Lift-Caverns Of Your Brain (1977)

Hailing from North America, Lift was a prodigious and enthusiastic old-school progressive rock band that released their only album in 1977, featuring a repertoire of songs composed and assembled several years prior. Their style was based on the influences of British bands like Yes and Nektar, with dark atmospheres reminiscent of Pink Floyd's early psychedelic era. Their ideas were more centered on classical symphonic musical dynamics, which set them apart from their contemporaries like Kansas and Journey, bands that infused progressive rock with typical American rock elements. Lift, on the other hand, delved into robust instrumental jams in a more structured way, providing ample space for each band member to shine. Formed in the early 1970s by keyboardist Chip Gremillion, bassist Cody Kelleher, and drummer Chip Grevemberg, they later recruited guitarist Chris Young and vocalist Courtenay Hilton-Green. After some time, Richard Huxen took over as guitarist following Young's departure. With this lineup, the band gained a large following thanks to their performances throughout the southern United States, especially at university concerts. In 1974, the band entered the studio and recorded a series of unreleased songs, remaining in storage. They also recorded several live performances that were never officially released. A year later, they moved to Atlanta and then to Philadelphia, where they re-recorded the previously recorded material. This material was later officially released as "Caverns of Your Brain" by Brian Records, after Lift had already disbanded. On this unique album, keyboardist Gremillion is the band's instrumental leader, thanks to his orchestral keyboard arrangements and synthesizer and organ solos, but the other musicians also demonstrate great skill on their respective instruments. Chris Squire's influences are evident in the bass playing, while the drummer's swinging touch provides very interesting sounds in each track. The opening track, "Simplicity", is a cheerful yet complex composition, while "Caverns" is more solemn, with thick layers of mellotron and synthesizers. "Buttercup Boogie", as its name suggests, is the only concession to the American sound, with a boogie-rock track built on a very bluesy organ and a frenetic rhythm. But it's the mini-suite "Trippin' Over the Rainbow" that stands out, alternating serene and atmospheric passages with more rock-oriented moments in a very balanced way. "Caverns of Your Brain", while not groundbreaking for its time (somewhat late for that progressive style), is a collector's item for purist progressive rock fans and a small, lost gem of the genre.

George Benson-Breezin' (1976)

"Breezin'" was George Benson's first album for Warner to reach number one on the pop, jazz, and rhythm and blues charts. Released in 1976, "Breezin'" was chronologically his fifteenth album, a release that brought George Benson true worldwide fame. Here, the guitarist cleverly fused his signature rhythm and blues style with funk, jazz fusion, and mainstream music. Certified multi-platinum and winner of the Grammy Award for Best Instrumental Performance, this is one of the most successful jazz albums of all time. The group that accompanied Benson on this album consisted of Ronnie Foster (keyboards), Harvey Mason (drums), Ralph McDonald (percussion), Jorge Dalto (piano), Phil Upchurch (rhythm guitar), and Claus Ogerman (orchestral arrangements). The entire album is a true instrumental delight, with a repertoire made up of catchy smooth jazz songs like the title track, or the seductive "The Masquerade", "Six To Four", "Affirmation", "Lady" and "So This Is Love".

Canned Heat-Living The Blues (1968)

In 1968, Canned Heat released their third album, "Living The Blues", an ambitious double album featuring, among other superb tracks, one of their most emblematic hits, the rural hippie anthem "Going Up The Country". In this third release from the group led by Alan Wilson and Bob Hite, they showcased a clear evolution towards experimental blues, modernizing their sound and demonstrating the skill and understanding of the musical passions of all its members. By this point, the band had solidified its classic lineup. In addition to Alan Wilson (guitar, vocals, and harmonica) and Bob Hite (vocals), the band included Larry Taylor on bass, Henry Vestine on guitar, and Adolfo "Fido" de la Parra on drums. This monumental double album contains some of the finest blues and boogie-blues achievements in its history, infused with jazz, acid rock, and psychedelic sounds, all performed with great wisdom, skill, passion, and energy. From the aforementioned and fabulous "Going Up The Country" to the whirlwind jam "Refried Boogie", 40 minutes of mind-blowing blues rock, somewhat indulgent, passing through tremendous covers of artists like Jimmy Rogers' "Walking By Myself" or "Pony Blues", a reimagining of the Charly Patton classic, or the overwhelming blues tracks "Sandy's Blues", "Boogie Music", and "One Kind Favor", not forgetting the magnificent and talented medley "Parthenogenesis", a sublime epic of acid rock, experimentation, and blues. "Living The Blues" is the crowning achievement of a band like Canned Heat before death, drugs, and internal disputes began to take their toll on its members. But before this happened, they still had time to release two more amazing albums: "Hallelujah" (1969) and "Future Blues" (1970).

Latte E Miele-Passio Secundum Mattheum (1972)

Latte e Miele are another significant band from the golden age of Italian progressive rock. Formed in Genoa in 1971 by guitarist Marcello Giancarlo, keyboardist Oliviero Lacagnina, and drummer Alfio Vitanza, they released their debut album in 1972 on the Polydor label. Their style is clearly influenced by the British band EL&P, and their first album is inspired by the music of Johann Sebastian Bach and liturgical music in general. Similarly, their lyrics, based on the Gospel of Matthew, are quite politically correct. Their repertoire ranges from the symphonic rock of "Introduzione" and "Getzemani", to the jazz-rock of "I Testimoni - Second Part," the grandiose sounds of "Ultima Cena", and the operatic elements of "Il Pianto". In short, this debut album by Latte E Miele is a brilliant example of extraordinarily well-crafted music, achieving the perfect blend of classical music and rock instrumentation, along with operatic interactions, resulting in a very fluid and brilliantly diverse musical tapestry.

Iron Maiden-Iron Maiden (1980)

This is one of the gems of heavy metal, yet simultaneously undervalued by the newer Iron Maiden fans of the era when Bruce Dickinson was frontman. Considered one of the seminal works of the so-called "NWOBHM" (New Wave of British Heavy Metal), this debut album showcased all the qualities of the movement, with the added touch of punk influences seasoned with more complex and epic sounds. The band was still in the process of solidifying its most classic, successful, and enduring lineup, comprised at that time of bassist Steve Harris, guitarists Dave Murray and Dennis Stratton, drummer Clive Burr, and vocalist Paul Di'Anno. This lineup would undergo significant changes starting with their third album, including the addition of Bruce Dickinson, and a year earlier, guitarist Adrian Smith, followed later by drummer Nicko McBrain in other words, their most classic and long-lasting lineup. But focusing on this first, seminal album, these young musicians demonstrated great instrumental virtuosity and very clear preconceived ideas, all revealed in the powerful "Prowler", the epic instrumental "Transylvania", the marathon progressive "Phantom of the Opera", the visceral and punk-infused "Running Free" and "Sanctuary", and the glorious "Iron Maiden". From here began the legend of a band as iconic as it is fundamental to the history of heavy metal and rock in general.

Journey-Frontiers (1983)

Journey's eighth album, "Frontiers", marked a shift towards a harder sound compared to its predecessor, the more melodic "Escape", while still retaining the band's distinctive harmonic and melodic style. However, before this album, Journey faced the daunting challenge of at least matching the five million copies sold of "Escape" at the time (a figure that now approaches twenty million). With this in mind, the band opted for an album packed with energetic tracks, such as the opening "Separate Ways (Worlds Apart)", which quickly became a classic. This is followed by the melodic and sentimental "Send Her My Love", where they once again demonstrate why Journey have been true geniuses at composing beautiful and irresistible ballads. The powerful rock of "Chain Reaction" leads into the melodic AOR track "After the Fall", while the enchanting ballad "Faithfully" adds another admirably melancholic moment. From this point on, virtually all the remaining tracks are the hardest on the album, such as the powerful “Edge Of The Blade” and “Back Talk”, or the melodic mid-tempo tracks “Ask The Lonely”, “Frontiers”, and “Troubled Child”, where they combine energy and melody simultaneously. The addictive “Only The Young”, one of the album's hits, deserves special mention. As expected, “Frontiers” didn't reach the astonishing heights of “Escape”, although it did reach number two on the US charts and achieved global sales that far exceeded 7 million copies.

Grannie-Grannie (1971)

This is one of those strange and obscure limited-release albums, originally appearing only as a promotional disc, with an official run of just 100 copies and a stark, handcrafted cover. This British band was formed by guitarist Phil Newton in the late sixties. Little else is known about the history of this short-lived group, who privately recorded an album in 1971 without a label to finance them, only to vanish shortly thereafter. Grannie was initially a cover band that played in various London venues such as The Marquee and The Roadhouse. Besides Phil Newton, the band consisted of singer Fred Lilly, flautist Jan Chandler, bassist Dave Holland, and drummer Johnny Clark. Taking advantage of an advertisement offering eight hours of studio time, a master recording, and an album for £99, Newton began composing his own songs for the group to include on the recording. The result was an album composed of six tracks of avant-garde and progressive rock, featuring heavy guitars and catchy melodies, as demonstrated in songs like "Coloured Armageddon", "Saga of a Sad Star and Leaving", "Romany of Return", and the acoustic "Dawn". After recording this album, the band suffered the theft of all their equipment before one of their performances, including their first and expensive Mellotron, effectively erasing all trace of the band. In the 1990s, the prestigious magazine Record Collector included this album among the 100 most valuable records of all time due to its high quality, rarity, and limited pressing.

Citizen Cain-Somewhere But Yesterday (1994)

This British progressive rock band was founded in 1982, but it wasn't until ten years later that they released their first album. Formed around bassist and vocalist George Scott and multi-instrumentalist Gordon Feenie, they performed for many years with guitarist Tim Taylor and even recorded some material that was released on a compilation album titled "Fire In Harmony". Their performances at London's legendary Marquee earned them a great reputation, and EMI became interested in signing them. However, just as everything was about to be finalized, an accident left Scott with a disabled arm, and the band disbanded in 1988. Several years later, Scott himself recruited guitarist Frank Kennedy, singer Stewart Bell, bassist Dave Elam, and drummer Chris Colin, and they revived Citizen Cain. Back in 1991, a demo by the band received excellent reviews and high praise, which helped them secure funding for their first album, "Serpents In Camouflage", from the Cyclops sub-label. While it didn't initially achieve the desired results, thanks to one of the label's A&R promoters, they were booked to open for bands like Pendragon, The Enid, and Final Conflict. However, disagreements soon arose among the band members, leading to the departure of some of them, who were replaced by drummer Nick Arkless, bassist Andy Gilmour, and guitarist Alistair MacGregor. With this new lineup, they released the superb "Somewhere But Yesterday" in 1994. For this second album, the band showcased a much more complex style and their best work, with clear influences from early Genesis albums like "Nursery Crime" and "Foxtrot", but with their own distinct and personal sound. The elaborate and epic “Junk and Donuts”, the amazing progressive suite “Somewhere But Yesterday”, the dynamic “Jonny Had Another Face/ Parallel Lines” and the dark “To Dance The Enamel-Faced Queen” would recall the essence of the best time of Genesis in the Gabriel era, but without making the mistake of being mere imitators and a crude clone band.

Jimmy Page & Robert Plant-No Quarter (1994)

In 1994, the long-awaited reunion of some of the legendary Led Zeppelin members finally took place, thanks to the live album recorded by Jimmy Page and Robert Plant titled "No Quarter". The tracks on this live album were taken from various performances in London, Wales, and Morocco during mid-1994. Featuring Arabic orchestration on several tracks, the repertoire was based on a more traditional folk and blues style. Despite being quite different from the hard rock and blues rock of their parent band, this new album became a magnificent work and a huge commercial success. Composed of covers of Led Zeppelin classics, along with some new songs, the album showcases the more traditional folk and blues side of Page and Plant, styles that were always a prominent aspect of Led Zeppelin's career, all seasoned with subtle Arabic influences. Listening to tracks like "Nobody's Fault But Mine", "Thank You", "Since I've Been Loving You", and "Kashmir" in an acoustic format, with occasional appearances of electric guitar and Page's unmistakable riffs and guitar solos, is a true delight for the ears of all fans of the band and music lovers in general. These tracks contrast with the more exotic "Friends", "City Don't Cry", and "Wah Wah", while cuts like "That's The Way" and "Gallows Pole" are the most powerful on this outstanding live album from two of the greatest legends of rock music.

Grateful Dead-Grateful Dead (Skull And Roses) (1971)

The Grateful Dead were undoubtedly one of the most intriguing and unique bands in rock. Their mind-blowing live shows made them the epitome of a live band. In 1971, the Grateful Dead were at the height of their success, and it was in that year that they decided to release the self-titled double live album "Grateful Dead", also popularly known as "Skull and Roses". This became their second live effort after the monumental "Live/Dead", released several years earlier. Released in late September 1971, this was the band's seventh album chronologically. On this live recording, the band performed many of the tracks that have become classics in their repertoire over the decades. At that time, the Grateful Dead consisted of Jerry Garcia on lead guitar and vocals, Bob Weir on second guitar and vocals, Ron McKernan on organ and harmonica, Bill Kreutzmann on drums, and Phil Lesh on bass, plus keyboardist Mel Saunders on several of the tracks featured here. While the previous live album showcased expansive, distorted guitar solos influenced by psychedelic rock, blues, and folk rock, this album prioritizes the arrangements of simpler compositions, with Jerry Garcia opting for a low profile in contrast to the band's prominence. This tendency to emphasize the songs themselves over lengthy, drawn-out arrangements is evident in tracks like "Bertha" and "Mama Tired", which barely exceed four minutes. However, there are also moments of frenetic energy, clarity, and instrumental virtuosity, as in "The Other One", an almost 20-minute epic jam that stands as one of the Dead's iconic songs. The rest is a succession of tracks ranging from the free-flowing improvisations of "Wharf Rat" and "Not Fade Away/Goin' Down the Road" to the catchy, more conventionally lengthy rock of "Me and My Uncle", "Big Boss Man", and "Me and Bobby McGee".

Tyrannosaurus Rex-A Beard Of Stars (1970)

With his fourth album, Marc Bolan definitively shifted towards the electric side of rock. Here, he almost completely abandoned his forays into psychedelic folk sounds, venturing into a more accessible musical evolution, although he still retained certain psychedelic elements very present in his first three releases. With the contribution of percussionist and other instrumentalists Mickey Finn, Bolan unleashed his electric guitar and organ, which brought greater musical breadth and creativity to his work. In this release, the short songs could easily be part of longer compositions, and the seeds of glam rock are present in each and every one of them. The visceral drive of the powerful guitar in "Elemental Child" foreshadows what would later appear on T. Rex albums. Other songs like the funky, epic-tinged "Pavilions Of Sun" leave us with a taste of the later album "Electric Warrior", while the experimental progression of "By The Light Of A Magical Moon" or the dark "Wind Cheetah", were the perfect opportunity for Marc Bolan to begin expanding into new musical frontiers that would bring with them greater experiments of great creativity and at the same time greater commercial and media exposure.

Al Jarreau-Breakin´Away (1981)

This extraordinary singer of soul, pop, and smooth jazz has transcended all musical barriers throughout his career, reaching a wide audience thanks to his unique and exquisite vocal technique. Having honed his skills for years in Los Angeles nightclubs, he was discovered performing in 1975 by a Warner Music talent scout who immediately offered him a contract, financing his first album, which was released some time later. This debut album, titled "We Go By", received high praise from both critics and the public, showcasing a musician who moved with astonishing ease from one style to another with complete naturalness, possessing a technique that even allowed him to perfectly imitate guitars and percussion, all delivered with the warmth of his voice and his joyful compositions. From this point on, Al Jarreau's career experienced a meteoric rise, releasing a series of albums that garnered widespread acclaim, such as "Glow" (1976), "This Time" (1980), and "Breakin' Away" (1981). With this last album, Jarreau achieved his greatest commercial success and his best work, a small gem of the finest jazz-soul-pop, with a repertoire brimming with enchanting songs like his version of Dave Brubeck's "(Round, Round, Round) Blue Rondo à la Turk," the captivating "Breakin' Away", and the sensitive pop song "We're In This Love Together". However, much of the album's merit lies in the exquisite production of Jay Graydon and a roster of musicians that included George Duke, David Foster, Steve Lukather, Bill Champlin, Tom Scott, and Jeff Porcaro, among other renowned session musicians from the American West Coast. Over time, Al Jarreau would go on to win nine Grammy Awards with his subsequent albums in the categories of jazz, pop and rhythm and blues, becoming the only artist to achieve such a feat.

Anderson Bruford Wakeman Howe-Anderson Bruford Wakeman Howe (1989)

In the late 1980s, the British band Yes was mired in a kind of structural chaos. While some original members, such as Chris Squire, Alan White, and Tony Kaye, were working in New York on a new album under the official name Yes, along with other former members like Billy Sherwood, the remaining members Jon Anderson, Bill Bruford, Rick Wakeman, and Steve Howe were doing the same in London. However, the two groups were not interested in joining forces, and in fact, it was this second group that unilaterally released the self-titled album "ABWH" under their initials. Although the album was initially conceived as a solo project by Jon Anderson, who asked the aforementioned former bandmates to collaborate on the recording, it ultimately ended up being credited to all four members as the ABWH project. In those years, there was enormous anticipation to see what this disguised "Yes" would sound like without Chris Squire, and the album would also feature production and cover art by Eddie Offord and Roger Dean, regulars on previous Yes albums, respectively. This album, which seemed destined to become one of their most memorable works, nevertheless suffered from a lack of creativity, the necessary balance, and a certain inconsistency in the final result, despite sounding reminiscent of classic Yes at times. The final result is a kind of hybrid sound, a blend of the original Yes, the band Asia, elements of world music, and hints of new age. This is partly due to Rick Wakeman's innovative keyboard work, Bill Bruford's unusual electronic drumming, the orchestrations of guest keyboardist Matt Clifford, and the exotic guitar touches of Steve Howe and Milton McDonald, another of the musicians who collaborated on the album. Special mention must be made of Tony Levin's bass playing, which undoubtedly makes him one of the most outstanding instrumentalists on this album, noticeably influencing the aforementioned new age and world music sounds with his distinctive style. Even so, there are other remarkable moments such as the symphonic "Fist of Fire", the atmospheric "Brother of Mine", the ambient "Birthright", the spacey "The Meeting", and the progressive "Order of the Universe", a track with a sound reminiscent of Yes at their peak. Shortly after the album's release, the two factions reached an agreement and together, in an extravagant manner, recorded the inferior "Union", which featured a recording process as surreal as it was almost absurd, with two separate working groups (actually there were three): on one side there was ABWH, on the other were Chris Squire and his collaborators, and finally Trevor Rabin also appeared with different musicians in a crazy and chaotic job in six different recording studios, spread between New York, Los Angeles, and Paris.

Marillion-Fugazi (1984)

Marillion's second album, and the first where they truly showcase their own style, moving away from the obvious Genesis influences of their debut. However, despite the band developing highly avant-garde instrumental sections characteristic of their own school, they don't lose sight of the classic sound that was present in their earlier work. For this new album, the band introduced a new drummer, Ian Mosley, who would fit perfectly into the instrumental cohesion of his bandmates. Furthermore, Fish's lyrics are more dynamic, and his vocal style doesn't delve into the vocal intonations of Peter Gabriel. The opening track, "Assassin", represents, in a way, Fish's particular vision of Eastern music an uplifting and energetic song with vigorous drumming, bass interludes, and great guitar riffs. The powerful “Punch and Judy” stands out as one of the most commercially viable yet hard-hitting tracks the band has ever recorded, brimming with powerful riffs, fabulous melodies, and a catchy hook that makes it utterly irresistible. Perhaps “Jigsaw” is the song that most closely resembles the Genesis style, a dark track with soaring passages and sublime guitar solos from Rothery. The superb “Emeral Lies”, with its sinister atmosphere and poetic lyrics, gives way to the brilliant and melodic “She Chameleon”, where the organ takes center stage. To finish the dynamic and progressive track, “Incubus”, which with smooth transitions between the different melodies within the same theme, makes it a superb and brilliant track and one of the fans' favorites in the group's live performances, and the more intimate and delicate “Fugazi”, a worthy conclusion to an extraordinary neo-progressive album, considered one of the masterpieces of the genre.

Bruce Springsteen-The River (1980)

By the late 1970s, Bruce Springsteen had reached the maturity necessary to create a body of work far removed from the youthful dreams of his early albums. However, Springsteen faced a new decade immersed in a creative and personal crisis. The desire to deliver a new album that would meet the expectations of the public and his own record label kept him under constant physical and psychological pressure, and as a result, he discarded a series of tracks intended for an album that was ultimately rejected by the singer himself, who felt they lacked sufficient cohesion and quality for release. Some time later, he returned to the recording studio to tackle his most ambitious project, the one that would simultaneously cement his status as one of the world's leading rock stars. Recorded during the middle months of 1979 at Power Station Studios in New York, Springsteen once again collaborated with his band, The E Street Band, which, curiously, is not credited on the album cover. Released as a double LP, it contains 20 tracks in which the New Jersey musician addresses themes such as coldness, loneliness, melancholy, and attachment to family, but also topics related to youth, as in "Independence Day". Musically, "The River" is a journey through everything Springsteen had done up to that point, with that raw, uncompromising rock fused with hints of country, blues, soul, and folk, all backed by a flawless band, sounding solid and intense, yet vibrant and addictive.

Golden Earring-Eight Miles High (1969)

The fifth album by the Dutch band Golden Earring marked a turning point for their future in terms of quality. It already hinted at the future and characteristic style of progressive hard rock they would develop in the following years. Released in 1969, it was launched by Polydor in Europe and by Atlantic Records in North America. The band that recorded this album consisted of guitarist, singer, and flautist Barry Hay, drummer Sieb Warner, lead guitarist and singer George Kooymans, and bassist and organist Rinus Gerritsen. The album's high point is undoubtedly the monolithic version of the Byrds' "Eight Miles Eight", presented here in a 19-minute whirlwind of hard rock and progressive rock, a truly impressive tour de force showcasing the quartet's power and talent. The rest of the album follows a similar musical path, with tracks like the psychedelic hard rock of "Landing", the pulsating "Song of a Devil's Servant", and the progressive blues rock of "Everyday's Torture". From here on, the group's golden age would begin, creating large-scale media works such as "Seven Tears" (1971), "Together" (1972), "Moontan" (1973) and "Switch" (1975).

Focus-Hamburger Concerto (1974)

This legendary Dutch band revolutionized the world of rock in the early 70s, largely thanks to the unparalleled talent of Jan Akerman and Thijs Van Leer. Akerman is one of the greatest guitarists in history, both electric and acoustic, as well as a master of the medieval lute, while Van Leer is an accomplished keyboardist on the harpsichord, piano, and Hammond organ, and is considered one of the best flautists in contemporary music. Before the release of "Hamburger Concerto", Focus had released several works oriented towards progressive jazz, featuring extensive jams, tracks brimming with blistering instrumentation, and an impressive interplay between the organ, flute, and a remarkable guitar. This fourth release showcases pure progressive rock, as demonstrated by the title track, an expansive piece that occupies the entire second side, where Jan Akerman and Thijs Van Leer share the lead vocals on a track built upon a foundation of classical music. While side A features the Renaissance-inspired "Delitiae Musicae", the enchanting "La Cathedrale de Strasbourg", the powerful "Birth", with one of the most legendary solos in history by Akkerman, and the forceful progressive jazz track "Harem Scarem". "Hamburger Concerto" is the greatest achievement in Focus's career and one of the high points of the progressive rock genre in the 1970s.

Faith No More-Angel Dust (1992)

Encouraged by the success of their second full-length album, "The Real Thing" (1989), the American band Faith No More delivered another creative peak with "Angel Dust", released in 1992. Their style blends hard rock with pop sensibilities and a modern heavy rock sound, drawing on influences from indie rock to rap. Standout tracks on this new album include the hit "Midlife Crisis", the rap-metal anthem "Everything's Ruined", and the subversive "Crack Hitler" and "Land of Sunshine". In a short time, this album achieved triple gold status in the North American, Canadian, and British markets, and along with its successor, "King For A Day...Fool for A Lifetime" (1995), it marked Faith No More's most brilliant and successful period.

Jade Warrior-Jade Warrior (1971)

Jade Warrior was a band that differed stylistically from everything else in the early 1970s. Their style, a clever combination of blues and folk, pastoral sounds, ambient music, and world music, quickly made them one of the cult bands of British progressive rock. Although they evolved with each album, they never lost their original identity, preserving their ambient passages with rock elements. In their debut release, Jade Warrior subtly approached British folk, through the use of flute, and Latin rock, through their percussion driven by bongos and other percussion instruments. Tracks like "Masai Morning" showcase that characteristic Eastern facet of Jade Warrior, with a rich combination of flutes, bongos, Eastern elements, and a bluesy guitar. Other tracks such as the dark ballad "Windweaver", the fierce "A Prenormal Day At Brighton", the minimalist bluesy "Petunia" and "Telephone Girl", together with the semi-progressive ambient tracks with large doses of ethnic creativity "Dragonfly: Metamorphosis/Dance Of The Sun Spirit/Death" and "Sundial Song", are one of the original proposals of this legendary British pseudo-progressive band.

Kopperfield-Tales Untold (1974)

Kopperfield was a short-lived band from Michigan that attempted to emulate the sounds of British progressive rock by blending them with powerful American rock. Although they never achieved commercial success, they maintained considerable popularity as an explosive live act, thanks to their performances in venues across the American Midwest between 1970 and 1975. Their initial lineup consisted of Paul Decker (keyboards and vocals), Jimmy Robinson (lead vocals), Bill Wallace (keyboards and guitar), Chuck Eagan (guitar), Tom Curtis (drums), Keith Robinson (keyboards), and Jerry Opdycke (bass). In 1974, they self-produced their only official release, "Tales Untold", a hard rock album with a significant and consistent dose of progressive elements. The keyboards, primarily the Hammond organ, along with the guitar riffs, are the highlights of this sole Kopperfield record. Their American rock influences, such as "Anatomy", are interwoven with more progressive tracks like "Moonride", or the energetic rock songs "Watching The Go By", "Brain Riot", and "Truckin' ". However, beyond these commendable compositions, the rest of their albums lacked the commercial and creative appeal needed to attract a wider audience, and so they eventually disbanded. Many years later, Kopperfield was inducted into the Michigan Rock and Roll Hall of Fame (2020).

David Bedford-The Odyssey (1976)

Best known for his work with Mike Oldfield, David Bedford was a British musician and composer whose repertoire ranged from classical to rock music. A graduate of the Royal Academy of Music at Lennox Berkeley in London and the University of Venice, his professional career began in the late 1960s with Kevin Ayers on the album "Joy of a Toy". During the 1970s, Bedford actively collaborated with artists such as Mike Oldfield, Robert Wyatt, and Elvis Costello, while also developing a career as a composer of contemporary classical music and teaching music in various British schools. In 1976, he released an album based on one of the masterpieces of classical literature, Homer's epic poems, on which Bedford played all the instruments except the guitars, which were played by Mike Oldfield and Andy Summers. This album is strongly reminiscent of his early work with Mike Oldfield, particularly in its synthesizer arrangements. The shadow of albums like "Hergest Ridge" looms over "The Odyssey", which, while not having transcended rock history, is a worthy symphonic rock album.

Black Sabbath-The Eternal Idol (1987)

While Black Sabbath's career in the 1970s was filled with great works, establishing the Birmingham band as one of the greatest in the history of heavy metal, with a stable lineup of Tony Iommi, Ozzy Osbourne, Bill Ward, and Geezer Butler, the following decade was quite turbulent, marked by numerous lineup changes. First, former Rainbow vocalist Ronnie James took over as lead singer, followed by former Deep Purple member Ian Gillan, and finally, a then-unknown Tony Martin, who ushered in the second most stable period in the band's long history. Further changes were still to come, but with albums like "The Eternal Idol", the band reaffirmed their commitment to high-quality heavy metal, nearly reaching the heights of some of their most iconic works. An album that doesn't lack progressive tendencies, as seen in "Ancient Warrior", "Nightmare", and "The Eternal Idol", while the powerful hard rock/heavy metal, replete with Iommi's incredible and memorable guitar riffs, is present in "Hard Life To Love", "The Shining", "Glory Ride", and "Born To Lose". Although Martin's voice is slightly bluesier and more nuanced than Osbourne's and Dio's, his contribution breathed new life into the career of the iconic British band.

Bodkin-Bodkin (1972)

Bodkin were a short-lived Scottish quintet who released a superb progressive heavy blues album in 1972, but then vanished without a trace. Related to the heavy, dark style of bands like Nosferatu, Atomic Rooster, and Bram Stoker, their sound was based on energetic rock where powerful guitars and a prominent organ created a very appealing mix of dark rock and heavy blues rock, with progressive elements and a certain psychedelia imbued with passages related to the occult and Satanic, but very far removed from the general (literary) concept of bands like Black Sabbath or Black Widow. Their origins date back to 1971 when keyboardist Doug Rome recruited guitarist Mick Riddle and vocalist Zeik Hume, forming the core of Bodkin. Later, bassist Bill Anderson and drummer Dick Sneddon joined them. With this lineup, they entered the studios of producer Jim West, who also owned the independent record label West. He produced and released their self-titled debut album in mid-1972. This single album features five tracks, beginning with the suite "Three Days After Death", which is divided into two parts. The first is highly dynamic, blending heavy rock sounds with subdued passages of atmospheric organ, while the second is more progressive and rhythmic, with sounds reminiscent of Uriah Heep's hard rock. In a similar vein is "Aunt Mary's Traschan", the longest track, which throughout its development leaves us with that scent of classic Deep Purple, while the remaining tracks, "After Your Lumber" and "Plastic Man", being shorter pieces, have less room for progressive moments and are more focused on heavy rock with sharp guitars that remind us of early Black Sabbath.

Michael Sembello-Bossa Nova Hotel (1983)

Although the name Michael Sembello may not ring a bell for many, this multi-instrumentalist, singer, and songwriter is the author of "Maniac", one of the most famous songs of all time. Years earlier, Sembello had worked with Stevie Wonder, participating in the recording of several of his albums, such as "Fulfillingness' First Finale" and "Songs In The Key Of Life", both from the mid-70s. In the following years, he also actively participated in projects for artists like The Temptation, David Sanborn, Donna Summer, and George Benson, among many others. In 1983, Sembello released his first solo album, "Bossa Nova Hotel", which included "Maniac", a song featured on the soundtrack of the film "Flashdance", reaching number one on the Billboard charts and winning an Academy Award for Best Original Song that year. This song, written in collaboration with Dennis Matkosky, definitively launched Michael Sembello's already prolific career. For the recording of "Bossa Nova Hotel", Sembello assembled a stellar lineup of musicians, including bassist Nathan Watts, drummers Vinnie Colaiuta and Carlos Vega, and keyboardists George Duke and Don Freeman. The album's repertoire is a fusion of synth-pop and smooth jazz with bluesy undertones, featuring not only the exhilarating and infectious "Maniac", but also other undeniably high-quality tracks like "Cadillac" and "Automatic Man". From this point on, Sembello dedicated himself almost exclusively to composing film scores for movies such as "Summer Lovers" (1982), "Gremlins" (1984), "Cocoon" (1985), "The Monster Squad" (1987), and "Independence Day" (1996), in addition to sporadically releasing a series of solo albums that remain largely unknown outside of North America.

Winterhawk-Revival (1982)

Winterhawk's only studio album, "Revival", is considered by many to be one of the most outstanding guitar-driven hard rock albums of all time. This Chicago-based band is frequently compared to the Canadian band Rush due to the similarity in their instrumental patterns and Doug Brown's vocal timbre, which bears a striking resemblance to Geddy Lee's. However, musically, Winterhawk's style leaned towards the primitive roots of American hard rock, unlike the Canadian band, which was more influenced by British blues-rock, a style inherited from bands like Led Zeppelin, and which they already showcased in their first three albums: "Rush", "Fly By Night", and "Caress of Steel". Nevertheless, there is no doubt that the shadow of the Canadian trio is evident in many of their instrumental passages, as demonstrated by the title track, the dynamic "Sanctuary", and even the progressive-tinged hard rock of "Period of Change". On the other hand, “Ace In The Hole” showcases the group’s diversity with a muscular piece of instrumental jazz rock, while the Southern rock track “Can’t See The Forest For The Trees” and especially the legendary jam “Free To Live” demonstrate the dazzling talent of their guitarist Jordan Macarus with his dizzying and arabesque solos on the six strings, making it clear that he is one of the great and at the same time unknown guitarists of seventies hard rock.

George Hatcher Band-Dry Run (1976)

George Hatcher is one of the greatest unsung heroes of southern rock, one of those musicians who exude genius and creativity in equal measure. He had to emigrate to Europe in the mid-70s to achieve some recognition with his band, the George Hatcher Band. Originally from South Carolina, George Hatcher had already explored his musical talent in several local groups that came and went without much fanfare, such as Frantic and Flatrock. In 1974, he decided to try his luck in England, where he formed the short-lived band Stark Naked and the Car Thieves with former Curved Air members Stuart Copeland (later famous for founding The Police) and Darrel Way. They toured the country for a while. After this short-lived venture, he founded the George Hatcher Band, initially enlisting guitarist John Tomas and former Renaissance drummer Terry Slade. Shortly after, bassist Harris Joannou, guitarist Phil Swan, and keyboardist Steve Wren joined, completing the band's lineup. Thanks to the United label, they released their first album, "Dry Run", a work oriented towards southern sounds with hints of boogie rock, as demonstrated in the opening track, "Lucky Guy". Other standout tracks include "All Night Gambler", "Rockin' in the Morning", "First Thing Smoking", and "Good Friend", where we find a style influenced by country rock and southern blues that at times recalls the Allman Brothers Band. During the following years, the band continued to release great works such as "Talkin' Turkey" (1977), "Rich Girl" (1978), and "Coming Home" (1980), all of which received significant media attention, leading to appearances at the Reading Festival and opening slots for artists like AC/DC, Ted Nugent, Aerosmith, and Molly Hatchet in the UK. Back in the United States, in 1985 they released their last album, "Hindsight", resuming activity well into the 1980s. In the 2000s, they played a series of concerts with a completely reformed band, touring with leading bands such as Molly Hatchet, Cheap Trick, Black Oak Arkansas, The Outlaws, Black Sabbath, and Scorpions, or performing as the main act for large audiences of up to 80,000 people alongside the 38 Special, such as the one held in 2002 at the famous Speed ​​Street festival in Charlotte.

The Clash-Sandinista (1980)

In 1980, The Clash released their fifth album, "Sandinista!", a triple album whose cover perfectly reflects the image of its four members with their backs to a wall, as if about to be executed an image that perfectly captures the last vestiges of punk. When it was released, this overwhelming collection of songs surprised no one. A year earlier, they had already done something similar with the double album "London Calling", a work brimming with rock 'n' roll anthems, as evidenced even by its iconic cover, a clear nod to Elvis Presley's famous first album. "Sandinista!" consists of 36 songs, not all of them of exceptional quality, but as is to be expected with such a large number of compositions. Ironically, despite being a deeply anti-American album, "Sandinista!" was a huge commercial success in the United States, thanks in part to the diverse styles and sounds it encompasses, from rap and blues to dub and rock. Stylish tracks as disparate as the rockabilly of "The Leader", the epic ballads of "The Magnificent Seven", and the reggae of "Junco Partner" alternate with truly surprising and high-quality compositions such as "Somebody Got Murdered", "The Call Up", "Washington Bullets", "Police on My Back", and "Rebel Waltz". Even with such a profusion of songs, "Sandinista" is not an easy album; its development is quite erratic and its repertoire is excessively disconcerting and disordered, something very common in the punk philosophy, and this album in particular would stage the biography of an entire generation on the threshold of a new decade and the subsequent decline and fall of a genre that almost at the same time as Macío was devoured by its own image.

Can-Flow Motion (1976)

After nine magnificent albums, some of which are fundamental to the progressive rock genre and krautrock in particular, the German band Can released their tenth album, "Flow Motion", a captivating, intense, and meticulously crafted work with mischievous reggae and funk rhythms and generous doses of rock. From the climactic title track with its seemingly endless guitar solo, to the commercially successful "I Want More", and including the psychedelic reggae "Cascade Waltz", the heavy "Smoke EFS No", and the funky "Babylonian Pearl", Can once again created a solid and fluid work. And while it's true that they moved away from the experimentation and avant-garde of their earlier work, this new release remains a key piece in their extensive discography.

Molly Hatchet-Flirtin´ With Disaster (1979)

Molly Hatchet always represented the heavier side of southern rock, despite being unfairly labeled on more than one occasion as a mere parody of the legendary Lynyrd Skynyrd. With "Flirtin' With Disaster", their second album, they solidified their position as one of the best acts of the second generation of southern rock, producing a monumental work that earned them several platinum records in the North American market. Dusty, boogie-rock-infused songs like "Whiskey Man", "It's All Over Now", "Let The Good Times Roll", and "Boogie No More" are interwoven with the catchy melodies of southern-tinged tracks like "Jukin' City", "Good Rockin' " and "Long Time", and the exhilarating heavy rock anthems like "Flirtin' With Disaster". The enormous success of this album opened doors for them to open concerts throughout the United States and Canada for groups such as AC/DC, Aerosmith, Journey, Judas Priest, Thin Lizzy, UFO, The Who, and Rush, among many others.

J.Geils Band-Live Full House (1972)

This led Peter Wolf on vocals and guitar J.Geils band was a real steamroller of rock'n'roll, soul and a lot of rhythm & blues. The truth is that to begin to taste this excellent band material, I can not think of anything else to start this direct published in the year 72. Previously, they had already released two albums that seem formidable me as essential and this recording was not more than the culmination of a perfect trilogy.
But what we were, which is nothing but this live recording at the Cinderella Ballroom in Detroit on April 72, consisting of only 8 songs, but enough to get into orbit from the first second. It is true that the recording can cross a somewhat shorter in duration, when at that time the band offered their fans directly twice typical fall of ass. But, what the hell !, this work sounds like a runaway locomotive without brakes. All exercise of power, passion and joined the unlimited talent musicians energy off his hat. There is little of their own as they only include tremebundo "Hard driving man", but versions that are marked "First I look at the purse" Smokey Robinson, "Homework" Otis Rush or immeasurable "Serves you right to suffer "by John Lee Hooker, to give some examples, are powerful tools to put this live on an altar reasons. And to show a button relative to the strength and intensity that emanated from these guys live with "Looking for a love" ... overwhelming!


   

Randy Crawford-Best Of (1996)

Thanks to her impeccable and refined voice, Randy Crawford is one of the great soul/jazz and rhythm and blues singers of the late 20th century. Randy rose to fame when she lent her vocals to the song "Street Life" on the album of the same name by the jazz fusion group The Crusaders in the late 1970s. From then on, her collaborations with keyboardist Joe Sample, as well as her solo albums, earned her the reputation of being one of the divas of Black music. Albums such as the exuberant "Secret Combination" (1981), "Nightline" (1983), "Abstract Emotions" (1986), and "Feeling Good" (2006) were chart hits around the world. A highly versatile singer, she has also collaborated with other artists such as former Genesis guitarist Steve Hackett and Australian rocker Rick Springfield, among others. In 1996, his compilation album "Best Of" offered a meticulous review of some of his best songs, an album featuring elegant compositions with grand and magnificent arrangements of refined smooth jazz & soul and R&B such as "Give Me The Night", "Street Life", "Imagine", "Who's Crying Now" or "Knockin' On Heaven's Door".

Bob Marley And The Wailers-Natty Dread (1974)

Although Bob Marley's previous album, "Burnin' ", was released internationally in England and the United States, this would be the first to be distributed globally, introducing him and his band, The Wailers, to the world. That year, Peter Tosh and Bunny Livingston, two of the original members of The Wailers, had left the group due to the pressures of constant touring and their growing popularity. With a reformed lineup featuring guitarist Al Anderson, bassist Aston Barrett, and organist Jean Roussel, Bob Marley undertook the recording of this seventh album, which would achieve unprecedented success in the Jamaican musician's career up to that point. Somewhat softening the political message of his earlier works, Bob Marley approached this project with a profound spiritual and emotional intensity. The powerful rhythm section of drummer Carlton Barrett and his brother, bassist Aston Barrett, along with Anderson's riffs and Marley's subtle guitar work and soulful, African-tinged vocals, drive an album brimming with African-American sounds adorned with reggae rhythms. "Takin' Blues", "Them Belly Full", and "Rebel Music (3 O'Clock Roadblock)" are clearly geared toward that antisocial message, while the rebellious "Lively Up Yourself" and the glorious "No Woman No Cry" complete one of Bob Marley and The Wailers' finest albums.

Thin Lizzy-Bad Reputation (1977)

Thin Lizzy are considered today one of the greatest hard rock bands in history, but this wasn't always the case. For much of their career, they were consistently undervalued and panned by the British press compared to other contemporary bands. Led by Irishman Phil Lynott, their early years saw several lineup changes. From the first lineup, which released their first three albums, featuring guitarist Eric Bell and drummer Brian Downey, along with Lynott on bass and vocals, to their final album released in 1983, illustrious guitarists such as Gary Moore, Scott Gorham, Brian Robertson, Snowy White, John Sykes, and keyboardist Darren Wharton all played with the band. "Bad Reputation" was their eighth album, preceded by the commendable "Johnny the Fox", an album that didn't achieve the same acclaim as its predecessor, "Jailbreak", partly due to its conceptual experimentation. For "Bad Reputation", the band, in addition to Downey and Lynott, featured guitarists Robertson and Gorham, and it was produced by Tony Visconti, who had previously produced David Bowie's "Heroes" album that same year. This is undoubtedly Thin Lizzy's hardest and most aggressive work of their entire career; however, all that power is not without its captivating melodies, as demonstrated by the thrilling "Soldier of Fortune". Besides this iconic song, other highlights include the hypnotic "Southbound", the irresistible "Dancing in the Moonlight" with its pop rhythm, the raw "Bad Reputation", the frenetic "Killer Without a Cause", the mid-tempo "Downtown Sundown", and the enormous "Opium Trail", resulting in an album as brilliant as it is essential within the hard rock genre.

Ted Nugent-Craveman (2002)

In 2002, guitarist Ted Nugent released his first album on the Spitfire label, "Craveman", which follows a stylistic approach very much in line with other groups and artists on the same label. This is the Detroit guitarist's twelfth album, and it represents, to some extent, a return to the raw and visceral sound he had already showcased on his albums in the 1970s. This is undoubtedly his most brutal work, directly focused on modern metal and hardcore. For this project, Ted Nugent opted for a band consisting only of guitar, bass, and drums, featuring musicians Marco Mendoza and Tommy Clufetos. Replete with crackling, razor-sharp riffs, angry vocals, and deafening screams, the result is a radical album of modern and aggressive heavy metal. However, most of the songs included here have an added infectious and catchy quality, while still retaining his characteristic style. Songs like "Crave", "Rawdogs & Warhogs", "Kistrphnky" or "Damned If Ya Do", are clear examples of this updated heavy metal, where Ted Nugent's undeniable talent with the electric guitar stands out.

Nektar-Recycled (1975)

This is another essential album from the British-German group Nektar. "Recycled" is crafted as a concept album that unfolds into two thematically linked suites of classic progressive rock. The lyrics, which accompany the album's themes, are prophetically based on a hypothetical future where recycling becomes the only way of life, and musically it showcases a powerful and energetic symphonic progressive rock, infused with jazz nuances, psychedelia, Latin rhythms, and funk rock. Roye Albrighton's talented guitar work, with its sharp riffs and spacey style, drives much of the album's sound. The first part of the album oscillates between frenetic rhythms and thunderous guitars with brief interludes featuring Larry Fast's unmistakable synthesizer melodies, and a second, more eclectic and somber section. With this album, Nektar followed in the footsteps of unquestionable works within progressive rock, and although they had already reached the highest level of musical inventiveness, combined with concepts that invited reflection due to their intelligent lyrics, this album was their definitive culmination.

Grand Funk Railroad-E Pluribus Funk (1971)

In 1971, Grand Funk were at their peak. Their fourth album, "Survival", released in April of that year, catapulted them to the forefront of American rock. Seven months later, the trio of Mark Farmer (guitars, organ, and vocals), Mel Schacher (bass), and Don Brewer (drums) returned to Cleveland Company Studios in Cleveland to record their fifth album, "E Pluribus Funk". Produced by Terry Knight, it continued their triumphant run with another anthological work of energetic hard rock. However, this new album already hinted at more melodic nuances, with the band taking a step back from the accelerator pedal of its frenetic songs. Here we find one of Grand Funk's anthems, the galloping "Footstompin' Music", a track that navigates between hard rock and psychedelia. As a counterpoint to this appears the soul rock "People, Let's Stop The War", a track with a clear allusion to the Vietnam War, followed by the frenetic with a funk rhythm "Upsetter", the heavy and forceful "I Come Tumblin' " or the dark "Save The Land" which together with the epic with progressive touches "Loneliness" is the repertoire of a superb work of the best hard rock to come out of the United States in the 70s.

Hawkwind-Warrior On The Edge Of Time (1975)

With their fifth album, Hawkwind continued their progressive and lysergic journey, which they had begun with their previous album, "Hall of the Mountain Grill". "Warrior on the Edge of Time" brought together everything that had captivated Hawkwind up to that point. It's all present here, brimming with pure (and perhaps even exaggerated) poetic lyrics, tracks overflowing with flutes, echoes, saxophones, sharp, lysergic guitars, hazy bass lines, and diverse electronica with overwhelming synthesizers and mellotrons everywhere. It's an astonishing concept album based on tales of wizards and space wars, all bathed in psychedelic music. But in addition to the band's ever-intricate style, there were their frequent lineup changes, and this album was no exception. Keyboardist Del Dettmar left, and a second drummer, Alan Powell, joined, a factor reflected in the powerful and varied percussion sounds throughout much of the album. The opening track, indebted to the best of krautrock, “Assault & Battery/ The Golden Void”, immerses us in a complex composition with a stormy barrage of mellotron sounds combined with a heavy rhythm featuring flutes, organs, and a powerful bass line. “The Wizard Blew His Horn” is essentially an introductory piece by science fiction writer Moorlock, set against a backdrop of strident, surreal sounds, and serves as a prelude to the hypnotic, spacey “Opa-Loka”. This is followed by the frenetic, progressive “Magnu”, with its excellent riffs and powerful percussion, leading into the more spacey and electronic “Spiral Galaxy 28948”. The album concludes with the more purely rock tracks “Dying Seas” and “Kings of Speed.” “Warrior on the Edge of Time” is considered one of Hawkwind’s greatest contributions to history and a minor masterpiece of space rock. From here on, and following the trail of continuous defections, bassist Lemmy Kilmister would leave the band (he was actually expelled for drug smuggling and for his clashes with the rest of the members over musical differences), to later found the iconic heavy metal band, Motorhead.

Nazareth-No Mean City (1979)

In the mid-seventies, Nazareth's sound shifted towards a more melodic direction, which diminished their credibility within the hard rock community and among their own fans. Therefore, with "Expect No Mercy" (1977), they returned to a harder sound with an album packed with powerful hard rock tracks. A year later, they repeated the formula with "No Mean City", the band's tenth album. By then, the Scottish band had expanded with the addition of guitarist Zal Cleminson, formerly of The Sensational Alex Harvey Band, adding greater depth to Nazareth's unmistakable style. Replete with memorable moments like the irresistible hard rock track “Simple Solution”, which structurally recalls “Free Wheeler” from the legendary “Loud ’n’ Proud” of years past, while the energetic “Just To Get Into It” and the dark and heavy “Claim To Fame” once again leave that lingering taste of the band's powerful and forceful hard rock. Meanwhile, the rhythmic “No Mean City (Parts 1 & 2)” brings us back to Nazareth at their most dynamic. On the opposite end of the spectrum are “May The Sunshine” and “Star”, tracks with folk influences that alternate acoustic sounds with catchy choruses. Despite the positive reception from their fans, the band would choose with the following album "Malice In Wonderland" to return to playing with AOR sounds, combining the sound of melodic rock with powerful hard rock tracks, which meant acceptance or resignation (depending on how you look at it), from some sectors of their large legion of followers.

Tangerine Dream-Hyperborea (1983)

This was the last album of Tangerine Dream's most creative period and at the same time the last under Richard Branson's own label, Virgin Records. Looking back, the productivity of the band led by Edgar Froese with Virgin Records had already yielded some of their best work, such as the successful "Phaedra", the dynamic electro-psych of "Rubycon", the grandiose "Stratosfear" the orthodox "Cyclone", and the progressive rock-inspired "Force Majeure". In 1983, Froese wa,s still accompanied by Christopher Franke, and for this album, Johannes Schmoelling joined them, bringing a different perspective to the electronic samplers and repetitive rhythmic sequences. Placing greater emphasis on the electronic aspect of the music, the trio maintained their melodic sensibility, exploring the fusion of Eastern sounds and modern electronica. "Hyperborea" presents an overview of a fascinating and mysterious electronic journey with distinct tracks, such as the hypnotic "No Mans Land", the dark and atmospheric "Hyperborea", and the elaborate "Sphynx Lightning", the latter of which partially recaptures their signature sound. from the German group. In short, with this fifteenth studio album, TD offered another of their most sophisticated and avant-garde musical visions of krautrock, in its electronic and spacey form.

Toto-Hydra (1979)

After the enormous success of Toto's self-titled debut album, the American band decided to continue exploring new sounds and avoid becoming stuck in melodic rock geared towards radio hits. Unlike their debut, on their second full-length album, keyboardist David Paich didn't unilaterally take the reins of songwriting, as he had on their first album. Here, of the eight tracks, four are credited to the rest of the band, while Paich himself wrote the remaining four and co-wrote the other four. Due to David Paich's affinity for progressive rock, "Hydra" features more complex and ambitious tracks, such as the opening, progressive title track, "Hydra", which culminates in the following track, "St. George and the Dragon", in a kind of small conceptual suite. With “99”, the band returns to its comfort zone: melodic and addictive AOR, closing the first side with the epic and dynamic “Lorraine”. For the second side of the album, the band reserves its more rock-oriented tracks, such as “All Us Boys”, a hybrid of hard rock and melodic rock, the powerful “Mama”, the potent “White Sister”, and the ballad “A Secret Love”. These tracks bring to a close a release that, despite being musically far superior, received less commercial success than their debut. Even so, “Hydra” would reach high positions on the charts, achieving both gold and platinum status.

Birth Control-Backdoor Possibilities (1976)

"Backdoor Possibilities" was the sixth album by the German band Birth Control, considered one of their most ambitious works, though somewhat overshadowed by the success of its predecessor, "Plastic People", released the previous year. Conceived as a concept album based on the story of a powerful corporate executive trapped by his own success, who ultimately reflects on his life and commits suicide on the subway, it maintains the band's musical philosophy, fusing rock with jazz and symphonic passages. Featuring the same lineup as the previous album, with the addition of vocalist Bernd Noske, this new release showcases the band's brilliant compositional creativity, along with superb arrangements and excellent musicianship, including impressive instrumental passages. The album is mainly divided into three extensive suites "One first of April", Beedeepees and "La Cigüena de Zaragoza", where they show that characteristic humor inherited from Frank Zappa and those classic arrangements influenced by Gentle Giant, while their hard rock roots appear in the melodic "No Time to Die".