Dog Soldier-Dog Soldier (1975)

Another of those hundreds of bands with a dark past was Dog Soldier, formed by the legendary drummer Keef Hartley in 1975 along with other talented musicians from the British blues and rock scene. It's certainly not easy to find a group with more collective experience than this band, which, in addition to Hartley, included singer and guitarist Miller Anderson (Jon Lord Blues Band, Savoy Brown, Keef Hartley Band, and Spencer Davis Group), bassist Paul Bliss (The Bliss Band and The David Essex Band), keyboardist Mel Simpson (Gerald Wilson & His Orchestra), and guitarist Derek Griffiths (Argent and Chuck Berry Band). However, despite the undeniable quality of the group, such collective talent resulted in a fleeting feeling that they could have achieved something far more brilliant with more continuity. All five members contributed to the compositions of this single album, which in some ways lent the group considerable musical diversity. Tracks of great blues rock such as the opening "Pillar To Post", the restrained rock songs "Several People" and "You Are My Spark", the tender country ballad "Long and Lonely Night", the catchy "Giving As Good You Get", the excellent and melodic "Thieves and Robbers" or the progressive blues "Looks Like Rain", surprise with their enormous quality, but unfortunately it did not serve to allow this band to continue exploring the talent of all its members with new releases and ended up falling into the immense obscurity of the short-lived groups of the late 60s and early 70s.

Hokus Poke-Earth Harmony (1972)

Hokus Poke was a short-lived London band that released a single album on Vertigo Records, a label specializing in progressive and underground music. The band consisted of bassist Smith Campbell, guitarist Roger Clarke, guitarist and vocalist Clive Blenkhorn, and drummer Johnnie Miles. Their only album, "Earth Harmony", was recorded at Air Studios, owned by George Martin, in 1972. [The album was titled "Air Harmony" and is not relevant to the band's output.] In this single release, this unknown band showcased a heterogeneous style encompassing acid rock ("The Poke"), psychedelic rock ("Sunrise Sunset"), boogie rock ("H.P. Boogie"), blues sounds ("Living In Harmony"), and folk and country influences ("Down In The Street") and "Big World Small Guy". Due to limited distribution and little impact on this interesting album, the band would disappear without a trace shortly after its release, making this rare record another highly sought-after collector's item.

Genesis-Invisible Touch (1986)

"Invisible Touch" is Genesis' most commercially successful album, but at the same time, it's the most hated by their purist fans. Released during the peak of drummer and vocalist Phil Collins' career, the band somewhat follows his stylistic and musical path, veering towards pop-rock with the typical addictive clichés, yet still showcasing captivating melodies, as in "In Too Deep" and "Throwing It at All". On the other hand, Collins, Rutherford, and Banks don't completely abandon progressive numbers, as demonstrated by the sophisticated "Tonight Tonight Tonight" and the atmospheric "Domino". On the pop front, there's the title track, along with "Land of Confusion" and "Anything He Does", all featuring irresistible melodies (despite their obvious simplicity and commercial intent) that ended up doing well on radio stations around the world. In short, "Invisible Touch" is, for better or for worse, a good album with a pleasant musical flow that perfectly combines complex songs and pop, demonstrating Genesis's skillful use of the new songwriting styles of the 1980s. Numerous gold and platinum records and sales exceeding 15 million copies worldwide attest to this successful album.

Kravetz-Kravetz (1972)

A twist of fate transformed Frenchman Jean-Jacques Kravetz into one of the pioneers of German rock, or as it's commonly known, "krautrock". Having settled in Hamburg in the late 1960s at just 20 years old, this Parisian multi-instrumentalist forged a strong reputation within the burgeoning psychedelic music scene, becoming one of its leading figures. A few years later, he released his only solo album, a low-key effort with virtually no promotion, alongside legendary drummer Udo Linderberg and musicians Thomas Kretzschmer on guitar, bassist Carl Stepehan, and vocalist Inga Rumpf. On this album, Kravetz masterfully blends heavy, hazy organ sounds and synthesizers with sharp, precise electric guitars. This is demonstrated in the opening track “I’d Like To Be A Child Again” and the ethereal “Ann Toomuch”, while the experimental “Routes” adds a psychedelic and dark note to this work, which culminates in the progressive jazz “Master Of Time”, bringing to a close an album that would define one of the early sounds of krautrock. In the following years, Kravetz would become a full member of three of the greatest German rock bands: Frumpy, Kin Ping Meh, and Atlantis, producing excellent albums with all of them, including some of the classics of German rock and prog rock.

Flower Travellin´Band-Anywhere (1970)

In 1970, the Japanese band Flower Travellin' Band released their first album, "Anywhere", although they had previously released the album "Challenge", a collaboration with Yuya Uchida, in 1969. For this debut, the band opted for a more forceful and raw sound, infused with the prevailing psychedelia of the time and featuring a great deal of improvisation. Their style was heavily influenced by the hard rock of British bands of the era, such as Cream, Deep Purple, and Black Sabbath. The entire album consists of a series of covers, including the Birmingham group's "Black Sabbath", an acoustic version of The Animals' "House of the Rising Sun", Muddy Waters' lysergic "Louisiana Blues", and a visceral version of King Crimson's "21st Century Schizoid Man". As with the cover of the aforementioned "Challenge", the group once again scandalized the puritanical Japanese society by appearing completely naked, this time on top of Harley Davidson motorcycles, something that transgressed the established norms in their country, making this cover an obscenity and a lack of respect for the vast majority of Japanese society, demonstrating with this fact that this radical group brazenly disregarded, without any ethics or shame, the established norms in Japanese culture.

Paul Rodgers-Now (1997)

Paul Rodgers' third solo album, "Now", comes from one of rock's greatest vocalists, who fronted legendary groups like Free and Bad Company and co-wrote the songwriting credits with Jimmy Page for the supergroup The Firm. Released in 1997, it followed Rodgers' tribute albums to Muddy Waters and Jimi Hendrix, "Muddy Waters Blues" and "The Hendrix Set", both released in 1993. After a period of extensive world tours, Rodgers had written enough material and assembled a solid band to record a new album, ironically titled "Now". The band consisted of guitarist Geoff Whitehorn, drummer Jim Copley, and bassist Jaz Lochrie. The first thing that strikes you about Paul Rodgers' third album is his excellent form. Vocally rejuvenated, he showcases his distinctive voice as it was in his golden era. Tracks like the powerful opening "Soul of Love" already demonstrate Eddie Kramer's superb production and the band's perfect cohesion. The rest of the album includes the bluesy "Overloaded", the vintage "Heart of Fire" (a nod to his past with Bad Company), the catchy "Saving Grace", the soulful blues "Love Is All I Need", and the sublime blues "I Lost It All". Together, they form an elegant album, expertly crafted with great feeling for the vocal excellence and superb instrumental performances, confirming the immense talent of one of the greatest voices in rock history.

Lady Lake-No Pictures (1977)

This Dutch group was founded in 1973 in Daventer, at the height of the progressive rock movement. The band consisted of Leendert Korstanje on keyboards, Eddie Bakker on bass, Joop Van Leeuwen on drums, and guitarist Fred Rosenkramp. In late 1977, they recorded their debut album, "No Pictures", in a limited run of 1500 copies, many of which ended up in other northern European countries such as Sweden, Norway, and even Germany, which is why they are now considered a cult band in those countries. On this debut album, Lady Lake showcases a wide range of influences, from prog rock with jazzy touches and psychedelic hints, to the more bucolic and melodic British progressive rock of bands like Camel and Genesis. Their original style features pleasant and melodic atmospheres that at times recall the Canterbury sound. "No Pictures" is a masterfully executed and perfectly crafted album with exquisite arrangements. After this release, the band disbanded until several decades later when they reunited sporadically. During one of these reunions (2005), they recorded their second album, "Supercleandreammachine", which received very positive reviews in European progressive rock circles.

Ian Gillan Band-Live At The Budokan (1978)

After leaving the legendary Deep Purple, singer Ian Gillan decided to move away from hard rock and steer his new project, the Ian Gillan Band, toward the realm of energetic jazz rock. Following the release of three magnificent albums "Child In Time" (1976), "Clear Air Turbulence" (1977), and "Scarabus" (1978), the iconic singer brought this venture to a close with the live album "Live At The Budokan", recorded during the promotional tour for "Scarabus" in Japan. The Ian Gillan Band consisted of several highly experienced American and British musicians: former Quatermass bassist John Gustafson and former ELF drummer Mark Nauseef, along with former Spencer Davis Group guitarist Ray Fenwick and keyboardist Colin Towns. Recorded at the Budokan Hall in Tokyo on September 22, 1977, the repertoire for this album is mainly composed of songs from his three albums, plus several Deep Purple covers such as "Smoke on The Water", "Child In Time" and "Woman From Tokyo", performed in a jazzy style, while the infectious rhythms of "Clear Air Turbulence", "Twin Exhausted" and "Over The Hill", would constitute one of the last and most memorable concerts of the Ian Gillan Band before their final demise some time later.

Pot Liquor-First Taste (1970)

Hailing from Baton Rouge, Louisiana, Potliquor was a band that released two excellent albums focused on Southern rock, which, however, never received the recognition they deserved due to competition from many more prominent national bands of the time. Their beginnings date back to 1969, when singer George Ratzlaff, who also played guitar and keyboards, joined bassist Guy Schaeffer, guitarist Les Wallace, and drummer Jerry Amoroso to found Potliquor. Shortly after, a well-known manager from the Baton Rouge area named Jim Brown began representing them and secured them a contract with a local label called Janus Records, with whom they released their first album, "First Taste", in 1970. Produced by Jim Brown himself, this debut showcased Potliquor's early Southern boogie-rock style with hints of the rawer sounds of American rock and touches of blues and gospel. This debut album contains a series of commendable and interesting tracks, such as the opening southern boogie rock song “Down The River Boogie”, where they showcase their rich vocal harmonies. In “Ol’ Man River”, the band embraces their religious upbringing with a superb gospel performance. Rock and roll infused with Creole sounds appears in “Riverboat”, and the heavy sound of organ and blues is present in the hallucinatory instrumental “Toballby”, which features exuberant percussion in the purest Santana style. The lysergic and acid sounds emerge with “The Raven”, undoubtedly one of the album's highlights, an epic song of dark, psychedelic sounds. The heavy blues rock, infused with soaring gospel choirs, featured on tracks like "You're No Good", the sublime "Price 20 Cents a Copy", and the Stones-esque "Driftin' ", resulting in an album that was well-received and led to a second album three years later, titled "Leeve Blues". This second album followed a similar path but with a slightly more bluesy focus. However, these godfathers of Southern rock would not release another album, although they remained active until the late seventies, performing concerts throughout Louisiana, where they had a large and devoted fanbase.

Triumph-Just A Game (1979)

Thanks to their first two albums, the Canadian trio Triumph was on an upward trajectory. Their album "Rock & Roll Machine" had launched them into the global spotlight, and their reputation as one of the emerging hard rock bands of the late seventies was steadily growing. However, constant comparisons to their contemporaries and fellow countrymen Rush would eventually stifle their progressive creativity, as they were labeled mere clones of the band comprised of Lifeson, Lee, and Peart. These accusations from the specialized press led them to focus on hard rock and melodic rock at the expense of their aforementioned avant-garde sounds. In this third release, they move away from the complexities of their earlier work, showcasing a more direct and accessible style. Even so, Rik Emmett's guitar virtuosity shines through, demonstrating with his heavy riffs and dizzying solos that he was on par with the best hard rock guitarists. Songs like "Lay It On The Line" , "Hold On", "American Girl", "Just A Game", "Suitcase Blues" or "Young Enough To Cry", are performed sublimely under careful production, thus taking the resounding step to find the definitive sound that differentiated them from their compatriots Rush.

Nazareth-Malice In Wonderland (1980)

In 1980, Nazareth were overwhelmingly immersed in the typical sounds of melodic rock, a fact confirmed by their eleventh album, "Malice in Wonderland". For this new record, the lineup remained unchanged since the previous album, "No Mean City", consisting of Dan McCafferty, Zal Cleminson, Darrell Sweet, Manny Charlton, and Pete Agnew. They had solidified their quintet configuration with the addition of guitarist Cleminson a year earlier. Despite being categorized as one of their AOR-focused works, "Malice in Wonderland" actually deviated significantly from the prevailing style of the time. They were characterized by an original sound with diverse musical nuances, which they fused with their distinctive hard rock, resulting in a highly appealing and high-quality sound. From the initial and tremendously commercial “Holiday”, through the powerful “Turning a New Leaf” or “Showdown At The Border”, the addictive “Talkin’ on One of The Boys” or “Fats Cars” and the melodic and attractive “Ship Of Dreams”, “Heart’s Grown Cold” or “Fallen Angel”, the Scots left an album with which they continued to remain at the top of hard rock and their status as a great band intact.

Triumph-Rock & Roll Machine (1977)

Perennial runners-up to their compatriots Rush, this Canadian band has left behind a series of superb and surprising albums of vibrant and powerful hard rock with some progressive influences. While they never reached the magnitude and excellence of Rush, they certainly occupy a place of honor in rock history. This power trio consisted of guitarist and vocalist Rick Emmett, drummer Gil Moore, and bassist and keyboardist Michael Leviney. Their beginnings date back to 1975 in Toronto, where they started performing in clubs and venues until late 1976 when they released their first album, "Triumph", on the Attic Records label. On this debut, the band still displayed an undefined sound; however, their influences from iconic British bands like Led Zeppelin were more than evident, thanks to powerful tracks like "Let Me Get Next To You". In 1977 came their second work “Rock and Roll Machine”, where they began to show an interest in progressive sounds that are reflected in the suite “The City” or in “New York City Streets”, while on the other hand the trio continues to show their more forceful side with the powerful “Rock and Roll Machine”, “Little Texas Shaker” or “Takes Times”, and they even dared to do the excellent version of Joe Walsh's song “Rocky Mountain Way”, masterfully executed with a sound close to blues rock.

Yngwie Malmsteen-Relentless (2010)

With "Relentless", Swedish guitarist Yngwie Malmsteen once again proved himself to be one of the greatest guitarists in classic heavy metal. This album, his eighteenth studio release, features vocalist Tim Owens, drummer Patrick Johansson, and keyboardist Nick Marino. Drawing on his unique neoclassical style, the Swedish guitarist delivers exhilarating songs brimming with intricate melodies, all underpinned by his astonishing virtuosity on the six strings. From the intro "Overture" to the instrumentals "Shot Across the Bow", "Knight of the Vasa Order", "Cross to Bear", and "Adagio in B Flat Minor Variation", and including the heavy metal tracks "Tide of Desire" and "Look at You Now", Malmsteen showcases his undeniable mastery as both a composer and guitarist.

Taste Of Blues-Schizofrenia (1969)

Taste of Blues was a Swedish band formed in the late 1960s in Malmö. Their style, a blend of the psychedelic sound of the era with elements of German krautrock and subtle Eastern influences, earned them a strong reputation within the European progressive rock scene. The original lineup consisted of vocalist Anders Stridsberg, guitarist Fred Rolf Berg, bassist Robert Moller, drummer Patrick Erixson, and keyboardist Claes Ericsson. In 1969, they recorded their only album, "Schizofrenia", which featured the departure of Stridsberg, who was replaced by African-American singer Don Washington. This album is considered a cult classic of 1960s psychedelia, and its title track, "Schizofrenia", is an epic seventeen-minute journey through cosmic sounds, brass, frenetic grooves, and hypnotic, apocalyptic music. The rest are more conventional exercises based on psychedelic blues, including a cover of John Mayall's "Another Kinda Love". After recording this album, some members left to form the hard rock band Asoka and the rock group Lotus, thus ending the adventure of this magnificent Swedish band.

From-0611 Cat Quarter (1971)

From were an obscure progressive jazz-rock band that emerged in Germany in the early 1970s, influenced by the eclectic sounds of Miles Davis, fused with the Canterbury School of British jazz. The band consisted of bassist Dieter Von Goetze, drummer Kurt Bong, saxophonist and wind instrument player Gustl Mayr, and keyboardist Klaus Göbel. They caused a sensation at the 1970 Frankfurt Jazz Festival, leading to the release of their debut album, "0611 Cat Quarter", a year later, followed by "Power On!" the next year on CBS. Both albums are considered hidden gems of early fusion rock with progressive elements. Their style is a progressive jazz, very lively and pleasant to listen to, and their instrumental developments demonstrate the virtuosity of all its members, from Mayr who sets parameters very much in the vein of the aforementioned Miles Davis, to the organist Göbel, with a spectacular use of the electric piano and the Hammond organ, while the drummer Bong extracts sounds very close to classic jazz.

Ted Nugent-Spirit Of The Wild (1995)

"Spirit of the Wild" was the only album that American guitarist Ted Nugent released in the 1990s, an excellent record that surprised everyone with its uninhibited and natural style, recapturing the reliability lost in his 1980s albums and returning to his golden era of the 1970s. On this album, the prodigious guitarist is once again joined by his inseparable Derek St. Holmes on vocals, along with Denny Carmassi on drums and Michael Lutz on bass. His aggressive and raw style once again permeates the songs, while he regains his inspiration, delivering brilliant riffs and exhilarating guitar solos. Tracks like the powerful, visceral "Thighraceous", "Wrong Side of Town", "Just Do It Like This", "Heart & Soul", "Primitive Man" and "Fred Bear", recovered the ground lost for years, making it clear why he is one of the wildest and most incendiary guitarists in the history of hard rock.

Mike Oldfield-Five Miles Out (1982)

During the 1980s, Mike Oldfield evolved his avant-garde style while simultaneously experimenting with other sounds, sometimes with success and sometimes with failure. One such experiment was "Five Miles Out", released in 1982, which marked the beginning of a recurring trend that would be reflected in all his subsequent work throughout the decade. This trend led him to fuse progressive repertoire, typically occupying one side of the original album, with pop-rock tracks on the other. Here, the suite that fills an entire side is "Taurus II", undoubtedly one of Mike Oldfield's most epic works. Although completely different from his usual 1970s style, it becomes a progressive piece seasoned with powerful percussion, dynamic melodies, electrifying guitar solos, and a relentless rhythm. The second side showcases Oldfield's more mainstream side, beginning with the pulsating "Family Man", featuring the superb vocals of the incomparable Maggie Reilly. This is followed by the instrumental "Orabidoo", thirteen superb minutes showcasing Oldfield's guitar work. "Mount Teide", a tribute to the volcano on the Spanish island of Tenerife, is another outstanding instrumental track with restrained power and beautiful melodies. Finally, there's the heartbreaking title track, inspired by the plane crash that nearly claimed his life and the lives of his band another energetic composition with soaring momentum and haunting vocals.

Gentle Giant-Octopus (1972)

Leaving behind their energetic progressive rock style of earlier works like "Three Friends" (1972), Gentle Giant tackled their fourth album, "Octopus", released months later, delving into more complex and sophisticated structures. This album defined their original style, infused with sublime and meticulously crafted sounds, where dynamic progressive pieces and infectious melodies combined to create one of the most iconic art rock albums of the 1970s. Songs like the formidable "The Advent of Panurge" are interwoven with somber compositions such as "A Cry For Everyone", the musical experiments of "Knots" and "Dog's Life", rhythmic tracks like "The Boys in the Band", and poignant songs like the beautiful "Think of Me with Kindness". With this fourth record, Gentle Giant took a giant leap forward, transcending conventional progressive rock to establish a true avant-rock masterpiece.

Renaissance-Scheherazade and other stories (1975)

This concept album is part of the glory of Renaissance stage, (and partly unknown to new generations addicted to progressive rock) and is truly extraordinary from start to finish. The dumbbell who managed John Tout (keyboards, vocals), Annie Haslam (lead vocals ), Jon Camp (bass, pedals, vocals), Terrence Sullivan (drums, percussion, vocals) and Michael Dunford (acoustic guitar, vocals), managed to this one of those that are unique and essential discs, valued for their fabulous design and implementation . Instead of using electric guitar or electric keyboard , this work goes down the more symphonic side and also with the participation of the London Symphony Orchestra , giving much originality and great instrumentation. There are very good orchestral arrangements that are perfectly matched with the smooth voice of Annie Haslam feature in fact goes far beyond the common progressive rock , standing even among the albums of the 70's that were the golden age of the genre.
An album where you can hear tales beautifully told Scheherezade King Shahriar, supposedly compiled by the Arab writer Abu abd -Allah Muhammed el Gahshigar became the Western tradition in the early eighteenth century, with all her adulteries and murders properly filtered by European translators.
Definitely an album of delicate melodies , tender arrangements, perfect voices, harmonious music and amazing ... a legend epic prog rock .

Paul McCartney & Wings-Back To The Egg (1979)

A true icon, Paul McCartney has been the most successful ex-Beatle. He has created some of the most important works in music history and, like no other, has maintained the essence of his original band for five decades. By the late 1970s, Paul McCartney had released eight albums, divided between his solo work and his albums with Wings. Most of them were absolute hits, such as his debut album, "McCartney" (1970), and the subsequent "Ram" (1971), both solo releases, as well as those released with Wings: "Red Rose Speedway" (1973), "Band of the Run" (1973), "Venus and Mars" (1975), and "Wings at the Speed ​​of Sound" (1976). Amidst the prevailing disco, punk, and heavy metal sounds of the late 70s, he released his seventh and ultimately final album with Wings, surrounding himself with a stellar lineup of musicians including Tony Ashton, David Gilmour (Pink Floyd), Hank Marvin (The Shadows), Pete Townshend and Kenny Jones (The Who), Gary Brooker (Procol Harum), John Paul Jones and John Bonham (Led Zeppelin), and Ronnie Lane (Small Faces), in addition to his own band members, starting with Denny Laine, his wife Linda McCartney, Laurence Juber, and Steve Holley. This seventh album, titled “Back To The Egg”, contains an irresistible collection of songs, such as the Beatles-esque tracks “Getting Closer” and “Baby’s Request”, the rock anthems “So Glad To See You Here”, “To You”, and “Rockestra Theme”, and the melodic “After The Ball/Million Miles” and “Arrow Through Me”. Despite fierce criticism from the British press accusing it of an eclectic sound and a lack of inspiration, the album would achieve a top ten in the North American and British charts, several platinum records and a Grammy for the song "Rockestra Theme".

The Stranglers-Aural Sculpture (1984)

Considered one of the quintessential cult bands of the 1980s, The Stranglers boast a long career spanning over forty years and nearly twenty albums, some of which achieved commercial success and garnered significant acclaim from the British and European press. Hailing from the British town of Guildford, their founder was drummer Bryan Duffy, who recruited bassist Jacques Burnel, guitarist Hugh Cornwell, and keyboardist Dave Greenfield. In their early days, they were associated with the punk movement, but after several albums, they moved towards other musical genres, an amalgamation of styles that included new wave and the more melodic sounds of mainstream rock without resorting to typical commercial clichés. In 1984, when they were already fully established as a consolidated band, they released their eighth album, "Aural Sculpture", undoubtedly their most elegant and intricate work to date. Here, in addition to the predominant synthesizer sounds, a horn section further enhances the overall sound, adding depth to the final product. Standout tracks like “In One Door”, “Spain”, “Let Me Down Easy”, “Place des Victoires”, and “Skin Deep” propelled them back into the British spotlight, earning them acclaim from fans and music critics of the time.

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.