Crosby, Stills, Nash and Young-Deja Vu (1970)

Crosby, Stills & Nash, along with Cream, share the honor of being the first supergroup in history, and they, in particular, are the greatest in folk rock and country rock. 

The legendary past of its members was impressive and groundbreaking. David Crosby came from one of the pioneering folk rock bands, The Byrds, while Stephen Stills came from another influential band of the genre, Buffalo Springfield, and finally, Graham Nash came from one of the giants of British pop and blues, The Hollies. In 1969, they achieved one of the greatest accomplishments with their first and astonishing album, considered a true classic of rock music. 

After that first album, the trio embarked on an epic tour, for which they recruited a backing band. On the advice of Atlantic Records, they were suggested Neil Young, Stills' former bandmate in Buffalo Springfield, a Canadian who was already achieving great success with his new band, Crazy Horse. 

Young finally accepted the challenge, but not before setting some conditions, including that this new position wouldn't prevent him from continuing his solo career. 

In August 1969, the entire band performed at the Woodstock festival, in a show divided into two parts. The first consisted of an acoustic set, and the second an electric one, where Young's visceral and raw guitar work provided the perfect counterpoint to the rich vocal harmonies of his three bandmates. 

The band's triumphant performance at Woodstock encouraged the label to release a subsequent album. Before that, the group received the Grammy Award for Best Group of 1969, and in mid-1970, after more than 800 hours of work, "Déjà Vu" was released. It contained an impressive collection of songs, beginning with "Woodstock", composed by Joni Mitchell, the controversial "Almost Cut My Hair", and the superb "Teach Your Children" and "Our House". These tracks, along with others from the first album's repertoire, became an explosive mix of guitar jams in their concerts, featuring their endless guitar solos. Some of these historic live sessions were recorded on the double live album "Four Way Street".

Wishbone Ash-Argus (1972)

With this album, Wishbone Ash reached their peak thanks to a simply fantastic work combining their folk and rock roots with progressive elements.

Here they continue to showcase their impressive guitar duality, in addition to creating sublime, highly addictive, and complex compositions.

Songs like the progressive folk track "Sometimes Word", the harmonica-infused "Blowin' Free", the impressive "Time Was", the emblematic "The King Will Come", and the epic "Warrior" are undoubtedly some of the British group's best contributions to rock music.

With this album (the band's third chronologically), Wishbone Ash became one of the leading acts of British progressive hard rock, while simultaneously solidifying a lineup (Andy Powell, Ted Turner, Martin Turner, and Steve Upton), that would bring them many years of glory and tremendous success around the world.

Al Kooper, Mike Bloomfield & Stephen Stills-Super session (1968)

This album is considered one of the best jam sessions ever recorded, perhaps the best, featuring three renowned musicians: Al Kooper, the keyboardist on Bob Dylan's famous "Like a Rolling Stone" and a member of bands like Blood, Sweat & Tears and The Blues Project; Mike Bloomfield, the legendary blues guitarist influenced by blues greats like Muddy Waters and Albert King, and a member of Electric Flag; and Stephen Stills, perhaps the best known of the three, a member of Buffalo Springfield and later part of the legendary supergroup Crosby, Stills, Nash & Young.

"Super Session" is a collection of superb blues tracks, such as the instrumental "Albert's Shuffel", where Al Kooper showcases his piano talent; the version of Curtis Mayfield's "Really", a soul song transformed into blues; and the jazzy "His Holy Modal Majesty", the perfect setting for the greatness of Mike Bloomfield and his guitar. Stephen Stills takes the reins on the album's second side, and together with Al Kooper, they deliver an excellent version of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry". The epic eleven-minute jam "Season of the Witch" is one of the album's highlights, while the blues classics "You Don't Love Me" and "Harvey's Tune" put the finishing touch on a live performance as brilliant as it is effective. 

In short, "Super Session" is the work of three geniuses in a spectacular jam session, and while the result might seem somewhat pretentious, it was also well-received by critics and audiences alike and hailed as a blues-rock masterpiece.

The Highwayman-The Highwayman (1987)

This supergroup formed initially as a project for a single disc became one of the leading bands of the century country, Willie Nelson, Waylon Jennings, Johnny Cash and Kris Kristofferson are legends in the U.S. individually, well is album together and released a stunning yet classic, and mythical themes as "The last cowboy song", an old western theme by Ed Bruce, "Deportee" by Woody Guthier, "Jim, I Wore tie today" by Eddy Arnold, Johnny Cash "Big river" or "Against the Wind" Bob Seger, while the subject Highwayman demencionar composed of the four musicians are part of this gem, in short, a truly stunning album of country, folk and rock'n'roll.

Genesis-The Lamb Lies Down on Broadway (1974)

The band called par excellence the art-rock are no doubt Genesis, created in the late sixties, early are considered the ultimate expression of the new English rock, sophisticated, cultured, enigmatic drama and especially, the latter under the influence of their leader and singer Peter Gabriel, her first rock albums baroque denote a non-exempt instrumentality due in large part to the virtuosity of its components, "Trespass", "Foxtrot" and "Selling England by the Pound" are clear signs of it, but at "The Lamb ..." your more hard rock where they exploit all their quality, the album's odyssey of a fictional character created by Gabriel called "Rael" travels the streets of New York seeking his own identity between madness and dreams, and indeed the group achieves an atmosphere as real as hypnotic on a blazing album from the cage in a small suite without respite, to "The Carpet Crawlers" an epic theme, through moments of great inspiration as "Cuckoo Cocoon", "Back in NYC", "Waiting Room" or the fantastic It on the album Steve Hackett invention amazing sounds of guitars and Tony Banks filled with the sound of Mellotron and Moogs the void that left, if we add the perfect rhythm section but unpredictable Mike Rutherford on bass and Phil Collins on drums, we see a perfect musical machine in album review of the group makes a series of songs linked exciting as a thriller film is involved, the double album to make matters worse is a sure confirmation of the most important bands in rock history.

The Beatles-Sgt. Pepper´s Lonely Hearts Club Band (1967)

In June 1967, The Beatles released "Sgt. Pepper's Lonely Hearts Club Band", the album that changed all the established rules in the world of rock and music in general. From the artwork of its iconic cover to the meticulous and elaborate composition, this album was completely groundbreaking. For its recording, The Beatles used highly advanced recording techniques with the best and most modern studio equipment. They also fused different musical styles, ranging from rock to blues, including psychedelic sounds, raga, and progressive rock. The nascent experimentation they had already shown in their previous works, "Rubber Soul" and "Revolver", completed the most avant-garde circle with this album. The instruments used were no longer just guitar, bass, drums, vocals, and backing vocals; here there were also different percussion instruments, wind instruments, strings, elaborate arrangements, keyboards, and a multitude of special effects. The entire album is a fascinating adventure, from the psychedelic "Lucy in the Sky with Diamonds" to the poignant "She's Leaving Home", passing through the experimental and exotic "Within You Without You", the complex "A Day in the Life", the cabaret-style "Fixing a Hole", the pop "Getting Better", the rock "Sgt. Pepper's Lonely Hearts Club Band", the progressive "Being for the Benefit of Mr. Kite!", and the beautiful "With a Little Help from My Friends". "Sgt. Pepper's Lonely Hearts Club Band" is considered one of the ten greatest albums in music history and one of the most commercially successful, with over thirty million copies sold worldwide.

The Alan Parsons Project-Stereotomy (1985)

The Alan Parsons Project's ninth album practically marked the end of the project, even though they would release the epitaph "Gaudi" a few years later. For many, this release saw Alan Parsons and Eric Woolfson recapture the energetic sound they had showcased in their early years, although they still strayed from the progressive style of their more classic albums. As was typical throughout the project's career, the duo once again enlisted a stellar lineup of musicians for the album's creation, from vocalists John Miles, Chris Rainbow, Gary Brooker, and Graham Dye, to bassist David Patton, guitarist Ian Bairnson, drummer Stuart Elliott, and arranger Andrew Powell, while Parsons and Woolfson handled the synthesizers and production. From the optimistic title track to the enjoyable instrumental "Where's The Walrus". and other noteworthy pieces like the elaborate "Limelight" or the brilliant "Beaujolais" and "Urbania", the album is harder-edged than the project's later releases, though always under the lens of sophisticated pop-rock, making it one of their most highly regarded works of the eighties.

Pink Floyd-The Dark Side of The Moon (1973)

This is the album that forever cemented Pink Floyd's place in history and, incidentally, elevated the progressive rock genre to its essential status as the quintessential style of the early 1970s. "The Dark Side of the Moon" has been discussed and analyzed ad nauseam. Who doesn't know or hasn't heard of this absolute masterpiece of contemporary music? . Its legacy has transcended the boundaries of styles and trends, making it one of the ten greatest musical masterpieces of the 20th century. For this, the band entrusted themselves to the celestial bodies, and more specifically to the moon and its dark side. The album presents a celestial cell brimming with art on all sides, where experimentation and avant-garde elements find their place. It is a masterpiece of creation, capable of transmitting a universe of sensations and experiences, and one that manages to manipulate the moods of those who discover its music. 

Musically, it's brimming with textures, surprising passages of astonishing intensity, and a crystalline delicacy that simultaneously created a new conception of sound. An album that broke every possible record, many of which still stand, in addition to its astonishing sales, which place it among the best-selling albums of all time (over 50 million copies sold). It boasted numerous number one hits worldwide, spending many years on the charts, and was followed by a triumphant tour, spanning more than 14 consecutive months in fifty countries presenting the album. It garnered countless awards, including Best Album of the Year, Best Production, Best Cover Art, and Best Single ("Money"), and its four members were recognized as the best on their respective instruments. 

Furthermore, it was the first album in history to be recorded entirely in quadraphonic format. 

Conceptually structured, it's brimming with sound effects, from the opening track "Eclipse" to the epilogue "Speak To Me", including the overwhelming and rhythmic "Money", the superb "Time", the beautiful "Us and Them", and the evocative "Breathe". Ultimately, it's a fascinating journey through the story of a man condemned to madness. Behind the recording controls were some of the greatest engineers in history, such as Alan Parsons and Chris Thomas, in addition to Hipgnosis Studios, who were responsible for the futuristic design of its iconic cover.

Tim Buckley-Starsailor (1971)

Tim Buckley is often overlooked and omitted from rock music encyclopedias, yet this brilliant singer-songwriter is shrouded in an aura of legend and mystique. A tremendously ambiguous artist, Buckley was a pioneer of vocal technique, experimenting with styles as diverse as free jazz, psychedelia, folk, and even avant-garde sounds. From a young age, he learned to play guitar and modulate his voice, and after countless experiences alongside figures like Buffalo Springfield bassist Jim Fielder, he received a call from Herb Cohen, a talent scout who was also Frank Zappa's manager. Some time later, he landed his first record deal with Asylum Records and released his debut album, "Tim Buckley" (1966), which created an atmosphere clearly indicative of the psychedelic and folk music of the era. A second album, "Goodbye and Hello" (1967), didn't quite fit Buckley's philosophy due to producer Jerry Yester's overly elaborate arrangements. In the following years, Buckley released the trilogy "Happy/Sad" (1969), "Lorca" (1970), and "Blue Afternoon" (1970), where he reached his artistic maturity, shifting his psychedelic and folk style towards a more jazz-influenced direction. The next brilliant album, "Starsailor" (1971), along with "Greetings From L.A." (1972), were his most commercially successful works. After two more albums in a downward artistic direction, "Sefronia" (1973) and "Look at the Fool" (1974), he temporarily withdrew from the music world. But his fragile personality and his continuous depressions would lead him to the grave on July 26, 1975, due to a fatal overdose of morphine and heroin.

Led Zeppelin-Led Zeppelin IV (1971)

"Led Zeppelin IV" is Led Zeppelin's definitive album, the one that encapsulates the band's diverse influences, from blues to hard rock, encompassing folk, rock and roll, and psychedelic sounds. It is also their most critically acclaimed album, recognized by all generations of rock fans, and one of the most influential on hundreds of subsequent bands. 

While Led Zeppelin had previously infused their powerful rock with blues and folk, this time the band embraced a certain mysticism, evident from its iconic and enigmatic cover, which omits both the band's name and the album title, foreshadowing what lies within its grooves. 

Despite the enormous and monumental success of this album, it remains paradoxical that for many it is only known for containing the legendary "Stairway to Heaven", forgetting that it also comprises a collection of outstanding and epic tracks, beginning with the infectious and energetic "Black Dog", followed by the iconic "Rock and Roll", and the epic acoustic "The Battle of Evermore". To close the first side of the album, we find the most emblematic piece in the history of hard rock, "Stairway to Heaven", which, beyond its supposed hidden and satanic message, is undoubtedly Led Zeppelin's masterpiece, with its soft, acoustic beginning that, as it progresses, transforms into a truly electric and frenzied hard rock climax. 

The second side begins with the vigorous “Misty Mountain Hop”, followed by the mystical “Four Sticks”, the exquisite ballad “Going To California” and the dark and raw blues rock “When The Levee Breaks”, with which they conclude Led Zeppelin's most monumental work, which to this day no one has surpassed within the hard rock and heavy metal genre, both commercially (more than 40 million copies sold), and musically, and which is considered one of the best masterpieces of contemporary music.

Livin´Blues-Live ´75 (1975)

Livin' Blues was a famous Dutch blues-rock band whose career, spanning from the late 1960s well into the 21st century, was characterized by its numerous lineup changes. They released a dozen albums that were consistently well-received by blues-rock purists worldwide. Founded around guitarist Ted Oberg and bassist Ruud Franssen, they attracted the attention of Phonogram Records, who secured them a spot as the opening act for bands like Peter Green's Fleetwood Mac in late 1969, a move that brought them significant international recognition. That same year they released their acclaimed debut album, "Hell's Session", and a year later their best-known record, "Wang Dang Doodle", followed by the commendable "Bamboozie" (1972), "Rocking at the Tweed Mill", and "Ram Jam Josey", both from 1973. By this point, the band had experienced a constant turnover of musicians, with Ted Oberg being the only permanent member throughout this period. In 1975, the band released the sensational "Livin' Blues Live '75", a formidable showcase of the combo's live prowess. On this live album, Livin' Blues consisted of vocalist John Frederiksz, guitarist Ted Oberg, bassist Henk Smithskamp, ​​and drummer Cor Van Der Beek. Comprising original songs and covers, this live album is a true delight for fans of powerful mid-70s blues rock, featuring tracks like the frenetic "Black Spider Woman", the hypnotic blues "I'm a Rambler", the rock 'n' roll "Crazy Joe", the heavy hard rock blues "I Wonder", and the expansive southern boogie blues "L.B. Boogie". In the following years, the band continued its pattern of frequent lineup changes, releasing albums such as the interesting "Blue Breeze" (1976), and the commendable "Now" (1987) and "A Blues Legend" (1992).

Yes-Close to the Edge (1972)

With “Close to the Edge”, Yes cemented their place as one of the world's leading progressive rock bands, alongside ELP, Genesis, and Pink Floyd, with an outstanding work showcasing complex compositions brimming with unprecedented sounds. A perfect album where every note is perfectly placed, and the ambition, complexity, and virtuosity of its five members elevate it to the status of a work of art.

Composed of three extensive tracks, the first side features the suite “Close to the Edge”, 18 minutes of meticulously crafted music with hundreds of nuances and continuous rhythmic shifts, all executed with absolute instrumental precision. The second side presents the delicate yet intricate “And You and I”, which begins acoustically and gradually builds to more energetic and epic moments. To conclude, we have the powerful and forceful "Siberian Kathru", the shortest track at nine minutes, yet it maintains the same parameters as the previous songs, with continuous interludes between energetic and bucolic passages, culminating in a total instrumental ecstasy. 

This album is essential listening for all progressive rock fans, a work considered one of the greatest achievements in the history of rock music.

Nancy Sinatra-Boots (1966)

Despite her illustrious surname, Nancy Sinatra never tried to achieve fame or success through the favors of her father, Frank Sinatra. In fact, he even told her on occasion to follow her own path without attempting to emulate him. Throughout her career, Nancy Sinatra recorded ten albums, beginning with her impressive debut, "Boots", released in 1966. This album contained her biggest hit, "These Boots Are Made For Walking", a song considered a symbol of women's emancipation in the 1960s. Composed and produced by Lee Hazlewood, its lyrics would have been considered sexist today due to their controversial message, had it been sung by the composer himself. This debut album also contained a series of charming tracks categorized as "sunshine pop", including covers of The Beatles' "Day Tripper" and "Run For Your Life", The Rolling Stones' "As Tears Go By", and Bob Dylan's "It Ain't Me Babe", among others composed by Hazlewood such as "I Move Around" and the aforementioned hit "These Boots Are Made For Walking". Boosted by the aforementioned hit, the album reached the top ten on both sides of the Atlantic, but "These Boots Are Made For Walking" climbed to number one in numerous countries around the world, achieving multimillion-dollar sales figures. Subsequently, Nancy Sinatra would not surpass this monumental success, despite having several number one hits such as "You Only Live Twice" (1967), the theme song for the fifth James Bond film, and "Somethin' Stupid" with her father, Frank Sinatra. "These Boots Are Made For Walking" would return to the charts many years later when it was included in the soundtrack of Stanley Kubrick's famous film "Full Metal Jacket" in 1987.

Def Leppard-Euphoria (1999)

After the creative and commercial flop that was their album "Slang", mainly due to its musical departure from their glorious past of heavy metal pop, orienting their new sound towards grunge, straightforward rock, and funk rock, the British band Def Leppard sought to recapture their former glory by releasing "Euphoria" three years later. This time, the band, comprised of Joe Elliott, Phil Collen, Vivian Campbell, Rick Savage, and Rick Allen, once again delivered a work brimming with compositions in their characteristic infectious and energetic hard/heavy-pop style of yesteryear. Songs like "Demolition Man", "It's Only Love", "Guilty", "Back In Your Face", and "Goodbye" re-established the Sheffield quintet among the great metal bands, while also producing one of their finest albums.

Rush-Rush (1974)

Rush's debut album was released in Canada in March and in the United States in July 1974. It was reissued on compact disc with remastered sound in 1997. Due to the tight budget for the recording, the sessions were scheduled during times when the recording studio was usually free, which were generally late at night, resulting in lower rates. This has been quite common for many rock bands (in fact, Queen was forced to do the same for the recording of their first album). The band was not satisfied with the work of the original producer, Dave Stock, so manager Ray Daniels ended up hiring Terry Brown for an additional $9,000, whose remixing work significantly improved the sound quality. The album was originally released under the auspices of the Canadian company Moon Records in a run of only 1,000 copies. One of these songs reached Donna Halper, a DJ at radio station WMMS in Cleveland, Ohio, who selected "Working Man" for regular airplay on her show. The song was so successful that the number of calls the show received caught the attention of executives at Mercury Records, who signed Rush to a contract and reissued the album in the United States, where it was very well received, achieving gold status. After the release of their first album, John Rutsey left the group in July 1974 due to his diabetes and his reluctance to perform live. To replace him, the remaining members held a series of auditions and ultimately hired Neil Peart. Peart officially joined on July 29, 1974, two weeks before their first US tour. They played their first concert together, opening for Uriah Heep and Manfred Mann, before more than eleven thousand people at the Civic Arena in Pittsburgh, Pennsylvania, on August 14th. In addition to becoming the drummer, Peart became the main songwriter, at the expense of Geedy Lee, who showed little interest in writing, despite having written the lyrics for the debut album. And it shows that he was the missing piece, as this album has a more basic and simple sound than what they would later demonstrate, with a rock style that includes no keyboards, a particularly screaming vocal style, and a clear influence from Led Zeppelin's music, as in "What You're Doing" and a few others. Despite everything, they left us with a couple of tracks that became classics in their repertoire; in fact, they never stopped playing them live, such as "Finding My Way", "In the Mood", and "Working Man". The track "Here Again", with an impressive guitar performance by Alex Lifeson, also stands out.

Queen-News Of The World (1977)

For many fans, this is perhaps Queen's best album, even surpassing "A Night at the Opera". Without getting into a debate about which is better, "News of the World" undoubtedly best combines commercial appeal with immense quality. Although the album's success was partly due to tracks like the immortal "We Will Rock You" and "We Are the Champions", the rest is a collection of glorious and haunting songs such as the hard rock anthem "Sheer Heart Attack", the jazzy "My Melancholy Blues", the funky "Get Down Make Love", and the beautiful ballad "All Dead All Dead". This would be the definitive album that marked Queen's transition from a great pop-rock band to a staple of the arena-rock scene.

Jean-Luc Ponty-Upon The Wings Of Music (1975)

In the mid-1970s, French musician Jean-Luc Ponty signed with the prestigious Atlantic Records label and released his first album under that label, the ninth of his solo career. Although Ponty was still a member of the Mahavishnu Orchestra at the time, he decided to definitively launch his solo career by composing his first fully electric work. Accompanied by a group of American musicians, including guitarist Dan Sawyer, keyboardist Patrice Rushen, and bassist Ralph Armstrong, this debut already hinted at the distinctive jazz fusion/rock style that would soon make him world-famous, even though his reputation preceded him, having played with bands like the aforementioned Mahavishnu Orchestra and Frank Zappa's, in addition to releasing some noteworthy albums such as "King Kong Jean-Luc Ponty Plays the Music of Frank Zappa" and "Ponty-Grappelli", with the great Stéphane Grappelli. The elaborate production, the excellent Fender Rhodes keyboard instrumentation, and the precise guitars of Sawyer and Ray Parker, along with the enormous versatility of an intricate rhythm section, support the sonic whirlwind of Ponty's electric violin and its multi-track characteristics a technique Ponty would refine for his subsequent releases. Fusing jazz-rock with elements of funk, folk, blues, and ambient/atmospheric music, the album features a succession of truly astonishing passages such as "Echoes of the Future", "Fight for Life", "Polyfolk Dance", "Now I Know", "Question with No Answer", and the title track. Despite being his least accessible and darkest work of this second phase, it is also the most elaborate and experimental of all his recordings from the 1970s.

Asia-Silent Nation (2004)

By 2004, Asia had released seven magnificent albums that had navigated between progressive rock, AOR, and classic melodic hard rock since their debut back in 1982. Throughout those years, the British band had undergone countless lineup changes, from the original and iconic lineup of Wetton, Howe, Downes, and Palmer, to the most recent one, consisting of Downes himself, John Payne, Chris Slade, and Guthrie Govan. Furthermore, they had been joined by highly prestigious musicians such as Pat Thrall, Elliott Randall, Al Pitrelli, and Mandy Meyer, among others. Therefore, at this point, they had nothing left to prove, crafting albums free from any media or record label pressure, independent of the trends and styles that had paraded before them over the years. On "Silent Nation", the band's eighth album, the lineup remained the same as on their previous album, "Aura", released four years earlier: Govan, Downes, Payne, and Slade. However, stylistically, they took a sharp turn, somewhat harking back to their progressive roots and partially abandoning melodic rock. This is undoubtedly their darkest work, sharing the epic spirit of their earlier albums with the exception of a few tracks. It's a concept album about the Earth's decline at the hands of humankind, with recurring themes such as environmental pollution and the growing distance between people. Progressive tracks like the hard rock anthem "What About Love", the monumental "Silent Nation", the superb "Gone Too Far", and the dark "Darkness Day" are tangible examples of their nascent sound. On the other hand, the more accessible and catchy tracks "Ghost in the Mirror", "Midnight", and "Long Way From Home" provide the perfect counterpoint to the seriousness and complexity of the previous songs. Four years later, the original lineup reunited to record and release the splendid "Phoenix", which was followed by the admirable "Omega" (2010) and "XXX" (2012).

Jean-Luc Ponty-Live (1979)

By the late 1970s, French violinist Jean-Luc Ponty had an impressive solo career behind him, with over a dozen brilliant albums released, in addition to his excellent collaborations with Frank Zappa and the Mahavishnu Orchestra. At this point, his jazz-rock style, with touches of space fusion, had placed him at the forefront of avant-garde jazz. "Live", his fourth live recording, was recorded during the promotional tour for the album "Cosmic Messenger", a time when his concerts were truly spectacular, brimming with powerful, vibrant, and dynamic jazz-rock, thanks to the contribution of an impressive backing band that included keyboardist Allan Zavod, guitarists Jamie Glaser and Joaquin Lievano, drummers Casey Schelierell and Casey Scheveral, and bassist Ralph Armstrong. However, it is Ponty himself who drives the music, offering a wide variety of electric violin solos (inspired by his hero Stéphane Grappelli), ranging from atmospheric and warm to fluid and vibrant. Among the highlights of this live performance are several excerpts from "Aurora: Part I and II" and the final section of "Imaginary Voyage", while the reflective "Mirage" and the classic jazz-rock track "Egocentric Molecules" exemplify an energetic album brimming with musicianship.

Jean-Luc Ponty-Cosmic Messenger (1978)

French violinist Jean-Luc Ponty occupies a unique place in the history of rock; he found the violin's precise place within the genre, a place that didn't exist until his arrival. The violin, the quintessential classical instrument, has a history in classical music, popular music, folk, blues, and jazz, but not in rock, which had always preferred more aggressive instruments prone to rhythmic and highly defined use. Ponty managed to introduce the electric violin to rock as a solo instrument at a pivotal moment, in the mid-1960s, when rock was undergoing a significant creative phase. His career dates back to the early 1960s when he came into contact with greats like Stéphane Grappelli and Sven Asmussen, with whom he recorded "Violin Summit". Later, he released his first solo album, "Sunday Walk", accompanied by the cream of European jazz. He then moved to the United States where he collaborated with George Duke on the albums "Electric Connection, Experience" and "Live in Los Angeles". Later, after meeting Frank Zappa, he participated in his albums "Hot Rats" and "King Kong", the latter featuring compositions by Zappa himself, performed by Ponty. In 1974 and 1975, he participated as a member of John McLaughlin's Mahavishnu Orchestra on the legendary albums "Apocalypse" and "Visions of the Emerald Beyond", Throughout these years, Jean-Luc Ponty collaborated on albums by Elton John ("Honky Chateau"), Frank Zappa ("Over-Nite Sensation"), and Chick Corea ("My Spanish Heart"), among others. However, he did not neglect his solo career and from the mid-70s onwards, Ponty would achieve a series of unbeatable albums placing himself at the forefront of jazz rock: "Mystical Adventures", "Aurora", "Imaginary Voyage", "Enigmatic Ocean" or "Cosmic Messenger", where there are fantastic exercises in superb progressive jazz rock such as "Egocentric Molecules", "Mirage", "Between You and Me" or "Once Upon a Dream", all of them of enormous compositional and instrumental complexity.

Brian Auger´s Oblivion Express-Live Oblivion (1974)

Former jazz pianist Brian Auger rose to fame in the mid-1960s as a rhythm and blues organist thanks to his exceptional technical skill on the Hammond organ. After playing with guitarist John McLaughlin, Auger found success with the group Steampacket in 1965. Alongside him were Long John Baldry, Rod Stewart, and Julie Driscoll, forming a formidable vocal trio. In 1968, he left the band to form The Trinity with Julie (who was his wife at the time). This marked Auger's greatest success, thanks in part to their hit cover of Bob Dylan's "This Wheel's On Fire", which climbed the charts worldwide. In 1970, Auger founded Oblivion Express with Jim Mullen and Robbie McIntosh. The style of this new group moved away from the jazz-rock sound of his earlier work, focusing instead on more powerful and progressive music. His first two albums, released in 1971, "Brian Auger's Oblivion Express" and "A Better Land", leaned towards complex funk-rock sounds. However, the true strength of Brian Auger and his band lay on stage, where they conveyed a power and emotion that weren't captured on their studio albums. That's why, in 1974, the triple live album "Live Oblivion", recorded at the famous Hollywood venue, the Whisky a Go Go, was released, finally bringing him the success that his studio recordings had eluded him.

Frob-Frob (1976)

Another band unknown to the general public was the German group Frob, who hailed from East Westphalia, Germany. They recorded only one album, which is considered a cult classic of German rock. The original Frob lineup consisted of guitarist Philippe Caillat, keyboardist Peter Schmits, bassist Klaus-Dieter Richter, and drummer Peter Meuffels. Their sole album is a masterpiece of German progressive jazz-rock, showcasing a distinctive style that demonstrated remarkable improvisational skills, creativity, and dynamism. Tracks like the opening “Wassertropfen”, where they approach the sounds of krautrock with continuous rhythmic phases and improvisations, the intense jazz of “Spaces”, the progressive “Calypso”, with its hyperdynamic rhythm, or the fascinating melody of “Spheres”, together with the vigor and creativity of the rest of the album, make up a very cohesive work of the best German underground kraut-jazz of all time.

Rush-Caress of Steel (1975)

Seven months after the release of their second album, the Canadian band Rush released their third full-length album, "Caress of Steel", where they boldly and daringly showcased their evolution towards progressive sounds, while still retaining their nascent hard rock style. Meanwhile, Neil Peart became definitively involved in the lyrics and epic, fantastical stories, giving free rein to his fantasies about Middle-earth, ancient times, and tales of warriors and monsters. Purely rock tracks like "Bastille Day", "I Think I'm Going Bald", and "Lakeside Park" coexist with the more complex and epic "The Necromancer" and the mini-suite "The Fountain of Lamneth", demonstrating the band's virtuosity and tremendous effectiveness. However, this also placed them in a precarious position due to the album's subsequent mediocre commercial reception. Despite the ultimatum from Mercury Records, the band remained committed to their musical philosophy and took it seriously with their next album, "2112", when they would achieve resounding success and their definitive consecration worldwide.

Johnny Winter-Johnny Winter And (1970)

Johnny Winter joined the select group of white musicians who were developing a new vein of electric blues. By then, Al Kooper, John Mayall, and Mike Bloomfield, among others, had already transcended the limited conception of the blues as racially exclusive music and were popularizing it among white audiences. Johnny Winter's first album, self-titled "Johnny Winter", was recorded in Nashville in 1969. His brother Edgar supported him, as did some legendary bluesmen like Willie Dixon and Sharkey Horton. A year later, "Second Winter", a double album that curiously only had three sides recorded, was released. Here, in addition to the blues, Winter demonstrates his affinity for all the popular music of the time, performing rock 'n' roll songs by Chuck Berry and Little Richard, and delivering a personal and superb version of Bob Dylan's "Highway 61 Revisited". In 1971, "Johnny Winter And", his best work, appeared, featuring rapid and visceral forays into the repertoire of other musicians such as "Jumpin' Jack Flash" by the Rolling Stones and "No Time To Live" by Traffic. This first recording period culminated in the live album "Johnny Winter and Live" (1971), recorded at the Fillmore East in New York. However, this live album was released after Winter had already retreated to rural areas for a detox program following the excesses of drug abuse that, incidentally, had led him in such a short time to become a legend of blues guitar. Two years would pass before he released any new material, and in 1973, with the help of his friend, guitarist Rick Derringer, he made a triumphant return with the album "Still Alive and Well". This album contained exceptional tracks such as the blistering "Rock 'n' Roll" and "Silver Train", composed by the Jagger-Richards duo, as well as a cover of the legendary "Let It Bleed". This comeback album for the albino guitarist climbed the charts and won back the hearts of his fans. From then on, Johnny Winter's artistic output remained high despite the rise of new musicians and styles. Winter is an admirable performer who, although his style might seem repetitive, always managed to surprise everyone.

Deep Purple-Shades Of Deep Purple (1968)

Deep Purple's debut album would foreshadow the band's promising future, despite still displaying a nascent and somewhat vague style. The original Deep Purple lineup included Jon Lord (Hammond organ), Ritchie Blackmore (guitar), Ian Paice (drums), Rod Evans (vocals), and Nick Simper (bass). Although the production of this first recording leaves much to be desired, the future potential of Deep Purple is already evident in various passages, thanks to a high level of musicianship and accomplished arrangements driven by Jon Lord's blistering organ playing and Blackmore's neoclassical touch on electric guitar. However, the group's hard rock style here is infused with many psychedelic elements, featuring numerous sound effects and ingenious overdubbing. Composed mostly of covers, it also includes some songs written by the band themselves, which would soon become classics such as "Mandrake Root", a veritable mini-epic of psychedelic hard rock. Other tracks, like the ambitious "Prelude: Happiness/I'm So Glad", showcase the band's progressive side, especially thanks to Lord's lavish keyboards, while the powerful "Hey Joe" also reveals the roots of their signature style. On the other hand, there's a Deep Purple classic, a brilliant cover of Joe South's "Hush". ​​However, the rest of the album is somewhat inconsistent, with tracks like the lackluster Beatles cover "Help!", the disposable "Shadows", and the mediocre psychedelic pop song "One More Rainy Day". Ultimately, with this first release, the synergy between Lord and Blackmore was beginning to take hold, and although they were still far from perfect synergy, this was a very promising start.

Yes-Time and Word (1970)

Yes' second album represented their firm musical proposal based on orchestral arrangements, predominant keyboards and an eclectic mix of sounds that distanced themselves from the classic rock of the time, which was based on the thousands of volts of distorted electric guitars and powerful hard rock. Recorded with the same lineup as their self-titled debut (Anderson-Squire-Kaye-Bruford-Banks), the album's repertoire consists of covers and original compositions. Among the former are Richie Havens' iconic "No Opportunity Necessary, No Experience Needed", a Woodstock anthem, and Stephen Stills' "Everydays". On the other hand, the songs written by Jon Anderson and Chris Squire are the album's highlights, such as the atmospheric "Astral Traveller", the celestial and complex "The Prophet", and the deeply poetic melodies of "Clear Days" and "Time and Word". Anderson's emotionally charged vocals, along with Squire's aggressive bass, Bruford's persistent and jazzy drumming, Tony Cox's precise orchestral arrangements, and Kaye's baroque keyboards, are the most noteworthy aspects of an album that, despite its undeniable quality, was still far from Yes's best work.

Steve Winwood-Nine Lives (2008)

In 2008, five years had passed since Steve Winwood released his superb "About Time" (2003), an album that contained the keys to this legendary musician's greatness: his prodigious, soul-infused voice, his rich blend of blues, soul, and jazz, and his talent with the Hammond organ, among other instruments. Five years later, the man considered one of the greatest talents in the history of British rock returned with another admirable album. On "Nine Lives", Steve is joined by his old friend and former Blind Faith bandmate, Eric Clapton, who lends his innate talent to the guitar on the brilliant "Dirty City". Displaying a special chemistry, Winwood presents his eclectic side with compositions stripped of unnecessary embellishments, yet brilliantly arranged. Songs like "I'm Not Drowning", "Fly", "Raging Sea", "We're All Looking", "Hungry Man", "Secrets", "At Times We Do Forget" or "Other Shore", demonstrate that his legacy continues to be a source of inspiration for hundreds of artists and millions of listeners alike.

Joe Cocker-With Little Help From My Friends (1968)

In 1968, Joe Cocker recorded his first album, "With Little Help From My Friends", under the supervision of Denny Cordell. The album featured collaborations with excellent musicians from the British music scene of the time, including Jimmy Page, Albert Lee, Steve Winwood, Tony Visconti, Chris Stainton, and Matthew Fisher, among others a skillful selection that contributed to the power of the final result. For some time, Cocker had been performing in Great Britain and France with his Joe Cocker Big Blues Band, where they primarily played covers of black music, including blues and R&B classics. The arrival of musician and arranger Chris Stainton in Cocker's life was vital to the future of the Sheffield singer. Cocker's soulful and blues-infused style was based on his unconventional, gesticulating manner and unmistakable, frenetic stage presence, which contrasted sharply with his apparent fragility and his powerful, raspy voice. At the helm of his new band, The Grease Band, Joe Cocker toured England in support of his debut album. The following year, he performed at the Woodstock festival before a crowd of three hundred thousand, who enthusiastically applauded Cocker and his band's antics on stage. Shortly afterward, in Los Angeles, and with the invaluable assistance of Leon Russell, he recorded his second album, "Joe Cocker". Russell taught Cocker how to modulate the heavy tones of spoken-word blues and provided him with the unforgettable hit "Delta Lady". Russell oversaw the recording of this new album, which reflected a change of country and atmosphere. There was a different agility compared to his first album; it was less rough and bluesy, revealing more eclecticism and a willingness to embrace country melodies. With this renewed atmosphere, Russell's choice of musicians for the album recording greatly contributed to the success, all of them belonging to the best of the country-rock and folk groups, bands like The Byrds and The Flying Burrito Brothers. However, this stylistic diversity between the first two albums highlights Cocker's main problem: his spontaneity, his lack of calculation or astuteness, which, while it can be a merit, ultimately becomes a dangerous flaw. This flaw lay in his inability to develop his own musical strategy, leaving him at the mercy of arrangers and composers. And unfortunately, not everyone is like Chris Stainton or Leon Russell. After the breakup of The Grease Band, Russell concocted a mega-tour with 42 musicians, which would later be released as "Mad Dog and Englishmen", a double live album featuring a repertoire full of covers of other artists such as Bob Dylan, The Beatles, The Rolling Stones, and Traffic, and four tracks from Joe Cocker's first two albums.

Coney Hatch-Friction (1985)

This Canadian band made rock for discerning tastes. Coney Hatch emerged in the early eighties within the burgeoning melodic rock scene of the time, and with their self-titled debut album (1982), they quickly made a name for themselves thanks to tracks like "Devil's Deck", "Hey Operator", and "Monkey Bars". They were characterized by their multiple riffs, immersive keyboards, catchy melodies, and the distinctive voice of their singer, Carl Dixon. In 1985 came their third and ultimately final album, "Friction", a collection of superb melodic rock tracks, beginning with the sublime ballad "Fantasy". However, it's the opening track, "This Ain't Love", a hard rock blast, that kicks off the album, followed by other gems like "Wrong Side of Town" and "State Line", alongside superb AOR tracks such as "She's Gone", "Girl From Last Night's Dream", and the powerful "He's a Champion". As has so often happened, quality doesn't guarantee success, and they soon faded into complete obscurity, until 2013 when they returned with the album "Four", which finally restored them to the recognition they had been denied in those years.

Golden Earring-Switch (1975)

The Dutch band Golden Earring's tenth album faced the difficult task of following their previous and highly successful "Moontan", which featured the timeless rock classic "Radar Love". However, the band, led by guitarist George Kooymans, didn't attempt to repeat the same musical clichés of that album, instead steering their progressive hard rock towards more diverse musical directions. Here, Golden Earring delivers a melodic and catchy sound, with a more mainstream and accessible repertoire that is nonetheless of enormous quality, though without reaching the instrumental complexities of their earlier work. This is all demonstrated in a series of addictive tracks such as the funky rock of "Love Is A Rodeo", the upbeat "Tons Of Time", the atmospheric "Intro: Plus Minus Absurdio", the hard rock of "Troubles and Hassles", the hypnotic "The Lonesome D.J.", and the energetic "Kill Me (Ce Soir)". Despite the setback of its commercial failure compared to "Moontan", this album would achieve more than acceptable sales in the European and North American markets and an absolute number one in its country of origin.