it was precisely this last album that marked the beginning of the Small Faces' final mod phase, as they disbanded a few months later, but not before releasing some excellent tracks like "The Universal", "The Journey", and "Afterglow (of Your Love)". Shortly after, Jones and Lane recruited Rod Stewart and Ron Wood to form The Faces, a band with mixed success due in part to Stewart's lack of interest, as he had begun his solo career. Nevertheless, they achieved a number one hit with the album "Ooh La La" (1973). Marriott, meanwhile, embarked on a new adventure with his band Humble Pie, which would achieve great success in the following years. Years later, in the mid-seventies, Small Faces were revived by Jones, McLagan, and Marriott, who, along with bassist Ricky Willis, formerly of Peter Frampton's band, recorded two albums with little impact: "Playmates" (1977) and "78 In the Shade" (1978).

Glass Hammer-The Inconsolable Secret (2005)

Fueled by a fascination with fantasy literature (Tolkien, C.S. Lewis, and John Krakauer), which its leaders Steve Babb and Fred Schendel profess, the American band Glass Hammer has been reflecting a clear influence of 70s progressive rock in their albums for over ten years. Both musicians play a wide range of instruments, although Babb primarily handles keyboards and bass, while Schendel plays guitar and drums. While both are also vocalists, the singing duties are generally entrusted to different singers who have participated on all their albums. In 2005, Glass Hammer released their eighth album, "The Inconsolable Secret", which, in addition to their core members, featured vocalists Walter Moore and Susie Bogdanowicz, drummer Matt Mendians, and some twenty backing vocalists, guitarists, and string and wind instrumentalists. With its structured development, the band displays a remarkable balance between complexity and accessibility in this new release, where the vocals blend seamlessly into the virtuosic instrumental framework of its members. The progressive epic "The Knight of the North", the intrepid "Long and Long Ago", the medieval "Morrigan's Song", the dark "Walking Toward Doom", and the grandiose "Having Caught a Glimpse" showcase the magnificence and grandeur of this astonishing American band.

The Outlaws-Dixie Highway (2020)

After more than 50 years in the business, in 2020 the southern rock band The Outlaws reunited to record a new album titled "Dixie Highway", a name taken from the famous highway that connects Chicago and Miami in the United States. Of the legendary lineup that in the 1970s gave us immortal southern rock classics like "Green Grass and High Tide", "There Goes Another Love Song", "Breaker-Breaker", "(Ghost) Riders In The Sky", and "I Can't Stop Loving You", only guitarist and singer Henry Paul remains. The current lineup is completed by Monte Yoho (drums), Dale Oliver (guitar), Randy Threet (bass and vocals), Dave Robbins (keyboards), Steve Grisham (guitar and vocals), and Jaran Sorenson (percussion). On their seventeenth album, the Florida-based band once again showcases the typical ingredients of Southern American roots rock: driving rhythms, powerful, sharp guitars, melodies brimming with country rock sounds, and exhilarating guitar improvisations. Tracks like the incendiary "Southern Rock Will Never Die", "Slow Down", "Dixie Highway", "Endless Ride", and the heartfelt tribute to departed members, "Heavenly Blues", make up a work that demonstrates the immense power that American roots rock continues to wield throughout the Southern states.

Heads In The Sky-Heads In The Sky (1981)

Despite being recorded in 1981, Heads in the Sky's self-titled album sounds more like it was created ten years earlier than it was recorded at the time, due to the lush Mellotron sounds, guitar arpeggios, and dynamic instrumental passages, all influenced by the Canterbury sound, space rock, and early 70s art rock. Heads in the Sky emerged from Canada in the late seventies, driven by multi-instrumentalist Russ Walter, who, along with several other musicians such as Steve Webster, John Cheesman, Dave Norris, and Martin Springett, released a mini-LP in 1979 titled "Poetry & Science". Two years later, with a now established band consisting of Larry Stanley (piano), Chris McKim (Mellotron), Ken Miskov (bass), plus former members Webster (cello), Fielding (drums), and Walker (guitars, keyboards, flutes, etc.), they undertook the recording of their first full-length album, which would ultimately be the last recording by this magnificent band. Echoes of Pink Floyd's more ambient side, the sound of Canterbury progressive jazz, forays into neo-progressive rock, and glimpses of classic symphonic rock parameters are what this forgotten but excellent album of the best art rock of the early 1980s offers. 

Tangerine Dream-Thief (1981)

Throughout their career, the German band Tangerine Dream also composed film scores, which musically remained true to the electronic and spacey style of their official albums. Having already composed the soundtrack for William Friedkin's 1977 film "Sorcerer", a remake of the French horror film originally titled "Le Salaire de la Peur", they returned to filmmaking four years later with "Thief", a Michael Mann feature film about a safecracker played by James Caan. The film blends mystery, elegant action sequences, and a realistic and existential narrative of suspense. In this work, Edgar Froese, Chris Franke, and Johannes Schmoelling created a repertoire that can easily be considered another organic album within their extensive discography. Replete with atmospheric synthesizer and keyboard sounds, sequenced rhythms, melodramatic and somber passages, and stunning electric guitar solos courtesy of Froese, the music perfectly encapsulates the film's plot. Tracks like the Pink Floyd esque "Dr. Destructo", the ethereal "Diamond Diary", the emphatic "Scrapyrad" and "Igeneous", and the glorious "Beach Theme" and "Confrontation" reflect and further enhance this splendid cinematic experience.

Nazareth-Rampant (1974)

The Scottish band Nazareth's continuous tours across the United States, promoting their early albums, clearly influenced the sound of their fifth album, "Rampant". In addition to various allusions to American life and culture, the album also reflected their musical roots. Recorded in Switzerland during the first months of 1974, this fifth release saw the band comprised of Dan McCafferty (vocals), Pete Agnew (bass, guitars, and vocals), Manny Charlton (guitar), and Darrell Sweet (drums) craft a work that, while showcasing their characteristic laid-back and versatile rock, leaned towards Southern rock sounds and the acoustic style typical of American rock. These American influences appear in the Southern rock track "Silver Dollar Forger", the atmospheric folk-rock song "Sunshine", and the infectious "Shanghai'd in Shanghai". On the other hand, their signature sound is present in the rock and roll anthem "Glad When You're Gone", the heavy "Loved and Lost", the intense "Light My Way" and the galloping "Jet Lag". As was customary on all their previous albums, this one also includes a cover of a song by a band other than themselves, this time the classic by The Yardbirds, "Shape of Things", reimagined here in a powerful hard rock style. With a gold record and excellent sales worldwide, this album confirmed Nazareth as one of the most popular and successful hard rock and classic rock bands of the 1970s.