Fish-A Feast of Consequences (2013)

After a six-year absence, former Marillion singer Fish returned in 2013 with "A Feast of Consequences", his tenth album, following the brilliant "13th Star". This tenth album was released after Fish himself experienced several traumatic events, such as the end of his marriage and a painful bout of throat cancer from which he would eventually recover. As had happened years earlier, when the Scottish singer was with his original band, and as reflected in the album "Clutching at Straws", his personal struggles have often inspired his most powerful works, and "A Feast of Consequences" is the most palpable example of this. This album showcases a more mature Fish, with sophisticated art rock characterized by grand melodic compositions, ingenious lyricism, and clear British folk influences. The lyrics are socially conscious, addressing topics ranging from the futility of war to political intrigue, all treated with his charismatic insight. While not fully embracing progressive rock, there are glimpses of the avant-garde, such as the enormous suite "High Wood", an epic that incorporates elements of powerful rock, Celtic music, and exuberant symphonic sounds. The epic "Perfume River" is a subtle reflection that contrasts with the sophisticated pop of "All Loved Up", or the sumptuous "Blind To The Beautiful" and "The Other Side of Me", while the evocative "The Great Unraveling" is another highlight of this magnificent album by the towering Scottish singer.

Mingo Lewis-Flight Never Ending (1976)

Mingo Lewis rose to fame when he joined Santana's band, and later Return to Forever, the band of Chick Corea and Al Di Meola, as well as collaborating with Todd Rundgren. In 1976, Lewis released his only solo album, "Flight Never Ending", on which the talented drummer collaborated with various session musicians from Columbia Records, including Eric McCann, David Logeman, Michael Kapitan, Kincaed Miller, Louis Bramy, and Randy Sellgren. "Flight Never Ending" is considered by many to be one of the most underrated jazz-rock albums of the 1970s. It's an energetic and powerful work featuring Lewis's superb drumming and surprising instrumentation from a group of very talented but largely unknown musicians. Latin-infused tracks like the exotic "Visions of Another Time", funky movements like "Trapezoid", sound experiments like "Magnary Monsters", full jazz rock tracks like "Flight Never Ending", or memorable musical fusion dynamics like "Heartsong", constitute a dazzling and forgotten work of the best jazz rock of the seventies.

Colosseum II-Electric Savage (1977)

A year after Colosseum's second-era debut album, the band introduced a new bassist on their second record: John Mole, who replaced Neil Murray. Equally important, and perhaps more significantly, was their shift towards an almost entirely instrumental style of progressive jazz-rock. We say "almost" because Gary Moore lends his vocals to one track, though that song is arguably the most forgettable of all those included on this new album. On "Electric Savage", the group comprised of Gary Moore (guitar and vocals), Don Airey (keyboards), John Hiseman (drums), and the aforementioned John Mole fully delves into the realm of jazz, rock, and avant-garde structures. This avant-garde approach is evident in the progressive track "The Scorch", while Moore's powerful guitar riffs drive the jazz-rock tracks "Put It This Way" and "All Skin & Bone". On the other hand, the dispensable "Rivers", featuring Moore's vocals, and the ostentatious "Lament" somewhat lower the high bar set on the first side of the album. The rest consists of "Desperado", a vigorous jazz fusion piece, and the ethereal "Am I" and "Intergalactic Strut", two tracks where Airey's keyboards subtly overshadow Moore's guitar, and which, along with the opening songs, are the highlights of the legendary British band's second release.

Free-Tons Of Sobs (1969)

Free left behind an excellent legacy steeped in pure rock adorned with blues, quickly establishing themselves as one of the most legendary blues-rock bands in the world. Their debut album, "Tons of Sobs", arrived in early 1969, released on the Island label. It went somewhat unnoticed due to the relative immaturity of its members and compositions lacking originality. However, this group, composed of the young Paul Rodgers, Simon Kirke, Paul Kossoff, and Andy Fraser (all barely eighteen years old), left us with a series of virtuosic songs that, despite a touch of compositional anarchy, deserve to be hailed as excellent examples of the quartet's instrumental talent. Experimental blues-rock tracks like "Worry", "Walk in My Shadow", "Wild Indian Woman", "Going Down Slow", and the brilliant "The Hunter" already showcased the promising talent of these early Free.

Gong-Gong Live, Etc (1977)

Gong were a surreal, cosmic band who created some of the most extravagant albums, distinguished by their long instrumental improvisations, spacey atmospheres, psychedelia, satirical lyrics, and eccentric, chaotic musicality. After releasing a series of works bordering on the absurd and outlandish, such as their acclaimed albums for fans of the most unique progressive rock the legendary "Flying Teapot", "Angel's Egg", "You", and "Shamal", they released the double live album "Gong Live, Etc", a perfect showcase of their wild shows, encompassing some of the material from their studio albums. However, the live versions of all this material, while somehow summarizing the strangeness and extravagance of the group, don't quite capture the musical magic of the madness revealed in the original albums. Even so, the listener is delighted to hear the driving rhythms of their stylistic philosophy, from Steve Hillage's guitar to Didier Malherbe's saxophone and flute, Tim Blake's ethereal keyboards, Pierre Moerlen's dissonant and talented drumming, and Daevid Allen's burlesque and sometimes off-kilter vocal antics. This live recording perfectly showcases the unprecedented eccentricity that this wild and talented British band displayed on stage.

Yes-Talk (1994)

Yes's fourteenth album featured the same lineup that had recorded "90125" and "Big Generator", both released in the mid-1980s. This lineup consisted of Jon Anderson (vocals), Trevor Rabin (guitars, keyboards, vocals), Alan White (drums), Chris Squire (bass), and Tony Kaye (Hammond organ). Due to pressure from Atlantic Records' subsidiary, Victory Records, guitarist Trevor Rabin took on the responsibility for production and almost all of the songwriting for this new recording. He also handled much of the keyboard work, programming, and the use of the most advanced recording technology of the time. Rabin, in collaboration with Anderson, crafted an album full of catchy, AOR-influenced songs with accessible progressive elements, giving the final result the true essence of the classic Yes sound. Classic rock, steeped in great keyboard and guitar interplay, is present in songs like "The Calling", "Real Love", "State Of Play" or "Walls", while instrumental complexities appear in the epic "Endless Dream", undoubtedly the most progressive track since the "Drama" album era (1980), or in the brilliant "Where Will You Be".

Stratovarius-Episode (1996)

Finland is the birthplace of some of the best heavy metal and progressive metal bands of today: Nightwish, Apocalyptica, Children of Bodom, Sonata Arctica, Amorphis, HIM, Lordi, The Rasmus, and Stratovarius, among many others. Focusing on the latter, considered one of the pioneers of progressive power metal, they were one of the most creative and original bands for much of the 1990s, boasting one of the most extensive and productive discographies, with nearly thirty albums, including studio and live recordings. Formed from the ashes of another band called Black Water, Stratovarius was founded in the mid-1980s in Helsinki by drummer Tuomo Lassila, who, along with guitarist Timo Tolkki, bassist Jyrki Lentonen, and keyboardist Antti Ikonen, released their first album, "Fright Night", in 1989 under the CBS label. After three more albums, the band would release what is considered their best work, "Episode", where the prodigious neoclassical sounds of progressive metal, driven by Tolkki's apocalyptic guitar, together with the sublime keyboards of new member Jens Johansson, make up an outstanding album with devastating and tremendously crushing tracks like "Father Time", "Speed ​​Of Light", or "Will The Sun Rise?", not forgetting the more complex and progressive "Stratosphere", "Babylon", and "Uncertainty".

Stan Webb´s Chicken Shack-That´s The Way We Are (1978)

Chicken Shack was a British band primarily remembered for its keyboardist, Christine Perfect, who left to join Fleetwood Mac. While not a leading band, Chicken Shack was quite popular in the late 1960s, placing two albums in the top 20 of the UK charts. However, their frontman wasn't Christine Perfect, but rather the fantastic guitarist Stan Webb, who thrilled audiences by mingling with them during concerts thanks to a guitar cable that measured approximately 30 meters. In the mid-1960s, he formed this blues-rock band, and they have been releasing albums for over 50 years. Chicken Shack made their debut in 1967 alongside Peter Green's Fleetwood Mac in Windsor, during the National Jazz and Blues Festival of Great Britain. The group was the second most successful artist on the Blue Horizon label, second only to Fleetwood Mac. Chicken Shack's first two albums, "40 Blue Fingers Freshly Packed and Ready to Serve" and "OK Ken", were quite successful, partly because the presence of a woman as keyboardist and vocalist was significant and unusual in those years, a scene largely dominated by men. "That's The Way We Are" (1978), the band's tenth album, features a selection of original songs and covers, characterized by soulful guitars, powerful blues rock, and even boogie rock. From the opening, forceful tracks "The End" and "It Wasn't Me", the album reaffirms a band that sounds very tight and powerful, yet also includes quieter moments, as in the melodic "Emily". Chicken Shack is one of those bands that never usually appear in historical rock lists, but whose legacy deserves to be given its due, as one of the great milestones of British blues.

Various Artists-Tales From Yesterday (1995)

In the mid-1990s, the progressive rock label Magna Carta released a series of tributes to the legends of 1970s progressive rock. Bands such as Yes, Jethro Tull, Genesis, Pink Floyd, and Rush, among others, received their respective tributes. The artists who performed the versions featured on this Yes tribute included former members Patrick Moraz, Steve Howe, and Peter Banks, as well as neo-progressive, jazz-rock, and classic rock artists such as Enchant, Robert Berry, Steve Morse, Trent Gardner, Billy Sherwood, Cairo, and Nick D'Virgilio, among other prominent musicians. Among the most notable pieces are Patrick Moraz's refined version of "Soon," Steve Howe's accomplished rendition of "Turn of the Century," featuring the six-string talent of Steve Howe alongside Annie Haslam's vocals, and contemporary approaches with more dynamic musical visions from Magellan ("Don't Kill the Whale"), Cairo ("South Side of the Sky"), Enchant ("Changes"), and Adam Wakeman ("Starship Trooper"). In all of these, the participants perfectly blend their talent with instrumental performances, creating superb arrangements that technically adhere to the original versions.

Fischer-Z-Going Deaf for a Living (1980)

Fischer-Z were at the forefront of addressing the pressing issues of their time, from political and social matters to the passive warmongering of the Cold War. Their incisive lyrics were adorned with a rich fusion of styles such as ska, reggae, pop, new wave, and rock. With their second release, this quartet comprised of John Watts, Steve Skolnik, Steve Liddle, and David Graham achieved a more cohesive work, composed of a series of songs that combined quality and commercial appeal. Tracks like the carefree "Room Service" introduced them to a wider audience with their commercial hook and infectious rhythm. In addition to this phenomenal debut, other standouts include the catchy "So Long", one of their best-known songs, the danceable "Crazy Girl", the angry "No Right" and "Pick Up/Slip Up", and the rocking "Four Minutes in Durham".

Peter Frampton-Frampton Forgets The Words (2021)

With his eighteenth album, the legendary Peter Frampton paid tribute to some of his favorite artists by releasing a completely instrumental covers album. Ten tracks in which the multifaceted guitarist even ventures into contemporary artists like Alison Krauss and Lenny Kravitz, as well as soul and funk classics such as Sly Stone, Marvin Gaye, and Stevie Wonder, and rock icons like Roxy Music, David Bowie, and George Harrison. Alongside bassist Glenn Worf, rhythm guitarist Adam Lester, percussionist Dan Wojciechowski, and keyboardist Rob Arthur, Peter Frampton explores unexpected sonic territories, shining in each one and contributing his unique and personal touch on the six strings. From refined versions like "Avalon", to the atmospheric sounds of "Loving The Alien", the jazzy fusion tone of "If You Want Me To Stay", the intense melody of "Reckoner", charming ballads like "Maybe" or the furious rock of "Are You Gonna Go My Way", Peter Frampton makes clear his wit and talent with the guitar.

Uriah Heep-Live (1973)

The 1970s were undoubtedly the era that saw the release of some of the greatest and most legendary live albums in rock history. This period showcased the instrumental and stage prowess of hundreds of bands, and "Uriah Heep Live" is one of those iconic double live albums. Recorded with the band's classic lineup in Birmingham in early 1973, while touring in support of "The Magician's Birthday", it presents Uriah Heep at their creative and artistic peak, demonstrating that they were a perfectly oiled machine of progressive hard rock. The live performance features Mick Box's fiery guitar riffs and his powerful interplay with Ken Hensley's Hammond organ, Kerslake's frenetic drumming, and the breathtaking vocals of an apotheosis of passion from David Byron, alongside the vocal and instrumental excellence of bassist Gary Thain. Classics like "Easy Livin' ", "July Morning", "Traveller in Time", "Gypsy", and the majestic "Circle of Hands" feature reworked versions that are longer than the original studio recordings, yet retain their distinct identity. "Uriah Heep Live" is one of the essential live albums in history, a true classic that perfectly captures the essence of the legendary band Uriah Heep on stage.

The Joe Perry Project-Let The Music Do The Talking (1980)

In the late 1970s, tensions were running high among the members of Aerosmith, especially between guitarist Joe Perry and singer Steven Tyler. This led to Perry's departure right in the middle of recording the album "Night in the Ruts". Almost immediately, Perry formed his own band, The Joe Perry Project, while Aerosmith recruited guitarist Jimmy Crespo, although he didn't participate in the recording of the aforementioned album. Focusing on Joe Perry's project, almost six months after leaving his main band, he released his first full-length album, "Let the Music Do the Talking". Recorded at the Hit Factory in New York, Perry officially introduced his band, composed of singer Ralph Mormon, bassist David Hull, and drummer Ronnie Stewart. Here Perry distances himself from his previous band, showcasing a powerful and direct hard rock sound with certain funk influences, in a repertoire comprised of dynamic songs such as the powerful title track, the infectious "Conflict of Interest", the rhythmic hard rock tracks "Discount Dogs" and "Shooting Star", the heavy "The Mist Is Rising", and the funk rock "Rockin' Train". Later came the predictable "I've Got the Rock 'n' Rolls Again" (1981) and the hair metal-oriented "Once a Rocker, Always a Rocker", both quite different creatively from this excellent "Let the Music…".

Colosseum-Valentyne Suite (1969)

Colosseum was one of the first bands to combine jazz and rock, emerging from the union of various rhythm and blues musicians who had been part of several prestigious bands, such as John Mayall's Bluesbreakers and the Graham Bond Organisation. This is how Jon Hiseman (drums) and Dick Heckstall-Smith (saxophone) decided to go their own way, moving away from Mayall's blues school, and form a band. For this, they recruited guitarist James Litherland, keyboardist Dave Greenslade, and bassist Tony Reeves. After naming this new venture Colosseum, offers from several record labels soon arrived, with the British label Fontana ultimately signing them and producing their first album, "Those Who Are About To Die Salute You", which was released in early 1969. On this debut album, Colosseum showcased a style that perfectly fused jazz, swing, blues, psychedelia, and passages of classical music, all wrapped in powerful rock sounds, as demonstrated in tracks like "Mandarin" and the unrestrained "Debut". The progressive element was present in "Beware The Ides Of March", a reinterpretation of Johann Sebastian Bach's classic "Toccata and Fugue in D minor", performed in an astonishing manner by an awe-inspiring Dick Heckstall-Smith. After this lavish debut, the band left Fontana Records and signed with Vertigo, with whom they released their second album, "Valentyne Suite", later that same year. It began as spectacularly as its predecessor, with the powerful "The Kettle", a track infused with rhythm and blues sounds and Litherland's incendiary guitar. "Elegy" followed a similar path, this time featuring Dick Heckstall-Smith in the lead role with his saxophone and a superb string section. At this point, the band returned to its blues roots with the leisurely "Butty's Blues", where an infectious organ and the horn section combine to create an outstanding and almost unbelievable piece. The second side of the original vinyl is almost exclusively dedicated to the progressive suite of the same name, an extraordinary exercise in which all the band's hallmarks come together, with superb performances from every member. This includes Dave Greenslade's intelligent and innovative organ playing, Tony Reeves' precise and rhythmic bass, Dick Heckstall-Smith's passionate sound, Jon Hiseman's powerful and intricate drumming, and James Litherland's expressive guitar work. "Valentyne Suite" is undoubtedly one of the masterpieces of late 1960s progressive rock. However, despite the orgasmic nature of its compositions, its multiple and obvious influences, even though very well structured, were one of the reasons why, due to a lack of unique originality, they could never compete creatively with their contemporaries, such as bands like King Crimson or Yes, to name just two of the most iconic progressive rock bands.

Schicke & Führs & Fröhling-Symphonic Pictures (1976)

This is one of the finest examples of the brilliant German symphonic rock of the 1970s. Created by the trio of drummer Eduard Schicke, guitarist and keyboardist Heinz Fröhling, and keyboardist Gerd Führs, it not only achieved a landmark in German rock composition but also commercially, selling over 10,000 copies in just a few weeks. In this debut album, the trio showcased a stunning instrumental performance brimming with Mellotrons, electric keyboards, and synthesizers, underpinned by the subtle nuances of pastoral guitars and effective drumming. Beautiful melodies, grand stage presence, and superb musicianship transport the listener on a timeless journey through atmospheric soundscapes that blend classical music, cinematic soundscapes, and the haunting, hypnotic sounds of many tracks on this extraordinary album.

Passport-Infinity Machine (1976)

In the mid-seventies, the German band led by saxophonist Klaus Doldinger was at its creative peak, having already left behind a series of prestigious jazz-rock/fusion albums such as "Second Passport", "Hand Made", "Looking Thuru", and "Cross Collateral", all brimming with catchy sounds that fused funk, R&B, rock, and progressive jazz. In 1976, they released their sixth album, "Infinity Machine", in which the German group comprised of Doldinger (saxophone, keyboards, and vocals), Curt Cress (drums), Wolfgang (bass, guitar, and harmonica), and Kristian Schulze (keyboards) created another fantastic record of the best avant-garde jazz. Tracks brimming with funk vibes, like "Ju-Ju-Man", alternate with ambient atmospheres in "Contemplation", energetic fusion pieces in "Morning Sun", refined romantic compositions in "Blue Aurora", space-fusion-oriented tracks in "Infinity Machine", and avant-garde sonic experiments in "Ostinato". For many, this album marked the end of the band's most progressive era, ushering in a more conventional period with a jazz sound geared towards mainstream appeal.

National Health-Of Queues And Cures (1978)

With this album by National Health, the golden age of the Canterbury sound practically came to an end, a movement that had emerged a decade earlier thanks to such emblematic bands as Soft Machine, Caravan, Egg, and Hatfield and the North, among others. National Health was a latecomer to this movement, formed in the mid-seventies, and after several releases, they ceased to exist shortly after the start of the eighties. With a musical style where their influences from jazz-rock and classical music are more than evident, their three releases are considered masterpieces of the genre. In 1978, they released their second full-length album, "Of Queues and Cures", curiously released in the same year as their debut album, but nine months later. Formed by four excellent musicians with extensive experience Dave Stewart (organ and keyboards), Phil Miller (guitar), John Greaves (bass), and Pip Pyle (drums) all former members of some of the greatest British bands of all time, such as Khan, Egg, Matching Mole, Hatfield and the North, and Gong, this splendid album ranges from tracks bordering on free jazz rock, like the frenetic "The Bryden Two-Step (For Amphibians)", to experimental pieces such as the dark "Squarer for Maud", and including exciting and dynamic musical exercises like "Dreams Wide Awake" and "Binoculars". Undoubtedly one of the most important works of the Canterbury scene, this album transcends the boundaries of avant-garde and jazz rock, taking us on a musical journey as exceptional as it is unique.

Gentle Giant-Interview (1976)

"Interview", released in 1976, was Gentle Giant's eighth studio album, published at a crucial moment for the British band as they faced the difficult task of surpassing the previous year's landmark album, "Free Hand". For this recording, the band comprised of regulars Ray and Derek Shulman, Gary Green, Kerry Minnear, and John Weathers crafted a less glorious and ingenious work, despite containing some memorable moments. Comfortably settled in their progressive rock zone with classical and medieval influences, Gentle Giant introduced new elements such as modern digital synthesizers and added new rhythms, as demonstrated in the reggae track "Give It Back", a sophisticated cut whose immense complexity puts most artists of the genre to shame. On the other hand, the title track is a surprising rhythmic composition with a great interplay between the organ, electric piano, and Gentle Giant's signature vocals. The avant-garde "Design" or the dynamism of "Another Show" are those new sounds we alluded to earlier, while "Lost My Head" along with the aforementioned "Interview" are the highlights of this album, if not in purely creative terms, but in the brilliant instrumental execution, which are among the best in the group's career.

Brainchild-Healing Of The Lunatic Owl (1970)

Another interesting band with a single album and short career was the British group Brainchild, a group that moved between brass rock, akin to contemporary bands like Blood, Sweat & Tears or If, and progressive jazz rock. Considered a cult band today, this group originated in London in the early 1970s with Harvey Coles (bass, vocals), Bill Edwards (guitar, vocals), Dave Miller (drums), Chris Jennings (organ, piano), Brian Wilshaw (saxophone, flute), and Lloyd Williams (trumpet and trombone). Their only release was on the A&M Records label, an album where the heavy sounds of brass jazz fused with evocative rock melodies, infused with psychedelic and avant-garde elements, making it one of the best examples of British jazz rock. "Healing Of The Lunatic Owl" is one of those obscure and forgotten albums that showcases excellent instrumental jazz-rock prowess, in which everything from music hall to complex progressive jazz arrangements is endorsed in a series of high-quality pieces such as the bluesy jazz "Hide From The Dawn" and "Two Bad Days", the fusion "Autobiography", the rock "She's Learning", the jazz-rock epic "A Time a Place", the pastoral "Sadness Of A Moment" or the jazzy and cheerful music hall "The Cage".

High South-Peace, Love & Harmony (2020)

High South is an American folk and country rock band based in Nashville. Formed in 2010, their style is clearly related to the great bands of the 70s such as America, CSN&Y, The Byrds, Bread, Poco, and The Eagles. With their third album, "Peace, Love & Harmony", this trio, comprised of Jamey Garner, Kevin Campos, and Phoenix Mendoza, transports us to the golden age of country and folk rock thanks to their exquisite vocal harmonies and crystalline acoustic guitars, blending rural sounds with the infectious style of West Coast rock. Magnificent melodies like "Get It On Up", "Let's Get High", "Moonlight On Sunset", "Make It Better", and "All We Need" evoke a sense of nostalgia and longing, but are performed with great character and personality.

Alas-Alas (1976)

Alas was a refined and elegant Argentine progressive jazz-rock band with certain Creole folk influences. Led by multi-instrumentalist Gustavo Morettom, a renowned musician in his country's jazz scene, he joined forces with bassist Alex Zucker and percussionist Carlos Riganti to found Alas in mid-1975. A year after their formation, they released their debut album, a work acclaimed by the specialized media in their country. After this first release, bassist Pedro Aznar replaced Zucker, and with this new lineup, they recorded their second album, "Pinta tu Aldea" (Paint Your Village), an album more oriented towards progressive and symphonic sounds. Focusing on their debut album, Alas managed to create a work full of expressive and impetuous compositions within a jazz fusion context. The nods to the progressive rock of Triumvirat or Emerson, Lake & Palmer are reflected in the rich sounds emanating from the Hammond organ and the mini-Moog, the powerful bass, and a highly technical and dynamic drum performance. Excellent examples of progressive jazz, such as "Buenos Aires solo es Piedra", or clear fusion dynamics with the grandiose "La muerte contó el Dinero", in which they approach Italian lyrical and progressive rock, constitute a remarkable work of jazz-rock that has nothing to envy in iconic works from North America or Europe.

Quella Vecchia Locanda-Il Tempo Della Gioia (1974)

Another fundamental Italian symphonic rock band was Quella Vecchia Locanda, who left a lasting mark with just two albums recorded between 1972 and 1974. Formed in Rome in the early 1970s, this group comprising Giorgio Giorgi (lead vocals, flute), Raimondo Maria Cocco (electric and acoustic guitars), Massimo Roselli (keyboards), Donald Lax (electric violin), Romualdo Coletta (bass), and Patrick Traina (drums) won over audiences and critics alike with their brilliant performance at the Villa Pamphili Pop Music Festival. That same year, they released their self-titled debut album, "Quella Vecchia Locanda". This first album contains outstanding tracks that combine the classic Italian underground sound of the 1970s with a powerful blend of tranquility and beauty, seasoned with expressive vocals rich in harmonic textures. Several years later, under the RCA label, they released their best work, "Il Tempo Della Gioia", showcasing the typical sound of Italian bands with elements of British progressive rock. It is undoubtedly Donald Lax's violin that characterizes their sound, imbuing it with great romanticism, in addition to the rich Italian lyrics. Their style also incorporates touches of jazz and classical music, as evidenced in tracks like "Un Giorno, Un Amico", "Villa Doria Pamphili", and "A Forma Di". This second album is considered one of the key albums of Italian progressive rock, alongside the early releases of Le Orme, PFM, and Banco Del Mutuo Soccorso.

Blues Image-Open (1970)

Blues Image was founded during the heyday of the great American country rock groups, sharing the stage with Buffalo Springfield, The Byrds, and Poco. Formed in Florida in 1966 around guitarist Mike Pinera, Kent Henry (guitar), Joe Lala (vocals and percussion), Frank Konte (keyboards), Malcolm Jones (bass), and Manuel Bertematti (drums), they achieved their first and only international success in 1970 with their album "Open" and the hit single "Ride Captain Ride". Prior to this, they had released their self-titled debut album, "Blues Image" (1969), which had garnered them some international recognition. After this second album, the group experienced instability due to frequent lineup changes, despite releasing another album in 1970, "Red White & Blues Image", which went largely unnoticed. Pinera later joined Iron Butterfly, and the band finally dissolved in 1970. Blue Image has remained one of the great unjustly forgotten groups of North American West Coast music.

Electric Food-Electric Food (1970)

From the ashes of the German band Lucifer's Friends emerged Electric Food, who, with a powerful style of psychedelic hard rock, released several albums in the early 1970s. The band consisted of Peter Hesslein (guitar and vocals), Peter Hecht (keyboards), Hans-Joachim Rietenbach (drums), Dieter Horns (bass), and Georg Mavros (vocals). Their debut album features some excellent covers, beginning with a frenetic rendition of Led Zeppelin's "Whole Lotta Love", followed by the traditional "House of the Rising Sun", popularized by The Animals, and the boogie-rock track "Let's Work Together" by the ever-popular Canned Heat. Among their own compositions, highlights include the psychedelic "The Reason Why", the progressive "Hey Down", the blues-rock "Tavern", the dark heavy-rock "Nosferatu", the galloping "Icerose", and the heavy hard-rock "Twelve Months and Day".

Pendragon-The Masquerade Overture (1996)

Pendragon are one of the classic bands of the so-called neo-progressive rock movement, and along with Marillion, IQ, Pallas, and Galahad, they spearheaded a genre derived from the traditional progressive rock of the 1970s. With such compelling works as their debut album, "The Jewel" (1985), and subsequent releases like "Kowtow" (1988), "The World" (1991), and "The Window of Life" (1993), the band, led by guitarist and singer Nick Barrett, reached their creative peak with their fifth album, "The Masquerade Overture", delivering a record of excellent production and superb musicianship. In addition to Barrett, Pendragon consists of Clive Nolan (keyboards), Peter Gee (bass), and Fudge Smith (drums). Comprising seven tracks, "The Masquerade Overture" is brimming with layers of symphonic and atmospheric keyboards and melodic, brilliant guitar solos, all contributing to the enormous and sublime moments that hark back to early Genesis with its pastoral and instrumental style, and to the more ethereal Pink Floyd, as demonstrated in the delightful "As Good As God" and "The Shadow". However, it is the thrilling epics "Masters Of Illusion" and "Guardian Of My Soul" that stand out on an album that rivals neo-progressive masterpieces such as Marillion's "Script For A Jester's Tear", IQ's "The Wake", or Pallas's "The Sentinel".

Gary Moore-After The War (1989)

"After The War" was the seventh album by the late Irish guitarist Gary Moore. While it contains a number of hard rock-oriented tracks, it also features moments closer to mainstream rock. Accompanied by a dozen top-tier collaborators, including Ozzy Osbourne, Don Airey, Simon Phillips, Brian Downey, Chris Thompson, Bob Daisley, and Cozy Powell, Moore embraces melodic rock while maintaining the foundations of energetic rock. Songs like "Running From The Storm", "This Thing Called Love", "After The War", and "Speak For Yourself" showcase his hard rock side, while AOR-influenced sounds are prominent in the addictive "Livin' On Dreams" and "Ready For Love". We mustn't forget his Irish folk influences in "Blood Of Emeralds" and his blues influences in "The Messiah Will Come Again". From this point on, with the exception of some more experimental works, in the following years Gary Moore would immerse himself in the blues, publishing the excellent "Still Got The Blues", "After Hours" and "Blues For Greeny".

Carlos Santana & Alice Coltrane-Illuminations (1974)

After leaving behind magnificent jazz-rock works like “Abraxas”, “Caravanserai”, “Welcome”, and “Borboletta”, Carlos Santana reaffirmed his passion for John Coltrane by creating a captivating collaboration with composer and string arranger Alice Coltrane (John's widow). Under the spiritual influence of Sri Chinmoy, Santana surrounds himself in this monumental work with a vast array of accomplished musicians, including David Holland (double bass) and Jack DeJohnette (drums), as well as regulars in his band Tom Coster, Armando Peraza, and Phil Browne, and session musicians such as saxophonist Jules Broussard and Phil Ford on tabla. The paradisiacal “Angel of Air” evokes atmospheres reminiscent of “Caravanserai”, featuring a sublime Alice Coltrane on the harp. The extensive interplay between Indian tabla and percussion, under Santana's exciting guitar and Jules Broussard's complex saxophone, is present in the brilliant jazz rock "Angel Of Sunlight", while the influences of free jazz and oriental music appear in "Bliss: The Eternal Now" and in "Illuminations".

Mountain-Climbing! (1970)

With their memorable performance at the Woodstock Festival, Mountain quickly became a revered band, captivated by thousands of fans who were thrilled by their powerful hard rock, fueled by Leslie West's incendiary guitar work and the driving bass of Felix Pappalardi. Along with keyboardist Steve Knight and drummer ND Smart, they had borrowed the band's name from West's first solo album, released in 1969. A year later, they released their debut album, on which drummer Coky Lang joined the band, replacing Smart, thus forming the classic and most successful lineup of this American band. On this debut, titled "Climbing!", this legendary quartet delivered a sharp and penetrating hard rock sound, led by an unleashed Leslie West. Thrilling hard rock anthems like "Mississippi Queen", "Theme for an Imaginary Western", "Never In My Life", "Silver Paper", "To My Friend", and "Sittin' On A Rainbow" contrast sharply with the folk-tinged melodies of "For Yasgur's Farm" and "The Laird". With this celebrated album, Mountain secured their place in history, delivering one of the greatest American hard rock records and a fundamental source of inspiration for countless bands that followed.

Gotthard-Lipservice (2005)

Switzerland has given the world of rock a number of great bands that have kept the genre in their country at a high level. Bands like Krokus, Toad, Flame Dream, Coroner, and Gotthard, among many others, have always been highly regarded by rock music fans. Today, it's Gotthard's turn, a band that built a great reputation based on solid hard rock with classic influences and grandiose melodies. Their origins date back to 1992 in the city of Lugano, when bassist Marc Lynn and vocalist Steve Lee joined forces with the intention of founding a band that would satisfy their musical tastes. After recruiting guitarist Leo Leoni, drummer Henna Habegger, and keyboardist Pat Regan, they secured a contract with BMG to record several albums, the first of which was released in mid-1992. From their debut album, they showcased a sound reminiscent of 1970s hard rock with bluesy undertones, and in that vein, they continued with magnificent works such as "Dial Hard" (1994), "G" (1996), "Homerun" (2001), and "Human Zoo" (2003). Two years later, they returned with their best creative work, "Lipservice", in which they perfected their blend of powerful hard rock with evocative melodies, presenting a repertoire of superb compositions like "Nothing Left All", "Stay For The Night", "Cupid's Arrow", "All We Are", "Lift U Up", and "Anytime, Anywhere". However, several years later, their lead singer Steve Lee died in a tragic motorcycle accident in Las Vegas, a devastating event that cast doubt on the band's future. Eventually, after some time, the band recruited a new singer, Nic Maeder, who, despite his undeniable vocal range, lacked the exceptional talent of the late Steve Lee.

Exmagma-Exmagma (1973)

The debut album from the powerful trio Exmagma is one of the most aggressive, distorted, and heavy progressive and experimental jazz-rock records ever recorded. Featuring two talented and experienced young musicians from the German blues scene Thomas Balluff on organ and electric piano, and Andy Goldner on bass, guitars, and saxophone and the fantastic American drummer Fred Braceful, this power trio was one of the foremost expressions of the nascent jazz-influenced krautrock. Their first release is a brilliant example of the experimental avant-garde of psychedelic jazz. From the free jazz leanings of "Interessante Ole" to the joyful soul-rock climax of "Two Times", and including the experimentation in the colossal epic "Trippin With Birds" and the psychedelic movements of "The First Tune". This album showcases everything from Dadaist facets to electrifying soundscapes, often in a surreal way, with dramatic instrumental improvisations of jazz percussion, all under the ingredients of heavy hard rock with a dissonant and furious guitar and an electrifying and spacey organ.

Dream Theater-Metropolis Pt.2: Scenes From A Memory (1999)

In 1999, Dream Theater released their seventh album, "Metropolis Part 2 - Scenes From a Memory", considered by many to be their masterpiece and a landmark of progressive heavy metal. A concept album with a sophisticated narrative, it tells an intriguing story set in 1928, in which a man is tormented after murdering a young girl. In the plot, this man is reincarnated as the girl, reliving his past in his dreams. This entire story is reflected in an ambitious and complex work, where Petrucci's furious guitars clash with Jordan Rudess's grandiose keyboards, Mike Portnoy's pyrotechnic drumming, and John Myung's driving rhythm section, all set against a backdrop of powerful and raw emotion, power, and sensitivity. The wide variety of styles in James LaBrie's voice narrates each chapter of the album, to the point that the listener, drawn in by the story, becomes irrevocably immersed and involved in the narrative. Divided into several acts and nine parts, the first half showcases the band's immense instrumental prowess, while the second half is far more complex, both musically and lyrically. The entire album is as spectacular as it is legendary, displaying breathtaking virtuosity from all members of the group. And however risky and ambitious a work of this magnitude might seem, the quintet executes it flawlessly, maintaining a cohesive sound throughout without a single minute of predictable or disposable elements. As a prime example of the greatness of this work, it features tracks such as "Through Her Eyes", "Overture 1928", "Home", "Beyond This Life" or "Dance of Eternity", undoubtedly the best compositions of progressive metal from the 90s.

Flight-Flight (1975)

Another interesting American progressive jazz-rock band was Flight, who released three acclaimed albums in the mid-1970s within the more avant-garde genre of jazz. Led by trumpeter and vocalist Pat Vidas, their origins date back to the early 1970s in Florida, where they were based. Besides Vidas, the band consisted of bassist John Ray, guitarist Ted Karczewski, drummer Russell Dawber, and keyboardist Jim Michael Yaeger. In 1975, they secured funding from Capitol Records for their first full-length album, which showcased everything from jazz-rock-oriented efforts with complex and fast-paced compositions to extensive instrumental interplay among all its members, with a strong emphasis on the Mellotron and synthesizers, rock guitars, and jazz improvisations. The exhilarating jazz-rock track "In Flight", the exotic "Latin Dippy Doo", the catchy and melodic "Falling In Love", the captivating "Ease Of Confusion", and the progressive "Rhapsody To You" and "Theme to The Stratosphere" constitute an excellent work of progressive jazz at its finest. A year later, they returned with "Incredible Journey", in which they continued their exquisite musical approach, delivering an even more diverse and dynamic work of energetic, avant-garde jazz-rock.

Santana-Marathon (1979)

Following the commercial success of their previous album, "Inner Secrets", Carlos Santana reformed his band once again, bringing in vocalist Alex Ligertwood to replace Greg Walker, while Alan Pasqua replaced keyboardist Chris Rhyne. The rest of the lineup remained the same: Carlos Santana (guitar and vocals), Chris Solberg (rhythm guitar), David Margen (bass), Graham Lear (drums), Armando Peraza (percussion), and Raul Rekow (percussion). Continuing in the vein of the conventional and melodic rock of "Inner Secrets", Santana released his next album, his tenth, "Marathon", which featured the magnificent, dreamlike instrumental "Aqua Marine", followed by the addictive AOR tracks "Lightning in the Sky", "Stand Up", and "You Know That I Love You", as well as the brief instrumental title track. The sensual "Summer Lady" and "Stay (Beside Me)" or the powerful rock "All I Ever Wanted" also contribute to the album's high quality, an album where Carlos Santana once again displays superb guitar work in terms of sound and the creative atmosphere that only this guitarist knows how to imprint on all his songs.

Hot Flash-First Attack! They´ll Never Take Us Alive (1977)

Another band that came and went almost overnight was Boston's Hot Flash, who released only one album near the end of the seventies, right at the height of the AOR and melodic progressive rock movement, with albums like Boston's impressive debut, Meat Loaf's "Bat Out of Hell", and Kansas "Point of Know Return," among many others. Their sole recording, "They'll Never Take Us Alive", was released in a limited run of only a few hundred copies, which is why it's now one of those highly sought-after LPs among fans of seventies American rock. The lineup consisted of keyboardists Joe Prima and Thom Stolar, guitarist Frederic Schwenk, drummer Steve Balsavage, and bassist John Ferrara. One of the band's great strengths was that virtually all the members were lead vocalists, a fact that broadened the group's musical range. Great melodic lines very close to art rock with progressive approaches are present in a brilliant repertoire composed of outstanding songs such as "King Kool", "Take Me", "Is Anybody Out There", "Uriah", "Star Warped" or "Diamond Wings".

Clover-Clover (1970)

Clover was an American country rock band with a respectable eleven-year career (1967-1978), who rose to fame towards the end of their run as Elvis Costello's backing band on his album "My Aim Is True" (1977). Originally from Mill Valley, California, the band moved within the San Francisco psychedelic scene of the late 1960s, sharing the burgeoning folk and country rock scene of the era with contemporaries like The Byrds, Creedence Clearwater Revival, The Flying Burrito Brothers, and Crosby, Stills & Nash. Their lineup consisted of Alex Call (vocals and guitar), John McFee (guitar and pedal steel), John Ciambotti (bass), and Mitch Howie (drums). In 1970, under the Fantasy Records label, they recorded their debut album, which features a rich and varied repertoire of excellent tracks that blend pure country, rock, and blues. Among them, the standout track is Junior Walker & The All Stars' version of "Shotgun", performed here with a distinct Southern funk flavor. The bluesy country number "Southbound Train" adds a distinctive touch to the album's dusty feel, and following a similar path are the superb country-rock tracks "Stealin' ", "Going to the Country", and "No Vacancy". After a second album released a year later, "Fourty Niner", Clover moved to the UK, where they underwent several lineup changes, including the addition of drummer Micky Shine and singer Huey Louis. Following another excellent album produced by Robert "Mutt" Lange, titled "Unavailable" (1977), they collaborated with Elvis Costello and toured extensively throughout England, opening for Thin Lizzy, Graham Parker, and Lynyrd Skynyrd. Some time later, and with the definitive end of Clover, some of its members went on to join other legendary groups such as Huey Lewis and The News (founded by Huey Louis), Southern Pacific, or The Doobie Brothers.

Be-Bop Deluxe-Sunburst Finish (1976)

Be-Bop Deluxe was one of those unclassifiable bands that navigated between the sounds of glam rock, art rock, new wave, and the avant-garde of the seventies, with sarcastic and ironic messages in their lyrics. Their core revolved around guitarist Bill Nelson, the only permanent member of the band. Their first two albums leaned towards the glam rock style of "Axe Victim" (1974) and the art rock of the following one, "Futurama" (1975). On both albums, Nelson's outstanding lead guitar work stands out, along with the complex instrumental performances, featuring melodic and accessible rhythms. In 1976 came their third album, "Sunburst Finish", which represented the creative peak for both Be-Bop Deluxe and Nelson, resulting in a more pop-rock-oriented album of excellent quality. Tracks related to the new wave sounds of the time, such as "Fair Exchange", the carefree "Ships in the Night", the addictive mid-tempo "Crying to the Sky", the dynamic "Sleep That Burns", the somber "Life in the Air Age" or the rock "Blazing Apostles", make up the best work of this iconic British band.

Asia-Alpha (1983)

A year after their extraordinary debut, the supergroup Asia released their second full-length album, "Alpha". Composed almost entirely of shorter compositions, this album, unlike its predecessor which combined elements of progressive rock with appealing soft rock melodies, focuses on a more commercial and accessible sound, showcasing a melodic rock style very close to AOR. This would be the second album with the classic lineup of John Wetton (bass and vocals), Steve Howe (guitars and vocals), Geoff Downes (keyboards and vocals), and Carl Palmer (drums). Twenty-five years would pass before another album from this same lineup ("Phoenix" 2008). With a more corporate and commercial tone, the band faced an album that would be partly weighed down by the enormous success of their debut despite containing an interesting amalgam of excellent songs such as the catchy "Don't Cry", "The Smile Has Left Your Eyes", "The Heat Goes On", "Eye To Eye", "Midnight Sun" or "True Colors", while the only remnant of the sounds of the progressive past is found in the brilliant "Open Your Eyes".

Flower Travellin´Band-Make Up (1973)

"Make Up" was the fourth album by the Japanese band Flower Travellin' Band, a double LP recorded due to contractual obligations with Atlantic Records. However, by the time they entered the recording studio, the band, led by percussionist Akira Yamanaka, didn't have enough material to fill all four sides of the double record. As a result, some of the tracks included here are live recordings and other takes that had been discarded from their previous albums. This hodgepodge of material gives the album a certain incoherence, despite containing memorable moments of great psychedelic hard rock and space rock. It begins with the vigorous, driving exercises in heavy rock, propelled by Nobuyuki Shinohara's Hammond organ and Hideki Ishima's lysergic and visceral guitar. Along this path are tracks like "All The Days", "Make Up", and "Slowly But Surely", which contrast with the more subdued "Shadows Of Lost Days", "After the Concert", and "Broken Strings". But it's the epic live recording of "Hiroshima" that best showcases Flower Travellin' Band's crushing hard rock during twenty-five chaotic and visceral minutes, where there's even time for a powerful drum solo by percussionists Akira Yamanaka and Joji Wada.

The Oscar Peterson Trio-Night Train (1963)

Canadian Oscar Peterson is one of the legends of modern music. He managed to bring jazz to a wider audience like almost no one else, thanks to his remarkable ability to musically synthesize a style that had previously been reserved for a select and small public. Born in Montreal in 1925, he was already a talented child playing piano and trumpet at just five years old. Thanks to his classical music studies, young Oscar showed a keen interest in swing, bebop, and boogie-woogie. Influenced by the great Art Tatum, by the late 1940s he was already a renowned musician thanks to his impressive technique and improvisational skills on the piano. During those years, he released his first recordings on labels like Victor Records, and collaborated with jazz legends such as Louis Armstrong, Stan Getz, Joe Pass, Count Basie, and Ella Fitzgerald, among many others. During the 1950s, his trios were among the most sought-after and famous groups in the jazz world, and it was precisely the trio he formed with Ray Brown (bass) and Thigpen (drums) that recorded one of the most emblematic albums of modern jazz: "Night Train", released in 1963 on the Verve label. This recording showcases Peterson's captivating playing style, revealing him at the height of his career as an absolutely masterful pianist. Pieces like the bebop "Bag's Groove", the leisurely "Night Train", the rhythmic "C-Jam Blues", the heartfelt "I Got It Bad (and That Ain't Good)", and the bluesy "Band Call",  reflect the excellence of the Oscar Peterson Trio on an album considered one of the masterpieces of jazz of all time.

Asia-Aura (2001)

Five years after their sixth studio album ("Arena" 1996), Asia reappeared with "Aura" in 2001, a work that showcased their more melodic side, almost entirely moving away from the progressive sounds that had appeared here and there in all their previous works. For this new release, the duo, composed of John Payne (bass, guitars, and vocals) and Geoff Downes (keyboards), enlisted a large number of supporting musicians who helped create the album, including Steve Howe, Tony Levin, Simon Phillips, Chris Slade, Pat Thrall, Ian Crichton, Vinnie Colaiuta, and Elliott Randall, among others. In addition, former 10cc member Graham Gouldman collaborated on the composition of some of the tracks included here. Replete with captivating melodic atmospheres, the album features uplifting soft rock tracks such as "Awake", "Ready to Go Home", "Wherever You Are", "Forgive Me", "Kings of the Day", and "The Last Time". The work of guitarists Howe, Thrall, and Randall, Payne's evocative vocals and catchy choruses, along with Downes' grandiose and symphonic keyboards, guides them along the paths of sophisticated, high-octane rock that is truly appealing. Meanwhile, the jazz-rock track "Free" and the instrumental "Aura" add a progressive touch to this magnificent work from one of the most iconic bands in melodic rock.

Bonham-Mad Hatter (1992)

Jason Bonham is the son of the late, legendary Led Zeppelin drummer John Bonham. He followed in his father's footsteps and, over time, built a great reputation as one of the best percussionists of the late 20th century. Despite his innate talent, his surname has unfairly held him back on more than one occasion. In recent years, Jason has filled in for his father on several occasions when the legendary band has reunited sporadically, including the famous concert at London's O2 Arena in 2007. Years earlier, Jason had formed his own band, releasing two excellent albums that showcased his obvious Zeppelin heritage. The first of these was 1989's "The Disregard of Timekeeping", which was very well received thanks to songs like "Wait for You", "Guilty", and "Bringing Me Down". Three years later, at the height of the grunge explosion, their second and final album, "Mad Hatter", was released. It was another brilliant display of their Zeppelin and hard rock influences, though it received less media attention. Both this album and its predecessor showcased the powerful riffs of guitarist Ian Hatton, the vocal talent of Daniel McMaster, and the technical virtuosity of Jason Bonham's powerful drumming. Tracks like the instrumental "Los Locos", and the raw hard rock anthems "The Storm", "Bing", "Ride On A Dream", "Secrets", and "Hold On" deserved far more recognition and attention than they received.

Hiro Yanagida-Milk Time (1970)

This is one of the seminal and most celebrated albums of Japanese psychedelic rock. Created by keyboardist Hiro Yanagida, a legendary figure in Japanese hippie and lysergic culture, it features guitarist Kimio Mizutani, percussionist Hiro Tsunoda, electric violinist Hiroki Tamaki, bassist Keiju Ishikawa, and flautist Nozomi Nakatani. Together, they crafted an album brimming with raw guitar passages, organ, and energetic drumming. The lysergic, acid-tinged rock is contrasted by the understated flute, which brings calm and clarity to the frenzy with its marvelous interludes. This psychedelic style also evokes free jazz, funky rhythms, and even German krautrock. Ultimately, it's a brutal album of heavy, powerful rock improvisations with jazz and avant-garde influences.

Sonic Youth-Goo (1990)

Emerging in the midst of the punk craze, New Yorkers Sonic Youth were never categorized as part of that movement, but rather as part of the dark, underground sounds of the city of skyscrapers, despite having certain similarities to the sound created in England and North America in the late 1970s. Formed in New York City in 1981 by bassist and vocalist Kim Gordon, guitarist and keyboardist Thursten Moore, and drummer Lee Ronaldo, they distanced themselves from more conventional sounds to delve into distortion and bubbling rhythm sections, with seductive, aggressively unhinged melodies, transforming their alternative rock style into an anarchic, fiery, and subversive sound. With their sixth album, "Goo", the band reached their peak of popularity thanks to a record that contained tracks like the muddy "Dirty Boots", the insolent "Tunic", the punkish "Mary-Christ", and the gothic "Kool Thing".

Cat Stevens-Catch Bull At Four (1972)

In late 1972, "Catch Bull At Four", the sixth album by British singer-songwriter Cat Stevens, was released, achieving an undeniable number one spot on the US charts and number two in the UK. Although Cat Stevens still had five years of tremendous success ahead of him, with albums like "Foreigner" (1973), "Buddha and the Chocolate Box" (1974), "Numbers" (1975), and "Izitso" (1977), "Catch Bull At Four" began to mark his creative decline. Part of this was due to the fact that its repertoire was written during breaks from his grueling tour promoting "Teaser and The Firecat", which somewhat diminished the freshness of his compositions. Here, the acoustic and folk sounds that predominated in his earlier work, driven by guitars, give way to more refined arrangements where the piano takes center stage. Tracks like "18th Avenue (Kansas City Nightmare)", "Silent Sunlight", "Freezing Steel", and "Sweet Scarlet" are clear evidence of this. Even so, songs in his usual style appear here, such as "Sitting", "The Boy With a Moon and Star on His Head", "Can't Keep It In", and "Angelsea". Although the album reached number one, it spent less time on the charts than its predecessor, and its repertoire was less accessible than that of the three previous albums, which had garnered him numerous fans who continued to expect Stevens's rhythmic and catchy melodies and thoughtful lyrics. With this album, Cat Stevens reached a turning point, and his millions of followers began to tire of his religious fervor, his sophisticated arrangements, and his increasingly melodramatic style.

Mountain-Nantucket Sleighride (1971)

Mountain are another of the legendary American bands who, driven by the formidable guitarist Leslie West and supported by bassist and producer Felix Pappalardi, drummer Corky Laing, and keyboardist Steve Knight, enjoyed their glory days thanks to three superb albums released in the early 1970s. "Nantucket Sleighride", which appeared almost a year after their debut "Climbing!", delighted their large legion of fans, despite already offering some musical changes compared to its predecessor. While the previous album overflowed with raw, guitar-driven hard rock, dominated by West's guitar and full of catchy hits, this album maintains the heavy, melodic guitars but further explores the possibilities offered by the other instruments, with a repertoire that encompasses both epic themes and the boundaries of progressive rock. The intense hard rock and blues rock tracks "Don't Look Around", "Nantucket Sleighride", "Tired Angels", "Travellin' in the Dark", and "The Animal Trainer and the Toad" showcase an album of unbridled energy, only tempered by the melodic "Lady". With this second album, Mountain reached the peak of their inspiration and popularity, achieving a well-deserved gold record for sales in the North American market.