Free-Heartbreaker (1973)

“Heartbreaker” would be the seventh and final album by Free, one of the most iconic blues-rock bands of the early 70s, composed of four outstanding musicians who left behind memorable albums such as “Fire and Water” (1970), “Free At Last” (1972), and the one we're discussing here today. By the time the band entered the Islands Records studios in London in late 1972, bassist Andy Fraser was no longer with them, having left shortly after the release of “Free at Last” due to disagreements with guitarist Paul Kossoff. His place was taken by Tetsu Yamauchi, and the band was further expanded with the addition of keyboardist John “Rabbit” Bundrik. They also featured guest appearances by Traffic percussionist Kwaku Baah of Rebop and guitarist W.G. Walden, who takes center stage at many points on the album, overshadows an apathetic and increasingly drug-addicted Paul Kossoff. The majestic rock track “Wishing Well” opens this monumental work with evocative riffs from Kossoff, followed in a similar vein by the blues-rock “Come Together In The Morning” and the exuberant “Heartbreaker”. The rest of the album showcases a band brimming with emotion and feeling, featuring heavenly blues-rock tracks like “Muddy Water”, “Easy On My Soul”, and “Seven Angels”, which close an album that couldn't have a more fitting epitaph for the immortal farewell of this fabulous British band.

Try-Just A Try (1980)

Try emerged from the collaboration of German musicians Amadeus Reineck (guitars and strings) and Michael Lapp (keyboards and guitars), who became friends in 1976 and, along with bassist Dieter Bauer, formed the short-lived folk-rock band Marzipan. In 1980, they tried again with Try, this time with a more progressive approach, fusing acoustic and electronic elements, a clear example of what artists like former Genesis member Anthony Phillips and Cluster were doing at the time. Their only album is one of the lesser-known gems of pastoral progressive rock, particularly for its more bucolic sounds and powerful electric guitar moments. It's a fine blend of symphonic, folk, and electronic elements. Both Reineck and Lapp had extensive experience in studio engineering in Berlin, which resulted in an exquisite production that still sounds amazing today. Compositions like the lengthy "Wreck On The Wire", with the enchanting voice of singer Carolyne McCombs and aggressive guitars, demonstrate the quality of this band that after this album would definitively dissolve, leaving behind a career that could have been much more promising and interesting.

Wishbone Ash-Wishbone Ash (1970)

In 1970, Wishbone Ash burst onto the world stage with their formidable debut album, "Wishbone Ash", released on the MCA label and produced by Derek Lawrence. This first release saw the band, who popularized twin guitars in rock, deliver a work featuring some of their most iconic tracks, such as "Blind Eye", "Lady Whiskey", and "Phoenix". Recorded by their most iconic and successful lineup Andy Powell (guitar and vocals), Ted Turner (guitar and vocals), Steve Upton (drums), and Martin Turner (bass and vocals), the album showcases an intriguing blend of blues, jazz, folk, progressive rock, and psychedelic improvisations, all underpinned by captivating and emotive vocal harmonies. From the classic rock of "Lady Whiskey" and "Queen Of Sorrow", to the refined "Errors Of My Way", passing through the blues-tinged epic "Phoenix" and the boogie blues "Blind Eye", they complete a fascinating classic rock album, while at the same time very accessible to the general public.

Manuel Göttsching-Inventions For Electric Guitar (1975)

Manuel Göttsching is one of the great musicians of krautrock and a pioneer of electronic music, influencing generations of musicians with emblematic pieces like "Inventions for Electric Guitar". Founder of the legendary bands Ash Ra Tempel and Ashra, he began his career alongside Klaus Schulze and Harmut Enke, creating psychedelic and cosmic sounds within the krautrock genre. "Inventions for Electric Guitar" was his second solo album, though he credited it to Ash Ra Tempel as the band's sixth album. In this ambitious work, Manuel Göttsching conducted a minimalist experiment with the guitar, highly advanced for its time. Released in 1975, it's a work in which the musician explores all the possibilities of the instrument, employing countless effects such as echoes, double speeds, and loops, achieving hypnotic and immersive sounds with an astonishing and even majestic result. An album that is undoubtedly a work that is still totally relevant today due to its originality and its importance as a historical document.

Jimmy Page & The Black Crowes-Live At The Greek (2000)

“Live At The Greek” is a double live album released in 2000, featuring the American hard rock/blues band The Black Crowes, joined by Jimmy Page, as a tribute to Led Zeppelin and other blues greats. In 1999, The Black Crowes and Jimmy Page embarked on a months-long tour, performing not only Led Zeppelin songs but also blues and rock classics, interspersed with their own material. However, Columbia Records, The Black Crowes' label, was not happy about their songs sharing the same stage time as Led Zeppelin's, and this led to The Black Crowes' songs being removed from the setlists of the recorded concerts. This displeased the Georgia band, who nevertheless continued to fulfill their contractual obligations for the tour. This “Live At The Greek” was recorded at the legendary Greek Theatre in Los Angeles on October 19th and 20th, 1999. The repertoire consists of covers of Led Zeppelin and blues greats such as B.B. King, Peter Green, Sonny Boy Williamson, Elmore James, Willie Dixon, and Jimmy Rogers, as well as The Yardbirds' classic “Shapes of Things”. On this double album, the Robinson brothers' band managed to make the covers their own, imbuing the music with their unmistakable style of hard rock and blues, adding their unique nuances while still respecting the original spirit of each song. Jimmy Page, for his part, demonstrates peak form, rejuvenated and incredibly energetic, proving why he is one of the guitar greats, especially in his musical heaven. “Live At The Greek” would once again bring them glory and millions of copies sold. A double album of the best rock performed by a group of talented musicians who know how to perceive the color and smell of the best rock music.

Tony Joe White-Black and White (1969)

Tony Joe White, one of the great standard-bearers of swamp rock, nicknamed "The Swamp Fox", always possessed the skill and talent to write songs that conveyed the idiosyncrasies and racial tensions of the American South. Many of his songs are now universal classics and have been covered by great artists such as Rod Stewart, Ray Charles, Rory Gallagher, Elvis Presley, and Tina Turner. Born and raised in a small town in southern Louisiana, he grew up harvesting cotton and corn and soon showed an interest in the blues and Southern sounds such as Cajun, zydeco, folk, and country. All of this inspired him to write songs, and after meeting a talent scout who saw in him a nonconformist genius, he secured a contract with the Nashville-based label Monument Records in late 1967. However, his early songs had little media or commercial impact until one of his tracks, "Polk Salad Annie", reached the top 40, mainly because Elvis Presley himself began including it in his concerts in the late 1960s. When "Polk Salad Annie" began receiving massive airplay on radio stations across much of the United States, many initially believed it was a new Creedence Clearwater Revival song, as its style was very similar to that of John Fogerty and company. However, Tony Joe White was actually a native of the swamps, while Creedence was from California. “Black and White”, released in mid-1969, was his first full-length album, showcasing his mastery of fusing blues, zydeco, and hillbilly rock. It features a wide array of tracks that even approach soul sounds, all delivered with that deep, highly personal voice that at times sounds almost like a Black person's. Tracks like “Don’t Steal My Love”, “Who’s Making Love”, and “Scratch My Back” reveal that profound Black sensibility, while race relations, explored in a funky style, are present in tracks like “Soul Francisco”, the luminous “Willie and Laura Mae Jones” and his splendid covers of other artists such as “Little Green Apples” and “Wichita Lineman”. All of these elements combine to form a superb debut, representing the best of the music of the American heartland.

Holding Pattern-Holding Pattern (1981)

Holding Pattern was a progressive symphonic rock band founded in 1981 in Connecticut, USA, under the guidance of guitarist Tony Spada. Alongside Spada were the expert drummer Robert Hutchinson, a veteran of the North American progressive scene who had played in bands like Elysin Field, bassist Jerry Lalancette, and keyboardist Mark Tannenbaum. This band showcased a strong symphonic progressive sound, a powerful melodic quality in their compositions, and high-energy live performances. Spada was the driving force, writing virtually all the compositions. However, although his guitar was always present, the sound was based on the interplay of keyboards and guitars, strongly supported by a solid rhythm section. Their melodic approach was influenced by groups like Camel, post-Gabriel Genesis, and bands like Happy the Man. Their only album was released in 1981, although it was actually an EP with four extended tracks. On this album, the instrumental prowess is excellent, with crisp, polished touches, but it suffers from a lack of quality production. The powerful "Another Point Of View" is a song with a complex structure. The haunting, melancholic "Honor Before Glory" possesses the characteristic sound that Steve Hackett presented on his albums from the late 70s. The agile "Jigsaw Dream" moves between funk cadences and highly dynamic symphonic developments. Meanwhile, in the closing epitaph, "Out Of The Tunnels", we find subtle Crimson-esque sounds as well as Holding Pattern's rockier side.

Caravan-Cunning Stunts (1975)

The sixth album by the British band Caravan marked the beginning of the end of their more classic era, moving towards a more predictable and conventional sound, far removed from the complexities of the Canterbury sound of their earlier work. On this occasion, their earlier jazz influences appear only sporadically, although the progressive elements of their earlier work are still present, albeit in a more accessible tone. This sixth release continues to be led by guitarist Pye Hastings and keyboardist David Sinclair, supported by Jimmy Hastings, Geoff Richardson, Richard Coughlan, and Mike Wedgwood. Tracks like "Dabsong Conshirto" retain the distinctive Caravan sound, while the orchestrated "The Show Of Our Lives", the energetic "Stuck In A Hole", and the predictable "Welcome The Day" and "Lover" close out an album that drew criticism from their more orthodox fans, but still retains much of their classic and unmistakable sound.

Wallenstein-Blitzkrieg (1972)

Wallenstein were one of the most important and longest-running bands of German rock, remaining active throughout virtually the entire 1970s and early 1980s. Formed in 1971, initially as Blitzkrieg in the city of Viersen in western Germany, the band consisted of keyboardist Jürgen Dollase, guitarist Bill Barone, bassist Jerry Berkers, and drummer Harald Großkopf. Almost immediately, they signed with the German label Pilz, who advised them to change their name to avoid coinciding with a British band of the same name. As Wallenstein, they recorded their first album, titled "Blitzkrieg" (1972), produced by the renowned Dieter Dierks. This debut album catapulted them to fame as one of the sensations of German progressive rock that year, thanks to a style that fused classical music, psychedelic rock, and progressive hard rock. Composed of four lengthy tracks, all virtuosically performed by the entire band, the album features Dollase as the main protagonist, showcasing his impeccable atmospheric keyboard skills and classical style, which perfectly complement the dizzying, blistering heavy rock guitars and energetic, dynamic rhythm section. Wallenstein holds a prominent place in the annals of krautrock history, having left behind a series of essential albums highly regarded by progressive rock fans and music critics alike.

Birth Control-Operation (1971)

Birth Control is often categorized as a krautrock band, but these Germans go a step further, fusing hard rock with progressive rock, bearing many similarities to the progressive rock being made in Great Britain at the time. "Operation" was Birth Control's second release, an album that follows a stylistic path very similar to their debut. With cover art that is, in a way, a deliberate reaction to a statement by Pope Paul VI, who categorically declared any form of contraception immoral, the group remained true to their musical roots, showcasing, as with their debut, a devastating hard rock sound infused with funk, blues, and progressive elements. Heavy hard rock tracks like "Pandemonium" and "Stop Little Lady" blend with bluesier songs like "The Work Is Done" and progressive gems like the brilliant "Just Before The Sun Will Rise" and "Let Us Do It Now".

Lethe-Lethe (1981)

After the one-album adventure of the band Mirror and an extensive tour of the Netherlands, they disbanded, and three of its members founded Lethe in 1978. These musicians were Philip De Goey (piano, flute, and oboe), Johan Saanen (bass), and Kees Walravens (guitar), who were later joined by drummer Hans Lambers and keyboardist Thuur Feyen. Like Mirror, Lethe also had a short career of barely a year, just enough time to release the album "Lethe" in 1981. This album consists of four extended instrumental pieces, beginning with the title track, a folk piece featuring elegant acoustic guitars subtly accompanied by delicate piano and oboe, and some ambient and synthesizer sounds a beginning reminiscent of the unmistakable style of the American band Oregon. The following track, “Avbury Circle”, begins with a similar musical structure and builds to a vibrant finale with hints of jazz, a brilliant Hammond organ, and pure rock guitars. The second side of the vinyl opens with the infectious and lively “Cold In Fingers” and concludes with the progressive “Le Tombeau”, brimming with glorious organ sounds, a great guitar line, and jazzy underpinnings supported by a powerful rhythm section.

Grand Funk-Survival (1971)

With their fourth album, "Survival", Grand Funk reached their popular and commercial peak with a more refined and technically advanced work than their intense and powerful earlier albums, primarily due to its exquisite and elaborate production. After three legendary albums their 1968 debut, "On Time", and the subsequent "Grand Funk" (1969) and "Closer to Home" (1970) the Michigan band was at its zenith, combining blues, psychedelia, boogie rock, and early hard rock with touches of funk and visceral soul, elevating them to the pinnacle of early 1970s rock music. On this fourth release, the band, comprised of Mark Farmer, Mel Schacher, and Don Brewer, enlisted the regular producer Terry Knight. It was recorded in March 1971 and released a month later by Capitol Records. On this album, the band showcases a sophisticated and polished sound that, while lacking the vigor and fury they had displayed up to that point, is also much more accessible and commercially viable. The refined "Country Road" opens the album, demonstrating everything mentioned above, while the psychedelic "All You've Got Is Money" highlights Mark Farmer's lysergic guitar work and his haunting vocals. The seductive "Comfort Me" reveals the group's multifaceted creativity with one of their best compositions. Closing the first side is Traffic's "Feelin' Alright", brilliantly covered here with that hypnotic and addictive touch. Towards the end are the soul rock track "I Want Freedom" and the attractive mid-tempo "I Can Feel Him In The Morning", which are the prelude to the devastating version of The Rolling Stones' "Gimme Shelter", concluding an album that was criticized for its departure from the visceral original proposal of his first works, but with a great reception from his fans and the general public, achieving an extraordinary sixth place on the North American Billboard charts.

Rare Earth-One World (1971)

If their third album, Rare Earth, once again made waves on the Billboard R&B charts, achieving a gold record and a top ten hit with the Motown classic "(I Know) I'm Losing You", their next album, "One World", was no less successful. In fact, they matched their previous achievements and even produced another worldwide hit with their own composition, "I Just Want to Celebrate". Recorded with the same lineup as their previous album, "Ecology", with the exception of guitarist Rod Richards, who was replaced here by Motown session musician Ray Monette, the rest of the band consisted of Mark Olson, Ed Guzman, Gil Bridges, John Persh, and Pete Rivera. The latter three were survivors of the original lineup that had recorded the monumental and groundbreaking "Get Ready" several years earlier. Produced by Tom Baird, it showcases Rare Earth's signature sound with its muscular and vigorous soul, jazz, blues and rhythm and blues, featuring notable tracks such as the extended version of Ray Charles' "What I'd Say", the bluesy funk rock "The Seed", the robust "Someone Of Love", the soul rock "Any Man Can Be A Fool", the country/folk rock "If Die", the melodic "The Road" or the aforementioned funk rock "I Just Want to Celebrate".

Meat Loaf-Dead Ringer (1981)

Meat Loaf's career is well known to all. This singer and actor is not only famous for the "Ball Out of Hell" trilogy of albums, which has sold nearly fifty million copies, but also for a career filled with other enormous works focused on pompous and epic rock. Born in 1947 in Dallas, this singer has released nearly thirty albums, including studio, live, and compilation albums, and has appeared in over a hundred films and television shows. In 1981, he released his second album, "Dead Ringer", which, even before its release, was already overshadowed by its predecessor, the monumental "Ball Out of Hell", considered one of the masterpieces of rock music of all time. For this second album, the singer no longer worked with producer Todd Rundgren, one of the main architects of the previous album's success. However, this didn't prevent Meat Loaf from creating another great album, though admittedly not reaching the heights of its predecessor, it was still undoubtedly outstanding. His right-hand man, songwriter Jim Steinman, once again played a fundamental role on this album, steering the sound in a more commercial and less epic direction. For this new release, Loaf surrounded himself with a select group of musicians, including guitarists Mick Ronson and Davey Johnstone, keyboardists Roy Bittan, Larry Fast, and Nicky Hopkins, drummers Max Weinberg and Liberty DeVito, and singer Cher. Less complex than the previous work, “Dead Ringer” showcases another superb album where vocal duets like “Dead Ringer For Love” or “Peel Out” stand out, as well as powerful rock songs with majestic choruses such as “I’m Gonna Love Her For Both Of Us”, “I’ll Kill You If You Don’t Come Back”, or the beautiful crescendo “Everything Is Permitted”.

Alphonse Mouzon-Mind Transplant (1974)

"Mind Transplant" is often considered Alphonse Mouzon's best recording, one of the most acclaimed drummers of the golden age of jazz fusion. In the early 1960s, he graduated from high school and subsequently pursued various careers, including drama and medicine. However, some time later, he focused on studying music with the renowned drummer Billy Taylor. His professional career began in the mid-1960s when he was barely twenty years old, performing alongside McCoy Tyner. In the 1970s, he joined the legendary Weather Report, with whom he recorded the album "Weather Report" in 1970. After this venture, he joined another jazz-rock giant, Larry Coryell's Eleventh House, contributing to the band's brilliant debut. In 1973, Mouzon released his first solo album, "The Essence of Mystery", a work focused on jazz-funk with Latin influences. After a second album that continued in the same vein, "Funky Snakefoot", Mouzon released his third album, "Mind Transplant", which featured collaborations with three great guitarists: Tommy Bolin, Lee Ritenour, and Jay Graydon; keyboardists Jerry Peters and Rocke Grace; and bassists Henry Davis and Stanley Sheldon. On this third record, Mouzon shifted his style towards a powerful jazz-rock sound, with expansive instrumental lines that almost bordered on hard rock, as evidenced by tracks like "Mind Transplant", "Snow Bound", "Carbon Dioxide", "Ascorbic Acid", and "Nitroglycerin". In the following years, Mouzon continued to release solo albums, as well as perform and collaborate with jazz and rock greats such as Herbie Hancock, Gil Evans, Al Di Meola, Eric Clapton, Jeff Beck, and Miles Davis.

Appaloosa-Appaloosa (1969)

Appaloosa's only album was one of the most understated examples of baroque folk from the late 1960s, a style that was widespread at the time and perfectly described a fusion of folk and symphonic classical music. Emerging from the Boston folk scene, the group consisted of guitarist and vocalist John Parker, who was also the main songwriter, bassist David Raiser, and string players Robin Batteau and Eugene Rosov. For a time, the band focused on small gigs at Cambridge University in Boston and even opened for Tim Hardin on occasion before moving to New York. There, they connected with Al Kooper, who, after hearing them, offered them a contract with Columbia Records to record an LP. Released in 1969, the self-titled album was produced by Kooper himself, who also played several instruments on the recording, along with other session musicians from Columbia's New York studios. The eleven songs included epitomize the folk-rock of the Boston area, with certain similarities to the work of Earth Opera or James Taylor. The opening track, "Tulu Rogers", is a delightful piece of country folk with Bach influences; "Pascal's Paradox" follows in the same vein, while the nostalgic "Yesterday's Road" and the jazzy "Thoughts of Polly", "Billy-Weekly", and "Now That I Want You" bear the unmistakable stamp of Al Kooper. "Rosalie", for its part, is a folk song with hints of country. Despite the incredible quality of this album, it went largely unnoticed, although its legacy would remain as a model for some later baroque folk artists.

Foreigner-Head Games (1979)

In 1979, Foreigner released their third album, considered one of their masterpieces and also one of their most elaborate works. In this new release, the band led by Lou Gramm and Mick Jones achieved another remarkable work that climbed to number five on the US Billboard charts, with sales exceeding five million copies. In addition to Lou Gramm (vocals) and Mick Jones (guitar and vocals), the rest of the band consisted of bassist Rick Willis, guitarist and keyboardist Ian McDonald, drummer Dennis Elliott, and keyboardist Al Greenwood. Recorded during June and July of 1979 at Atlantic Studios in New York, the album was released in early September of that same year. While it's clear that "Head Games" loses some of the raw energy and instinct of their two previous albums, it also features some truly outstanding tracks, such as the catchy "Love On The Telephone", the energetic "Dirty White Boy", the boogie-rock anthem "Women", the captivating hard rock track "Seventeen", the AOR title track "Head Games", the exquisite ballad "Blinded By Science", and the addictive mid-tempo "Do What You Like". In all of these, Lou Gramm's sublime vocals and the outstanding instrumental work of the rest of the band shine, along with the superb production by Roy Thomas Baker and Mick Jones.

Andrew Lloyd Webber-Varations (1978)

“Varations” is a highly grandiose and pretentious piece of music by the renowned composer, arranger, and instrumentalist Andrew Lloyd Webber, inspired by the famous “Guitar and String Quartet” by the 17th-century Italian composer Niccolò Paganini. For the complex recording of this work, Webber enlisted a number of highly acclaimed musicians, including his brother Julian, a virtuoso cellist, whose instrument is central to the music presented here. The rest of the ensemble consists of members of the progressive jazz-rock band Colosseum II: Gary Moore on guitar, Don Airey on keyboards, and their captivating jazz rhythm section comprised of Jon Hiseman (drums and percussion) and John Mole (bass). Also contributing are the legendary Rod Argent on keyboards, Herbie Flowers on bass, Bill LeSage on vibraphone, Phil Collins on drums, and Barbara Thomson on wind instruments. The end result is a brilliant classical piece that transforms into various styles ranging from blues and hard rock sounds to jazz and symphonic progression, all without losing any coherence, making this work one of the greatest achievements and a milestone in uniting classical and rock music in such an overwhelming and anthological way.

The Outlaws Blues Band-The Outlaws Blues Band And The People (1968)

The Outlaws Blues Band (not to be confused with the Southern rock band The Outlaws) were another leading blues-rock band of the late 1960s, direct rivals of contemporaries like Canned Heat. Despite this, they were forgotten for decades and are now being rediscovered by blues and jazz fans. Formed in Los Angeles in the early 1960s by drummer Victor Alemán, bassist Joe Francis Gonzalez, and guitarist Phillip John Diaz, they were influenced by blues, R&B, and soul greats like Sam Cooke and Muddy Waters, to which they added sounds from the British Invasion. Later, as they began to build a solid reputation thanks to their dynamic live performances, the band signed a contract with Bluesway Records, a subsidiary of ABC, and recorded the albums "The Outlaw Blues Band and The People" in 1968 and "Breaking In" in 1969, both with legendary producer Bob Thiele. Their debut album opened with a particularly funky version of the greasy blues track "Tobacco Road", followed by a bluesier side with "Tried To Be A Good Boy", featuring jazzy sounds thanks to tenor flute by Joe Whiteman. Meanwhile, the band showcased their eclectic style with the soulful blues of "How Bad Love Can Be", the scorching "Lost In The Blues", and the chaotic eight-minute instrumental "Death Dog Of Doom", where they perfectly blended blues, rock, jazz, funk, and soul with Latin influences and a wild edge. A silky, smoky version of B.B. King's "Sweet Sixteen" and the cacophonous "Two Trains Running" closed out a memorable album a vibrant and unique mix of blues, rock, jazz, and soul, with multiracial compositions and a profound influence from the sounds of Electric Flag, Paul Butterfield Blues Band, Santana, and The Allman Brothers Band.

Pride And Glory-Pride And Glory (1994)

Zakk Wylde rose to international fame in the mid-1980s when he replaced the late guitarist Randy Rhoads in Ozzy Osbourne's band. While still with the "Prince of Darkness", he formed a side project called Pride and Glory with bassist James LoMenzo and drummer Greg d'Angelo. In 1994, this powerful trio released their first and only album on the Geffen label, a record marked by Southern rock sounds and classic 1970s hard rock. Echoes of bands like Lynyrd Skynyrd, the Allman Brothers, and Led Zeppelin permeate the grooves of this work. Songs like the swampy "Cry Me A River", exciting ballads like "Sweet Jesus", powerful cuts with vintage seventies sounds like "Horse Called War", "The Chosen One" and "Losin' Your Mind", nostalgic country rock like "Lovin' Home" or dusty hard rock with a southern flavor like "Horse Called War", "Shine On" and "Harvester Of Pain", constitute a magnificent work that would continue with his first solo album "Book Of Shadows" two years later or with his subsequent career at the front of his band Black Label Society, with whom he has released more than a dozen albums.

Black Cat Bones-Barbed Wire Sandwich (1970)

"Barbed Wire Sandwich" was the only recording by Black Cat Bones, a British band formed in 1966. For a time, they served as the backing band for several veteran American bluesmen who experienced a resurgence in England thanks to the blues revival, particularly Champion Jack Dupree. The original Black Cat Bones lineup included guitarist Paul Kossoff, drummer Terry Sims, vocalist Paul Tiller, bassist Stuart Brooks, and his brother, guitarist Derek Brooks. Some time later, drummer Simon Kirke replaced Sims. Thanks to Blues Horizon label owner Mike Vernon, they secured a role as the backing band for Champion Jack Dupree on a UK tour. After the tour, Simon Kirke and Paul Kossoff left the band to join Paul Rodgers and Andy Fraser in forming the core of Free. With a new lineup featuring Brian Short on vocals, Rod Price on guitar, drummer Phil Lenoir, Stu Books on bass, and rhythm guitarist Derek Brooks, Black Cat Bones entered the studio to record their debut album, which would be released by Deram Records, the progressive rock division of Decca Records. "Barbed Wire Sandwich", released in 1970, is an album built on a series of compositions with simple yet effective and irresistible structures. Price's guitar work is commendable, with a sound that is simultaneously refined, sharp, raw, and saturated, featuring heavy and powerful riffs. From the opening track, "Chaffeur", a robust heavy blues number, followed by the superb "Death Valley Blues" and the dense "Save My Love" and "Good Lookin' Woman", Black Cat Bones displays enviable consistency and a solid synergy among all its members. However, the psychedelic "Four Women" and the acoustic blues "Sylverrster's Blues" differ considerably from the rest of the album, detracting somewhat from the coherence and balance of the final result. Even so, "Barbed Wire Sandwich" is one of the most interesting British heavy blues albums of the late 60s, and despite its horrendous cover (one of the ugliest ever made), its legacy has endured as the seed for many subsequent bands and those nostalgic for an era they never experienced.

CCS-CCS (1970)

CCS, short for Collective Consciousness Society, was a major and influential British brass rock band of the early 1970s. This enormous group, both in terms of its quality and the number of members, was the brainchild of one of the fathers of British blues, Alexis Korner. He, along with singer Peter Thorup and arranger John Cameron, sought to emulate the sounds of American bands like Blood, Sweat & Tears, while incorporating elements of British hard rock and blues rock. This big band, which also functioned as a supergroup, featured several distinct sections: the pure rock band and the horn section. To achieve this, John Cameron and producer Mickie Most selected a roster of musicians from among the best in those genres playing in the UK at the time, beginning with a rhythm section comprised of members of the band Blue Mink: Herbie Flowers (bass), Alan Parker (guitar), and Barry Morgan (drums). To further strengthen this section and give it a heavier, more powerful sound, they also recruited bassist Spike Heatley and Tony Carr as a second drummer, who at the time was playing in Donovan's band. On top of this rock foundation, a horn section was formed, much like a big band, starting with a trumpet section composed of Greg Bowen, Les Condon, Harold Becekktt, and Henry Lowther. The latter two were replaced on the second album by Tony Fisher and Kenny Wheeler, who at the time was a young, experimental musician and who, a few years later, would become one of Britain's most prominent trumpet players, thanks to his recordings for the German label ECM. This section was joined by three trombonists: Don Lusher, Bill Geldard, and John Marscall. Marscall would later be replaced by Brian Perrin. Rounding out the horn section was trumpeter Neil Sanders. As for the woodwind section (saxophones, clarinets, and flutes), they recruited some of the most brilliant musicians on the British jazz scene, such as Harold McNair, Pete King, Danny Moss, Bob Efford, and baritone Ronnie Ross. In 1970, CCS released their self-titled debut album, “CCS”, on Most's own label, Rak Records, and distributed internationally by EMI/Columbia. It featured compositions by Cameron, Korner, and Thorup, as well as covers like Jethro Tull's “Living in the Past”, the Rolling Stones' “(I Can't Get No) Satisfaction”, and Led Zeppelin's “Whole Lotta Love”, and a frenetic version of the traditional “Vade in the Water”, a true classic of Black spiritual music. Musically, this album is one of the gems of early 1970s jazz-rock, with a complex and intricate structure of compositions focused on brass rock, featuring heavy and energetic sounds that, to some extent, lend a progressive edge to their style. However, the track that propelled them onto the British charts was their cover of Led Zeppelin's "Whole Lotta Love". A year later, they released their second album, "CCS II", and in 1973, their third and final album, "The Best Band in the Land". However, shortly afterward, due to contractual obligations of many of its members with their respective bands or solo projects, as well as the financial difficulties of maintaining such a large group, the band dissolved in early 1974.

Pretty Maids-Future World (1987)

"Future World" was the second album by the Danish band Pretty Maids, the work that opened the American market for them and, along with their debut "Red, Hot and Heavy", is considered their two best contributions to hard rock and heavy metal, as well as their most successful albums. Released in 1987, three years after their debut, Pretty Maids steered their style towards an Americanized sound with catchy choruses, powerful and sharp guitars, which, along with the interplay of keyboards, placed them among the best heavy metal albums of the late eighties. Tracks like the superb "Needles in the Dark" and "Loud 'n' Proud" alternate with more melodic songs such as "Eye of the Storm" and "Long Way Go", clear AOR tracks like "Rodeo", and epic heavy ballads like "Yellow Rain". From here the band would release great albums such as the following "Jump The Gun" (1990), where they had the collaboration of Roger Glover in the production, which would be a massive success in Japan or the laborious "Pandemonium" (2010), with which they managed to make a truly enviable album of great heavy metal.

Duncan Mackay-Chimera (1974)

Unjustly and sadly forgotten, Duncan Mackay is a British keyboardist who recorded several high-quality symphonic progressive rock albums and also participated in significant works by Camel and Steve Harley & Cockney Rabel. His origins lie in 1967 when he finished his studies at Shrewsbury School in Shropshire, in the west of England. There he graduated in violin and was soon nominated as the most promising violinist in the UK. However, he soon switched from that instrument to keyboards, with which he also achieved great renown. In 1970, he was invited to join the band of Brazilian jazz pianist Sergio Mendes. In 1974, Mackay secured a contract with Vertigo Records for his first and best work, "Chimera", a debut album that showcased his most notable influences: the sounds of ELP and The Nice, with outstanding Hammond organ playing that permeated his music. Composed of three extensive suites, "Chimera" began with the epic "Morpheus", in which the keyboardist showcases his impressive vocal abilities in a cheerful and rhythmic piece with harsher, more visceral moments, featuring passages that lean towards jazz and even pop. The progressive "12 Tone Nostalgia" is a brilliant composition dominated by muscular Hammond organ sounds, while the mammoth "Song For Witches" is a memorable suite of progressive passages in the purest style of early ELP works, with psychedelic and enigmatic sounds. Three years later, Mackay released his next work, "Score", another formidable exercise in progressive rock, but from then on his subsequent releases were of lesser scope, dedicating his later career to collaborating with groups such as The Alan Parsons Project, Budgie, and Camel, where he contributed his extraordinary keyboard sounds to the legendary album "Nude". "Chimera" is one of the hidden gems of progressive rock that has gone completely unnoticed amidst so many masterpieces from more media-savvy and established contemporary groups and artists.

Pink Floyd-The Division Bell (1994)

“The Division Bell” would be Pink Floyd's last studio album and arguably their best post-Waters era record. It's a work of massive guitars, highly complex, and attempts to emulate the style of their 1970s albums, but without the psychedelic undertones and the oppressive emotional themes of that period, and certainly without their experimental facets. Even so, it's a very atmospheric album, with more instrumentation than usual, where Rick Wright becomes an integral part of the band, his presence taking on the prominence it had in “The Wall”.

This would be the band's fourteenth album and the second without Roger Waters, and here we must pause and provide some background before continuing. After “The Final Cut”, Roger Waters unilaterally ended the Pink Floyd project at a massive press conference. However, the three remaining members disagreed and continued with the project.

Some time later, they returned with the album “A Momentary Lapse of Reason” (1987), a work sarcastically and implicitly directed at Waters. From this point on, Waters broke with EMI and CBS (his record labels for Europe and the United States) and initiated legal action to prevent his former bandmates from using the name and trademark "Pink Floyd". After nearly a year of back-and-forth statements from both sides, Waters relented and released himself from his contractual obligations, while Gilmour and Mason were allowed to continue with the band and its original name. By the time this album was released, significant tensions still existed between Waters, Gilmour, Mason, and Wright, and in a way, this album, among other things, revolves around that theme.

The main theme here focuses on communication, and this is the central focus, emphasizing the importance of communicating with others, and in a kind of subtle nod, specifically to Roger Waters's inability to communicate with the band members. According to David Gilmour, and to put it diplomatically, the album title refers to the bell used in the British Parliament during voting to signal the two parliamentary factions were divided. The album places the names of those two factions on Waters and the remaining members of Pink Floyd.

The concept sadly (and ironically) revolves around "Roger, you must contact us at the right time, and you must do it now," contradicting statements made by the former frontman, who always maintained that the other members refused to reach an amicable agreement. In many ways, the album sounds like a tribute to Waters and the almost biblical, war of words and legal battles he waged.

Musically, the album as a whole was truly magnificent, with a stunning sound and exquisite production, as one would expect from a band of Pink Floyd's stature. Standout tracks include the timeless "Cluster One" with its masterful atmosphere, the jazzy and expansive "Wearing the Inside Out", the bluesy progressive "Coming Back to Life", the rhythmic "Keep Talking", and the enormous and complex "High Hopes".

Sweet-Level Headed (1978)

In 1974, Sweet, one of the leading glam rock bands, underwent its first major shift, changing production teams and deciding to focus on the North American market, which, despite countless successes in Great Britain and Europe, had still eluded them. This change paid off with the hit "Fox On The Run", which reached number 2 in Great Britain and a surprising number 5 in the United States. After a long tour of America, they decided to relocate there and record their most musically ambitious album, "Off The Record". Fueled by their worldwide popularity, the band embarked on numerous tours of Europe, Japan, and even the Far East, achieving unprecedented box office success in the London band's career. Amidst this whirlwind of success, in 1978 they released their sixth album, "Level Headed", where they demonstrated their complete departure from the aggressive sounds of their glam and heavy rock, definitively embracing a melodic and eclectic rock style. Tracks like "Love Is Like Oxygen", with its distinctly pomp rock feel, which conquered charts worldwide, contrasted with others closer to the Californian sound, such as "Silverbird" and "California Nights", the funk rock of "Strong Love", the addictive ballads of "Dream On", and forays into avant-garde rock with the surprising "Air On A Tape Loop". Despite this stylistic diversity, the album received a modest reception on the charts, which precipitated the departure of their vocalist, Brian Connolly, thus ending Sweet's golden era and becoming one of the most cherished memories in rock music.

Al Kooper with Shuggie Otis-Kooper Session (1970)

Two years after the album "Super Session", Al Kooper set out to record another jam session, this time with guitarist Shuggie Otis, the son of the legendary Johnny Otis, who was only 15 years old at the time. For this occasion, bassist Stu Woods, drummer Wells Kelly, and pianist Mark Klingman formed the backing band for Kooper and Shuggie. The gospel and soul duo "The Hilda Harris & Albertine Robinson Singers" also participated. In this new release, Al Kooper expanded his sound, incorporating not only blues but also subtle soul and gospel influences, as in the opening track "Bury My Body". "Shuggie's Shuffle" showcases the instrumental duality of the two musicians, while "12:15 Goonbash Blues" is an extended jam of hypnotic blues rock where Otis demonstrates his enormous talent on the six-string.

Werwolf-Creation (1982)

Continuing our series on lesser-known bands, this time we feature the German group Werwolf, founded in Sauerland in 1970 by drummer and vocalist Peter Besting, guitarist Hartwig Kugoth, and bassist Peter Lorenz. For a time, they were a trio, until 1972 when keyboardist Jürgen Göckle, saxophonist and flute player Michael Schlimm, and vocalist Ellen Wiederstein joined the band. With this lineup, Werwolf recorded a demo to distribute to various record labels in hopes of securing a contract, but without success. During those years, the band focused on live performances, touring with bands like Birth Control and Eloy. It wasn't until 1982 that they released their first album, "Creation", which featured only Peter Besting from the original lineup. On this debut album, Wearwolf leans towards progressive folk sounds with pleasing acoustic guitars and the enchanting voice of singer Gitta Loewenstein, which bears a certain resemblance to British singer Annie Haslam of Renaissance. Besides Loewenstein's vocals, the album's highlights come from the excellent work of guitarist Gerd Heuel and the symphonic keyboards of Wolfgang Unthan. Extended tracks with substantial developments and constant tempo changes give it a certain feel of music made in the seventies rather than the eighties, which is understandable given that the compositions were written long before they were recorded. "The Journey To The Land Of The Flying Pigs" and "Daydream" are clear examples of this, while "The Eighth Day", "The Song", and the opening track "Höhenflug" are complex progressive compositions with a sound more in keeping with the decade in which they were recorded.

Elvis Presley-From Elvis in Memphis (1969)

In 1969, Elvis Presley returned to conventional studio albums with "From Elvis in Memphis", after a few years focused on film soundtracks. Considered one of his most intense albums, it contains some of the finest soul music ever recorded by a white artist. However, Elvis also brilliantly navigates other styles such as gospel, country, R&B, and pop. Recorded at American Studios in Memphis with the backing of an impressive and extensive band including Reggie Young, Bobby Wood, Gene Chrisman, John Hughey, Bobby Emmons, and The Memphis Horn, among many others, Elvis thrillingly delivers each song on the album with his captivating voice, showcasing great maturity and commitment, rebelling against the decline and loss of popularity he was experiencing at the time. With a dreamlike repertoire, gems like "True Love Travels On a Gravel Road", "Only The Strong Survive", "In The Ghetto", "Long Black Limousine", and "Wearin' That Loved On Look", appear, making it one of the greatest albums of all time.

The Gary Moore Band-Grinding Stone (1973)

Gary Moore is one of the greatest guitarists in history. Influenced primarily by the blues, he ventured into heavier genres like hard rock and heavy metal, and even dabbled in progressive jazz rock. Gary Moore's career began in the late 1960s when, at just 17 years old, he joined the band Skid Row (not to be confused with the American band of the same name from the 1980s). With Skid Row, Moore recorded three albums and became very popular, opening for established bands like Mountain and The Allman Brothers Band across the United States. In 1973, Moore decided to form his own band, The Gary Moore Band, with whom he recorded his first album, "Grinding Stone", where the Irish guitarist already showed glimpses of what was to come in the following years. "Grinding Stone" is a magnificent album of hard rock and psychedelic blues, featuring outstanding compositions such as the opening track "Grinding Stone", a psychedelic instrumental where Moore showcases his talent on the six-string guitar, and brilliant cuts like the epic, progressive-tinged "Spirit" and the boogie blues "Boogie My Way Back Home". From this point on, Gary Moore continued to release albums with various groups, including the progressive jazz-rock band Colosseum and the hard rock band Thin Lizzy, as well as solo albums. His solo work alternated between hard rock and metal albums and traditional blues, and on more than one occasion, he even explored the rhythms and melodies of traditional Irish music, from his homeland. In 2011, Gary Moore was found dead in a hotel room in Málaga, the victim of a heart attack in his sleep. He was 58 years old and had been a fixture in the music scene for over forty years.

Eloy-Live (1978)

Fantastic double live album official German progressive rock group Eloy. Thetopics covered by disks are as follows: From Inside Inside is included. From The Power And The Passion Of Dawn Mutiny is included there is some mess with titles,including The Sun-Song is actually the theme-Flash Memory, The Dance In DoubtAnd Fear they really are the topics Appearance Of Return Of The Voice and The Voice, and finally Gliding Into Light And Knowledge. From the Ocean includePoseidon's Creation, Incarnation Of The Logos and and the long title theme, Atlantis Agony ... etc. etc.. The interpretation of the issues that is more symphonicrock, everything is covered with mysterious atmospheres, dark, symphonic, and I can imagine that day in the room transported to another galaxy like I was stuck in ascience fiction movie. Some of the interpretations are quite faithful to the originalsbut there are some topics like Atlantis Agony ... Dawn or issues where the instrumental parts are stretched very effectively. One of the basic double live the70's progressive.

Camel-Mirage (1974)

Despite the modest commercial success, though not artistic merit, of their debut album, Camel's musical vision was further enhanced on their second full-length album, released a year later. "Mirage" reflects a consolidated band that would focus on instrumental atmospheres, supported by a solid foundation of rock and jazz fusion. Within this context, the entire second album breathes with seductive and captivating melodies, beginning with the immeasurable "Lady Fantasy", the powerful and impactful "Freefall", the atmospheric and brilliant "Nimrodel/The Procession/The White Rider", and the instrumental "Earthrise". In all of these tracks, Camel showcases great musical ideas, brimming with genuine inventiveness, beauty, aggression, and a playful ambition, featuring superb harmonies, impressive guitar and keyboard solos by Andrew Latimer and Peter Bardens, and a rhythm section comprised of Andy Ward and Doug Ferguson that fluidly underpins the repertoire throughout the entire album. "Mirage" not only became a masterpiece, but also the starting point for a career full of great works and, incidentally, for each and every one of the progressive bands that would emerge in the following years.

Black Pearl-Black Pearl (1969)

Another obscure band from the late 1960s was Black Pearl. Originally from Boston, they had to relocate to the sunny shores of San Francisco, where they achieved moderate success in late 1969 and early 1970, releasing several albums that are now highly sought after by collectors. This band, with its three guitarists, was one of the first to explore psychedelic hard rock, with strong roots in R&B and substances like LSD. Part of their lineup came from another Boston band called The Barbarians, and included the energetic and visceral singer B.B. Fieldings, drummer Oak O'Connor, guitarists Tom Mulcahy, Jeff Mackay, and Bruce Benson, and bassist Geoffrey Morris. Once settled in San Francisco, they managed to record an album under the Atlantic label that cracked the Billboard Top 100. They then recorded their epitaph, "Black Pearl Live", which marked the end of their musical journey, returning to Boston and disappearing into the vastness of time. This first album contained nine tracks, including the lysergic rock songs "Crazy Chicken" and "Thinkin' 'Bout the Good Times", the R&B track "White Devil", the psychedelic "Mr. Soul Satisfaction", and the rhythmic "Climbing Up the Walls". All of them shared a clear common denominator: the interplay of the three guitarists with energetic and heavy riffs and guitar solos, and Fieldings' powerful vocals. Later, Rolling Stone History of Rock and Roll magazine would categorize them as one of the first bands of early American lysergic hard rock.

Queen-Queen II (1974)

Not entirely satisfied with their somewhat promising debut album, which lacked clear cohesion and a defined style, Queen returned a year later with their second album, a superb and masterful record that ranks among the best of the 1970s. Divided into two distinct parts, it is, in a way, conceived as a concept album, with one side called "Side White", written almost entirely by Brian May, and a second, "Side Black", composed entirely by Freddie Mercury. From the majestic intro "Procession" to the final song that concludes with the astonishing "Seven Seas of Rhye", this "Queen II" has hardly a single track that falls short of any other in their extensive and rich discography. The wonderful hard rock melody of “Father To Son” and the poignant “White Queen (As It Began),” with its heart-wrenching guitar passages, are counterbalanced by the enchanting “Some Day One Day” and the surprising “Loser In The End”. This last contribution, by Roger Taylor, represents an atypical genre in the album's overall direction and closes an exciting and beautiful first side. With the second side, “Side Black”, Mercury goes a step further, delivering some of Queen's best songs, beginning with the metallic “Ogre Battle”, which leaves us breathless, driven by incredible vocals and powerful guitar riffs. It is followed by the innovative “The Fairy Feller’s Master-Stroke”, with its complex and progressive structure. The brief ballad “Nevermore” is capped off by the epic “The March Of The Black Queen”, featuring outstanding harmonies and great instrumental dynamism. While “Funny How Love Is” provides a respite amidst so much grandiose music before the glorious “Seven Seas Of Rhye” culminates one of the album's highlights.

Alan Parsons-Try Anything Once (1993)

With Eric Woolfson's departure after the 1987 album "Gaudi", The Alan Parsons Project's successful eleven-year run, which had yielded ten albums, came to an end. Consequently, the producer, engineer, composer, and musician Alan Parsons dropped the "Project" moniker from his next recording. Six years later came this first album by Alan Parsons, which, as with all the project's previous releases, featured a wide array of collaborating musicians, including Chris Thompson, Eric Stewart, Ian Bairnson, David Pack, Andrew Powell, and Stuart Elliott, among others virtually the same musicians who had participated in all the previous albums. This time, Parsons allowed some of the musicians to contribute to the songwriting, particularly Powell and Bairnson. Powell set aside his role as an orchestral arranger to showcase his keyboard skills, while Bairnson contributed his talent as a composer. "Try Anything Once" is composed of rich melodies of sophisticated pop with certain progressive elements such as the opening "The Three of Me", art rock is present in the splendid "Turn It Up", "I'm Talkin' to You" and "Mr. Time", while the hard rock "Back Against the Wall" or the grandiose symphonic "Oh Life", make up a very worthy work from one of the best and most iconic sound engineers in the history of rock music.

Deep Purple-Deep Purple (1969)

Deep Purple's third album is by far the best of their early period with the Mark I lineup, which consisted of Rod Evans (vocals), Ritchie Blackmore (electric and acoustic guitars), Jon Lord (keyboards and string and wind arrangements), Nick Simper (bass), and Ian Paice (drums). Here, the band finally developed their own songs, abandoning the covers from their previous work, with the exception of Donovan's excellent psychedelic ballad "Lalena". From the energetic hard rock opener "Chansing Shadows" to the symphonic orchestral piece that closes the album, "April", the British quintet showcases its own identity with a diverse and challenging album, even though many psychedelic elements are still mixed with jazz and proto-avant-garde, all underpinned by hard rock. Other tracks, such as the psychedelic progressive "Blind", one of the album's highlights, the bluesy boogie "Why Didn't Rosemary", and the frenetic "The Painter", lead us to one of the best works of early progressive hard rock. After this album, Evans and Simper would be replaced by Ian Gillan and Roger Glover, thus forming their classic and most successful lineup.

Black Sabbath-Dehumanizer (1992)

"Dehumanizer" marked the return of Black Sabbath's Mark III lineup, consisting of Ronnie James Dio, Tony Iommi, Vinnie Appice, Geoff Nicholls, and Geezer Butler. With this lineup, Black Sabbath had already released the powerful album "Mob Rules" eleven years prior, a record that followed the monumental and legendary "Heaven and Hell". With a heavier and darker sound than their previous three albums "Eternal Idol", "Headless Cross", and "Tyr" this new release definitively transformed their signature doom metal and sinister heavy metal into a hard-hitting, standard hard rock sound. The dark atmospheres, the accelerated rhythms, or the crushing poise of the guitar riffs and the pounding rhythm section are present in songs like "Computer God", "After All (The Dead)", "Master of Insanity" or "Too Late", resulting in an album that was very well received by the heavy metal community in general and by its millions of loyal followers around the world.

Marsupilami-Arena (1971)

Pioneers of the sounds that bands like King Crimson and Yes would later achieve, Marsupilami were one of the seminal groups of progressive rock. They had their moment of glory when they replaced King Crimson at the opening of the Isle of Wight Festival in 1970. Formed in the late 1960s, this band released two albums between 1970 and 1971, "Marsupilami" and "Arena", showcasing great musical complexity with elements of blues, experimental jazz, and British folk influences. Their base was in the Netherlands from 1970 onward, where they recorded and released their albums. The lineup consisted of Fred Hasson on vocals and percussion, Dave Laverock on guitar, Leary Hasson on keyboards, Jessica Stanley-Clarke on flute and vocals, Richard Hicks on bass, and Mike Fouracre on drums. Their second release, "Arena", is a concept album based on ancient Roman culture, depicting the scenes that unfolded in the Roman Colosseum, life and death on the sand of this iconic venue. Produced by Pete Bardens, along with several other musicians who collaborated on the recording, the band showcased unusual melodies and harmonies, featuring numerous keyboards, dense sounds, and electric guitars that, together with flute and powerful drums, resulted in a dark and intricate progressive rock sound. The album's compositions are quite complex, with sounds influenced by jazz, Eastern music, and a certain Canterbury scene.

Alvin Lee-Zoom (1992)

A powerful, fantastic, and energetic album is what the late Alvin Lee left us in 1994. Titled "Zoom", it continued the stylistic vein of his band Ten Years After's album "About Time", released a few years earlier (1989). In this release, the tenth of his solo career, Alvin Lee continues to demonstrate his blistering speed on the six strings and his tremendous blues essence, crafting a truly intense and powerful blues-rock album that is also very balanced and highly addictive. Powerful hard blues-rock songs like "Remember Me", "It Don't Come Easy", "Jenny Jenny", "Use That Power", "Little Bit Of Love", "Real Life Blues", and "Lost In Love" bear witness to the enormous genius of one of the greatest guitarists of all time.

Gracious-This Is...Gracious (1971)

A band from the nascent British progressive rock movement, founded in 1967 in the London suburbs, they initially played pop music, which evolved into more complex and ambitious territory after discovering the potential of the Mellotron sound. After several lineup changes, their first stable formation consisted of Alan Cowderoy (guitar), Paul Davis (vocals and 12-string guitar), Martin Kitcat (keyboards), Robert Lipson (drums), and Tim Wheatley (bass). From their debut album, "Gracious" (1970), the band displayed an interest in imbuing their style with risky and complex compositions, though with little musical coherence. In 1971 came "This Is...Gracious", featuring a more polished production and a more cohesive and committed band. Here Gracious shows impressive progress compared to his debut album, with the Mellotron taking center stage in the music, complemented by guitar interactions as demonstrated in the suite "Super Nova" which occupies one side of the album. The rest are shorter tracks with a more eclectic style and pleasant sounds that accommodate pop alongside influences of blues, rock, and symphonic textures.

Jane-Together (1972)

Jane were another of the great krautrock bands, who, along with Amon Düül II, Grobschnitt, and Guru Guru, continued to carry on the original German style of the 1970s well into the 2000s. Founded in Hanover in the late 1960s by vocalist Bernd Pulst and drummer Peter Hanka, they were later joined by guitarist Klaus Hess, organist Werner Nadolny, and bassist Charly Maucher. After signing with the German label Brain, they recorded their first album, released in 1972 under the title "Together", which showcased exuberant Hammond organ work, acid guitars, and expansive instrumental interludes. However, on this first album, Jane displayed a less symphonic style than in their subsequent works, focusing their music on progressive blues rock, as demonstrated by tracks like the psychedelic hard rock "Wind" or the blues rock "Try to Find", while the progressive "Daytime" or the epic "Spain" showcased the heavier, darker side of their progressive hard rock, with a sound closely related to their contemporaries Deep Purple or Uriah Heep. In the following years, Jane would produce a series of works more focused on symphonic rock, among which the brilliant "Here We Are" (1973), "Jane III" (1974), "Fire, Water, Earth & Air" (1976), and "Between Heaven and Hell" (1977) stand out, not forgetting their anthological double live album "Jane At Home Live" from 1977.

The Tubes-What Do You Want From Live (1978)

If there's one thing The Tubes far surpassed their contemporaries in, it was their bizarre concerts, brimming with simulated sadomasochism, humorous skits, choreography involving dancers and acrobats, and an impressive, surreal, theatrical, and circus-like stage production. In 1978, this eccentric band released the live album "What Do You Want From Live", which, despite not showcasing all those visual stimuli, demonstrated that, in addition to their stage presence, they were instrumentally incredibly talented, exciting, energetic, and vibrant. On this double live album, the group comprised of lead singers Fee Waybill and Re Styles, guitarists Bill Spooner and Roger Steen, bassist Rick Anderson, keyboardist Michael Cotten, and percussionists Prairie Prince and Mingo Lewis left behind an impressive collection of songs that, surrounded by a playful visual chaos, is simultaneously a mind-blowing and wild sonic journey. Songs like the frenetic medley "Overture" composed of dizzying rock passages with progressive elements, the ingenious jazz-flavored "The From Peter Gunn" or "Theme From Dragnet" or the visceral "Mondo Bondage" and "I Was A Punk Before You Were a Punk", make up an album that leaves the listener with the strange feeling that they are only witnessing a small part of something apotheotic and delirious.