Tropea-Short Trip To Space (1977)

Largely unknown in Europe, John Tropea is one of the most important guitarists of 1970s American jazz fusion. His career has been marked both by his own solo work, with over a dozen albums released, and by his work as a session musician in some fifty collaborations with artists such as Van Morrison, Deodato, Michael Franks, and Eric Clapton. "Short Trip To Space" (1977), his second solo album, showcases his jazz fusion style with funk sounds influenced by psychedelia, resulting in a dazzling work of sophisticated, elegant, and dynamic jazz. Without reaching the complexities of progressive jazz, Tropea approaches jazz fusion with spacious atmospheres and expansive instrumental developments featuring piano, guitar, winds, and percussion, performed with an addictive, unpretentious style that appeals to both purists and fans of mainstream jazz. For this second album, Tropea would have several top collaborators such as Larry Fast, Michael Brecker, Lou Marini or Randy Brecker among other musicians from the nascent North American jazz scene of the time.

Rush-Different Stages (1998)

In 1998, Rush released their fourth live album, the first to break the double-album format, launching a triple disc with excerpts from their last tours promoting the album "Test For Echo", plus a recording from 1978 during the "Hemispheres" tour. Running for over three hours, what the band offers here is a carefully curated selection of the quintessential material that Rush created over more than 30 years. This triple album features some of their all-time favorites such as "Anthem", "Fly By Night", "Xanadu", "Tom Sawyer", "Bastille Day", "Farewell to Kings", "Working Man", and "Cinderella Man", as well as powerful versions of songs from their later albums like "Limelight", "Bravado", "Analog Kid", "Natural Science", and "Roll the Bones", not forgetting the entire epic suite from "2112". With this live performance, Rush continued to demonstrate that technically they were the best power trio in progressive hard rock of the last three decades.

ZZ Top-Afterburner (1985)

In the 1980s, the Texas band Z.Z. Top embarked on a new phase, moving towards a more conventional and commercial sound. Their earlier work, primarily their first four albums, was rooted in blues and boogie with a Southern rock influence. This new direction was underpinned by the inclusion of wind instruments, such as the saxophones played by the band members under the pseudonym Lone Wolf Horns. While "Eliminator" saw the trio begin incorporating synthesizers and danceable rhythms, their subsequent album, "Afterburner", marked a definitive shift, creating a work that, from the perspective of the pure Southern blues of their earlier releases, temporarily brought an end to their sound, showcasing infectious and danceable rhythms. Songs like "Sleeping Bag", "Stages", and "Velcro Fly" achieved resounding success thanks to MTV and its exciting music videos. However, they still showcase their characteristic bluesy rhythm in the older tracks with an updated sound, such as "Can't Stop Rockin' ", "Rough Boy", and "Dipping Low (In The Lap of Luxury)". "Afterburner" would follow the same path as "Eliminator", selling over ten million copies worldwide and becoming a staple in nightclubs across half the globe.

Toto-Turn Back (1981)

Toto's third album is unfairly underrated, having been overshadowed by the mega-hits of their first two albums and the multi-platinum "IV" released a year later. The lineup that recorded this album continued to consist of David Paich (keyboards and backing vocals), Steve Lukather (guitars and vocals), Jeff Porcaro (drums), David Hungate (bass), Steve Porcaro (keyboards), and Bobby Kimball (lead vocals). "Turn Back" features a rich repertoire of tracks that are less complex and have simpler, more predictable arrangements. Even so, it includes high-quality songs such as the addictive "Gift With a Golden Gun", the rocking "English Eyes", the melodic hard rock "Live For Today", the semi-progressive mini-epic "Million Miles Away", the exhilarating rocker "Goodbye Elenore", and the appealing AOR title track. While not a complete flop on the charts ("it only managed to reach one million copies in sales"), this third album falls far short of the multimillion-dollar figures of Toto's previous and subsequent works.

Jody Grind-Far Canal (1970)

The second and final album by the British band Jody Grind, released in late 1970, marked a change in both lineup and style compared to their debut album, "One Step", released just a year earlier. Only organist Tim Hinkley remained from the original lineup, while Bernie Holland and Pete Gavin took over on guitar and drums, respectively. With a wider musical range, this second release saw the trio incorporate more blues and jazz elements into their psychedelic hard rock style. Here, we can hear everything from pastoral passages to jazz and blues-rock tour de force. Examples of these instrumental tour de force passages are perfectly illustrated in tracks like "Vegetable Oblivion" and "Jump Bed Jed", while psychedelia appears in "We've Had It", hard rock in "Bath Sister", jazz in "Ballad for Bridget", and blues-rock in "Red Worms and Lice". Some time later the group would dissolve, with Hinkley going on to join Vinegar Joe and collaborate with people like Al Stewart, Alvin Lee, and Alexis Korner, among many others.

Bliss Band-Dinner With Raoul (1978)

Bliss Band was a British band from the late 1970s that released two albums before disbanding in 1980. The band was formed by vocalist and keyboardist Paul Bliss in 1976 after leaving Dog Soldier, with whom he had released an album in 1975 and had also contributed to several Moody Blues projects. For the production of their first album, "Dinner With Raoul," released in 1978, Paul Bliss enlisted Steely Dan and The Doobie Brothers guitarist Jeff Baxter, along with Michael McDonald on vocals, Andy Brown on bass, Alan Park on keyboards, Phil Palmer on guitar, and Nigel Elliott on drums. This debut album is brimming with great compositions in the purest West Coast style, venturing into more jazzy moments, all overflowing with catchy and pleasant melodies. The melodic sections are combined thanks to the vocal prowess of Bliss and McDonald, along with the keyboard elements that make this an excellent example of late-seventies Californian rock. The final result is astonishing, and it's no surprise given the production by Jeff "Skunk" Baxter and the outstanding contributions of Michael McDonald ("Slipaway" and "Stay A Little Longer"), which evoke the sound of early Steely Dan and The Doobies Brothers, making it a hidden gem of West Coast melodic rock. Tracks like "Over The Hill", "Don't Do Me Any Favors", "Right Place, Right Time", and "Here Goes" only need Donald Fagen's involvement to transform "Dinner With Raoul" into a lost "Katy Lied", with that smooth, striking, and subtle music contained within its grooves. Inexplicably, as happened to so many others, this album was lost in the abyss, perhaps because there were simply too many similar releases at the time (which there undoubtedly were), which is why many of these works inevitably went unnoticed.

Gentle Giant-Free Hand (1975)

Gentle Giant were always quite different within rock music, and their style was difficult for many progressive rock fans to digest. They combined challenging and varied music, incorporating medieval music, a cappella vocals, passages of delicate beauty, and moments of energetic rock. All these musical paths, and many more, sometimes converged in a single song, something that could be part of the general description of so-called progressive rock. Only the most open-minded musical listeners will find Gentle Giant's music accessible, and although they certainly never completely transcended their cult status due to their tendency to get too close to mainstream popularity and critical acclaim, they never sounded like any of the contemporary heavyweights such as Genesis, Jethro Tull, Yes, EL&P, or Pink Floyd, to name just a few. In 1975 came "Free Hand", the band's seventh album, an album that, while not reaching the complexity of works like "Acquiring the Taste" (1971), "Octopus" (1972), or "Power of the Glory", nor the more accessible later works like "Interview" (1976), managed to keep them in a privileged position within the progressive rock style of the mid-seventies. A dense, complex, and impeccable album, where from the vocal arrangements of the medieval "On Reflection", the mind-blowing and mechanical music of "Free Hand" with its instrumental intricacies in the purest jazz-rock style, the impressive and melodic "His Last Voyage", or the challenging and sophisticated "Talybont", not to mention the excellent folk-rock "Mobile" and the brilliant and accessible "Just The Same", all confirm that it is perhaps their most acclaimed and internationally recognized album, as well as their most essential work and considered one of the jewels of progressive rock from the seventies.

Triumph-In The Beginning... (1976)

With this album, the Canadian band Triumph launched their compelling and brilliant career, proving throughout their active years that they were one of the best hard rock bands with progressive influences. Although this debut received little media or commercial attention at the time, this first album already hinted at the direction the power trio's style would take. The trio consisted of guitarist Rick Emmett, drummer and vocalist Gil Moore, and bassist and keyboardist Mike Levine. Powerful hard rock tracks like "Be My Lover", "Street Fighter", "What's Another Day of Rock 'n' Roll", and "Let Me Get Next to You", progressive experiments such as the epic "Blinding Light Show/Moonchild", and addictive mid-tempo songs like "Easy Life" make up a commendable and interesting work of uncompromising and unadulterated hard rock.

Agitation Free-Malesch (1972)

Agitation Free were a classic of the German krautrock genre, creating a highly original style with sounds that combined repetitive electronic music, elements of world music and the European avant-garde with soaring guitar solos, spacey sounds, and breathtaking atmospheric improvisations. Formed in 1967 in Berlin by Jörg Schwenke (guitar), Lutz Ulbrich (guitars, 12-string guitar, and Hammond organ), Michael Hoenig (synthesizers, steel guitar, and electronics), Michael Günther (bass), and Burghard Rausch (drums, percussion, and vocals), they released their debut album, "Malesch", in 1972. Its style was rooted in Middle Eastern ethnic sounds, a product of the band's extensive travels over the years to countries like Egypt and Libya, all infused with British and American psychedelia, featuring guitar solos and hypnotic sounds. A year later came "Second" (1973), their second album, which, unlike its predecessor, featured a more "Western" sound, predominantly space rock with multiple keyboard elements and acid guitars reminiscent of Ash Ra Tempel. Following these two eloquent and terrifying albums, the live album "Last" was released in 1976, a much more experimental record that marked the end of this magnificent band's first adventure until almost 25 years later when they reunited to record a series of albums that were well-received by the progressive rock community.

The Allman Brothers Band-The Allman Brothers Band (1969)

During their long career, The Allman Brothers Band had two clearly distinct eras: the first with Duane Allman and Berry Oakley as the undisputed leaders, and the second with Gregg Allman and Dicky Betts at the helm, after Duane and Berry died in separate motorcycle accidents within months of each other. While the first was a whirlwind of music that combined jazz with rock, blues, country, funk, and Southern sounds, the second was a talented rock band that, while still drawing on its Southern influences, subtly moved away from its original essence to embrace more classic rock as its main style. The fact that the early Allman Brothers were called a rock band probably had more to do with their hippie attire and their concerts with other rock groups than with the music itself. A prime example of this is their fabulous debut album, a record brimming with blues, jazz fusion, R&B, and psychedelic sounds. Generational anthems like "Dreams" and "Whipping Post". sonic explosions like "Don't Want You No More" and "Black Hearted Woman", and hypnotic bluesy canvases like "It's Not My Cross To Bear" highlight this band's immense talent for improvisation, especially in their live performances. They fused their extensive arsenal of influences with touches of soul and bluegrass, blending them with their own creations that defy easy categorization. With this debut, The Allman Brothers launched their impressive career and demonstrated to the world their ability to play and improvise across multiple styles, something other groups couldn't even begin to imagine.

Steely Dan-Gaucho (1980)

"Gaucho" was the seventh and final album of Steely Dan's first phase. When compared to their debut album released eight years earlier ("Can't Buy a Thrill"), it can be hard to believe that the same two musicians (Walter Becker and Donald Fagen) possessed such musical creativity, with intelligent lyrics, a silky sound, complex and brilliant musical time signatures, accompanied by stormy vocals, all wrapped in a sound akin to the most sophisticated jazz-rock and recorded in impeccably meticulous sessions. For "Gaucho", the Fagen-Becker duo once again enlisted a vast array of collaborators, so long that we would need six or seven lines to list them all, but among them we could highlight Mark Knopfler, Hiram Bullock, Tom Scott, Larry Carlton, Michael McDonald, Steve Khan, Patti Austin, Joe Sample, Randy and Michael Brecker, and David Sanborn… and so on, nearly fifty major figures of jazz, blues, and American rock. With this work, Donald Fagen and Walter Becker reached the pinnacle of stylistic self-evolution, without losing a single drop of inspiration from each and every member of their gigantic and colossal group of musicians for this legendary recording. An album that, in its entirety, feels essential, featuring brilliantly crafted and executed tracks such as "Babylon Sisters", "Hey Nineteen", "Glamour Profession", "Gaucho", "Time Out Of Mind," and "My Rival". As with all its predecessors, "Gaucho" once again placed Steely Dan at the forefront of jazz-rock, earning them their second consecutive Grammy for Best Studio Recording.

Gentle Giant-Acquiring The Taste (1971)

"Adquiring the Taste", Gentle Giant's second album, was the British band's first masterpiece, a work that placed special emphasis on the gentler side of this progressive giant after their impressive debut released a year earlier. Furthermore, there's also a simultaneous emphasis on the more terrifying side of progressive rock, giving the album an additional experimental essence: this album is designed as a true acquired taste, with strange yet captivating compositions, extensive use of challenging counterpoint, unusual and dissonant tempos, impressive choral arrangements, and a wide variety of musical ideas. By this point, Gentle Giant had already reached the full maturity of their own signature sound. While it's true that "Adquiring the Taste" doesn't align with the ideas of "Three Friends" (1972) or "The Power and the Glory" (1974), and isn't even as appealing as "Free Hand" (1975), it encapsulates and embodies the most exquisite original expression of Gentle Giant, with that delicacy and sophistication so characteristic of the essence of his music. "Adquiring the Taste" is composed of an anthological succession of tracks such as the captivating and elegant "Pantagruel's Nativity", the mysterious and eerie "Edge of Twilight", the astute "The House, the Street, the Room", and the bluesy "Plain Truth", all performed with boundless good taste and immaculate mastery. While the melancholic “The Moon is Down”, with its lyrical reflections on the passing of the day, cleverly contrasts with its more optimistic predecessor, “Wreck”, which seamlessly blends unrestrained vocals and Renaissance chamber music with infectious enthusiasm, “Black Cat” immediately follows, offering a succession of stunning string sections within a jazz-oriented context. These strings are sweet during the vocal parts and hauntingly dissonant during the strange instrumental interlude. It goes without saying that this album is a progressive rock masterpiece, one of the many that the London group would create throughout their brilliant career.

Chicago-V (1972)

By 1972, Chicago had released three double albums and a quadruple live album, all of them number one on the American charts, and all this in just three years since the band's formation in 1969. For their fourth album, they decided to abandon the double LP format and focus on a single LP. In addition, they opted to shorten the long improvisational tracks and extended suites, replacing them with shorter pieces, always within Chicago's unmistakable style of jazz and rock. Here too, Robert Lamm took a much more prominent role in the songwriting, composing eight of the album's ten tracks, while Terry Kath and James Pankow shared the remaining two. Another significant change is the inclusion of tracks geared towards the more commercial sounds that would become their hallmark in subsequent years, with a soft rock style like "Dialoque (Part I)", while Pankow's "Now That You've Gone" continues the band's previous work. Other tracks in this jazz-rock vein include "A Hit By Varèse", "Saturday In The Park", and "State Of The Union". Meanwhile, the velvety "All Is Well" and "Goodbye" showcase the group's melodic side. "Alma Mater", Terry Kath's only composition, is a powerful gospel piece featuring the driving horn sounds so characteristic of their early albums. With this fourth release, Chicago returned to the top of the Billboard charts, earning several platinum records for their enormous sales.

U2-War (1983)

As the title of this album perfectly suggests, "War" is the most aggressive and visceral album by the Irish band U2. On this third album, the band led by Bono and The Edge even reveals their most politically engaged side. Raw and furious rock is reaffirmed here amidst a repertoire steeped in feeling and emotion, with The Edge unleashing his tremendous riffs and guitar solos, and Bono delivering immeasurable and sublime vocals. The terrifying and intense "Sunday Bloody Sunday" recounts that fateful Sunday, January 30, 1972, when British soldiers opened fire on an unarmed crowd protesting in Derry, resulting in fourteen deaths and many more injuries. In contrast to this powerful song is the melodic "New Year's Day", another of U2's great tracks. Among the rest, highlights include the experimental "The Refugee", the energetic "Like A Song...", and the arena rock "Two Hearts Beat As One".

Gentle Giant-Gentle Giant (1970)

Although not among the most well-known progressive rock bands in the media, Gentle Giant are considered one of the top 10 British symphonic rock bands of all time. They expanded the instrumental possibilities of the genre, combining avant-garde and progressive elements through their explorations of hard rock, jazz, folk, baroque, psychedelic, and blues music. This band never shied away from incorporating multiple exotic instruments, irregular rhythms, abrupt dynamic shifts, and creating sonically rich and captivating atmospheres. Their debut album is considered an extraordinary and original work, where hard rock sets the trend by breaking established boundaries. Virtually all of its members are multi-instrumentalists, a fact that greatly enriches their musical palette, encompassing everything from electric and acoustic guitars to cellos, violins, saxophones, trumpets, keyboards, percussion, and expansive vocal sections with multi-layered harmonies. The style of this astonishing debut is a fascinating fusion of blues and hard rock, jazz rhythms, medieval and classical chamber music, and psychedelia, all within a clever formula of cutting-edge classic rock. However, this was their most accessible album; from this point onward, the complexities and sophisticated musical structures would be reflected in Gentle Giant's subsequent albums.

Hunger-Strickly From Hunger (1968)

Hunger were an excellent psychedelic rock band, reminiscent of The Doors, Jefferson Airplane, and Strawberry Alarm O'Clock, who had their moment of glory in the Californian scene of the late 1960s. They originated in Portland, Oregon, in the mid-sixties and moved to Los Angeles towards the end of the decade, where they began to gain a strong reputation within the burgeoning West Coast hippie psychedelic scene. During this time, they opened for Cream, Frank Zappa, and The Byrds. In 1968, they released their only album, "Strictly From Hunger", where their long instrumental breaks, driven by organ sounds and penetrating guitar lines, gave them a style very similar to Jim Morrison's band. Good examples of this influence are tracks like "She Let Him Continue", a psychedelic rock song with various sound effects, the instrumental "Portland", and the sinister "Colors". In "Strictly From Hunger", you can hear elements of almost every genre (jazz, blues, pop, rhythm & blues), interwoven in each song, though you should listen closely to savor the nuances of each one. Every song serves as an excellent example of the cross-pollination of genres. Hunger were much more than just a psychedelic rock band; they were destined for stardom had fate not intervened with a series of unfortunate events, such as the theft of all their equipment on several occasions, among other unfortunate incidents that might have made them a major band, as respected and influential as their West Coast contemporaries.

SBB-Wolanie or Brzek Szkla (1978)

Founded in the early 1970s in Poland, they were originally called the Silesian Blues Band and later shortened to the name SBB.
Its founder and leader Jósef Skrzek had a classical musical background, which undoubtedly gave him the symphonic feel of the band.
During the 70's, SBB were the most important band in Poland and today they are viewed with great respect by today's bands.
"Wolanie or Brzek Szkla" was the fourth work of this band, published in 1978, it is the most electronic album of the group, which would benefit from the experimentation that the band had done in previous years, in addition to the impressive set of synthesizers and other instruments electronics, allowing them to create intricate arrangements and intelligent atmospheres with lavish instrumentation.
The eclectic mix of symphonic and spatial influences, spiced with jazz sounds make this work one of the best of this magnificent band unknown to the general public.

Mad Dog-Down Of The Seventh Sun (1969)

In 1969, amidst the burgeoning psychedelic movement in California, Mad Dog emerged. That same year, they released one of the most interesting albums of the era, "Down of the Seventh Sun". However, it remained merely a promotional single intended to secure a record deal, which ultimately never materialized due to the indifference of several record labels. Nevertheless, three tracks from this album were later used in an American B-movie, "Black Angels", an unofficial biography of the legendary Hell's Angels. The Mad Dog lineup consisted of guitarist and vocalist Howard Leese, bassist Terry Gottlieb, drummer Steve Goldstein, rhythm guitarist Vincent Murphy, and vocalist Gary Witkosky. During their early years, this band opened for acts such as Captain Beefheart and The Magic Bus, and their performances caught the attention of producers like Tommy Coe, a talented student of Phil Spector, who produced this album for them using a novel technology called "Phasing Sound", a system very similar to the "Wall of Sound" that Phil Spector himself had created around the same time. Mad Dog spent several weeks at Mark IV Studios in Los Angeles and completed "Down of the Seventh Sun", which features a guest appearance by Ray Charles' keyboardist, Bags Costello, as well as backing vocalists Clyde King, Venetta Field, and Maxione Waters. Once recorded, the rights to the album were purchased by various record labels, but for some reason, none of them decided to release it officially, despite its quality. Subsequently, without a record deal, the discouraged band decided to disband permanently. "Down Of The Seventh Sun" is composed of a series of tracks indebted to the Californian acid rock sound, leaving their mark on high-caliber songs like the sweaty "Military Disgust", the folk-rock tracks "Suite For Two Guitars" and "For Huachuca Blues", the psychedelic "Ala Ala", and the hard-rock tracks "Everything's Alright" and "The Fast Song". Disregarded and forgotten in record company archives, "Down Of The Seventh Sun" was shelved for decades until, many years later, RD Records did it justice and reissued this interesting, lost album in various formats such as CD and vinyl. Some years later, Howard Leese would become one of the founders of the legendary American band Heart, with whom he would release some of the best melodic hard rock albums of the seventies and eighties.

Boston-Corporate America (2002)

It took eight long years for Tom Scholz to resurrect the legendary Boston with a new album, following their previous release, "Walk On". Behind them lay their spectacular first four albums, two of which, "Boston" (1976) and "Don't Look Back" (1978), are considered masterpieces of melodic rock. For this fifth album, original vocalist Brad Delp returned after his absence on "Walk On". Also featured was Fran Cosmo, vocalist on that album, who remained an official member of the band, contributing backing vocals and lead vocals on some tracks. Scholz had also added guitarist Kimberly Dahme and guitarist Anthony Cosmo, while Gary Phil (guitar and keyboards), David Sikes (bass), and Curly Smith (drums) completed the core Boston lineup. This new album, titled “Corporate America,” largely showcases Boston's unmistakable classic style, but with a sound geared towards commercial hard rock, where melodic guitars and addictive, irresistible vocals are the common denominator of the repertoire. The album opens with “I Had A Good Time”, the song that undoubtedly sounds most like classic Boston, with a style similar to “I Think I Like It” from “Third Stage”, featuring amazing guitar work that became one of their most frequently performed live tracks from then on. With the following track, “Stare Out Your Window”, the band slows things down, with an acoustic style somewhere between country rock and southern sounds. Meanwhile, “Corporate America” is the darkest and most sinister track on the album, with excellent guitar harmonies reminiscent of the magnificent “Higher Power” from years past. “With You”, on the other hand, is the counterpoint to this last track, a velvety ballad where Kimberly shows her skills as a good country-rock singer. The rest follows a similar line to the first tracks of the album, starting with the old-fashioned “Someone”, a clear nod to the past, or the spectacular “Turn It Off,” to end with the mid-tempo “Cryin’ ”, “Didn’t Mean To Fall In Love”, and “Livin’ For You”. These tracks, although maintaining a very acceptable level, detract somewhat from the final cohesion of an album that, despite this, keeps the Boston feeling very much alive, many years after their enormous and anthological debut.

Journey-Eclipse (2011)

In 2011, Californians Journey returned to the recording studio to record their fourteenth studio album, "Eclipse", a work notable for being the second featuring their new vocalist, Arnel Pineda. The band, considered the kings of AOR (with over one hundred million records sold worldwide), returned to deliver another great melodic rock album, driven by the powerful guitar work of Neal Schon. However, "Eclipse" deviates from the typical style that made Journey famous, subtly steering their music towards a more contemporary sound. Without abandoning their original sound, certain bold and avant-garde elements permeate many of the album's tracks, a prime example being "Edge of the Moment". In addition to Schon and Pineda, the band also retains longtime members Jonathan Cain, Ross Valory, and Deen Castronovo, three musicians who experienced the group's golden age. Other songs like the haunting "Chain Of Love", the melodic "To Whom It May Concern", the gratifying AOR "City Of Hope", the grandiose "Tantra", the thrilling "Ritual" or the catchy "Anything Is Possible" and "Someone", take us back to the best of Journey.

Vanilla Fudge-Near The Beginning (1969)

Vanilla Fudge is a somewhat forgotten band outside the United States, where they are revered and recognized as an institution in American musical culture. They were also considered one of the most powerful, influential, and innovative groups of the 1960s. Their captivating progressive blend of rock, soul, and psychedelia is so intense and heavy that even today it's difficult for those unfamiliar with these sounds to appreciate. In fact, iconic bands like Uriah Heep, Deep Purple, Led Zeppelin, and Yes, among many others, cited them as a major source of inspiration early in their careers. This spectacular band, formed by Carmine Appice (drums and vocals), Vince Martell (guitar and vocals), Mark Stein (keyboards and vocals), and Tim Bogert (bass), was one of the most acclaimed and successful bands of the late 1960s, unanimously praised by their millions of fans and the world press. In 1969, they released their fourth album, "Near the Beginning", where their style was even more deeply infused with rock, blues, avant-garde elements, soul, and hints of gospel, in addition to the grand instrumental improvisations they added to their songs. The tracks featured excellent wah-wah guitars, a powerful Hammond organ, soaring vocals, and a driving, crushing rhythm section. Replete with rhythmic moments boasting a splendid and overwhelming dynamic, this album includes everything from vigorous covers of classics by Nancy Sinatra and Lee Hazlewood to epic tour de force tracks like the apotheosis of "Break Song", the culmination of one of the most intense and sweeping albums in the history of American rock.

Crawler-Crawler (1977)

On March 19, 1976, Paul Kossoff died of pulmonary edema on a red-eye flight in the United States. He was traveling from Los Angeles to New York to prepare for his band Back Street Crawler's tour with AC/DC, scheduled to begin on April 25. For many at the time, this event foreshadowed the end of Back Street Crawler. However, against all odds, the remaining members John "Rabbit" Bundrick, Tony Braunagel, Terry Wilson, and Terry Wilson-Slesser decided to continue without their leader, but wanted to do so under a different name. But before they could do so, they faced pressure from Ahmet Ertegun, president of Atlantic Records, with whom Back Street Crawler had a contract, to continue under his label. Ertegun even suggested guitarist Mick Taylor as Paul Kossoff's replacement. Taylor, who had left the Rolling Stones at that time, vehemently opposed the idea of ​​replacing a deceased musician. He was neither seduced nor amused by the prospect. Another who flatly refused was former Fleetwood Mac guitarist Peter Green, who argued that he wasn't ready to return to the stage after years away from the band. After several more rejections, the band unilaterally chose former If guitarist Geoff Whitehorn. However, this decision was not accepted by Atlantic Records, which abruptly terminated its agreement with the band, arguing that they were legally contracted to Paul Kossoff. Shortly afterward, thanks to an executive at Swan Song Records, owned by Led Zeppelin, they signed with Epic Records and decided to shorten the band's name to Crawler. In their early days, to gain experience, the band undertook an extensive tour of the United Kingdom, followed by the recording of their first album, "Crawler" (1977), which was very well received in the United States, thanks in part to the track "Stone Cold Sober", which had a huge impact on American FM radio stations. From then on, the band focused on the American market and released their second album, "Snake, Rattle & Roll", which was followed by an extensive tour of the United States alongside bands such as Foreigner, Cheap Trick, Kansas, and Robin Trower. At the end of the tour, the band dissolved, partly due to the departure of John "Rabbit" Bundrick, who was hired by The Who to play on their world tour promoting the album "Who Are You". Although they only released two superb albums, their first is undoubtedly their best work, a true classic of hard rock and blues rock. Highlights included the melodic "Without You Babe", the boogie "Sold On Down The Line", the dramatic "You Are My Saviour", the robust "Pastime Dreamer", and the irresistible "Stone Cold Sober", with its Latin-tinged sound reminiscent of the best of Santana. With this album, the band proved they could still make great rock without Kossoff. While the new guitarist, Whitehorn, didn't possess Kossoff's guitar prowess, he brought a great feeling to the band's style, displaying considerable talent and playing both rock and blues. This was further enhanced by Wilson-Slesser's brilliant vocals and the excellent instrumental work of the rest of the band.

UFO-Obsession (1978)

In 1978, Michael Schenker was on the verge of leaving UFO, intending to launch his own solo career. It's no surprise, then, that the British band's seventh album is marked by the disinterest of their excellent guitarist. This disinterest is reflected in his minimal contribution to the album's compositions, where, for the first time, he only participated in less than half of the tracks. However, it is his compositions that are the best songs on the album, all of them UFO classics, such as the powerful hard rock anthems "Only You Can Rock Me", "Pack It Up (And Go)", and "Hot 'n' Ready", along with the melodic "Born to Lose", "Lookin' Out for No. 1", and the pastoral "Arbory ​​Hill". The rest, despite their unquestionable quality, somewhat diminish the final result of an album that could have been much more brilliant than it was, but even so, the mid-tempo AOR “Ain’t No Baby” or the attractive “One More for the Rodeo”, composed by the duo Pete Way and Phil Moog, obtained the necessary status to continue in the game and remain at the top of hard rock and heavy metal in the late 70s.

Gamma-Gamma 2 (1980)

Gamma was the second band led by guitarist Ronnie Montrose, following his first project, Montrose with whom he released a series of great works such as "Paper Money" (1973), "Warner Bros. Presents…Montrose" (1975), and "Jump It" (1976). After releasing his first solo album, "Open Fire", in 1978, he formed Gamma with Davey Pattison on vocals, Jim Alcivar on keyboards, Alan Fitzgerald on bass, and Skip Gillette on drums. With this lineup, he recorded the album "Gamma 1" (1979). A year later came "Gamma 2", which featured several changes from the previous lineup, with Denny Carmassi and Glenn Letsch replacing Gillette and Fitzgerald, respectively. "Gamma 2" would become a fundamental reference point for Ronnie Montrose's sound, confirming Davey Pattison as one of the best hard rock vocalists of the 1980s and showcasing a solid and powerful rhythm section with Carmassi and Letsch. The album features the opening track, "Mean Streak", a powerful hard rock number, followed by the frenetic rock of "Four Horsemen" and the AOR track "Dirty City". The rest of the album explores bluesy territory with powerful blues-rock tracks like the atmospheric and brilliant "Voyager", the hard blues of "Cat On a Leash", and the progressive blues of "Skin and Bone", while the heavy rock track "Mayday" showcases Montrose at his peak, demonstrating his superb technique on the six-string.

Jackie McAuley-Jackie McAuley (1971)

This is another one of those unjustly overlooked albums in the history of rock music, a minor masterpiece that masterfully fuses diverse styles such as jazz, folk rock, and blues. Jackie McAuley is a relatively unknown figure to most, yet he was a member of Van Morrison's legendary band, Them, and with them, he released some of the Irish band's best albums. After leaving Them, McAuley participated in various projects, such as the duo Trade Home with former Fairport Convention member Judy Dyble, with whom he recorded the excellent "Morning Way" in 1970. In 1971, he released his first solo album with some of the most promising young British jazz musicians of the time, including Tony Roberts, Mike Travis, and Mike McNaught, all members of the Henry Lowther Band. In this debut, McAuley showcases an eclectic sound where pleasing melodies and subtle rhythms make this album a collection of songs brimming with quality and ingenuity. Right from the opening and prodigious "Turning Green", he demonstrates the instrumental and compositional abilities of this guitarist and keyboardist, somewhat forgotten today. The rest follows a similar vein with tracks like the hypnotic "Boy On The Bayou" and the somewhat progressive "Away", forming a delightful album and a work that deserved far more recognition than it received at the time.

Warhorse-Warhorse (1970)

In 1969, Deep Purple released their third album, and almost immediately two of its members, Nicky Simper and Rod Evans, left the band at the express invitation of Ritchie Blackmore. From then on, both musicians would go their separate ways. Evans founded the band Captain Beyond, and Simper did the same with Warhorse. While Captain Beyond focused its style on progressive sounds, Warhorse continued with a hard rock style similar to Deep Purple. To found Warhorse, Nick Simper joined forces with singer Ashley Holt, guitarist Ged Peck, keyboardist Frank Wilson, and drummer Mac Poole. In 1970, Warhorse released their self-titled album on the Vertigo label, an excellent hard rock record driven by Wilson's Hammond organ, Peck's powerful guitar riffs, and Holt's squeaky vocals, with a style quite similar to Vanilla Fudge but without abandoning the Deep Purple sound. They were soon criticized for a lack of originality and for not trying to create their own sound, relying instead on overly obvious Deep Purple influences. Even so, this debut album contains outstanding moments such as the dynamic opening track "Vulture Blood", the epic "No Chance", the powerful "Burning", the heavy "Ritual", and the progressive hard rock tracks "Solitude" and "Woman of the Devil". Two years later came Warhorse's second and final album, "Red Sea", a less balanced record, though with some very noteworthy tracks like the superb heavy prog "Back in Time", the progressive "Mouthpiece", and the hard rock title track, "Red Sea". Some time later, Warhorse disbanded due to their limited success and recognition, an unfair end for a group that certainly had the skills and talent to achieve great things. However, their constant comparisons to such an iconic band as Deep Purple took their toll, ultimately leading them to fade into obscurity.

Janne Schaffer-Earmeal (1978)

Jane Schaffer is a Swedish guitarist known for his work in recording studios with artists such as ABBA and Bob Marley, and who has achieved a renowned solo career releasing a series of jazz-rock albums. Since his first album, "Janne Schaffer", released in 1973, this guitarist has crafted a fine blend of rock and jazz influences in all his releases, featuring captivating melodies, rich instrumentation, and a diverse range of styles from jazz fusion to soft rock. In 1978, he released his fourth full-length album, "Earmeal", which featured a stellar lineup of musicians, including the Porcaro brothers, all of whom have contributed to the band Toto at one time or another throughout the legendary Californian group's career. They are Jeff Porcaro on drums, Steve Porcaro on keyboards, and Joe Porcaro on percussion, along with other prominent musicians such as Brand X keyboardist Peter Robinson and renowned Swedish flautist Björn J:Son Lindh. "Earmeal" doesn't stray far from the jazz-rock fusion of more mainstream artists like Lee Ritenour or Larry Carlton, brimming with impressive guitar skills, atmospheric soundscapes, and an exquisite taste for catchy and brilliantly executed compositions.

ZZ Top-Degüello (1979)

ZZ Top enjoyed a prestigious status for five decades while maintaining an unchanged lineup. As true musicians with Southern roots, they were unbeatable, showcasing everything from Texas blues to Southern rock, rock and roll, boogie rock, and even the more mainstream sounds they offered in the 1980s. This powerful trio, composed of Billy Gibbons, Dusty Hill, and Frank Beard, was always characterized by its humorous lyrics and clear innuendo, as well as its odes to motorcycles and groupies, all seasoned with its hard-hitting, dusty style. Some of their songs, such as "Tush", "Jailhouse Rock", and "La Grange", from their early albums, are considered classics of American rock. In 1979, with their album "Degüello", they achieved their first platinum record, thanks to a work that balanced their blues and boogie rock style from their early releases with the hard rock sounds that would become their hallmark. Even so, this sixth album still has remnants of the recent past such as the southern boogie "Cheap Sunglasses", the gritty blues of "Fool For Your Stockings" or the bluesy version they make of the original Robert Johnson song "Dust My Broom", the rhythm and blues "She's Loves My Automobile" or the rock and roll "Hi Fi-Mama", while "Esther Be The One" and "Manic Mechanic", already hint at where the musical paths will go in their next years, evolving towards a more hard & heavy rock musical development.

Steve Hillage-Fish Rising (1975)

Steve Hillage released his first album when he was still belonging to the Gong band, so he surrounded himself with his colleagues to record this album, which is considered one of the best works of space rock.
In addition to Hillage, his colleagues Pierre Moerlen, Tim Blake, Mike Howlett, Miquette Giraudy and Didier Malherbe participated in the recording, in addition to the former members of National Health and Hatfield and The North; Dave Stewart and former Henry Cow member Lindsay Cooper.
In this first album Hillage develops a repertoire of long songs, most of them instrumental and complex.
In many ways and of course it sounds like the characteristic classic Gong label, like the suite "The Salmon Song", or the free jazz fusion "Fish", and there are even approaches to the King Crimson sound in the song "Meditation Of The Snake" .
"Fish Rising" is an album of exquisite musical genius and the ultimate springboard for Steve Hillage who would later leave his mother band to pursue his own solo career.

Gentle Giant-In A Glass House (1973)

Gentle Giant's fifth album marked a turning point for the band. Phil Shulman left, taking his extraordinary voice and wind instruments with him, and from that moment on, his two brothers, Derek and Ray Shulman, along with the rest of the members, would noticeably change the band's distinctive style. "In A Glass House" is often considered by many to be their definitive work, as well as Gentle Giant's greatest commercial success and one of the cornerstones of progressive rock. While it's impossible to definitively choose which Gentle Giant album is the best among so many impeccable ones, it's also true that this is one of their most consistent and mature works. It also drew criticism from their more purist fans for its subtle shift towards more accessible territory (or at least more accessible than their previous albums). From the opening and dynamic "The Runaway" to the superb "Way of Life", passing through the hypnotic "Experience" and the sublime progressive "In a Glass House", this album strictly adheres to the same musical line as all their previous albums, but it does show a less prominent presence of acoustic instruments, undoubtedly one of the consequences of Phil Shulman's departure. Similarly, this fifth album would lay the groundwork for subsequent releases, with a gradual decrease in the aforementioned acoustic instruments and a more conventional sound (as conventional as we can consider the complex and arranged music of this band). Interestingly, this was the only Gentle Giant album not officially released in the United States at the time of its initial release, due to contractual issues with the band's European label (WWA Records) and the North American distributor (Columbia Records). Therefore, when it was officially released in 1978, it had already become one of the best-selling import albums in America.

After All-After All (1969)

This Florida band is another clear example of a short-lived group about which very little information is available. Formed in 1969, it was the product of the efforts of four experienced musicians, all of whom came from different bands in the Tallahassee area music scene. These four musicians were drummer Mike Ellerbee, keyboardist Alan Oro, bassist Bill Moon, and guitarist Charles Short. This band would only record one album, the self-titled "After All", released that same year, 1969. The style of "After All" is basically jazz-rock with progressive touches, mixing a wide variety of sounds: rock, pop, blues, psychedelic heavy metal, and Latin sounds. The album contains some very good moments, somewhat risky due to the ambitious mix they bring to their music, achieving the typical post-psychedelic sound of the era, which at times gives way to more progressive sounds. That variety and eclecticism are present in the funk track "Let It Fly", the jazzy "Blues Satin" and "Nothing Left To Do", and the progressive "Intangible She". Another highlight is the superb production of this LP, with its excellent sound quality, which has not required remastering in subsequent CD editions.

Heart-Bad Animals (1987)

"Bad Animals" is the worthy successor to the acclaimed self-titled album released in 1985 by the American band Heart. This ninth release also topped the charts thanks to the hits "Alone" and "Who Will You Run To". However, the group led by the Wilson sisters doesn't surpass its predecessor in creativity, despite producing a near-perfect album. The catchy vocals, impressive production, and the solidity of a formidable band particularly guitarist Howard Leese and drummer Denny Carmassi more than fulfilled the expectations placed upon it before its release. Groundbreaking melodic rock songs like the aforementioned "Alone" and "Who Will You Run To" are supported by other high-caliber tracks such as "There's The Girl", "I Want You So Bad", and the title track, propelling it to an incredible number two on the Billboard charts, with over three million copies sold worldwide.

Epitaph-Epitaph (1971)

During the first part of the 1970s, many German bands were influenced by British hard rock. Groups like Led Zeppelin, Groundhogs, Black Sabbath, Uriah Heep, Nazareth, and Deep Purple faced serious competition, primarily in Germany, from their German contemporaries such as Frumpy, Epsilon, Armageddon, and Anyone's Daughter, among many others. As a general rule, German bands used English, and some even had their own British vocalists. Epitaph was one such band, featuring singer and guitarist Cliff Jackson. Founded in Dortmund in the late 1960s, Epitaph, in addition to Jackson, consisted of bassist Bern Kolbe and drummer Jim McGillivray. In 1971, this power trio began recording material for their debut album in Essex, England, but for unknown reasons, they finished the album at Windrose Studios in Hamburg, where guitarist Klaus Walz joined for the final recording. Finally released under the Polydor label near the end of 1971, this self-titled debut album featured five tracks with a heavy prog sound similar to British bands, particularly Uriah Heep. It included superb pieces such as the hard rock tracks "Moving To The Country" and "London Town Girl", progressive heavy rock tracks like "Hopelessy" and "Little Maggie", and psychedelic rock exercises such as the expansive "Early Morning". In 1972, Epitaph recorded their second LP, "Stop, Look And Listen", in Berlin, with a style very similar to their first album. With these two promising works, the band had a bright future ahead, leading the American company Billingsgate to sign them and invest considerable time and money in recording their third album, "Outside The Law" (1974). On this new record, the sound was much cleaner, abandoning the progressive style for a harder, more direct hard rock sound. After an extensive and expensive tour across the United States promoting their latest album, Billingsgate Records went bankrupt, and the band was forced to disband in 1975, primarily to avoid assuming the debts of their record company. By 1976, the band had reappeared, recording a series of albums focused on hard rock and heavy metal and touring extensively in Europe with considerable credibility and moderate success, which has kept them among the most respected German hard rock bands of the early 1970s.

Vangelis-Blade Runner (1994)

"Blade Runner" was the first of two soundtracks Vangelis would compose for director Ridley Scott; the other was "1492: Conquest of Paradise", both excellent and successful examples of the Greek musician's genius and talent. However, the "Blade Runner" soundtrack wasn't officially released until many years after the film, and to compensate for this, a reinterpreted version by the New American Orchestra was released. Twelve years later, in 1994, the original version was finally released, and a few years later, in 2007, an extended version was released, which also contained a series of cuts not included in the official theatrical release. For the music, Vangelis brilliantly uses a perfect fusion of futuristic, ambient, and traditional sounds. With each track, Vangelis transports the listener to a distant future (nowadays, not so distant thanks to current technological advancements), embellishing the music with strange effects, Eastern influences, and the sounds emanating from his multiple synthesizers, keyboards, and other electronic and acoustic instruments. Among his magnificent passages are the heart-wrenching "Memories of Green", the Eastern influence of "Damask Rose" and "Call Out The Dogs", the blues-tinged "Blade Runner Blues", the pacifist ambient "Rachel's Song", the smooth jazzy touch of "Wait for Me", the epic "Blade Runner (End Titles)", and the grandiose and comforting "Love Theme".

Klaus Schulze-Blackdance (1974)

The third solo album by German synthesizer wizard Klaus Schulze is a kind of transitional record between the avant-garde "Irrlicht" and "Cyborg" and the more accessible "Timewind" and "Mirage". "Blackdance" was originally released in 1974, but due to printing errors in the date on the album covers, it was for some time believed to be the fourth album after "Picture Music" (1975), and was erroneously listed as the fourth album on a number of more recent CD reissues. However, its chronological order has now been correctly restored. On "Blackdance", Schulze crafts incredibly dark, immersive, and abstract space music, and for the first time uses the human voice on one of his albums. To achieve this, the keyboardist recruited vocalist and percussionist Ernst Walter Siemon, who delivers operatic vocals in the first six minutes of the hypnotic and dark suite "Voices of Syn". Other highlights include the spacey and psychedelic flourishes of "The Ways of Changes" and the recurring minimalist electronica of "Some Velvet Phasing". However, despite being one of his most distinctive and interesting works, this third album by Klaus Schulze is often overshadowed by more mainstream releases like "Mirage", "X", or "Timewind".

Hardline-Double Eclipse (1992)

In 1992, Neal Schon, the celebrated guitarist of Journey, took a break from his band to form Hardline, a project with which he wanted to showcase his hard rock side, moving away somewhat from the more saccharine AOR sound of his main band. To complete this project, Schon enlisted brothers Joey and Johnny Gioeli (guitar and vocals, respectively), drummer Deen Castronovo, and bassist Todd Jensen. On this debut album, "Double Eclipse", Schon's immense talent is the true driving force behind the entire repertoire, displaying an arsenal of guitar riffs and overwhelming, yet elegant and refined, solos. However, Johnny Gioeli's haunting vocals and Castronovo's powerful drumming also stand out. Infectious rhythms, great versatility, and incredibly catchy melodies are all present in a collection of sublime songs like "Life's A Bitch", "Dr. Love", "Rhythm From a Red Car", "Hot Cherie", "Everything", and "In The Hands Of Time". Ten years later, and without Neal Schon in the band, they released their second album, which features The Storm guitarist Josh Ramos and Vinnie Vincent Invasion drummer Bob Brock.

Frank Zappa-Joe´s Garage Acts II & III (1979)

The second and third parts of Frank Zappa's satirical rock opera "Joe's Garage" showcase the American musician's extraordinary guitar skills, featuring some of his best riffs and solos, along with spectacular percussion masterfully executed by Terry Bozzio and Vinnie Colaiuta, and excellent interplay among all the musicians involved, including Patrick O'Hearn, Warren Cucurullo, Ike Willis, and Peter Wolff. While musically it displays a wide variety of styles, lyrically Zappa's sarcastic commentary and biting humor about much of American society remain ever-present. Zappa leaves his mark of genius on this album with excellent guitar performances as demonstrated in "He Used to Cut the Grass", "Keep It Greasey" or "Packard Goose", while on the other hand the reggae "Sy Borg", the exotic "Watermelon in Easter Hay" or the carefree "A Little Queen Rosetta", add a touch of color to a formidable and truly enjoyable work despite its enormous complexity.

Cosmic Dealer-Crystallization (1972)

Cosmic Dealer was a short-lived Dutch band formed in the late 1960s by singer and flautist Frans Poots. Along with drummer Adrian Vos, lead guitarist Jan Reynders, bassist Angelo Santoro, and rhythm guitarist Bas Van de Pol, they earned a solid reputation in the Dutch underground scene. Their elaborate stage shows, replete with psychedelic lighting, caught the attention of producer Eddy Ouwens, who financed their first and only full-length album, "Crystallization". On this single release, Cosmic Dealer showcases their signature blend of avant-garde rock with progressive tracks like "Daybreak" and "Child of Golden Sun", folk-infused "I Had a Friend", hard rock with "The Scene" and "Find Your Way", and psychedelic "Illusions". Shortly after the limited edition release of this album, the band would disband as several of its members left to join other groups, thus ending the adventure of this ephemeral and interesting Dutch band.

Farm-Farm (1971)

Farm were a Southern blues rock band from the late 1960s. Hailing from the U.S. state of Illinois, their discography consisted of only one album, which, to make matters worse, had a very limited run of just 500 copies. The lineup included guitarist Del Helbert, drummer Mike Young, bassist Jim Elwyn, and singer/guitarist Gary Gordon, who, with the help of percussionist Steve Evanchik, recorded a demo at Golden Voice Studios in South Perkin. This demo eventually became a self-titled album released in 1971. On this record, Farm showcased their influences from Southern rock, acid rock, blues, and boogie rock. Their repertoire was based on original songs and covers, including the instrumental blues track with prominent guitar parts, "Jungle Song", the blues rock song "Cottonfield Woman", the boogie rock song "Let The Boy Boogie", and their version of The Allman Brothers' "Stateboro Blues". In short, a great forgotten and obscure album, with great sharp guitar sounds, very solid rhythms, skillful interludes, and a predominant organ sound that layers the developments of the five pieces of this superb work of blues from the southern states of America.

Player-Player (1977)

Player was an exquisite soft rock band that blended the vocal harmonies of bands like America with the musical excellence of Steely Dan, in a style close to melodic rock. Player was founded in Los Angeles in 1976 by bassist Ronn Moss, who already had extensive experience in the city's music scene. The rest of the band consisted of British guitarist Peter Beckett, keyboardist and guitarist J.C. Crowley, and drummer John Friesen. For a time, they performed concerts as the opening act for Gino Vannelli, gaining a strong reputation on the California rock circuit. Even then, they were performing what would later become their big hit, "Baby Come Back". In addition to their concerts, the band dedicated themselves to composing songs intended for recording an LP, featuring a smooth and elegant rock sound with a strong emphasis on melodic vocals, guitars with a clear rock accent, and passages of synthesizers and keyboards. For this last endeavor, they enlisted the help of keyboardist Wayne Cook, who joined the band, though not officially. With enough material composed, they began searching for a record label to produce an album. Ultimately, RSO financed the release of their first album, which hit the market on September 1, 1977. Almost simultaneously with its release, and thanks to the song "Baby Come Back", the band achieved resounding success, reaching number one on the Billboard charts and remaining there for an astounding 32 consecutive weeks. But this debut album wasn't solely focused on the excellence of "Baby Come Back". The rest is an irresistible collection of unpretentious melodies, elegant rock with high-level pop touches, as reflected in the charming "Come On Out", "Goodbye (That's All I Ever Heard)", "Every Which Way", and "Love Is Where You Find It", the captivating rock of "Cancellation", the funky "Movin' Up", and the sublime ballad "Tryin' To Write A Hit Song", all of which together form one of the best debut albums in recent memory. A year later, Player released their second album, "Danger Zone", with some of the same characteristics as their debut, although featuring a more aggressive sound. While it didn't achieve the same level of success, it still earned a gold record for sales and spawned several impactful singles such as "Prisoner Of Your Love" and "Silver Lining".

Indian Summer-Indian Summer (1971)

This is one of the hidden gems of English proto-progressive rock, a spectacular and magnificent work that was the sole legacy of the British band Indian Summer. Formed in Coventry in 1968 by drummer Paul Hooper and singer/keyboardist Bob Jackson, both musicians had already played in various Coventry bands such as The Rochester Beaks and This That And The Other. The band was completed by guitarist Roy Butterfield and bassist Alan Hatton. Indian Summer initially opted to be a cover band, but this trend was short-lived, as the talent of its members soon led them to create their own music. In the midst of a period of great creativity, guitarist Butterfield left the band and was replaced by Steve Cottrell just as they were discovered by talent scout Jim Simpson, a renowned promoter who at the time was managing bands such as Earth, who would soon become Black Sabbath. After several lineup changes, they signed with Vertigo Records and entered Trident Studios in London to record their first album in 1971. This self-titled debut featured Hooper and Jackson, along with new members Colin Williams on guitar and Malcolm Harker on bass. The album is packed with rhythmic sounds and expansive musical passages, emphasizing keyboards and guitars, and possessing a certain dark atmosphere. The opening track, "God Is The Dog", stands out as a superb composition that highlights Bon Jackson's deep vocals and organ sounds, while progressive passages like the excellent "From The Film Of The Same Name", "Black Sunshine", and "Half Changed Again" are on par with any of the leading bands of the era. The rest of the album is of exceptional quality, achieving sublime moments of great symphonic rock. The band's limited commercial success led to its dissolution, with each member pursuing different solo projects or focusing on other professional matters.

It Bites-Once Around The World (1988)

This is one of the bands that best knew how to fuse a wide variety of styles such as pop, neo-progressive, hard rock, and even the new age sounds so prevalent in the 1980s. It Bites was formed in the early 1980s in the town of Egremont, UK, by vocalist and guitarist Francis Dunnery, bassist Dick Nolan, drummer Bob Dalton, and keyboardist John Beck. In 1986, under the Virgin label, they released their debut album, "The Big Lad In The Windmill", which showcased their nascent style of refined art-pop with elaborate keyboard arrangements and a touch of symphonic rock, as demonstrated in tracks like "I Got You Eating Out Of My Hand". Two years later, their progressive approach was further strengthened with their second album, and ultimately their most acclaimed work among fans of the genre, "Once Around The World", a more mature and balanced effort with melodic rock, moments of crystalline pop, and neo-progressive elements. The superb keyboard and guitar instrumentations, although far removed from the complexities of their contemporaries Marillion, IQ or Pendragon, are elegantly structured especially in the suite "Once Around The World".