Orang-Utan-Orang-Utan (1970)

Orang-Utan is another of those obscure British bands from the early 70s with a story as bizarre as it is unheard of. Originally called Hunter, this band had built a considerable reputation on the pub and gig circuit in North London in the late 60s. Their lineup consisted of Terry Clark (vocals), Mick Clarke (guitar), Sid Fairman (guitar), Paul Roberts (bass), and Jeff Seopardie (drums). With a style that straddled acid rock and heavy rock, tinged with the prevailing psychedelia of the time, following in the footsteps of leading bands like The Jimi Hendrix Experience, Led Zeppelin, and Cream, they soon attracted attention for their undeniable talent and skill. In 1970, they managed to record a self-financed album, produced by Roy Thomas Baker, a seasoned producer who would later become famous as the sound engineer for albums by Queen, Journey, and Hawkwind, among many others. Once the album was completed, and while waiting for a record deal, the original master tapes were stored in the recording studios for later official release. However, shortly afterward, the original tapes were stolen from the studios where they were stored and ended up in the hands of a man named Adrian Miller, who claimed credit for the album's production and sold the rights to Bell Records for release. Before doing so, he even changed the band's name to Orang-Utan and designed a cover that, frankly, looks like the work of an elementary school child. Shortly after, the band accidentally discovered that their album had been released without their consent and, to make matters worse, under a different name. This strange episode precipitated the group's dissolution shortly afterward, as they received no royalties from the released album and were financially driven to bankruptcy after investing all their money in its recording. This unique and unusual album was released only in the German and American markets, another misfortune for the group, as they couldn't even see it released in their home country. This fact also hampered their attempts to claim the rights to the released material. Musically, this obscure and lost album showcases the great talent of vocalist Clarke, fabulous guitar riffs, and brilliant and effective compositions, as demonstrated in the powerful "I Can See Inside Your Head", with its late-60s psychedelic flavor, the hard blues rock of "Slipping Away", the Zeppelin-esque "Chocolate Piano", the dusty, Southern-rooted "Fly Me High" and "Country Hike", and the experimental "Magic Playground".

Camel-I Can See Your House From Here (1979)

As the 1970s drew to a close, progressive rock wasn't at its peak. Other styles like new wave, punk, disco, and heavy metal were booming, so many of the leading bands in the symphonic genre tried to modernize their style towards more commercial sounds without falling into mediocrity or losing an ounce of their own identity. Camel was no exception to this rule, and with their seventh album, "I Can See Your House From Here", they reinvented themselves by brilliantly blending commercial appeal and virtuosity. By this point, the band had undergone several lineup changes. Pete Bardens and Richard Sinclair were no longer with the band, replaced by keyboardists Kit Watkins and Jan Schelhaas, and bassist Colin Bass, while guitarist Andy Latimer and drummer Andy Ward completed this new lineup. Produced by Rupert Hine, the album also featured collaborations with other musicians, including regular collaborator Mel Collins on saxophone and Phil Collins on percussion. Leaving behind the jazz and Canterbury sounds of yesteryear, the melodies here become more catchy, with great, highly addictive choruses, while retaining the excellent contributions of Latimer's guitar and the superb keyboards of Watkins and Schelhaas. Infectious tracks like "Your Love Is Strange Than Mine" and "Neon Magic" contrast with the frenetic "Wait", the more complex "Survival/Hymn to Her", and the expansive and progressive "Ice", the latter a clear nod to their glorious past. Despite its great diversity and appealing content, the album was rejected by a large part of their more purist fans, who accused them of selling out to the commercial soft pop sounds that were so fashionable in those final years of the 70s.

Freddie Hubbard-First Light (1971)

Freddie Hubbard is considered one of the most important trumpeters in jazz and a major rival to Miles Davis's dominance. His unique style, his ability to fuse genres, and his participation in key jazz movements, such as hard bop, free jazz, and jazz fusion, have established him as a fundamental figure in the history of jazz. Born in 1938, Hubbard was influenced by bebop trumpeters of the 1950s, such as Clifford Brown. In his early career, he played in orchestras alongside Wes Montgomery, Eric Dolphy, Sonny Rollins, Wayne Shorter, and Art Blakey. During the late 1950s and 1960s, Hubbard participated in some of the greatest recordings in jazz history. Albums like Eric Dolphy's "Out to Lunch", Herbie Hancock's "Maiden Voyage", and John Coltrane's "Ascension" are just a few of those legendary recordings. In the mid-sixties and throughout the seventies, Hubbard led his own band, recording some twenty albums, including notable works such as "Backslash", "High Blues Pressure", "Sing Me A Song Of Songmy", "Redclay", "First Light", and "Super Blue" albums that showcased his exploration of funk, soul, and rock influences. Over the next three decades, he continued to refine his modern jazz style, releasing countless albums until 2008, when he released "On The Real Side". That same year, Hubbard passed away at the age of 70 from a heart attack in Los Angeles.

The Eagles-On The Border (1974)

With their third album, The Eagles wanted to move away from their well-known folk and country influences and delve into more rock-oriented territory; however, the final result was a hybrid of all those styles. While their previous, heavily country-influenced album, "Desperado", showcased their more acoustic side with tracks like the title track, "Twenty-One", "Tequila Sunrise", and "Saturday Night", they also began to show glimpses of their rock side with "Out of Control" and the melodic "Certain Kind of Fool" and "Outlaw Man". For this third album, "On the Border", the band opted for a new producer, replacing the more refined and melodic Glyn Johns with the energetic Bill Szymczyk, although Johns also contributed to the production in a secondary capacity. All of this is evident from the start with the powerful country-rock tracks “Already Gone”, “On The Border”, “James Dean”, and “Good Day in Hell”, which provide the perfect counterpoint and balance to the more melodic and acoustic “Midnight Flyer”, “My Man”, “Ol '55”, and “The Best of My Love”, or the mid-tempo “Is It True” and “You Never Cry Like a Lover”. This progression toward a more rock-oriented sound was further solidified when the album surpassed its predecessor, “Desperado”, on the charts, matching its sales with over two million copies sold in the United States alone.

Thin Lizzy-Fighting (1975)

In 1975, Thin Lizzy focused exclusively on energetic and powerful hard rock, abandoning their eclectic funk rock and blues rock style with the album "Fighting". This album solidified their place among British, European, and North American audiences, thus beginning their golden era. On this fifth album, the band, led by bassist and singer Phil Lynott and supported by guitarists Scott Gorhan and Brian Robertson, along with drummer Brian Downey, crafted what would soon become the distinctive sound of the iconic Irish group. Songs like "Rosalie", a brilliant cover of Bob Seger's original, and thunderous hard rock anthems such as "For Those Who Love To Live", "Suicide", "Fighting My Way Back", and "Ballad of a Hard Man", share the stage with more melodic tracks like "Wild One", "King's Vengeance", and "Spirit Slips Away", all sharing a clear common thread; the powerful sound of Gorham and Robertson's twin guitars.

Led Zeppelin-The Song Remains The Same (1976)

“The Song Remains the Same” was for many years Led Zeppelin’s only official live recording, until the release many years later of the live album “BBC Sessions” (1997) and the subsequent albums “How the West Was Won” (2003) and “Celebration Day” (2012). But going back a bit in history, we find ourselves in the summer of 1975, just as Led Zeppelin were about to begin their world tour promoting their double album “Physical Graffiti”. Tragedy struck: their singer, Robert Plant, and his wife were involved in a serious car accident on the Greek island of Rhodes, where they were spending a few days on vacation, an accident that nearly cost them their lives. That accident and subsequent recovery led to the cancellation of the tour and a long delay of almost a year. Even with Plant still convalescing, recording sessions began for the next album, "Presence", which would be released in mid-1976. Taking advantage of this interruption, Atlantic Records decided to release "The Songs Remain the Same", a live album and film recorded three years earlier, from July 27th to 29th, 1973, at Madison Square Garden in New York City. These shows were part of the tour following the album "Houses of the Holy". However, the laborious process of mixing and recording in the studios delayed its release until just a few months after the release of "Presence". Another reason for the delay was Jimmy Page's dissatisfaction with the quality of the tapes recorded that night, which he felt were not suitable for release. Leaving aside the film, which is essentially concert footage plus an introduction featuring the four band members in various situations from their private and everyday lives, the album contains memorable moments such as the 27-minute "Dazed and Confused", which, given its considerable length, becomes quite tedious at times, or the thunderous "Rock and Roll" and "Whole Lotta Love". Also noteworthy are the classic "No Quarter", the bluesy "Since I've Been Loving You", and the expansive "The Rain Song", not to mention John Bonham's nearly ten-minute drum solo on "Moby Dick". But it is undoubtedly the extended version of "Stairway to Heaven" that stands out as the album's high point, where all the band members deliver outstanding and flawless performances. The album's subsequent reception was a number one hit on the British charts and a number two spot on the Billboard charts, in addition to numerous platinum records for its worldwide sales.

Rush-Signals (1982)

After eight studio albums and two live albums, synthesizers take center stage for the first time, overshadowing guitars on a Rush album, even replacing them in much of this ninth work by the Canadians. On “Signals”, Neil Peart’s signature, immeasurable drumming is still present, but progressive rock and heavy guitars have almost completely disappeared, shifting the style towards new wave sounds, albeit in a rather subtle and complex way, with those intricate, high-class arrangements and the trio’s established personality. Opening the album is one of the best songs of the era, “Subdivisions”, a track that enjoyed considerable chart success and is a true classic in their repertoire, especially its keyboard intro. Also noteworthy are some tracks revived more recently for live performances, such as “The Analog Kid” and “The Weapon”, the latter being the third installment of the “Fear” trilogy. The rest of the album revolves around technological advancements with a modern and futuristic feel, reflected in tracks like "Digital Man", "Chemistry", and "New World Man". The album closes with the fantastic "Losing It", featuring Ben Mink with a spectacular electric violin solo, and "Countdown", which attempts to recreate the experience of a space launch and brings to a close an album that would keep them at the forefront of the rock world, despite the radical stylistic shift the band introduced in this commendable new release, following their album, "Moving Pictures".

Eloy-Ocean (1977)

Eloy is perhaps the best band of German progressive rock, whose musical style includes symphonic rock and space rock, the latter with a higher prevalence in previous albums. Despite their nationality and period of activity, the band is not generally considered krautrock due to their sound, which has much more in common with English progressive rock bands like Pink Floyd, King Crimson and Yes. Moreover, the band that was always considered by the world music critics as the "German Floyd" because of its sound parallel to that of the British in many moments. It is true that sometimes sound similar, but the Germans have their unique sound, mixing rock with symphonic air space memorable.
"Ocean" is the sixth album released by the Germans. It was launched in 1977 and is considered by many their best album, a classic of the genre in Germany. 200,000 copies were sold, making it better than Genesis or Queen in the German charts at that time.

Iron Maiden-The Final Frontier (2010)

"The Final Frontier" is another monumental release from Iron Maiden, an album of biblical proportions in its musical scope, perfectly reflecting the grandeur of this legendary British band. On this occasion, the sextet delivers a sublime work of elaborate progressive structures beneath that mantle of epic and visceral heavy metal, clearly reflected in the cover art, which depicts Eddie evolving into a kind of alien extraterrestrial in a devastated and hostile surreal landscape. These apocalyptic sensations are reflected in tremendously heavy and decadent tracks like the sinister "Satellite 15..." or the experimental title track. Following a similar stylistic pattern are the emotive "Coming Home", the somber "Mother of Mercy", and the refined "Isle of Avalon" and "Starblind". The effective and tremendously vigorous "The Talisman", "The Man Who Would Be King" and "When The Wild Wind Blows", only perpetuate the impetuous tempest of this superb album from one of the greatest bands in the history of heavy metal.

Beckett-Beckett (1974)

This is one of the holy grails of progressive rock, an album as fascinating as it is monumental, from one of the most underrated and unknown bands in the rock music scene, and progressive rock in particular. We've mentioned before that almost everything has already been invented, and that somehow, at some point in history, someone conceived and created (obviously in a more rudimentary way and depending on the technological advancements of the time) something that seems novel today and is attributed to people many years later. This is precisely what happened with Beckett, a formidable band whose spectacular music a hybrid of the progressive pop of The Alan Parsons Project, with its spectacular orchestral arrangements and the dynamic heavy rock riffs that Iron Maiden would later exploit made them ahead of their time and one of the quintessential cult bands. To give a little background, this band was formed in Newcastle in the mid-70s by former Yellow guitarist Ken Mountain, guitarist Ian Murray (brother of Dave Murray of Iron Maiden), bassist Frankie Gibbon, the fantastic vocalist Terry Wilson-Slesser, and drummer Keith Fisher. However, just before recording this single album, Ian Murray left and was replaced by guitarist Arthur Ramm. The album was produced by none other than Family frontman Roger Chapman and released by Island Records, the British label specializing in avant-garde sounds. This self-titled solo album is one of the greatest and most unjustly overlooked records on any official rock music website today, yet it is highly valued by music lovers and collectors of rarities from 1970s progressive rock. This masterpiece begins with the epic intro "Once Upon A Time…The End", which leads into the following track, "Rolling Thunder", where the complex arrangements are reminiscent of what The Alan Parsons Project would later create. The beautiful "Rainclouds" is the prelude to "Life's Shadow", a superb track that Iron Maiden would later borrow musical passages from in "The Number of the Beast", something they would also do with "A Rainbow's Gold" in their song "2 Minutes to Midnight" from their 1984 album "Powerslave". The rest of the album maintains an irresistible blend of complex and sophisticated rock, captivating melodies with rich guitar and mellotron instrumentation, and Wilson-Slesser's immeasurable vocals. Despite its enormous quality, the album went unnoticed, selling little more than a hundred copies. Given the commercial failure, the band dissolved shortly afterwards, with different professional paths for its members. Terry Wilson-Slesser had a more fruitful career, playing alongside Paul Kossoff in the band Back Street Crawler, as an occasional singer in the Michael Schenker Group, and was even a candidate to replace the deceased Bon Scott in AC/DC in the late seventies.

Pat Metheny Group-Pat Metheny Group (1978)

In 1978, Pat Metheny released his first album with his band, simply titled "Pat Metheny Group". On this debut, the excellent American guitarist simply plays guitar in the old-fashioned way, without the technological flourishes that would later appear, such as synthesized guitars, 15-string harps, or the distortion of pure rock riffs, not to mention the Latin percussion and those soft, whispering vocals. Some of the tracks on this first album display a clear symphonic architecture, as is the case with "San Lorenzo" and "Phade Dance", two of the greatest compositions of Pat Metheny's entire career. Besides Metheny's guitar, Mark Egan's languid bass, Dan Gottlieb's subtle drumming, and Lyle Mays' sublime synthesizers and grand piano are also particularly noteworthy. The subtle melodies of jazz fusion tracks like "Jaco", "Aprilwind", and "April Joy" also showcase the melodic and intimate sound that permeates this album. As a counterpoint to these, "Lone Jack" emerges as the most rhythmic and energetic track on the entire album. A well-deserved fifth place on the Billboard Jazz Albums chart would be the prelude to a series of memorable albums that would follow in subsequent years, such as "American Garage" (1979), "Offramp" (1982), "First Circle" (1984), "Still Life (Talking)" (1987), and "Letter From Home" (1989).

New Order-Substance (1987)

When Ian Curtis, the frontman of Joy Division, committed suicide in 1980, the remaining members of the band decided to continue with the project. However, they would do so under the new name of New Order, for which Peter Hook, Stephen Morris, and Bernard Sumner recruited keyboardist and guitarist Gillian Gilbert. With their debut album, "Movement", New Order followed a similar path to their previous work, but delved deeper into danceable synthpop and indie rock, gradually moving away from the somber and decadent post-punk sounds of Joy Division. With their subsequent albums, the group showcased a more colorful and carefree side, navigating the waters of alternative pop-rock and dance music. Albums like "Corruption & Lies" (1983), "Low-Life" (1985), "Brotherhood" (1985), and "Technique" (1989) are influenced by the acid house sounds so popular in Manchester at the time, some remnants of their early post-punk, and the synth-pop synthesizers. At the beginning of the 1990s, New Order achieved their only number one single with "World in Motion", which was chosen as the official song of the FIFA World Cup in England. "Substance", released in 1987, compiles all the band's singles up to that point and became their best-selling and most successful album.

Navasota-Rootin´ (1972)

Navasota was a short-lived Southern rock band from Texas, formed in the early 1970s. In 1972, they released their only LP on ABC Records. On this single album, the Texan group showcased their clear influences, ranging from the powerful rock of Grand Funk and the rock and roll of the Rolling Stones to the roots rock of Creedence Clearwater Revival, all seasoned with the gritty sounds of Southern rock. The lineup consisted of guitarists Steve Log and Ray Pawlik, singer Dicky Sony, drummer Lindsey Minter, and bassist Paul Minter. Songs like “That’s how it is (playin’ in a rock’n’roll band)”, “Western boots”, the country rock “Ballad of a young man”, the carefree “Canyon ladies” or the Howlin’ Wolf cover “I’m leavin’”, are part of a great album that went totally unnoticed, due among other things to the large number of high quality records that flooded rock in those years.

Pat Metheny Group-Speaking Of Now (2002)

"Speaking Of Now" contains all the ingredients that have made Pat Metheny one of the great avant-garde musicians of jazz. Here we find everything from futuristic tales of space travel to his haunting pastoral music, along with a fusion of a wide variety of styles blended and embellished with his warm jazz sound. Featuring some of his most iconic band members Lyle Mays (keyboards) and Steve Rodby (bass) Metheny enlisted bassist Richard Bona and percussionist Antonio Sánchez, as well as trumpeter Cuong Vu and renowned percussionist Dave Samuels. Every groove of this release is filled with a wealth of exquisitely structured, memorable melodies, where Metheny's breathtaking guitar solos and Mays's keyboard work leave the listener speechless. Cuts of pure bebop jazz like "As It Is", romantic distant canvases like "Proof", the vocal interludes of Gregorian chant in "Another Life", classic pieces of contemporary jazz like "A Place in the World", and delicate and discreet epics of refined and elegant jazz like "Wherever You Go", are the perfect synthesis of what this, the twenty-sixth album by the American musician, has created during the last 40 years of an exceptional professional career, leaving for posterity some of the most emblematic albums of jazz fusion.

Grateful Dead-Workingman´s Dead (1970)

The Grateful Dead's fourth studio album, "Workingman's Dead" (1970), marked a stylistic shift from the psychedelia of their earlier work, embracing American roots sounds like folk and country. This album also showcased the songwriting talent of the duo Jerry Garcia and Robert Hunter. Echoes of the folk-rock of Crosby, Stills, Nash & Young at the time appear in songs like "Uncle John's Band", a memorable composition brimming with acoustic guitars, rich vocal harmonies, and a rustic, traditional feel. Similar paths are followed by other tracks such as "Casey Jones", "High Time", "Dire Wolf", and "Black Peter", while country rock makes an appearance in "New Speedway", and the psychedelic rock of yesteryear resurfaces in "Easy Wind", the only song that hints at their earlier, more vibrant sound.

Yes-Big Generator (1987)

Following their successful album "90125" and subsequent world tour, Yes returned to the studio to record their next album, "Big Generator", a work that continued the symphonic pop style of their previous release. For this recording, the band retained the same lineup, led by Jon Anderson (vocals), Alan White (drums), and Chris Squire (bass), the only three remaining members of Yes's "classic" lineup, along with Trevor Rabin (guitars, keyboards, and production) and Tony Kaye (keyboards), the latter being one of the group's founding members from the late 1960s. Despite containing a repertoire very similar to the aforementioned "90125", this "Big Generator" is a more solid and consistent work with some reminiscences of the progressive rock of the group's golden age in the 70s. Songs like "Final Eyes", "Shoot High Aim Love", "Holy Lamb" or "I'm Running", recover some of that progressive essence, while others like "Love Will Find A Way" or "Rhythm Of Love" show the more commercial side of the group.

Pat Metheny Group-Travels (1983)

In 1982, the contract between the Pat Metheny Group and the German record label ECM was about to expire; in fact, it would end two years later. However, the contract stipulated that the American musician still had three more works to deliver to his label. A year later, Metheny wanted to capture his live shows on an official recording, so it was decided to release the double live album "Travels" in 1983. This double album was recorded during the second half of 1982 on the North American tour following the album "Offramp", in the cities of Philadelphia, Sacramento, and Dallas. With this release, Pat Metheny fulfilled one of the recordings he owed to ECM, and at the same time, ensured a brilliant epilogue to his time with the German label. For this tour, Pat Metheny had expanded his band with Brazilian percussionist and singer Naná Vasconcelos, whose presence lent the songs a greater atmospheric dimension, thanks to his captivating backing vocals and subtle Latin touch in the percussion. The rest of the band consisted of his regular members, including keyboardist and Pat Metheny's right-hand man, Lyle Mays, drummer Danny Gottlieb, and bassist Steve Rodby, while Pat himself handled acoustic and electric guitars and guitar synthesizer. At that time, Pat Metheny had not yet steered his music towards rock influences, although some of his earlier work contained progressive compositions, always within a jazz framework. Tracks like “Phase Dance” and “San Lorenzo”, however, are imbued with a truly symphonic and progressive grandeur, where, as usual, Pat Metheny pours all his feeling into his memorable solos, all accompanied by passionate piano and synthesizer melodies, brilliantly executed by Mays. “Travels” is full of enchanting moments, as demonstrated by the dramatic and epic “As Falls Wichita Falls, So Falls Wichita Falls”. As a counterpoint to all of this, the closest to rock music is found in the opening track, “Are You Going With Me?”, one of Pat Metheny’s most charismatic songs, with its famous guitar synthesizer solo. With “Travels”, Pat Metheny would not achieve the number one ranking of his previous “Offramp” on the Billboard Jazz charts, achieving “only” a commendable eighth place, however he would repeat the top award for the best Jazz Fusion performance of the year in 1984 at the Grammy Awards.

Santana-Guitar Heaven...The Greatest Guitar Classics of All Time (2010)

For his twenty-first album, Carlos Santana decided to indulge his nostalgic side, crafting a repertoire of all-time blues and rock classics. One of the album's strengths is the wide array of singers he features, all of them renowned talents such as Chris Cornell, Rob Thomas, Chris Daughtry, Joe Cocker, Johnny Lang, and Gavin Rossdale. In addition to these, Santana employs a vast array of collaborating musicians, including Dennis Chambers on drums, Ray Manzarek on organ, and Benny Rietveld on bass. The 14 tracks on this album sound dynamic and modern, with numerous surprising arrangements, such as the use of cello and harpsichord in George Harrison's classic "While My Guitar Gently Weeps". Santana's usual fiery guitar leaves its mark on the exciting version of Led Zeppelin's "Whole Lotta Love", in the duality with the organ in "The Riders on The Storm" by the indomitable The Doors, in the super contagious version of "Smoke on the Water" by Deep Purple, in the psychedelic with Latin touches "Sunshine Of Your Love" by Cream or in the fantastic "Little Wing" by Jimi Hendrix with the legendary Joe Cocker on vocals.

Rory Gallagher-Tattoo (1973)

Rory Gallagher is considered one of rock's most sincere and honest guitarists, with influences deeply rooted in folk and blues. For two consecutive decades, he maintained a vibrant career, exploring other styles such as hard rock, rhythm and blues, and jazz. With his fourth studio album, this distinguished Irishman received the award bestowed by the prestigious Melody Maker magazine as the best guitarist in the world in 1973. Surrounded by his regular band, composed of Gerry McAvoy (bass), Lou Martin (keyboards), and Rod de'Ath (drums), the guitarist utilizes an arsenal of instruments, starting with his iconic Fender Stratocaster, as well as acoustic guitars, harmonica, saxophone, mandolin, and bouzouki. In this release, the musician delves into different genres with his usual rock background, showcasing some of his most emblematic songs such as "Tattoo'd Lady", "Cradle Rock", "A Million Miles Away", "Who's That Coming" or "Just a Little Bit".

Dr.John-In The Right Place (1973)

Malcolm John Rebennack, better known as Dr. John, was one of the great pioneers of the New Orleans sound, steeped in jazz, blues, and the ancestral music of Mardi Gras, the city's famous Carnival. From a young age, his passion for these genres led him to join local bands and work as part of the backing group for such prestigious musicians as Lloyd Price. For a few years, the guitar was his primary instrument, but due to an accident during a fight, he lost part of one of his fingers. From then on, he dedicated himself to playing the piano, thus beginning an extensive and fruitful career as a session musician. He also launched his solo career in the mid-1960s, right in the midst of the burgeoning psychedelic genre. It wasn't until the end of that decade that his first album, "Gris-Gris", arrived, followed by other interesting records such as "Babylon" and "The Sun", among other works brimming with Creole, R&B, and jazz sounds, all infused with rock and roll. In 1973 came one of his best works, "In The Right Place", his sixth album, which brought him his greatest commercial success, remaining on the Billboard charts for almost eight consecutive months. Recorded in Florida and produced by another giant of the New Orleans scene, Allen Toussaint, it featured collaborations with some of the most respected musicians in the American music scene, including Art Neville, Joseph Modeliste, David Spinozza, Leo Nocentelli, Ralph McDonald, and George Porter. Based on his unmistakable sound, “In The Right Place” is a journey into the realms of R&B, world music, and jazz, featuring irresistible tracks like the carnival-like “Same Old Same Old”, the driving rhythm of “Right Place, Wrong Time”, the laid-back “Just The Same”, the swampy “Traveling Mood”, the funky “Peace Brother Peace”, and the jazzy “Such A Night”. However, John also incorporates elements of other recognizable sounds within traditional American music, such as soul in “Shoo Fly Marches On” and gospel in “I Been Hoodoo”. “In The Right Place” was one of his biggest hits, though the only one to reach the top 10. Throughout his career and countless collaborations, he won an impressive six Grammy Awards. Among many others, that list of collaborations includes The Allman Brothers Band, The Rolling Stones, Eric Clapton, Van Morrison, The Band, Bob Seger, and B.B. King.

Heart-Greatest Hits/Live (1980)

Heart are one of the greatest American hard rock and melodic rock bands, having released a series of celebrated albums over the last five decades, some of them huge worldwide hits. From their first album, "Dreamboat Annie" (1976), this Seattle-based band showcased their raw and powerful rock sound, heavily influenced by Led Zeppelin. However, the fact that they were fronted by two women (sisters Nancy and Ann Wilson) made them different and unique at the time. The rest of the band was marked by a constant influx and departure of musicians, including guitarists Howard Leese, Roger Fisher, and Gilby Clarke, among many others. After “Dreamboat Annie”, came the more folk-rock-oriented “Little Queen” (1977), the intense “Dog & Butterfly” (1978), where they combined the raw energy of their powerful rock with acoustic sensitivity, and the experimental “Bebe Le Strange” (1980), where they attempted to blend the sounds of the new musical trends of the 1980s, but with a mediocre and rather predictable result. Towards the end of 1980, the group released “Greatest Hits/Live”, a double album composed of a combination of the greatest hits from their first five albums, with live tracks and new compositions. Comprised of energetic rock tracks like “Bebe Le Strange”, “Barracuda”, and “Mistral Wind”, along with a cover of Led Zeppelin’s “Rock and Roll”, the album is interspersed with more melodic songs such as “Straight On”, “Even It Up”, “Crazy On You”, and “Magic Man”, as well as ballads and acoustic pieces like “Sweet Darlin’ ”, “Dreamboat Annie”, and “Dog and Butterfly”. It even includes more avant-garde and experimental tracks like “Hit Single” and “Strange Euphoria”. The band that recorded this album consisted of Ann Wilson and Nancy Wilson on vocals, drummer Michael DeRosier, guitarists Howard Leese and Roger Fisher, and bassist Steve Fossen. This double album was Heart’s third biggest hit to date in the North American market, reaching number thirteen on the Billboard charts and achieving multiple platinum records for its enormous sales.

Little River Band-Get Lucky (1990)

The Little River Band is one of the most famous Australian rock bands, achieving resounding worldwide success in the 1970s with their style, a blend of melodic folk and country rock from American bands like America, Poco, and The Eagles. Their first six albums topped the charts in a dozen countries around the world, beginning with the United States, where they earned gold and platinum records and sold over 30 million copies. Albums like "Diamantina Cocktail" (1977), "Sleeper Catcher" (1978), and "First Under the Wire" (1979) propelled them to the pinnacle of the rock world, to the point that Capitol Records itself signed them to a multi-million dollar contract for ten albums, which were released throughout the late seventies and much of the eighties. Under the wing of the legendary American label, a series of moderately successful albums followed, such as "Time Exposure" (1981), "Playing to Win" (1985), and "No Reins" (1988). Throughout those years, the band experienced a constant turnover of members, but this never diminished the group's immense quality. After their time with Capitol Records ended, the Australian group signed with MCA, releasing the albums "Moonson" (1988) and "Get Lucky" (1990), works that restored their former prestige and success. On "Get Lucky," they demonstrated that they could still produce great songs after fifteen years in the business. However, these songs leaned more towards melodic rock, hardening their style at the expense of folk and country, but always retaining the exceptional vocal melodies so characteristic of the Little River Band. Excellent tracks like the irresistible "If I Get Lucky", "There's Not Another You" or "Two Emotions", contrast with those closer to the group's initial style such as "Every Time I Turn Around", "I Dream Alone", "As Long I'm Alive" or "Listen To Your Heart", while the remarkable "Second Wind" or "Time & Eternity", show the most energetic side of the band with those sharp rock guitar riffs.

Spirogyra-Bells, Boots And Shambles (1973)

Another of the great prog-folk bands is Spirogyra (not to be confused with the American jazz fusion band Spyro Gyra). Although many categorized them as part of the Canterbury sound, they were never officially classified within that genre. Formed in 1967 in Bolton, in northwest England, their original lineup consisted of guitarist, composer, and singer Martin Cockerham, singer Barbara Gaskin, bassist Steve Borill, and violinist Julian Cusak, in addition to drummer Dave Mattacks, who would appear on all their albums as a guest musician. Their debut album, "St. Radiguns". was released in 1971 and achieved considerable success in the British folk scene. It featured a repertoire of politically conscious and spirited songs, along with a great deal of instrumental interplay and captivating vocals. A year later, "Old Bott Wine" was a continuation of their previous work and quite predictable. Despite its great folk harmonies, complex arrangements, and good balance between folk and rock elements, it was a slight step backward due to its predictable sound, offering nothing new compared to its predecessor. After this album, the band was reduced to just two permanent members, Cockerham and Gaskin, while collaborators and guest musicians included flautist Stan Sulzman, bassist Steve Borrill, drummer Dave Mattacks, and other musicians such as Steve Ashley, Henry Lowther, Julian Cusack, and Dolly Collins. With this lineup, Spirogyra recorded their third and final album, "Bells, Boots and Shambles", released in 1973. On this album, Spirogyra perfectly blended traditional folk elements with rock and progressive sounds, featuring tracks like the solemn and atmospheric "The Furthest Point", the acid rock anthem "The Sergeant Says", the atmospheric suite "Western World" with its grand, melancholic soundscapes, the bucolic "Old Boot Wine", and the melodic "Parallel Lines Never Separate" and "Everyday Consumption".

Dixie Dregs-Dregs Of The Heart (1980)

Although formed in the early seventies, it wasn't until the mid-seventies that the American band Dixie Dregs released their self-titled debut album, a genuine blend of styles ranging from jazz, country, bluegrass, progressive rock, and American rock. For six years, the band maintained the same lineup, recording four highly interesting albums that rank among the best of the instrumental jazz-rock scene of the 1970s. However, towards the end of the decade, some significant changes occurred. They left Capricorn Records for Arista Records, and after the magnificent "Night of the Living Dregs" in 1979, keyboardist Mike Parrish left the band and was replaced by Terry Lavitz, whose keyboards added a more symphonic feel. The rest of the lineup consisted of guitarist Steve Morse, drummer Rod Morgenstein, violinist Allen Solan, and bassist Andy West. In 1980 came Dixie Dregs' fifth album, "Dregs of the Heart", which became their best work to date. The standout track is the jazzy, progressive jam "I'm Freaking Out", a majestic piece that transforms into a symphonic tour de force and easily becomes one of the band's finest compositions. However, the rest of the album follows the group's usual musical style, with the rocker "Road Exposense", the progressive bluegrass "Pride O' the Farm", the progressive jazz "Twiggs Approved", the symphonic exercise "Hereatfer", the progressive "The Great Spectacular", and the boogie jazz "Broad Street Strut". In short, another essential Dixie Dregs album, where all the musicians demonstrate great virtuosity, particularly Steve Morse's hard rock guitar work and a repertoire of great melodies in a vast and complex, yet accessible, jazz-rock style.

Heavy Jelly-Heavy Jelly (1970)

Jackie Lomax was a British singer, songwriter, and guitarist who rose to fame in the late 1960s as one of the first artists to sign with The Beatles' label, Apple Corps Ltd., which had been founded in 1968 as a parallel record label to EMI Records. However, Lomax's career had begun much earlier with various projects as a member of some of the leading bands on the British pop-rock scene of the 1960s, such as Dee and The Dynamites. He later moved to the United States and joined The Undertakers, but without achieving the desired fame or fortune. Once back in the UK, thanks to The Beatles' manager, Brian Epstein, he signed with CBS, with whom he recorded several singles and an album that had little impact. His friendship with Epstein opened many doors and great opportunities for him, including collaborations with artists of the caliber of George Harrison and Eric Clapton, among many others. After leaving The Beatles' label, Lomax joined forces with former members of the band Aynsley Dunbar, John Morshead, and Alex Dmochowski, along with former Animals drummer Barry Jenkins, to form Heavy Jelly. In 1970, the band recorded their first and only album, which also featured Tom Evans and Pete Ham, both members of Badfinger, another Apple Records band, and the Rolling Stones' horn section, Bobby Keys and Jim Price. This debut album is essentially composed of an interesting repertoire of powerful rock tracks with psychedelic sounds, as demonstrated in "Take Me Down to the Water," while the group's melodic side is showcased in "You Better Let Me Know" and "Too Complicated". The Beatles-esque sound can be found in "Born For Something", along with darker hard blues-rock sounds in "Just Don't Feel So Good" and "F-F-F-Females", classic blues-rock tracks like "Bio-Blues", and another song with a Beatlesque flavor, "If You'd Like To". However, because the album featured artists signed to Apple Records, the label boycotted its release, preventing its official publication beyond a few promotional copies. Some of these copies served as master tapes for bootleg releases, which became highly sought after by collectors for decades. More than forty years later, after Jackie Lomax's death, his family was able to resolve the contractual issues with Apple, and the album was officially released in 2013, thus recovering one of the most famous lost albums in rock music history.

Toots & The Maytals-Funky Kingston (1973)

Toots & The Maytals were one of the first groups to popularize reggae internationally in the late 1960s and early 1970s. Formed in 1963, this group, led by Frederick "Toots" Hibbert, built a strong reputation in Jamaica throughout the rest of the decade, thanks to a long string of locally successful recordings. The rest of the lineup consisted of Jackie Jackson, Hux Brown, Paul Douglas, and Rad Bryan. Their style was steeped in multiple influences that somewhat deviated from the established norms of Jamaican music, fusing jazz, R&B, ska, and rock, resulting in what would later be called reggae. In 1966, the group triumphed at the Jamaica Song Festival with the song "Bam Bam", further boosting their already immense popularity. New songs like "Pressure Drop", "Monkey Man", "54-46 That's My Number", "Sweet and Dandy" and "Pomps and Pride" established them as one of the most influential reggae groups. Their appearance in the 1972 film "The Harder They" catapulted them to international stardom. During those years, they signed with Island Records, and under the production of Chris Blackwell, they released the successful albums "Funky Kingston" and "Reggae Got Soul". In the latter half of the 1970s, their popularity gradually declined, although they remained active and released albums fairly regularly, some of them highly significant, such as "True Love" (2004) and "Light Your Light" (2007). For many years, the band was a regular fixture at reggae festivals. On September 11, 2020, Toots Hibbert passed away at the age of 77, exactly one year after his death. Later, the group would win the Grammy Award for Best Reggae Album for "Got to Be Tough".

Body-The Body Album (1981)

Body was an interesting British progressive rock band formed in the early 1970s. However, it wasn't until 1981 that they released their only album, "The Body Album". This album is now acclaimed as an impressive and essential work within neo-progressive rock, space rock, and late psychedelic sounds. Hailing from Liverpool, the band consisted of brothers Gary and Tony Allison (drums and guitars respectively, as well as vocals), bassist Ronny Nelson, and keyboardist John Bleasdale. In the early 1980s, the group traveled to London to try their luck in search of a record deal, but after some frustrating results, they decided to self-finance their debut album. On this single album, the references to the more psychedelic sounds of Pink Floyd and the long, spacey explorations reminiscent of Hawkwind are more than evident, but framed within a very defined synth-pop sound, making them one of the seminal bands of the so-called Neo-Progressive movement, alongside Twelfth Night. The 15-minute progressive and spacey suite "Andromeda" is the standout track, while the shorter "Cheater", "Lights Out", and "Brave New World" are more commercially oriented, with a musical structure somewhere between Neo-Progressive and Symphonic Rock and electronic elements akin to the synth-pop of the era.

Little River Band-Little River Band (1975)

In late 1975, the Australian band Little River Band released their self-titled debut album, which quickly drew comparisons to bands like The Eagles, Poco, and America, thanks to their vocal harmonies and versatile compositions brimming with addictive country-rock sounds and irresistible rock riffs combined with catchy pop melodies. On this first release, the band consisted of Beeb Birtles on lead vocals and guitar, Ric Formosa on lead guitar, Graham Goble on rhythm guitar and vocals, Roger McLachlan on bass, Derek Pellici on drums, and Glenn Shorrock on vocals and harmonica. Among the tracks on this first album, the mid-tempo song "Emma" and the melodic and commercially successful "It's A Long Way There" and "Curiosity (Killed The Cat)" stand out, the latter becoming their biggest hit in the Australian market. The country rock track “Lady and Me”, the powerful “Statue Of Liberty” and the tender “I Know It” complete an outstanding debut that would allow them to get their first world tour, initially as support for Queen and later for the Average White Band, achieving great recognition in North American lands, a success that would soon be reflected in their next three works “Diamantina Cocktail” (1977), “Sleeper Catcher” (1978) and “First Under The Wire” (1979), achieving with all of them several gold records and three platinum records for their enormous sales in the North American market alone.

Marillion-Seasons End (1989)

Fish vs. Hogarth: this is undoubtedly one of the biggest catalysts for any discussion among Marillion fans, to the point that some online forums about the band categorically forbid even mentioning a comparison between these two singers, for fear of an electronic war that will clog up servers and computers. Beyond this exaggerated claim, it's relevant to the departure of the towering Fish and the arrival of Steve Hogarth as his replacement, and what Hogarth brought to Marillion, which was immense (and still is). Although the band's purists blame Hogarth for the group's musical shift towards a more pop-oriented sound, at the expense of the progressive grandeur of their early albums, the truth is that if there's one thing both sides agree on, it's his powerful voice, with its excellent range, and his talent as a great lyricist who invites reflection. All of this is clearly demonstrated on much of Marillion's first album after Fish and their first with Hogarth in the band, "Seasons End" from 1989. This was the first real testament to what the singer accomplished with Marillion as a band, and having said all that, "Seasons End" sounds brilliant and is undoubtedly an excellent and worthy successor to the superb album that preceded it with Fish in the lineup, "Clutching At Straws", released several years earlier. Right from its opening track, the incredible "King Of Sunset Town", it demonstrates the peak at which Marillion burst onto the scene and rise triumphantly, ready to begin another chapter, thus dispelling the doubts of those who predicted their downfall and eventual demise. The beautiful "Easter" is the singer's first major contribution to the group's repertoire, a track featuring one of Steve Rothery's best solos of his entire career and a rhythm as captivating as it is brilliant. The slow and mysterious “Seasons End” concludes with an epic and hypnotic finale that showcases the band's instrumental prowess. In “The Uninvited Guest”, we can already sense the direction of their new venture, a track that leans towards rock and commercial sounds with powerful guitar and bass lines. The melodic and heartfelt “Holloway Girl” is one of the album's lesser moments, while the nostalgic “Berlin” is a palpable demonstration of Hogarth's vocal excellence, a song as melancholic as it is dark, which, as it progresses, transforms into a powerful track with a stunning ending. After the short, acoustic “After Me”, comes the powerful, commercially oriented rock track “Hooks In You”, before concluding with the exquisite and progressive “The Space”, one of the album's most memorable moments and a fitting finale to Steve Hogarth's first major contribution to the Marillion universe.

Little River Band-Sleeper Catcher (1978)

In the late 1970s, the Australian band Little River Band was at the height of its popularity and commercial success. Their first three albums had garnered commendable sales and were the perfect draw for North American audiences, thanks to their exquisite country-influenced soft rock and brilliant, harmonized vocal harmonies. However, it was with their fourth album that they achieved true glory, delivering a memorable work that followed the stylistic path already established in its predecessor, "Diamantina Cocktail", released the previous year. The Australian group's refined style was further enhanced by brilliant compositions that linked them to their North American contemporaries America, The Eagles, and Poco. Exquisite tracks like "Fall From Paradise", "Lady", "So Many Paths", "Shut Down, Turn Off", and "One For The Road" share the repertoire with more ambitious pieces such as the expansive, progressive-tinged "Light Of Day" and the splendid "Take Me Home". A top 20 on the Billboard charts and three platinum records were the well-deserved recognition of this excellent fourth work by the Australians.

Jason Becker-Perpetual Burn (1988)

Jason Becker is one of the so-called heroes of 1980s neoclassical guitar. Considered one of the most talented guitarists in a long line of the genre, including Yngwie Malmsteen, Marty Friedman, Tony MacAlpine, and David Chastain, he began his career alongside Marty Friedman in the band Cacophony, recording the albums "Speed ​​Metal Symphony" and "Go Off!". In 1988, Becker released his only solo album, "Perpetual Burn", a massive showcase of his guitar prowess. His dizzying solos and riffs, descending and ascending scales at breakneck speeds, make us wonder if this musician is actually human or an alien. Songs like "Altitudes", "Perpetual Burn", "Mabel's Fatal Fable", and "Air" demonstrate the enormous complexity and astonishing mastery of this guitarist. A year later, he was voted Guitarist of the Year by the readers of Guitar Magazine. Having become a rock superstar, this album opened doors for him, leading to David Lee Roth inviting him to replace Steve Vai on the album "A Little Ain't Enough" (1991). However, shortly before recording the album, he was diagnosed with amyotrophic lateral sclerosis (ALS), a disease that, over the years, has ravaged his body to the point of complete immobility, preventing him from playing guitar. In the following years, despite being confined to a wheelchair, Becker continued to release a series of albums comprised mainly of demos and rehearsals recorded in the 1980s in his own studio and reinterpreted for the occasion by guitarist Michael Lee Firkins.

Thin Lizzy-Shades Of A Blue Orphanage (1972)

The second album from Irish band Thin Lizzy is a clear evolution from their underrated debut. Here, the band, led by bassist and singer Phil Lynott, creates a rich tapestry of styles and sounds ranging from hard rock and folk rock to semi-progressive and psychedelic flourishes. Featuring the same lineup as their debut album, in addition to Lynott, the excellent guitarist Eric Bell and the energetic drummer Brian Downey are also present, while keyboardist Clodagh Simmonds handled the mellotron and harpsichord. This strange combination of styles and sounds is reflected in the funk rock of "The Rise and Demise of the Funky Nomadic Tribes", the evocative folk rock of "Buffalo Gal", the acoustic ballad "Sarah", the heavy folk of "Brought Down", the psychedelic hard rock of "Baby Face", nods to 1950s rock and roll with "I Don't Want to Forget How to Jive", classic rock anthems like "Call the Police", and the soul/folk of "Shades of a Blue Orphanage". Considered a mere transitional album, it reflects Thin Lizzy's search for their own original style at that time, and this musical offering resulted in one of the most interesting albums of 1972.

10cc-Sheet Music (1974)

With their second release, 10cc reaffirmed their status as one of the pop-rock sensations of the early 70s, with an album as masterful as it was ingenious and diverse. The musical balance of its four members, all renowned instrumentalists and excellent songwriters, is perfect on this release. With its ironic and intelligent lyrics, Stewart's brilliant and powerful guitar work, and the beautiful vocal and instrumental harmonies of the rest of the band, the result is a captivating album. Each member interchanges instrumental roles, from Eric Stewart on guitars, mellotron, keyboards, and vocals, to Kevin Godley on drums, percussion, and vocals, and including guitars, keyboards, percussion, synthesizers, bass, tubular bells, and countless other instruments, in addition to vocals, performed by Graham Gouldman and Lol Creme. Here, the band showcases their best qualities with wonderful musical lines, as demonstrated by the irresistible songs "The Wall Street Shuffle", "The Worst Band in the World", "Hotel", "Silly Love", "Somewhere in Hollywood", and "The Sacro-Illac". With this recording, 10cc confirmed their status as one of the most innovative and original bands, a position they would solidify in the following years with the release of a series of gems such as "The Original Soundtrack" (1975), "How Dare You!" (1976), "Deceptive Bends" (1977), and "Bloody Tourists" (1978).

Freddy Lindquist-Menu (1970)

Despite not being widely known outside of Norway, Freddy Lindquist was considered one of the best Norwegian guitarists, a position he shares with another great compatriot, Terje Rypdal. Born in Oslo in 1946, his passion for music began in childhood, fostered by his parents, both musicians. After playing in numerous local bands, he released his only solo album, "Menu", in 1970. Following this release, the guitarist began working as a session musician and producer. On this album, Lindquist also plays bass, flute, and percussion, in addition to guitar. Accompanied by various Norwegian musicians, the repertoire ranges from the avant-garde sounds of the era, such as "Sellers Sundae", to the progressive rock of "The Green and Pink Little Man", smooth instrumental pieces like "Sharako", and the jazz and blues of "Join In and Freak Out".

Charlie Parker-Charlie Parker With Strings (1955)

Charlie Parker is one of the ten greatest artists in the history of jazz, on par with geniuses like Louis Armstrong, John Coltrane, Dizzy Gillespie, Duke Ellington, and Miles Davis. Known as "Bird", he is one of the finest alto saxophonists, a self-taught musician with serious self-destructive tendencies. Born in Kansas City in 1920, he played in countless jam sessions during his short career before officially recording with Jay McShann's band in 1941. His eloquent playing attracted considerable attention in the seedy bars frequented by the mob and in the jazz clubs of Kansas City. Influenced by saxophonists like Lester Young and Ben Webster, he was already an accomplished musician by the age of 17. But in addition to his talent, he struggled with persistent problems stemming from his addictions to drugs and alcohol. His music featured innovative melodic lines, with a sound radically different from anything established, and his style evolved with the use of dissonant upper intervals beyond the octave. Along with Dizzy Gillespie, he was a driving force behind the bebop movement, a sound that would radically transform the way jazz was heard, characterized by a faster tempo, harmonic refinement, and great virtuosity. In the late 1940s, the impresario and manager Norman Granz, who at the time represented Ella Fitzgerald and Oscar Peterson, among others, redirected Parker's career, which from then on would gain him considerable renown. From those years come the recordings that were included in the legendary "Charlie Parker With Strings", which was released in 1955. But his addictions were becoming increasingly urgent and on March 12, 1955, he died in New York at the age of 34, as a result of severe hemorrhage and a bleeding ulcer due to the advanced cirrhosis he suffered from.

Nicholas Greenwood-Cold Cuts (1972)

Nicholas Greenwood was a member of legendary bands such as Crazy World of Arthur Brown, alongside keyboardist Vincent Crane, and Khan, with whom he released the seminal album "Space Shanty" in 1972. Following this latter venture, Greenwood formed a band and recorded the album "Cold Cuts," considered one of the hidden gems of 1970s progressive rock. This band consisted of drummer Eric Peachy, also from Khan; keyboardist Dick Henningham; guitarists Bryn Howarth and Chris Pritchard; and Frank Zappa's former Mother of Invention member Bunk Gardner on wind instruments. Greenwood himself played bass and sang lead vocals. The rest of the lineup included violinists Janet Lakatos, Margaret Immerman, and Margaret Shipman; cellist Nils Oliver; and the vocal group The Teardrops. "Cold Cuts" is composed of a diverse amalgamation of sounds, which, without quite reaching the level of strict progressive rock, incorporates elements of psychedelic rock with passages of progressive jazz and blues rock. The album begins brilliantly with "A Sea Of Holy Pleasure Parts I, II, III", a three-part composition with superb arrangements that showcase the excellence of its talented musicians: a heavy Hammond organ, a delightful flute, effective bass lines, and exquisite drumming, all bathed in addictive vocals. The overall sound is further enhanced by subtle string and brass arrangements, which amplify the dynamism and diversity of the track and add progressive depth to its three segments. Other highlights include the bluesy "Big Machine" and "Melancholy", or the psychedelic "Hope / Ambitions" which coexist with more accessible and catchy pieces like "Lead Me On", and "Close The Doors", or the dark "Promised Land", which contrast totally with the deep and introspective "Corruption", the ambient jazz rock "Images" and the dramatic "Realisation And Death".

Eurythmics-Revenge (1986)

In the mid-eighties, Eurythmics, the duo of Annie Lennox and Dave Stewart, were firmly established within the global synth-pop scene thanks to hits like "Sweet Dreams" and "Here Comes the Rain". However, with their fifth album, "Revenge", they moved significantly closer to mainstream rock, although Lennox's powerful vocals and Stewart's distinctive guitar work remained fundamental to their characteristic sound. With the invaluable assistance of arranger Michael Kamen and other prominent British session musicians, the duo gave greater prominence to powerful guitar riffs, energetic sounds, and more pronounced melodies. Songs like "Thorn In My Side" and "When Tomorrow Comes" are clear examples of this. Meanwhile, the ballad "Miracle Of Love" leans towards melodic rock with its catchy tune, while the intense "Missionary Man" showcases that energetic rock guitar sound. Although they would not achieve the same success as previous works, "Revenge" achieved half a dozen platinum and gold records around the world.

Vinegar Joe-Rock´n´Roll Gypsies (1972)

Vinegar Joe were another of those great, short-lived British bands of the 1970s who made a name for themselves with just three albums released. Formed in 1970 under the name Dada, their initial lineup consisted of a dozen musicians, including vocalist Elkie Brooks, guitarist Pete Gage, bassist Steve York, drummer Conrad Isidore, keyboardist Dave Thompson, and saxophonist Dave Brooks.With this lineup, they recorded their self-titled album, "Dada", in 1970 for Atlantic Records, a work brimming with jazz, soul, psychedelia, and blues sounds, influenced by the soulful style of artists on the American label Stax Records. After a long tour of the United States, the band returned to the UK and changed their name to Vinegar Joe, also restructuring the lineup with the addition of singer Robert Palmer, keyboardist Tim Hinkley, and drummer Rob Tait. With a new contract, this time with Islands Records, they recorded their first album under their new name, titled "Vinegar Joe", which became one of the best albums of 1972 in the British Isles. But after this album, there were further lineup changes, with guitarist Jim Mullen, keyboardist Mike Deacon, and former John Mayall drummer Keef Hartley joining the band. With this new lineup, they recorded their second album, "Rock 'n' Gypsies", where the band's usual soul and blues style was reinforced by a greater emphasis on rock elements. Tracks like the bluesy "Angel", a cover of a Jimi Hendrix song, and brilliant rock anthems such as "So Long", "Buddy Can You Spare Me A Line", "Falling", and "It's Getting To The Point", make up an outstanding work. In addition to the superb vocal performances of Elkie Brooks and Robert Palmer, the band is supported by an excellent band in extraordinary form. After a successful tour of North America, the band released their third and final album, "Six Star General", which lacked some of the energy and creativity of their first two works. Some time later the band finally dissolved, with almost all of its members dedicating themselves to their solo careers, most notably Robert Palmer, who achieved remarkable success with some of his albums such as “Secrets” (1979), the multi-platinum “Riptide” (1985) and “Heavy Nova” (1988), or Elkie Brooks, who would begin a long and very prolific career, managing to place herself among the best British singers of all time.

Jeff Beck-Beck's Guitar Shop (1989)

No one doubts that Jeff Beck was one of the greatest guitarists in history. However, his star status was always a step below that of other, more media-savvy artists, partly due to his more collaborative approach to his work rather than focusing on his individual virtuosity on the six strings. In the late eighties, Beck ventured into familiar territory with him: straightforward rock, after significant recordings in jazz rock and blues rock. Albums like "Truth" (1968), "Beck-Ola" (1969), "Blow By Blow" (1975), and "Wired" (1976) are essential references in electric guitar history. In 1989, he released his twelfth album, his fifth under his own name, and one of his most energetic releases. "Guitar Shop" returns Jeff Beck to his natural element, showcasing a dramatic increase in quality compared to its predecessor, "Flash", an album clearly geared towards commercial success. On "Guitar Shop", Beck is supported by the tremendous poise of drummer Terry Bozzio and the virtuoso Tony Hymas on keyboards. Packed with vibrant riffs, the album unfolds through a solid and heavy repertoire of tracks, including standouts like "Savoy", "Sling Shot", "Big Block", "Stand On It", and "Guitar Shop". Beck also showcases his melodic side with a series of more hypnotic songs such as "Behind The Veil", "Where Were You", and "Two Rivers", displaying his virtuosity with smooth, ambient guitar solos. "Guitar Shop" won the Grammy Award for Best Rock Instrumental Performance, becoming his second award at that time, out of a total of eight he would achieve throughout his career.

Red Dirt-Red Dirt (1970)

Red Dirt was a British band formed in the late 1960s in Yorkshire, northeast England. They built a strong reputation for their spectacular concerts in clubs and pubs across the north of the country during 1969 and 1970. The band consisted of guitarist Kenny Giles, drummer Steve Jackson, bassist Kenny Giles, and the powerful vocals of Dave Richardson. Thanks to their success and the popularity of these concerts, they attracted the attention of various record labels, eventually signing a contract with the independent label Morgan Bluetown. With Morgan, they recorded their only album, which was distributed nationally by Fontana Records, albeit in a rather limited way and with minimal advertising. This single album was recorded at Morgan's London studios, where they spent twelve uninterrupted hours completing the recording and mixing. Composed of a series of songs focused on blues rock with hints of The Doors and The Magic Band, as can be heard in "Death Letter", "In The Morning", and "Problems", while the more rural sounds of Mississippi Delta blues are present in "Song For Pauline". On the other hand, "Ten Seconds To Go" and "Death Of A Dream" showcase a heavy blues rock side, and this dark album ends with the Hendrix-esque "Maybe I'm Right" and the boogie-rock track "I've Been Down So Long". Some time later, after finishing a tour across Great Britain supporting Mott The Hoople, the band returned to the recording studio for a second album that was never officially released and was later included as bonus tracks in a 2010 reissue of their only album on CD and vinyl. This single release is another of those LPs coveted by collectors, some of whom have paid small fortunes for an original copy of this obscure and lost Red Dirt record.