Procol Harum-Live: In Concert with the Edmonton Symphony Orchestra (1972)

There are songs that become cornerstones, symbols of an unrepeatable era, pivotal moments in a generation's memories, ultimately becoming mythical and timeless. One of these songs is "A Whiter Shade of Pale", a symbolic track from 1967 and Procol Harum's most famous composition. With this song, Procol Harum entered rock history, in an era so exciting and multifaceted that it continues to be analyzed, studied, and remembered almost meticulously despite the many years that have passed. Founded in 1960 by keyboardist Gary Brooker, who, along with Robin Trower on guitars, drummer B.J. Wilson, and bassist Chris Copping, performed under the name Paramounts in venues in the city of Southend, in the south of England. After five years of releasing singles with little success and touring England and Germany, where they supported Sandy Shaw, lyricist Keith Reid joined them. Together with Brooker, they composed "A Whiter Shade of Pale", which was released in the summer of 1967 and reached the top of the charts worldwide. By then, Procol Harum had already abandoned their blues and rock 'n' roll influences to delve into more complex developments focused on the emerging progressive and psychedelic sound of the time. That same year, the single "Homburg" was released, which also achieved great success in global markets. Both tracks were included on the album "A Whiter Shade of Pale", and the following album, "Shine on Brightly", included the title track. They closed out the decade with "A Salty Dog", another memorable album. From this point onwards, and well into the 1970s, the band would release some very memorable albums such as "Home", "Broken Barricades", "Grand Hotel" or the superb live album "Procol Harum Live: In Concert with the Edmonton Symphony Orchestra".

Mott The Hoople-All The Young Dudes (1972)

Mott the Hoople is the group that represents the stylistic and chronological link between the English beat of the 1960s and the punk rock of the late 1970s. In the golden age of glam rock, they were one of the few who preserved the authentic spirit of rock 'n' roll, while almost everyone else embraced technological sophistication. Founded in Hereford, in the west of England, their initial lineup consisted of guitarist Mick Ralphs, drummer Pete Watts, and keyboardist Verden Allen. Later, Islands Records offered them a contract on the condition that they add singer and guitarist Ian Hunter. Ian Hunter's aggressive stage presence and enormous songwriting talent gave the group new energy. However, their first four albums did not achieve the expected success, criticized for their raw rock 'n' roll sound and for their singer's audacity in drawing inspiration from Bob Dylan. At this point in 1972, the band was on the verge of breaking up and officially announced their separation on March 26th of that year. However, it was David Bowie, one of their most illustrious admirers, who convinced them to postpone their decision, at least until they had recorded and released a song he had composed titled “All The Young Dudes”. Bowie produced the single, sang and played saxophone on it, and found them a new manager, Tony De Fries, who was already handling Bowie's business affairs. De Fries also secured them a new record deal with CBS. In the summer of 1972, "All The Young Dudes" reached number three on the British charts and became a classic in rock history. Bowie also produced their fourth album, also titled "All The Young Dudes", in which Mott the Hoople found a new musical formula. Here, Hunter was more original and charismatic in his vocal performances, the songs were much better structured, and the arrangements were more effective. With this album and the following one, "Mott", the group finally achieved success. On the latter, the band even reached the UK top ten with superb songs like "Honaloochie Boogie", "All the Way from Memphis", and the effervescent track "Roll Away the Stone".

Accept-Restless And Wild (1982)

With “Restless and Wild”, Accept took their definitive leap into the pantheon of rock, and although they still had such emblematic works as “Balls to the Wall” a year later to come, this album cemented the German band's status as one of the great heavy metal acts of the eighties. “Restless and Wild” pleasantly surprised critics and fans alike with its impeccable production and a series of tracks that remain as relevant today as ever, considered essential to the history of the genre, such as the overwhelming “Fast as a Shark”, the elegant “Neon Nights”, the meritorious “Ahead of the Pack”, “Shake Your Heads”, and “Princess of the Dawn”, and the brilliant title track. In short, “Restless And Wild” contains a superb string of songs full of huge metal riffs by the guitar duo Wolf Hoffmann and Herman Frank with that controlled fury, a devastating rhythm section by drummer Stefan Kaufmann and bassist Peter Baltes, all wrapped up in the powerful and raw voice of Udo, one of the most charismatic voices in world heavy metal.

Bay City Rollers-Bay City Rollers (1975)

Bay City Rollers were one of the biggest British pop phenomena to emerge from the "Bleatlemania" craze, creating what became known as "Rollermania". For much of the 1970s, they were one of the most successful bands, selling over one hundred million records. Formed in Edinburgh, Scotland, in the mid-1960s, they were initially called The Saxons, under which name they had some minor hits. Their most successful lineup consisted of Les McKeown (guitar and vocals), Eric Faulkner (guitar, backing vocals, violin, mandolin, and bass), Stuart "Woody" Wood (bass, backing vocals, keyboards, and guitars), Alan Longmuir (bass, backing vocals, accordion, and piano), and Derek Longmuir (drums). As Bay City Rollers, they began to achieve mainstream success, releasing a series of albums that conquered the UK. With a style somewhere between glam pop and pop rock, the group found their biggest fans among teenage girls. Hits like "Keep On Dancing", "Remember (Sha-La-La-La)", "Shang-a-Lang", "Summer Love Sensation", "Bye Bye Baby", "Another Rainy Day in New York City", and "Give a Little Love" reached the top of the charts in England. In 1975, they broke into the North American market with an undeniable number one hit, "Saturday Night". Like these and many other singles, their albums had a significant commercial impact worldwide. Albums such as "Rollin' ", "Once Upon a Star", "Bay City Rollers", and "Rock 'n' Love Letter" earned a dozen gold and platinum records on the American and British charts. By the late seventies, the rise of new sounds like punk, new wave, and British heavy metal coincided with the rapid decline in popularity of this once-successful band.

Accept-Metal Heart (1985)

"Metal Heart" marked the definitive era of Accept's signature sound, characterized by aggressive, frenetic, and furious heavy metal. Their third album, "Breaker", had already begun to establish their status with energetic and catchy guitars, addictive choruses, a powerful, heavily amplified drum sound, and highly addictive compositions. Their subsequent releases would overwhelmingly confirm this, as demonstrated by their iconic album "Balls to the Wall". Produced by the renowned Dieter Dierks, the album contains a powerful collection of tracks such as "Midnight Mover", "Living For Tonite", "Bound To Fail", "Dogs on Leads", "Metal Heart", and "Wrong Is Right". With this album, the German band completed a fabulous trilogy comprised of "Restless and Wild" (1982), "Balls to the Wall" (1983), and "Metal Heart".

Al Kooper-Naked Songs (1973)

Emerging from the vibrant New York cultural scene of the late 1950s, Al Kooper would become known for his controversial personality and eccentric musical vision. Amidst the burgeoning growth of styles like blues rock, Kooper, then in his twenties, became one of the driving forces behind the movement. Aside from his countless collaborations in the 1960s, his most recognized work was as a keyboardist on Bob Dylan's legendary album "Highway 61", as well as his participation in Dylan's controversial performance at the Newport Folk Festival in 1966. From then on, his activity became frenetic, contributing to numerous projects such as Dylan's "Blonde on Blonde", Blood, Sweat & Tears' "Child Is Father to the Man", the Rolling Stones' "Let It Bleed", and Jimi Hendrix's "Electric Ladyland", in addition to his own solo projects like "Supersession" with Mike Bloomfield and Stephen Stills, "I Stand Alone" and "You Never Know Who Your Friends Are", and his membership in the legendary Blues Project. After founding his own record label, he released one of his best works, "Naked Songs" in 1973, which includes the unforgettable tracks "As the Years Go Passing By" and "Sam Stone". During the following years, Kooper would launch bands like the southerners Lynyrd Skynyrd, Wet Willie and the Atlanta Rhythm Section to worldwide fame, or become one of the most prolific and famous producers and managers of the 1970s.

Pat Benatar-Crimes Of Passion (1980)

The love affair between rock and women is intense, but also very stormy and often fraught with obstacles. A prime example of this relationship is Pat Benatar. Pat Benatar arrived on the rock scene in the early eighties, and unlike other women of that era (Debby Harry or Patti Smith), she never hid behind an artificial, hyper-feminine persona or a mask of intellectual hermaphrodite. In 1980, she released her second album, "Crimes of Passion", which sold over three million copies. This album contains the hit "Hit Me with Yogurt Best Shot", which earned her a Grammy Award. Produced by Keith Olson, the album develops the trends of an aggressive yet tightly woven rock sound, enhancing its personality with tracks like "Hell is for Children" and "Treat Me Right", as well as the extraordinary cover of "Wuthering Heights", a huge hit for Kate Bush, and exploring its melodic side in the captivating "I'm Gonna Follow Me". With its next release, the fantastic "Precious Time", it would once again top the charts and win its second Grammy of a total of four that it would achieve consecutively, thus reaching a unique and unprecedented milestone in the history of rock.

Rory Gallagher-Rory Gallagher (1971)

In 1970, Rory Gallagher disbanded his first band, Taste, for various reasons, including the ongoing tensions between his two bandmates, drummer John Wilson and bassist Richard McCracken. Almost a year later, the Irishman released his first solo album, accompanied by a devastating trio of Gerry McAvoy on bass, Wilgar Campbell on drums, and Vincent Crane on piano. On this debut album, Gallagher showcased his powerful blues rock and emotive Irish folk, delivering great riffs and imaginative, distorted guitar solos. Songs like "Laundromat", "Just the Smile", "I Fall Apart", "Can't Believe It's True", "Sinner Boy", and "Hands Up" make up a near-perfect album of rock, blues, and folk, featuring catchy melodies, memorable arrangements, and blistering guitar solos.

Osibisa-Woyaya (1971)

Behind a spectacular cover designed by Roger Dean lies Osibisa's second album, which continues in the same stylistic vein as their debut, but with added elements of jazz and rock. For this second album, the band underwent several lineup changes, which did not alter their characteristic sound. Varied percussion remains the driving force of Osibisa's music, embellished with a magnificent horn section, keyboards, flute, and rock guitars. From Latin jazz sounds like "Rabiatu", to funk rock "Move On", passing through percussion-heavy jazz in "Spirits Up Above", the Afro-funk "Y Sharp", the fusion of psychedelic music, rock, and African tribal sounds in "Survival", and the atmospheric African ballad "Woyaya", this second effort by Osibisa is an excellent and innovative jazz-rock album infused with African and Caribbean influences.

Heart-Little Queen (1977)

Influenced by Led Zeppelin, Heart have earned critical acclaim for 40 years with their outstanding songwriting, which has shaped many of their albums, some of them essential to rock music. "Little Queen", the second album from this formidable band, is known worldwide for the hit "Barracuda", which, however, doesn't overshadow the rest of the tracks, a skillful blend of rock whirlwinds and delicate folk songs. Good examples of the band's acoustic side are "Love Alive" and the instrumental "Sylvan Song", which, along with "Dream of the Archer", represents the band's folk influence on this album. On the opposite end of the spectrum, the hard rock tracks, in addition to the aforementioned "Barracuda", are found in "Little Queen", featuring Ann Wilson at her peak with her powerful vocals, while "Go On Cuy" showcases Heart's more bucolic side while simultaneously delivering their heavy and forceful rock. "Little Queen" is the most folk and acoustic album of the band's career, full of great acoustic beauty, demonstrating the two sides of Heart, on the one hand the rawness of their rock songs and on the other the delicacy of their intense and delicate compositions.

Cream-Goodbye (1969)

Released as a culmination of their spectacular career, the trio of Eric Clapton, Jack Bruce, and Ginger Baker launched their fourth and final album in mid-1969, ironically titled "Goodbye". It contains six tracks, a mix of live and studio recordings. The first three were recorded at the Forum in Los Angeles on October 19, 1968, and the remaining three at IBC Studios in London several weeks earlier. The album begins with the live versions, opening with the energetic and catchy "I'm So Glad", a nine-minute tour de force showcasing each musician's instrumental prowess. This is followed by the blues-rock track "Politician" and the raw, rudimentary bluesy "Sitting On Top Of The World". While each member contributed to the studio tracks, there's "Badge", a song co-written by Eric Clapton and George Harrison, which subtly evokes the Beatles, and the extravagant "Doing That Scrapyard Thing" by Bruce and the vibrant and dramatic "What a Bringdown" by Baker, all sharing the band's signature psychedelic style. By the time the album was released, Cream had already disbanded, making it, in a way, a final commercial effort by Polydor Records, which proved entirely successful, selling nearly a million copies worldwide.

The Marshall Tucker Band-Caroline Dreams (1977)

The Marshall Tucker Band was never a typical Southern rock band, and despite being categorized within this style, they are considered one of the greatest of the genre. Their style evolved over the years, incorporating influences such as country, rock, jazz, and rhythm and blues, and this band has been an inspiration for many subsequent jam bands. "Caroline Dreams" (1977), their sixth album, was released at a time when the two biggest bands in Southern rock were going through serious difficulties. Lynyrd Skynyrd had suffered the infamous plane crash shortly before the album's release, and The Allman Brothers were not at their peak. All of this meant that second-generation bands like Molly Hatchet, Firefall, 38 Special, Atlanta Rhythm Section, and The Marshall Tucker Band themselves successfully filled this void. Unlike Lynyrd Skynyrd and the Allman Brothers, Marshall Tucker, led by the brilliant Tommy Caldwell, adopted a more jazz-oriented approach, moving away from the hard rock of the former and the blues and country of the latter. Fantastic tracks like "Fly Like an Eagle", "Life in a Song", "I Should Have Never Started Lovin' You", and "Tell It to the Devil" make up a body of work that, along with their masterful second album, "A New Life", ranks among the best that Southern rock has ever produced.

Silverhead-Silverhead (1972)

Silverhead are another of those forgotten but great British bands of the 70s. Rooted in glam rock, they were formed in early 1972 and fronted by singer Michael Des Barres, while Robbie Blunt (guitar), Rod "Rook" Davies (guitar, percussion, vocals), Nigel Harrison (bass), and Pete Thompson (drums, percussion, keyboards, vocals) completed this superb lineup. Around the middle of that same year, the newly formed Purple Records label signed them, making them the first band after Deep Purple to record on their label. This debut album was produced by the renowned Martin Birch, a frequent engineer on hard rock and heavy metal bands like Deep Purple. Silverhead's debut is an appealing mix of hard rock, glam rock, and even elements of proto-punk. Brilliant tracks like “Ace Supreme”, “Sold Me Down The River”, “Rock 'n' Roll Band”, “Rollin' With My Baby”, and “In Your Eyes” deserved better, going largely unnoticed and unfairly overlooked by the public of the time, who were more interested in cutting-edge glam rock bands like T. Rex, Slade, Gary Glitter, Sweet, or David Bowie's The Spiders from Mars, amidst the effervescent glam rock craze of those years. After a more predictable second album titled “16 and Savage” (1973), the band embarked on several tours with some success in the UK, supporting groups like Nazareth and Osibisa, and for a time they were the main attraction at Dagenham Roundhouse, one of London's most important clubs. A third studio album, tentatively titled 'Brutiful', began to take shape in early 1974, but the group would end up disappearing before its completion in July of that same year.

Stray Dog-Stray Dog (1973)

Stray Dog was a short-lived Southern blues-rock power trio from Texas, led by guitarist Snuffy Walden. Along with drummer Leslie Sampson and bassist Alan Roberts, they recorded two albums between 1973 and 1975. It was during one of their performances that bassist and singer Greg Lake, impressed by the band's energy and talent, offered them a contract with the newly formed Manticore label, owned by Emerson, Lake & Palmer. They then moved to England where they recorded their debut album, which was released in mid-1973. This self-titled debut album consists of seven tracks of heavy, powerful psychedelic blues-rock with lysergic guitar riffs and a devastating rhythm section. Tracks like the blistering “Tramp (How It Is)”, “Crazy”, “A Letter”, “Chevrolet”, and the jam-rock anthem “Rocky Mountain Suite (Bad Road)” lead us down a frenetic path, with the southern blues number “Slave” being the only moment where they rein in their impetuous and fiery sound. With a second, more predictable mainstream rock album, “While You’re Down There” (1975), the band brought their interesting musical journey to a close, disappearing for good shortly afterward due to the lack of interest they garnered.

Allen Collins Band-Here, There and Back (1983)

Emerging from the ashes of the Rossington Collins Band, formed by guitarists Gary Rossington and Allen Collins, former members of the legendary Lynyrd Skynyrd, came the Allen Collins Band. This band, in addition to Allen Collins, included keyboardist Billy Powell, bassist Leon Wilkeson, guitarists Randall Hall and Barry Le Harwood, and vocalist Jimmy Dougherty. Following in the footsteps of Lynyrd Skynyrd, they based their style on Southern rock and the blues typical of Jacksonville. However, unlike their parent band, the Allen Collins Band showcased a more accessible and commercially viable version of the characteristic sound of the American South, with a less abrasive and energetic Southern rock sound, lacking the influence of soul, country, and hard rock. Their only release was recorded at the famous Studio One in Georgia, an iconic studio used by major bands of the genre such as 38 Special and Atlanta Rhythm Section, among many others. Comprising a series of songs closer to AOR and mainstream rock, but always filtered through the unmistakable lens of Southern rock, tracks like “Just Trouble”, “Hangin’ Judge”, “Ready To Move”, and “Chapter One” appear, while “Everything You Need” is perhaps the only moment where the band's original roots subtly shine through. Despite its undeniable quality, this single release failed to achieve the desired commercial success, leading to the Allen Collins Band's definitive breakup after a subsequent tour.

Frank Zappa-Have I Offended Someone? (1997)

Released posthumously in 1997, "Have I Offended Someone?" is a Frank Zappa compilation featuring fifteen tracks with a clear common thread: they were offensive to certain segments of American society. No one is spared, from wealthy socialites to homosexuals, feminists, music executives, Catholics, moralists, punks, disco music, and pseudo-intellectuals all are mercilessly subjected to Zappa's satire and irony. Musically, all the tracks were selected by Zappa himself before his death, leaving precise instructions for their subsequent mixing in the studio. Incredibly, an undisputed genius and such a prominent figure as Zappa was one of the artists most affected by his record label's tyranny, as his original contract did not allow him to participate in the final versions of his work (or at least almost never). It is for this reason that the vast majority of songs compiled here have undergone partial reconstruction and the necessary remixes. In addition, several live versions, such as "Dumb All Over" and "Tinsel Town Rebellion", have never been officially released before. Also included are versions that appeared on the original albums "Sheik Yerbouti", "Zoot Allures", "You Are What You Is", "Them or Us", "Zappa in New York", and "Joe's Garage".

Iron Maiden-The Number Of The Beast (1982)

Iron Maiden's third album marked a departure from the punk sound of their previous work, venturing into a more complex style with allusions to historical and epic moments, featuring a more sophisticated and, to some extent, much more virtuosic and progressive heavy metal. This was the first album to feature Bruce Dickinson as vocalist, replacing Paul Di'Anno. The rest of the lineup remained the same: bassist Steve Harris, guitarists Dave Murray and Adrian Smith, and drummer Clive Burr. Recorded in late 1981 and early 1982 at Battery Studios in London, the album was produced by the renowned Martin Birch. “The Number of the Beast” is a vibrant and astonishing album showcasing the virtuosity of all its members. It opens with the fast-paced and powerful “Invaders”, followed by the dynamic “Children of the Damned”, the melodic “The Prisoner”, the potent “22 Acacia Avenue”, the breathtaking title track “The Number of the Beast”, the catchy “Run to the Hills”, and the devastating and sensational “Hallowed Be Thy Name”. Considered one of the great albums of the New Wave of British Heavy Metal (NWOBHM) and heavy metal in general, “The Number of the Beast” reached the top of the charts in numerous countries around the world, achieving sales that far exceeded thirteen million copies worldwide.

Yes-Yes (1969)

In 1969, Yes released their debut album, which still displayed a certain stylistic immaturity. However, it was also where they began to lay the foundations for what, several years later, would become one of the most impressive and meteoric careers in the world of progressive rock. The lineup that recorded this debut consisted of Jon Anderson (vocals), Chris Squire (bass and vocals), Bill Bruford (drums), Tony Kaye (keyboards), and Peter Banks (guitars and vocals). Despite the album's overall incoherence, there are some truly noteworthy moments, based primarily on psychedelic sounds, progressive folk, and some passages of energetic rock. Instrumental refinement and complexity are present in tracks like "I See You", "Yesterday and Today", "Harold Land", and "Sweetness", while Kaye's Hammond organ drives the beautiful "Looking Around". Although there is still no unified style, there are echoes of the more psychedelic Pink Floyd, the pop of The Beatles and the American folk of The Byrds, so the musical diversity is quite eclectic and original, forming with all of this a fairly solid and interesting debut.

Kenny Loggins-Nightwatch (1978)

After his time with Gator Creek, the duo Loggins and Messina, and collaborations with Electric Prunes, composer, singer, and music graduate from the University of Pasadena, Kenny Loggins, launched his solo career, debuting with the album "Celebrate Me Home" in 1977. A year later, he released his most commercially acclaimed album, "Nightwatch", produced by Bob James, which contained an attractive collection of soft rock songs with soul influences, achieving platinum status and reaching number seven on the Billboard charts. From the atmospheric and sophisticated "Nightwatch" to the soulful "Easy Driver", passing through the reworking of Billy Joe Royal's "In The Boondocks", the beautiful mid-tempo duet with Stevie Nicks "Whenever I Call You Friend", or the catchy "What a Fool Believes", which, composed with Michael McDonald, would become a huge hit the following year with The Doobie Brothers' version for their successful album "Minute By Minute", this second album would represent Kenny Loggins' most relevant work in the 1970s.

Bloque-Hombre, Tierra y Alma (1979)

Bloque was a Spanish progressive rock band that released four studio albums, some of which are considered among the best in Spanish progressive rock. Founded in Cantabria in 1973, the band consisted of keyboardist Juan Carlos Gutiérrez, bassist Luis Pastor, drummer Paco Baños, and guitarists Juan José Respuela and Sixto Ruiz. In 1978, they released their self-titled debut album, "Bloque", which already showcased their talent but was nonetheless hampered by a certain immaturity in their compositions. A year later, they captured the attention of fans with their excellent "Hombre, Tierra y Alma" (Man, Earth and Soul), a concept album featuring more elaborate compositions and more complex instrumentation. Long instrumental passages are the common thread throughout this outstanding work. From the opening and atmospheric "Humanidad indefensa" (Defenseless Humanity), to the folk-tinged instrumental "Por fin he vuelto a ti" (Finally I've Returned to You), and including rock exercises like the powerful "En infierno está aquí" (Hell Is Here), or the melodic progressive "Meditación parte I" (Meditation Part I). This album showcases the band's perfect balance between the hypnotic and ethereal sounds of the keyboards and the electric guitar riffs combined with acoustic guitars. In a similar vein, the band released "Hijo del Alba" (Son of Dawn) in 1980, which, despite its immense quality, was released in the midst of the Spanish post-punk era and went somewhat unnoticed by the public, who were more interested in the music of the Movida Madrileña (Madrid Scene). Today, Bloque is considered a cult band in the history of Spanish rock, having created music that was in no way different from its more renowned European contemporaries.

Caravan-Waterloo Lily (1972)

Caravan's fourth album, "Waterloo Lily", was the last in which the band truly captured the classic sound of the early 1970s. This work brings together on a single disc great musicianship, excellent vocals, incredibly complex themes, and expansive musical development. Caravan was historically one of the most influential bands that defined the Canterbury sound with grand jazz-rock sequences enveloped in their spectacular instrumentation, and "Waterloo Lily" is undoubtedly one of their greatest contributions to the progressive rock style, with a pure redefinition of their creative aspects that gives the listener a clear sense of experiencing a grand musical adventure. However, this album is brimming with dynamism due to the fusion of progressive rock with jazz, stemming from the inclusion of a new keyboardist, Steve Miller. Miller was a fundamental part of that jazz sound with his harmonies and electric piano solos, and he had replaced the more melodic and progressive David Sinclair. An album showcasing fluid guitars, complex and effective bass lines with a touch of improvisation, and, as previously mentioned, a lively jazz piano that at times takes center stage. The LP opens with the playful jazz-rock track "Waterloo Lily", one of the band's most emblematic songs, followed by the suite "Nothing At All", an expansive fusion piece where Miller's piano shines. The solid and powerful "Aristocracy", and the phenomenal and progressive "The Love In Your Eye" are undoubtedly among Pye Hastings' greatest contributions to Caravan's repertoire, where each band member has ample space to shine, with Hastings' guitar and Miller's electric piano being particularly memorable. This extraordinary album concludes with the catchy pop track "The World Is Yours", which, surprisingly, was not released as a single. However, despite the album's enormous quality, it was panned by the band's most purist fans, who considered it too jazzy and far removed from the group's original roots. From then on, the band would undertake their subsequent work with the departure of Richard Sinclair and Steve Miller, two key members whose absence would have repercussions on the following album, "For Girls Who Grow Plump in the Night". Under Pye Hastings' direction, this album saw them return to their melodic sound, characteristic of their earlier work, and adopt a more progressive style, though still subtly distancing themselves from the initial spirit of the Canterbury sound.

Curved Air-Phantasmagoria (1972)

Curved Air's third album defined the artistic rock sound of this important progressive jazz-rock band. "Phantasmagoria" is the follow-up to the exciting "Second Album", released the previous year. This third effort contains some of the group's best compositions and showcases their most advanced progressive passages. The lineup that recorded this album consisted of the classic Curved Air lineup: Sonja Kristina, Francis Monkman, Darryl Way, Mike Wedgwood, and Florian Pilkington-Miska, plus a large contingent of jazz musicians playing flutes, trombones, trumpets, vibraphones, and percussion. The jazzy touches of the opening "Maria Antonieta", the experimentation of "Whose Shoulder Are You Looking Over Anyway", the solid, intricate musicality of "Melinda" and "Not Quite The Same", the progressive musical extravagance of "Cheetah" or the powerful energy of "Over and Above", have enough personality to be considered one of the essential albums of this influential British group.