Atlanta Rhythm Section-Dog Days (1975)

In 1975, the southern rock band Atlanta Rhythm Section released their fourth album, their second under the Polydor label after their relationship with Decca's American subsidiary. Recorded at Studios One in Georgia, this release featured a lineup of Ronnie Hammond (vocals), J.R. Cobb (guitar), Barry Bailey (guitar), Dean Daughtry (keyboards), Paul Goddard (bass), Robert Nix (drums), and Buddy Buie (vocals and production). The album contains several energetic southern rock tracks such as "Crazy" and "It Just Ain't Your Moon", while the boogie-blues "Boogie Smoogie" and the melodic "Dog Days" and "All Night Rain" showcase the album's exceptional quality. However, despite their increasingly consistent and effective style, with a pleasant and melodic sound, and songs of a high level of sophistication and refinement, they failed to gain much popularity, so in their next release they opted to harden their sound with a greater prominence of the more forceful guitars closer to hard rock.

Rush-Snakes & Arrows (2007)

With long gaps between albums, the expectations surrounding Rush's releases were always quite high. That said, the Canadian trio released "Snakes and Arrows" in 2007, an album preceded by "Vapor Trails" five years prior. At this point, the trio of Geddy Lee, Neil Peart, and Alex Lifeson continued to do their own thing, seemingly unconcerned with musical trends, and thus continued to explore their unique, virtuosic sound. This time, Neil Peart's lyrics focus on the ominous and cruel world we live in, a society living in constant insecurity, surrounded by violence, fear, and unhappiness. Musically, a dark and melancholic tone predominates throughout much of the album. Alex Lifeson's powerful hard rock riffs permeate much of the album, as heard in the opening track "Far Cry" and "The Way The Wind Blows", while the potent "Armor And Sword", "Workin' Them Angels", "Good News First", "Faithless", and "We Hold On" showcase more restrained and slowed-down rhythms. However, the band's almost nonexistent progressive side makes an appearance in the instrumental tracks "The Man Monkey Business," the acoustic "Hope", and the brief "Malignant Narcissism", where the sounds of the Mellotron and synthesizers play as important a role as Alex Lifeson's guitars. Although this version of Rush is not the same as it was in their heyday in the 70s, it's undeniable that they have evolved, creating a sound that is both recognizable and universal.

Black Widow-Black Widow (1970)

With their second release, the British progressive heavy metal band Black Widow shed the satanic and gloomy lyrics of their previous album, but at the same time, they also lost the vitality and freshness of their music, delivering a more conventional and predictable work. This second album is composed of a mix of heavy progressive heavy metal pieces with more melodic ones, all driven by a visceral rhythm section, a prominent Hammond organ, and bluesy and funky guitar riffs. The album's opening couldn't be more promising with the hard rock/blues track "Tears and Wine", an interesting song with dynamic interplay between the guitar riffs and the Hammond organ. This is followed by less compelling tracks such as the bittersweet "The Gypsy," the rock and roll "When My Mind Was Young", and the uneven "The Journey", three songs that show a certain lack of inspiration, creativity, and instrumental development. On the other hand, the most outstanding tracks on an album that, despite not creatively surpassing its tremendous debut, is an interesting collection of typical heavy hard rock songs from the early 70s, are the powerful blues rock "Poser", the sinister and moving "Mary Clark", the heavy rock "Wait Until Tomorrow" and the galloping progressive jazz "Legend of Creation".

Rush-Test For Echo (1996)

With the end of their third era and the beginning of their fourth, the Canadian band Rush had become a sophisticated hard rock band with a high level of compositional and instrumental skill. Their hard rock, progressive rock, and techno rock phases were behind them, and with the start of this new era, they attempted to fuse all those styles to forge a distinctly artistic rock sound. In this context, they released the albums "Presto" (1989), "Roll the Bones" (1991), "Counterparts" (1993), and the one we're analyzing here today: "Test For Echo" (1996). In all of these previous albums, the trio managed to create excellent material, though it still kept them far removed from their heyday. In this latest album, the progressive tendencies, or at least a much more complex sound with a distinctly contemporary feel, are even more prominent. The powerful title track showcases the tremendous instrumental dynamism that the Canadian trio is known for, with intricate rhythmic developments and their characteristic explosive force. The complex "Driven", an intelligent composition of perfect musical structures, the psychedelic "Time and Motion", or the somewhat sophisticated hard rock tracks "Half the World", "The Color Of Right", "Totem" or "Dog Years" lead the album down paths already explored by the group, but with an added complexity that had not been seen since the days of the album "Moving Pictures" in 1981.

Santana-3 (1971)

Santana's third album remains as dazzling as its predecessors, and in some aspects surpasses them. However, they move away from jazz-rock to pursue an energetic, accessible rock sound, fused with Latin influences, all underpinned by a clear common denominator: Carlos Santana's brilliant guitar work. This release features a new member, guitarist Neal Schon, completing a lineup that also includes Gregg Rolie (keyboards), Jose "Chepito" Areas (drums, vocals, and percussion), Michael Shrieve (drums), David Brown (bass), Michael Carabello (percussion and vocals), and Carlos Santana (guitar and vocals). Starting with the energetic "Batuka", a kick-off that shows the direction the album will take, passing through explosive pieces like "Jungle Strut", to relaxed passages like "Taboo" and "Everything's Coming Our Way", pure rhythm fantasies like "No One To Depend", attractive instrumentals like "Toussaint L'Overture", radiant songs like "Everybody's Everything" or the irresistible Latin-rock tracks "Guajira" and "Para Los Rumberos".

Herbie Mann-Memphis Underground (1969)

Herbie Mann is one of the most admired jazz musicians, a man who has decisively influenced subsequent generations of artists within the jazz scene and music in general. Born in Brooklyn in the 1930s, he was already an accomplished performer on the flute, saxophone, piano, and clarinet from his early artistic beginnings. During the 1950s and 60s, Mann released countless recordings as a soloist and with various orchestras and bands, showcasing his impressive flute mastery. With a vast discography spanning from 1954 to 2004, when his final album was released shortly after his death, Herbie Mann entered the annals of musical legend with an extraordinary body of work that masterfully combined the new sounds he experimented with in jazz, blending them with African and Latin ethnic music. In 1969, with his album "Memphis Underground", Herbie Mann burst onto the scene in the world of mainstream music with a groundbreaking LP that became a seminal work in 20th-century popular music. On this album, Mann explored soul and rhythm and blues, influenced by Southern jazz. "Memphis Underground" featured collaborations with outstanding jazz musicians such as Larry Coryell, Roy Ayers, Reggie Young, Gene Chrisman, Miroslav Vitouš, Bobby Emmons, and Sonny Sharrock. Considered a masterpiece of jazz, it is also one of the most successful jazz recordings of all time.

Rory Gallagher-Photo-Finish (1978)

For their fifth album, "Calling Card" (1976), Irishman Rory Gallagher relinquished production duties for the first time in his career, entrusting them to former Deep Purple bassist Roger Glover, who decisively influenced the hardening of their style. On this album, the guitars sound more powerful and aggressive, and the keyboard lines take on a much more prominent role in many parts of the album. This hardening would be even more pronounced on the following album, "Photo-Finish", released several years later, in which Rory returned to the power trio format with bassist Gerry McAvoy and drummer Ted McKenna. In this new release, Rory Gallagher presents a repertoire of energetic and raw hard blues rock tracks that became staples of his concerts, such as "Brute Force & Ignorance", "Shadow Play", "The Last Of Independents", and "Shin Kicker", or other equally dazzling tracks like the frenetic "Cruise On Out", the bluesy "Cloak & Dagger", the folky rock "Overnight Bag", or the rhythmic hard blues rock "The Mississippi Sheiks", not forgetting the superb blues "Fuel To The Fire".

Hard Stuff-Bolex Dementia (1973)

Two years after releasing their debut album, Hard Stuff, the band formed by several former members of Atomic Rooster embarked on a new recording, embracing the riskier sounds of experimentation with funk and avant-garde influences. Featuring the same lineup as their previous album, this one included guitarist John Cann, drummer Paul Hammond, bassist and guitarist John Gustafson, and vocalist Henry Shaw. However, due to the drastic shift from the hard rock style of their earlier work, it faced some resistance from their more traditional fans. The album itself is a diverse amalgamation of sounds, ranging from catchy tunes like "Ragman" to energetic rock and roll tracks such as "Roll a Rocket", "Spider's Web", "Sick N' Tired", and "Dazzle Dizzy", and even including outlandish experimental pieces like "Bolex Dementia". Undoubtedly a very good album that deserved far more attention than it received upon its release.

Rick Wakeman-The Myths And Legends Of King Arthur And The Knights Of The Round Table Music (1975)

Two years after his grandiose solo debut (aside from his main band, Yes), Rick Wakeman embarked on another ambitious project, this time centered around King Arthur and the sword Excalibur. Wakeman had already explored the sounds and textures of a symphony orchestra, fusing it with rock in the previous and brilliant "The Six Wives of Henry VIII", so in this new release he attempted to follow a similar path, but giving greater prominence to the sumptuous orchestral arrangements and enveloping choirs, all underpinned by energetic rock and fundamentally adorned with his signature cascades of Mellotron, Moogs, electric keyboards, and other state-of-the-art synthesizers. In addition to the New World Orchestra conducted by David Measham, the English Chamber Choir, directed by Guy Protheroe, is also featured, along with a rock section comprised of Ashley Holt and Gary Pickford Hopkins (vocals), Barney James (drums), Jeffrey Crampton (guitars), Roger Newell (bass), John Hodgson (percussion), and Terry Taplin as the narrator. The stunning orchestration, the narration that tells each part of the story, and the talented instrumentation of all the musicians involved immerse us in a rich soundscape of diverse musical atmospheres that at times reaches a grand grandeur, resulting in an album that is both triumphant and creatively brilliant.

Status Quo-If You Can´t Stand The Heat (1978)

Following the phenomenal album "Rockin' All Over the World", Status Quo remained true to their accessible boogie-rock sound with the release of "If You Can't Stand the Heat". While not as powerful a repertoire of hard rock boogie as previous albums like "Quo" or "Blue for You", this eleventh album saw the British band add improved arrangements, making their songs catchy and seductive. Tracks like "Again and Again", "Oh, What a Night", "Gonna Teach You to Love Me", "Stones", "Let Me Fly", and "Long Legged Lina" follow this path. Recorded at the height of the dance music craze, they even dared to nod to that trendy style with "Accident Phone", and ventured into other sounds like the soul/gospel of "Oh! What a Night", with its addictive choruses, and the commercial ballad "Someone Show Me Home". With this album, the group positioned itself on the starting line to reach the commercial peak that would soon arrive with the albums "Whatever You Want", "Just Supposin' " and "In The Army Now".

The Byrds-The Notorious Byrd Brothers (1968)

Almost as influential as The Beatles, The Byrds are one of the greatest bands in the history of rock music, responsible for blending their country's traditional folk with the pop music arriving from Great Britain and laying the foundations for psychedelic music and country rock. Composed of five of the greatest musicians who ever lived Gene Clark, David Crosby, Roger McGuinn, Michael Clarke, and Chris Hillman they even influenced the Fab Four and Bob Dylan, among many others. As pioneers and creators of psychedelia, they left us undeniable masterpieces such as the albums "Mr. Tambourine Man", "Sweetheart of the Rodeo", "Fifth Dimension", "Younger Than Yesterday", "Turn! Turn! Turn!" and "The Notorious Byrd Brothers". Focusing on this last album, the Byrds managed to create their most diverse and mature work, blending folk rock, country rock, psychedelia, and jazz to create a superb record that is as seductive as it is astonishing. On this album, they incorporated elements that had not appeared in their previous compositions, such as keyboards, giving their music a broader sonic palette. Songs like "Natural Harmony", "Get To You", "Tribal Gathering", "Goin' Back", "Dolphin's Smile" and "Old John Robertson" have become classics of 20th-century contemporary music.

Atlanta Rhythm Section-Red Tape (1976)

Hailing from Doraville, Georgia, the Atlanta Rhythm Section belongs to that generation of Southern rock bands that, despite creating their own style and building a strong reputation in the Southern states, were never able to compete with the giants of the genre like The Allman Brothers or Lynyrd Skynyrd. In 1972, their first full-length album, "The Atlanta Rhythm Section", was released. Despite being a promising album, it went largely unnoticed by the general public. A second release, "Back Up Against The Wall", released the following year, also failed to achieve the desired recognition, but it did lead to them being chosen to support Lynyrd Skynyrd on several tours throughout the Southern states. The switch from Decca to Polydor record labels brought with it a new album, "Third Annual Pipe Dream" (1974), which brought them considerable notoriety thanks to the hit "Doraville" and the Southern epic "Angel (What In The World's Come Over Us)". "Dog Days", released in 1975, continued the band's growing popularity, thanks to tracks like the blues-rock anthem "Boogie Smoogie", the energetic "Crazy", and the melodic "All Night Rain" and "Dog Days". In mid-1976, they released their fifth and, to date, best album, "Red Tape", a record leaning more towards a harder sound, as evidenced by tracks like "Free Spirit", "Another Man's Woman", "Jukin' ", "Mixed Emotions", "Shanghied", and "Oh What a Feeling". Despite the album's undeniable quality, it didn't achieve the expected success, only reaching a modest position on the American charts.

Great White-...Twice Shy (1989)

Great White are one of the great American hard rock bands of the 1980s, remembered as much for a series of superb albums that enjoyed immense success as for one of the most tragic events in rock history. Formed in California in the late 1970s, they were initially associated with the hair metal movement so popular in the 1980s. However, their first album didn't arrive until 1984, their self-titled debut, which leaned towards classic heavy metal. A change of record label and lineup led to their second album, "Shot in the Dark" (1986), which showcased their blues roots and clear Led Zeppelin influences. Their next and highly successful album, "Once Bitten" (1987), confirmed their irresistible style of hard blues rock, resulting in a memorable record that sold over a million copies in the United States. But it was with their fourth release, "...Twice Shy" (1989), that they truly exploded onto the scene, crafting a masterful exercise in superb hard rock with Southern and blues influences. With a repertoire as brilliant as it is breathtaking, it features songs like the vigorous "Move It", the Southern-tinged "Heart the Hunter", the fast-paced heavy rock "Baby's on Fire", the bluesy "House of Broken Love", the catchy cover of Ian Hunter's "Once Bitten, Twice Shy", and the beautiful ballad "The Angel Song". A number nine spot on the Billboard charts and over two million copies sold confirmed this masterpiece. Some years later, specifically in 2003, during one of their concerts in Rhode Island, an unfortunate incident led to a terrible fire that claimed the lives of one hundred people, including the band's guitarist Try Longley, as well as many other serious injuries, making this regrettable event one of the darkest chapters in contemporary music.

Blonde On Blonde-Contrasts (1969)

Borrowing their title from Bob Dylan's 1966 album, Blonde on Blonde was a psychedelic band formed in 1967 in Newport by guitarist Gareth Johnson, bassist Richard Hopkins, and drummer Les Hicks. Some time later, guitarists and vocalists Ralph Denyer and Simon Lawrence joined them. In 1968, they moved to England and recorded several noteworthy singles on the British label Pye Records. That same year, they recorded their first full-length album, "Contrasts", showcasing their psychedelic influences fused with other styles such as blues, folk, and hard rock. This debut features songs ranging from British psychedelic pop-rock ("Ride With Captain Max") to Eastern-influenced tracks like "Spinning Wheel", folk songs like "Regency" and "Island on an Island", blues rock like "I Need My Friend", and progressive blues with the elaborate "Mother Earth". In the following two years the band would release two new works "Rebirth" and "Reflections On A Life", which despite their unquestionable quality, would go completely unnoticed, thus leading to the disappearance of this excellent North American group.

Giles, Giles & Fripp-The Cheerful Insanity Of Giles, Giles & Fripp Music (1968)

We are faced with a historic album, not precisely for its musical excellence, but rather because, in the midst of the most splendid era of psychedelia, three of the future members of one of the greatest bands in history, King Crimson, appeared, creating an album very different from what, a year later, would be considered the beginning of progressive rock with the first and anthological recording of Corte de Carmesi (Crimson Court). However, observing from the distance of more than 50 years, something deeper than the simplicity of the included songs can be appreciated here songs oriented towards pastoral psychedelia, with a simple and strange structure and a decidedly absurd and puerile concept. In it, we can find glimpses of the elements that would be fundamental in the future King Crimson, such as the drumming of Michael Giles, and the phenomenal guitar and mellotron of Robert Fripp. These characteristics are present in several tracks, such as "Suite No. 1" and "Erudite Eyes", the former a serene instrumental with a grand intro by Robert Fripp, and the latter an energetic and intriguing experiment in psychedelic jazz. While both don't definitively clarify the path they would soon follow with their next lineup, they do showcase their early period and, as such, can be considered a clear preview of the legendary British band.

Grand Funk-Phoenix (1972)

In 1972, Grand Funk Railroad found themselves at a crossroads: continue showcasing their powerful and direct hard rock or veer towards a more versatile and accessible sound by incorporating keyboards for a more commercial appeal, without abandoning their muscular rock edge. With the addition of keyboardist Craig Frost, they released the album "Phoenix", a work that even features subtle progressive touches, as evidenced in the opening track, "Fight of the Phoenix". Furthermore, on this new release, they shortened their name to Grand Funk, albeit temporarily, and also parted ways with their manager and producer, Terry Knight. However, this new album also reveals a certain lack of creative freshness from their guitarist and leader, Mark Farner, even though he continues to display his electrifying and energetic side. Tracks like the semi-progressive "Trying To Get Away", the psychedelic "Rain Keeps Fallin' ", the boogie-blues "I Just Gotta Know", the hypnotic "Freedom Is For Children", and the catchy "Rock and Roll Soul" proved that the band still had enough talent to continue evolving musically. Although "Phoenix" didn't surpass its predecessors commercially, it did reach number seven on the Billboard charts and achieved gold status in the North American and Canadian markets.

Wha-Koo-Berkshire (1978)

Related to the Californian band Steely Dan for their exquisite and polished style, Wha-Koo was a prolific West Coast rock band that released three albums between 1977 and 1979. Its main driving forces were David Palmer and Danny Duoma. Palmer had previously played on the early albums of Steely Dan, and was a renowned guitarist and songwriter. The rest of the lineup was equally accomplished; musicians like Andy Silvestre, Reinie Press, Don Francisco, and Rick VanMaarth had belonged to important bands such as Highway Bobbery, Savoy Brown, and The Crickets, the latter famously known as Buddy Holly's backing band. "The Big Wha-Koo" (1977), "Berkshire" (1978), and "Fragile Line" (1979) are prime examples of the best of the Californian sound. It is undoubtedly their second album, "Berkshire", that best reflects the style of this brilliant group from Los Angeles. Grand vocal harmonies, refined guitars, and precise keyboards, all underpinned by exquisite arrangements. Some time later, Danny Duoma released his only solo album, "Night Eyes", featuring Eric Clapton, Garth Hudson of The Band, and several members of Fleetwood Mac, before joining the band Chicago, replacing the late Terry Kath.

Metropolis-Metropolis (1974)

In the spirit of krautrock and steeped in the authentic psychedelic sound of late 1960s America, Metropolis crafted a single album, combining diverse styles such as folk, theatrical vocals, and classic progressive elements. Formed by former Agitation Free member Michael Duwe (guitar and vocals), former Mythos member Thomas Hilderbarnd (drums), and former Ash Ra Tempel member Michael Westphal (bass and backing vocals), this German band's only recording was made in Munich in 1973 and released early the following year. The album also features vocalist Ute Kannenberg, keyboardist Michael Westphal, and guitarist and backing vocalist Helmut Binzer, among other musicians who contribute instruments such as oboe and flutes. The brass and string arrangements, the almost operatic vocals, and the grand Mellotron keyboards are the highlights of this magnificent album, resulting in a highly original and uplifting piece of music. The uplifting "Birth" opens an album that, from its very first notes, foreshadows an edifying musical adventure. The psychedelic "Metropolis" perfectly complements this sense of originality, which contrasts with the semi-operatic "Superplastikclub", followed by the complex "Dreamweaver" and the atmospheric, Hispanic-influenced "Glass Roofed Courts", culminating in the galloping progressive "Ecliptic". After this single release, Metropolis disbanded, with most of its members joining other prominent German bands of the time.

Hot Tuna-Burgers (1972)

While Hot Tuna, the band formed in parallel by several members of Jefferson Airplane, based their debut on traditional acoustic blues, their third release, "Burgers", sees the project led by Jorma Kaukonen (guitar and vocals) and Jack Casady (bass) fully embracing the electric sounds of blues rock and folk/country rock. The addition of violinist Papa John Creach, along with drummer Sammy Piazza and occasional appearances by David Crosby, Nick Buck, and Richmond Talbott, brings greater sonic diversity and the perfect balance that was still lacking in their earlier releases. Recurring themes such as the blues "99 Year Blues", the folk "Highway Song", the powerful "True Religion", the country "Keep on Truckin'", the evocative instrumental "Water Song", the bluegrass "Let Us Get Together Right Down Here" or the uplifting blues rock "Ode for Billy Dean" and the bluesy instrumental "Sunny Day Strut", are more than enough credits to vindicate the musical heritage of this formidable North American group.

Lee Michaels-Live (1973)

In 1972, organist Lee Michael achieved a surprising triumph with his fifth album, "5th", which showcased his complete mastery of the Hammond B3 organ and his eclectic rock sound infused with blues, soul, and jazz. Years earlier, at just five years old, Michael had begun playing the piano, which, along with the trombone, saxophone, and accordion, he would soon master with remarkable talent. After studying music for years in high school, he joined various bands, touring extensively throughout the United States and Canada during the 1960s. Then, one day in California, he saw Jefferson Airplane perform and became fascinated by the new musical movements emerging in late 1960s America. After forming his own band, he was signed to A&M Records, with whom he released his first album, "Carnival of Life", in 1968. A year later, he broke into the charts with his third release, "Lee Michaels", which featured an exciting cover of T-Bone Walker's blues classic, "Stormy Monday", as well as the hit "Heighty Hi". His style was based on the driving rhythms of his Hammond organ and the effective and dynamic drumming of Barry "Frosty" Smith. After several more albums, "Barrel" (1970) and "5th" (1971), the latter his biggest commercial success thanks to the hits "Do You Know What I Mean" and "Can I Gat a Witness", he released the live album "Live" in 1973. Recorded at New York's legendary Carnegie Hall, this album showcased Michaels' simple yet effective approach, centered on the organ with the only additions being drums for support, along with his own vocals. This approach had opened the doors to success and fame, and this live performance demonstrated it in a truly overwhelming way. Soul rhythms like "Thumbs", "War," and "My Lady" are interwoven with rock classics like "Rock My Baby", bluesy tracks like "Call It Stormy Monday", and energetic, hard-hitting songs such as "Day of Change" and "Mad Dog". After releasing several more albums, Lee Michaels eventually retired from music to manage his own famous restaurant, "Killer Shrimp", located in Marina del Rey, California.

Hermann Szobel-Szobel (1976)

Born in Austria, Hermann Szobel was a classically trained pianist who, in the mid-1970s, released a seminal work within the jazz-rock genre. In 1974, at just 17 years old and observing the lack of interest in jazz in his native country, he decided to move to New York. In the city of skyscrapers, he not only perfected his jazz style but also caught the attention of Arista Records. With a contract in hand, he set out to record an album, forming a band composed of Michael Visceglia (bass), Bob Goldman (drums), Dave Samuels (percussion and vibraphone), and Vadim Vyadro (saxophone, flute, and clarinet). On his first and only album, "Szobel", the young Hermann included five extensive, heterogeneous tracks, featuring intricate yet complex melodic arrangements of great creativity, firmly grounded in jazz with passages infused with classical music and avant-garde elements. Halfway between modern and progressive jazz, Hermann transforms musical landscapes with small doses of his instrumental virtuosity, allowing the rest of the band to showcase their immense talent as well. Vibrant rhythmic passages like "Mr. Softee" or sophisticated and intense tracks like "The Szuite" are just a small sample of the album's exceptional quality. But Hermann also knows how to navigate accessible and down-to-earth sounds in pieces like "Between 7 & 11" or "Transcendental Floss", or more avant-garde atmospheres with the effective "New York City, 6 AM".

Quicksilver Messenger Service-Happy Trails (1969)

Quicksilver Messenger Service was an American acid rock band that fused various styles, including folk, blues, and jazz. They formed in the mid-1960s in San Francisco. Their musical strengths lay in the virtuosic interplay of their instrumentalists, especially guitarists John Cipollina and Gary Duncan, making them a pioneer in the world of twin guitars and an influence on later bands such as Wishbone Ash, Thin Lizzy, Judas Priest, and Iron Maiden. Their style ranged from acid blues and folk to hard rock and heavy psych, with jazz fusion influences throughout their career. "Happy Trails", the band's second album, released in 1969, is their most blues-oriented work. The album is semi-conceptual, particularly the first side, and features prominent violin sounds, further solidifying their folk roots. It was recorded in 1968 at the Fillmore West in California. This album, both for its psychedelic blues and its cover art, reminds many of Pink Floyd's "More" as a somewhat analogous album, although the latter is much more symphonic. Among its standout tracks are the rhythmic "Mona" and the excellent "How Do You Love".

The Turtles-Golden Hits (1967)

The Turtles were a Californian folk rock and psychedelic pop band founded in 1965 in Los Angeles under the original name The Crossfires From the Planet Mars. Their founders, surf music enthusiasts, were vocalist Howard Kaylan and songwriter and keyboardist Mark Volman, who soon changed their name to The Turtles and evolved towards a folk rock sound, achieving their first Top Ten hit with their cover of Bob Dylan's "It Ain't Me Babe" (1965). A year later, their second LP, "You Baby", failed to chart, so they decided to embrace bubblegum pop and composed the smash hit "Happy Together", which reached number one in much of the world in 1967. That same year, they returned to the top of the charts with "She'd Rather Be with Me" and "You Know What I Mean", but the group began to experience departures, starting with bassist Chip Douglas leaving to become a producer for The Monkees. Already in the midst of the psychedelic pop craze, they produced the concept album, "The Turtles Present The Battle Of The Bands", in which they aimed to be a band of diverse styles, achieving two hits with "Elenore" and "You Showed Me", which reached the Top 6 on the charts. However, in 1969, their album "Turtle Soup" was a commercial failure, leading three of its members Howard Kaylan, Mark Volman, and Jim Pons to join Frank Zappa's group, The Mothers of Invention, a year later. The remaining members recorded "Wooden Head" (1970), which suffered the same fate as its predecessor. Shortly afterward, they formed the duo Flo & Eddie, appearing in several concerts but without releasing any material, and ultimately disbanded at the end of that same year.

Laurie Anderson-Mister Heartbreak (1984)

Despite having been part of New York City's most avant-garde art scene since the early 1970s, it took Laurie Anderson many years to release her first solo album, "Big Science" (1982), a work that was remarkably well-received by the public and garnered favorable reviews from the specialized press. Her eclectic style could be categorized as cutting-edge and experimental pop, something that has kept her a cult artist to this day. Some time after that groundbreaking debut, Laurie Anderson began collaborating with prestigious musicians such as Peter Gabriel, Nile Rodgers, Adrian Below, Phoebe Snow, and Bill Laswell, all of whom would eventually contribute to her next release, "Mr. Heartbreak", released two years later. Although much more accessible than its predecessor, Anderson continues to use her music to tell stories in a literal sense, fusing ethnic influences, electronica, and the most unusual experimentation. Strange canvases very close to minimalism "Sharkey's Day", poetic hypnotism "Langue D'Amour", approaches to electronic new wave "Gravity's Angel" or "Excellent Birds" or exotic pieces that navigate between the ethnic and the electronic "Kokoku", make up an album as challenging as it is luminous.

Oscar Peterson-Great Connection (1974)

In 1971, Oscar Peterson began a fruitful and long-lasting partnership with American drummer Louis Hayes and Danish bassist Niels-Henning Ørsted Pedersen, starting with an exquisite and varied album of jazz standards. Produced by Hans Georg Brunner, this work, released three years later (1974), saw the trio create a series of highly inspired compositions, such as the free jazz track "Younger Than Springtime", the relaxed "Soft Winds", the complex "Wheatland", the overwhelming version of Duke Ellington's "Just Squeeze Me", and the uplifting Charles Chapin piece "Smile". In the following years, Peterson and Pedersen played together regularly in countless concerts and collaborated on a dozen official recordings, including "The Good Life" (1973), "The Trio" (1974), "Nigerian Marketplace" (1981), and "Night Child" (1982).

Mirthrandir-For You The Old Man (1976)

Mirthrandir is another of the countless bands lost in the dark tunnel of time, having released only one elaborate and elegant progressive rock album. Formed in 1973 in New Jersey, its members were Richard Excellente (guitar), Simon Gannett (keyboards), James Miller (bass and flute), Alexander Romanelli (guitar), Robert Arce (drums), and John Vislocky (vocals and trumpet). Their sole recording, "For You The Old Man" (1976), showcases the band's excellence with a series of highly meritorious tracks such as the fiery, jazz-influenced "For You The Old Women", the exuberant "Conversation With Personality Giver", the melodic instrumental "Number Six", and the progressive tour de force "For Four", all featuring remarkable guitar work, driving Mellotron and organ keyboards, and a memorable instrumental dynamism. Without a doubt, "For You The Old Man" is a creative album of the best American progressive rock, performed with great skill and with excellent musicality.

Cream-Disreali Gears (1967)

Cream's second album cemented their status as an iconic band, delivering a record brimming with powerful rock infused with psychedelic and blues-rock influences. Unlike their groundbreaking debut released a year earlier, the band, comprised of Eric Clapton, Jack Bruce, and Ginger Baker, moved away from the nascent sounds of blues rock, embracing more accessible sounds, as demonstrated by the well-known "Sunshine of Your Love", a true rock classic immortalized in countless commercials, TV series, and films, and a staple on rock compilations. This fusion of rock and psychedelic sounds is present in the opening track, "Strange Brew", a dense cut with raw, distorted guitars. Meanwhile, the more subdued "World of Pain" continues to delve into psychedelic sounds while showcasing the band's melodic side. "Dance the Night Away" follows a similar path, while the bluesy "Blue Condition" provides a relaxed moment on this sublime first side. On side two of the original album, the rhythm increases with the acidic "Tales Of Brave Ulysses", the rhythmic "SWLABR", or the blues rock "Take It Back" and "Outside Woman Blues", with which one of the essential albums in the history of rock concludes.

Culpeper´s Orchard-Culpeper´s Orchard (1970)

Taking their name from a famous 15th-century English botanist who championed the use of medicinal herbs to combat disease, the Danish band Culpeper's Orchard was formed. Their journey began in the early 1970s, founded by British guitarist and singer Cy Nicklin, along with Nils Henriksen (guitars, keyboards, and vocals), Michael Friis (bass, organ, and flute), and Rodgers Barker (drums). After signing with Polydor Records, they released their self-titled debut album in mid-1970, crafting an intriguing blend of hard rock, folk rock, and avant-garde and psychedelic elements. The album features electric guitars with energetic hard rock riffs fused with American folk rock. This debut album features a range of standout tracks, from the acoustic sounds and rich vocal harmonies of "Hey You People" to powerful compositions like "Mountain Music Part 1 and 2", the bluesy melodies of "Gideon's Trap", and the acid-tinged, psychedelic sounds of "Tea Party For an Orchard". While the band would later release three interesting albums of diverse musical styles, this debut remains a prime example of one of the forgotten gems of European proto-progressive rock.

Steely Dan-Can´t Buy A Thrill (1972)

In 1971, ABC Records musicians and songwriters Walter Becker (guitar and vocals) and Donald Fagen (keyboards and vocals) decided to form their own band, encouraged by producer and ABC Records executive Gary Katz. Thus, Steely Dan was born, comprised of its two leaders, Jeff "Skunk" Baxter (guitars), Jim Holder (drums), and Dennis Dias (guitar and sitar). A year later, they released their debut album, "Can't Buy a Thrill", which also featured guest appearances from singer David Palmer, guitarist Elliott Randall, saxophonist Jerome Richardson, and percussionist Victor Feldman. This first recording is characterized by the group's complex musical tapestry, blending diverse styles such as jazz, rhythm and blues, pop, and rock with satirical and biting lyrics. With meticulous production, the duo crafted a series of brilliantly executed songs, featuring warm sounds and lyrics infused with a sarcastic and unsettling sense of humor. The album opens with the iconic "Do It Again", a true American rock classic, a masterful composition brimming with sonic details. It is followed by other magnificent tracks such as the memorable "Dirty Work", "Reelin' in the Years", "Fire in the Hole", "Midnight Cruiser" and "Change of the Guard". This spectacular debut marked the beginning of one of the most exciting careers in the history of rock music.

INXS-Kick (1987)

Until the release of their sixth album, the Australian band INXS, despite not always receiving critical acclaim, had a large and devoted fanbase that propelled them to stardom in the late 1980s. The core lineup consisted of brothers Andrew, Jon, and Tim Farriss keyboardist, drummer, and guitarist, respectively who, along with Kirk Pengilly (guitar), Garry Gray Beers (bass), and Michael Hutchence (vocals), had formed INXS in the late 1970s. In their early days, the band played a new wave style with pop-rock influences, which evolved over time towards arena rock. With their fifth album, "Listen Like Thieves" (1985), they achieved mainstream and commercial recognition thanks to tracks like "What You Need", but it was with their next album, "Kick", that they cemented their global success. This was due to their mature songwriting, showcasing a blend of hard-hitting rock with hints of commercial pop and new wave. After impeccable production, clear musical intentions, and powerful, expertly executed songs, the Australian group delivered a work that would soon achieve massive commercial success, selling over 25 million copies worldwide. Songs like the catchy "New Sensation", the brilliant "Never Tear Us Apart", the Stones-esque "Devil Inside", the powerful rock anthem "Mystify", and the captivating "Need You Tonight" made INXS a band that resonated with mainstream audiences. Following this album came others of similar success such as "X" (1990), "Welcome To Wherever You Are" (1992), and "Full Moon, Dirty Hearts" (1993), all of which maintained a high standard. However, the suicide of their singer, Michael Hutchence, at the end of 1997, resulted in the group losing its identity and, at the same time, a decline in public fervor.

Mombasa-African Rhythms and Blues (1975)

Lou Blackburn was a renowned American musician who rose to fame in the 1950s and 60s performing alongside jazz legends such as Lionel Hampton, Lou Rawls, and Duke Ellington. He also established a successful solo career, releasing albums like "Jazz Frontier" and "The Complete Imperial Sessions". In the early 1970s, he moved to Europe and founded the Mombasa project, a group that fused African rhythms with jazz. In 1975, under the German independent label Spiegelei, he recorded the group's debut album, "African Rhythms and Blues", an extraordinary recording where exotic rhythms, rural and folk blues, spirituals, and jazz intertwine in a fascinating and enchanting fusion. Besides Lou Blackburn (trombone), the rest of Mombasa consisted of Donald Coleman (congas and flute), Charles Jefferson (trumpet), Gerald Luciano (double bass and African percussion), and Cephus McGirt (drums). Produced by German engineer Manfred Schmitz, the album contains an anthology of repertoire that makes it one of the finest recordings of ethnic jazz ever made.

Christopher Cross-Another Page (1983)

Three years after his acclaimed debut album, Christopher Cross left us with his second record, an album that was overshadowed by his impactful first work, despite containing enough musical merit to once again top the charts worldwide. However, in his second release, the style that blended irresistible ballads, soft rock, and clear mainstream pop influences was criticized for its lack of stylistic evolution. As with his debut album, on this new record, the guitarist from San Antonio, Texas, surrounded himself with a stellar lineup of musicians, including Mike Porcaro, Don Henley, JD Souther, Art Garfunkel, Steve Lukather, Tom Scott, Carl Wilson, Abraham Laboriel, and Jay Griden, among many others. Recorded throughout much of 1982, on "Another Page" Cross repeats the same formula that had propelled him to global stardom with a series of understated, impeccably executed compositions that navigate between romantic and nostalgic ballads; "Baby Says No", "Nature of the Game", "What Am I Supposed to Believe", "Talking in My Sleep", "Words of Wisdom", and "Think of Laura" are nods to the recent past with appealing melodies, such as the fast-paced and catchy "All Right," or the stimulating West Coast sounds of "No Time for Talk" and "Deal 'Em Again". While not reaching the commercial or creative heights of its predecessor, the album achieved a commendable eleventh place on the Billboard charts and earned half a dozen gold records worldwide for its sales.

Carpe Diem-En Regardant Passer Le Temps (1975)

Carpe Diem was a French progressive rock band active throughout the 1970s, before disbanding until 2014, when they reunited to release a new album. Their debut, "En Regardant Passer Le Temps", was released in 1975, an album where the French band showcased their affinity for the jazz-influenced sounds of Canterbury. The lineup consisted of Gilbert Abbenanti (guitar), Christian Trucchi (keyboards and vocals), Claude-Marius David (flute, saxophone, and percussion), Alain Berg (bass), and Alain Faraut (drums). In this first recording, Carpe Diem displayed a strong emphasis on keyboards and wind instruments, giving their sound a jazz-rock feel blended with more progressive elements. Songs like "Voyage du No-Retour", "Réincarnation", "Jeux de Siècle" or "Publiphobie" are part of a great, excellently executed work that at times reminds us of the great British bands of the Canterbury sound.

Frost-Milliontown (2006)

Frost was a one-off project led by keyboardist and producer Jim Godfrey, who wanted to venture into the challenging world of 21st-century progressive rock, composing highly enjoyable, high-quality material. To carry out this project, Godfrey enlisted some of the most renowned musicians of the neo-progressive rock scene at the time: IQ bassist and drummer John Jowitt and Andy Edwards, and Arena guitarist John Mitchell. The resulting album, "Milliontown", is a fascinating odyssey encompassing muscular and energetic passages, a wealth of electronic elements, and relaxing, atmospheric moments. All the tracks are built upon Godfrey's keyboard work, overlaid by a simply masterful instrumental explosion. From art rock pieces like "The Other Me", to the progressive metal of "No Me No You", passing through the progressive "Black Light Machine" or the superb pyrotechnic and musical display of the enormous suite "Milliontown", this discographic effort is a vigorous and impeccable work of the best modern progressive rock.

Tom Jones-Spirit In The Room (2012)

Tom Jones needs no introduction; the so-called "Tiger of Wales" is one of the longest-serving singers of rhythm and blues, soul, and pop rock, who began his long career in the mid-1960s. Established as one of the greatest British singers of all time, he is also one of the most successful, with over 100 million records sold worldwide. Some of his hit songs, such as "Delilah" and "Help Yourself", have become classics of British and international pop-rock. In 2006, he was knighted by Queen Elizabeth II for his services to music. In 2012, this Welshman showcased his impeccable voice and musical charisma with the release of his 39th studio album, "Spirit In The Room", composed entirely of covers. In a calm and measured tone, Jones effortlessly and personally delivers each of the songs, ranging from Leonard Cohen's understated "Tower of Song" to Odetta Gordon's carefree "Hit & Miss", passing through Ethan Johns' bluesy "Traveling Shoes", Blind Willie Johnson's brilliant "Soul of a Man", Joe Henry's melancholic "All Blues Hail Mary", and The Low Anthem's emotional "Charlie Darwin". "Room" is ultimately a dense and intimate album that brought back the best Tom Jones, the one who caused a great sensation throughout the world for four consecutive decades.

Santana-Zebop (1981)

Featuring almost the same lineup as their previous album, "Marathon", Carlos Santana continued his journey through the musical wilderness of the 1980s, releasing the band's eleventh album, "Zebop". Following the AOR path of "Marathon", in this new release the Mexican guitarist delves even deeper into the sounds that flooded radio stations at the time. Bands like Boston, Styx, Toto, Journey, REO Speedwagon, and Foreigner dominated the charts worldwide with their high-quality melodic rock. In that context, Santana offered an engaging album where, as usual, their enormous skill with the six-string guitar shone through, along with highly meritorious AOR compositions such as the addictive "Changes", "Searchin' ", "Winning", "Over and Over", and "I Love You Much Too Much", while their vintage style is present in "Primera Invasion", "Tales of Kilimanjaro", "American Gypsy", "É Papa Ré", "Sensitive Kind", "Brightest Star", and "Hannibal". "Zepob" is one of Santana's works where they best managed to combine the modern sounds of melodic rock with the jazz-rock of their albums from the previous decade.

Iron Butterfly-Heavy (1968)

Iron Butterfly is a true legend of 1960s psychedelic rock; however, their career is overshadowed by the worldwide hit "In-A-Gadda-Da-Vida", an album and single that have sold a staggering 30 million copies worldwide to date. Such a feat would overshadow any other album in their discography, something that has unfairly happened to this iconic band. Part of the West Coast psychedelic movement, they released their debut album, "Heavy" in 1968. While they are considered early pioneers of avant-garde rock and heavy metal, it's also true that at that time the term "heavy" was used for any style of heavy and dark music, not the fast-paced, frenetic, and strident style of today. On this debut album, the quintet comprised of Darryl DeLoach (vocals and percussion), Danny Weis (guitar), Doug Ingle (organ), Jerry Penrod (bass), and Ron Bushy (drums) showcases a series of psychedelic-tinged songs with hints of garage, soul, and rhythm and blues. Standout tracks include the melancholic "You Can't Win", the hypnotic "Look For The Sun", the upbeat "Gentle As It May Seem", the catchy "Possession", and the acid-tinged instrumental "Iron Butterfly Theme". Ultimately, this was an intriguing debut brimming with creative and promising ideas that would be brilliantly developed on their subsequent albums.

Mountain-Man´s World (1996)

Taking James Brown's iconic song "Man's World" as their inspiration, Mountain released their sixth album ten years after their previous release, "Go For Your Life". Led by the magnificent guitarist Leslie West, this new offering from the trio of West himself, bassist Mark Clarke, and drummer Corky Laing resulted in a tremendous album of powerful and engaging hard blues rock. Songs like the hard-hitting "In Your Face", "Crest Of A Slump", and "So Fine" are seamlessly and magnificently interwoven with the aforementioned "Man's World", a brilliant bluesy version, the blues-rock tracks "Thunder" and "Hotel Happiness", the melancholic "I'm Sorry" and "You'll Never Be Alone", and the catchy AOR track "I Look". With this sixth work, Leslie West established his enormous talent with the six strings and his undeniable compositional creativity, crafting another of his great works for posterity.

Tangerine Dream-Rubycon (1975)

Released in the 1970s, "Rubycon", along with other Tangerine Dream albums such as the superb "Phaedra" and "Ricochet", are fundamental recordings of progressive electronic music. "Rubycon" is structured as a dreamlike, surreal journey, simultaneously relaxing and oppressive, with spatial moments and a powerful emotional charge. However, compared to the band's previous album, "Phaedra", this one is more subdued, although it does contain some rhythmic moments. The dark and dissonant tone is the common denominator throughout the entire work. "Rubycon" marked a further step in the metamorphosis of TD's somber music, which would reach its creative zenith with the subsequent albums "Ricochet," "Stratosfer", "Clycone", "Force Majeure", and "Tangram". For many, this was the best lineup in the band's history, something I personally disagree with. While I don't doubt the instrumental and creative abilities of Chris Franke and Peter Baumann, and always leave no doubt about Edgar Froese, the quintessential creative mind of TD, this band has also included highly prestigious musicians such as Klaus Schulze, Conrad Schnitzler, and Johannes Schmoelling, among others. What is certain is that this lineup would be the most well-known and commercially successful worldwide, releasing what is considered TD's progressive era. “Rubycon”, a title taken from a historic Italian river from Roman times that held special importance in Roman law, as it was forbidden for any Roman general to cross it with his army, is an album that transports us to another dimension, the perfect record for an audio experience, a complete journey with vast, dizzying electronic landscapes, pulsating rhythms, deep analog hums and a Pink Floyd-esque structure, making this work one of the essential recordings of the seventies.

Cathedral-Stained Glass Stories (1978)

"Stained Glass Stories" is considered one of the landmark works of American avant-garde rock, an album created by Cathedral (not to be confused with other bands of the same name that have emerged throughout history). Hailing from Long Island, Cathedral was formed in the mid-70s from the ashes of the psychedelic band Odyssey, which included Fed Callan (bass) and Tom Doncourt (keyboards). Along with drummer Mercury Caronia, singer Paul Seal, and guitarist Rudy Perrone, they completed the lineup of Cathedral. Recorded on the independent label Syn Phonic, in 1978 they released "Stained Glass Stories", showcasing a style far removed from their psychedelic past, delving into intense sounds of excellent progressive musicianship clearly influenced by early 1970s British symphonic rock. Intricate guitar and bass riffs, a spectacular Mellotron, and masterful drumming drive this brilliant album, as demonstrated by the excellent tracks "Introspect", "Gong", "The Search", "The Crossing", and "Days and Changes". Despite being recorded in the later years of the progressive rock genre, "Stained Glass Stories" has achieved cult status and is considered essential for understanding the rich evolution of late 1970s American symphonic-progressive rock. Although the album enjoyed considerable commercial success, Cathedral would later disband until many years later, when they reappeared with their second album, "The Bridge" (2007).

Arthur Conley-Sweet Soul Music (1967)

In the mid-sixties, American soul was one of the styles that revitalized the music world, becoming a serious competitor to the burgeoning British pop movement. It was in this context that Arthur Conley emerged, one of the many singers who became its driving force. Conley was a renowned and accomplished performer who, until then, had been immersed in the rhythm and blues of the American South. As early as the beginning of the sixties, he had achieved his first hit with "Poor Girl" with The Corvettes, and some time later he would gain the support of Otis Redding, who, in addition to being a great friend, would actively collaborate on his subsequent releases. Thus began his artistic peak, releasing successful albums such as "Sweet Soul Music", a kind of tribute to the soul greats of that era, such as James Brown, Wilson Pickett, and Otis Redding himself. However, his greatest successes came with iconic hits like "People Sure Act Funnt", "Funky Street", "Ah, Ah, Ah", and "Shake Rattle & Roll", released during a time when Arthur Conley knew how to seize his opportunity. His triumph came at the perfect moment, a time when the music industry needed other stylistic alternatives. But as always happens in any area of ​​life, when the soul boom began to decline, Conley faded into the background, his image buried beneath the thousands of decibels of the new styles that emerged in the late 60s and early 70s, such as heavy rock, psychedelic rock, and progressive rock.

David Lee Roth-Skyscraper (1988)

For his second solo album, "Skyscraper", released in 1988, former Van Halen singer David Lee Roth assembled an extraordinary band featuring Steve Vai on guitar, Billy Sheehan on bass, and Gregg Bissonette on drums. The result of this gathering of talent was a tremendous hard rock album where Steve Vai's guitar virtuosity, Sheehan's driving bass, and Bissonette's powerful drumming propel an album that, at times, overshadows David Lee Roth himself. Songs with hints of classic Van Halen sound like "Knucklebones", the catchy "Just Like Paradise", the impactful "The Bottom Line", a fantastic demonstration of Vai's virtuosity on the six strings, the spectacular title track, in which Roth gives us one of his best vocal performances, the rocking "Hot Dog and Snake" or the dynamic "Two Fools a Minute", another instrumental showcase of all the musicians, including wind instruments played by Roth himself, in addition to some enveloping keyboards courtesy of Brett Tuggle, make this album one of the best in David Lee Roth's entire career.

Tommy Bolin-Private Eyes (1976)

It's no secret that Tommy Bolin was unfairly undervalued by Deep Purple fans when he replaced Ritchie Blackmore in the band in the mid-70s. In fact, many dismissed his only recording with that legendary group, not even giving it a second listen to appreciate his mastery of the electric guitar. This public rejection was a severe blow to the ego of such an emotionally sensitive musician. Recorded the same year as his sole release with Purple, Bolin launched his second solo album, "Private Eyes", where he distanced himself from the jazz-rock of Alphonse Mouzon's "Mind Transplant", the furious hard rock and funk of Deep Purple's "Come Taste the Band", and even the vigorous rock of "Teaser", his first solo album. In "Private Eyes", Bolin displays a more eclectic and relaxed style, offering a work brimming with soothing rhythmic allusions and soft, laid-back sounds. From exotic delights like the samba "Gypsy Soul", to forays into melodic rock with "Someday We'll Bring Our Love Home", to concessions to swing-tinged blues with "You Told Me That You Loved Me", returns to the vigorous jazz-rock of "Shake the Devil", and a more conventional side with the ballad "Sweet Burgundy". Although he never abandoned drugs, likely fueled by his artistic failures a fact that would ultimately lead to his death his youth and audacity helped him find a style open to the many influences he would showcase in the short time he lived to tell the tale. Tommy would die on December 4, 1976 in Miami, just 6 months after this launch and at only 26 years of age, due to an overdose of heroin and other substances such as cocaine and alcohol.

Lou Reed-Live: Take No Prisoners (1978)

This double live album by Lou Reed, released in late 1978, is one of his most infamous records, and it's so because, more than a conventional live album, it's a long monologue in which he insults, rants, and laughs at everything under the sun, all while smoking and telling sordid jokes brimming with malice and madness. Preceded by the equally twisted "Street Hassle", this concert, recorded at The Bottom Line in New York in May 1978, features Lou Reed revisiting some of his most emblematic songs, which sound unrecognizable here, yet retain their charm thanks to the brilliant musical treatment applied. Songs like "Sweet Jane" contain hurtful interludes, such as insulting the audience. Others, like "I Wanna Be Black", "Satellite of Love", "Pale Blue Eyes", and "Berlin", showcase an excellent backing band that navigates between funk and rock, embellishing the well-oiled rhythm section with electric guitars, piano, saxophone, and backing vocals. In "I'm Waiting for My Man", Reed returns to the attack after warning the audience, "I'll speak when you shut up". Not content with slightly altering the title and presenting the song as a blues track three times longer than the original, it ultimately becomes the prelude to one of his biting songs, "Temporary Thing". However, Reed's harshest and most scathing criticisms are reserved for the nearly seventeen minutes of an unalterable "Walk On The Wild Side", whose riff perpetuates itself as a cold chant over which Lou Reed hurls insults left and right, insulting music critic Robert Christgau, talking about how idiotic Joe Dallesandro was, imitating and ridiculing Barbra Streisand, praising Bruce Springsteen, or improvising on any outlandish idea that crossed his mind during the concert, turning this song into a kind of ceremony of bewilderment and provocation. Without a doubt, we are dealing with a punk album, performed in a way that few, if any, punks would ever dream of.