Jeff Lynne´s ELO-Alone In The Universe (2015)

2015 was the year chosen for Jeff Lynne's return to recording, with the release of "Alone In The Universe", an album that was well-received by nostalgic fans of his original band, Electric Light Orchestra. With this work, Lynne's aim was simply to satisfy the cravings of his millions of fans, while also not seeking to recruit new ones; he merely wanted to release and record a series of songs he had composed in recent years. Lynne's solo career, aside from the aforementioned ELO and his numerous collaborations with other artists, has always been relatively unproductive, and one would have to go back fourteen years to the release of the album "Zoom", a more organic work that, to some extent, returned to his 70s style. This time, despite being credited as Jeff Lynne's ELO, it is actually a personal project, featuring no former members of his previous lineups, with Lynne playing all the instruments himself. Even so, songs like the title track and other cuts such as "When I Was A Boy", "Is It Alright", and "Dirty To The Bone" sound like traditional ELO, mainly due to the keyboard and guitar sounds. Others like "Ain't It A Drag", leave us with a taste of the Travelling Wilburys, another of Lynne's projects, while the rest retain the exquisite instrumental melodies and addictive vocal harmonies so characteristic of the iconic British musician and producer.

Electric Light Orchestra-Zoom (2001)

The Electric Light Orchestra, published in 2001, "Zoom" which was the first album published after "Balance of Power" fifteen years ago, thus re-floating the group after some fruitful years of its leader Jeff Lynne, who had participated in many projects during all that time.
With the collaboration of Richard Tandy, George Harrison and Ringo Starr, Lynne produces, composes, arranges, sings and plays virtually all instruments.
An album that is close to his post-ELO style, highlighting guitars and keyboards, especially in more rock songs like "Alright", "Meting In The Sun", "Easy Money" or "All She Wanted".
But there are also elegant orchestral passages that take us back to the best era of the band like "Ordinary Dream", "Moment In Paradise" or the sober "Strangers On A Quiet Street" or "A Long Time Love".

Electric Light Orchestra-Face The Music (1975)

As Electric Light Orchestra released more albums, their progressive rock style softened into an addictive, radio-friendly art-pop rock. While their first four albums established their timeless, symphonic sound, this fifth release from Jeff Lynne's band presents a collection of tracks focused on music more accessible to a wider audience, almost entirely abandoning their lengthy and complex compositions. The album opens with a kind of continuation of the final track from "Eldorado", the instrumental "Fire On High", an impressive symphonic overture that finds a perfect counterpoint in the simpler yet sublime "Strange Magic", the commercial "Evil Woman", and the captivating "Nightrider". Other compositions, such as the rocking "The Poker", the semi-ballad "One Summer Dream", and the melodic "Waterfall", make up an album considered by many to be fundamental in the British group's career. "Face The Music" marked the definitive step of Electric Light Orchestra towards mainstream and commercial paths, a fact that would be reaffirmed with their subsequent and multi-platinum albums "A New Word Record", "Out Of The Blue", "Discovery", "Time" and "Secret Messages".

Hawkwind-X In Search Of Space (1971)

"Hall of the Mountain Grill" was Hawkwind's fourth album and their first to fuse spacey sounds with the acid rock of their earlier work. Recorded during mid-1974 at Edmonton Sundwood Studios in London, it was produced by the renowned Roy Thomas Baker, a regular engineer for bands such as Free, Queen, Journey, Nazareth, and Foreigner, among many others. For this third release, keyboardist and violinist Simon House replaced Robert Calvert, while the rest of the band consisted of Dave Brock (guitar and keyboards), Nik Turner (saxophone, flute, and vocals), Lemmy Kilmister (bass and vocals), Simon King (drums and percussion), and Del Dettmar (keyboards). The new sound is evident in tracks like "The Psychedelic Warlords (Disappear in Smoke)", "D-Rider", and "Paradox", while the acid-tinged rock vein remains present in tracks like "You'd Better Believe It" and "Lost Johnny". However, the complete absence of Robert Calvert's science fiction and fantasy poetry interludes is noticeable. While these don't necessarily detract from the album's final result, they do lack the philosophical spark of his earlier work. Even so, as mentioned at the beginning, this album marked the beginning of a more ambient and progressive style, resulting in an admirable work of the best space rock of the 1970s.

Weather Report-Mysterious Traveller (1974)

In 1974, Weather Report released their fourth album, "Mysterious Traveller", which featured a couple of lineup changes from their previous work. These included new bassist Alphonso Johnson, replacing Miroslav Vitous, and new drummer Ishmael Wilburn, replacing Eric Gravatt. The rest of the lineup remained the same: Joe Zawinul (keyboards), Wayne Shorter (saxophone), and Don Um Romao (percussion). "Mysterious Traveller" showcases the band's signature jazz-rock sound, led by Zawinul, with funk and ethnic influences permeating much of their jazz and rock repertoire. Musically, they continued to display rich instrumentation, with an adventurous rhythm section, Shorter's melodic saxophone, and Zawinul's brilliant performances on electric piano, synthesizers, and organ. The monumental and energetic "Nubian Sundance" opens with synthesizer sounds and layered crowd noises, all underpinned by powerful percussion and African chants. This standout track is followed by other noteworthy moments such as the intriguing "Scarlet Woman", the spacious "Blackthorn Rose", and the funky "Cucumber Slumber". The rest of the album follows a similar stylistic pattern of jazz, rock, funk, and world music, including the festive "Jungle Book" and the experimental, atmospheric jazz of "Mysterious Traveller".

Gurnemanz-No Rays Of Noise (1977)

Gurnemanz were an incredible German band who, influenced by the progressive folk sounds of their British contemporaries Fairport Convention, Steeleye Span, and The Pentangle, enjoyed a commendable artistic career, releasing three amazing albums in the 1970s, highly praised by connoisseurs of semi-acoustic folk-rock. They formed in the early 1970s in the German city of Bergheim, when Lukas Wolfgang Scheel (guitar, vocals, mandolin, banjo, lute), Manuela Schmitz (vocals, percussion, and flute), Siegfried Bushuven (double bass), and Wolfgang Riedel (guitar, vocals, and harmonica) came together, along with frequent contributions from keyboardist Georg "Köbi" Köberlein and percussionist Bernie Schacht. Their first two purely acoustic works were released by EMI's German subsidiary label, Electrola: "Fair Margaret and Sweet William" (1972) and "Spielmannskinder" (1975). In 1977 came the band's epitaph, "No Rays of Noise". On this third album, Manuela Schmitz's beautiful voice, with its serene vocal line, fits perfectly into the pastoral and acoustic atmospheres with psychedelic undertones, poetic lyrics, and beautifully dreamlike hippie vibes, all underpinned by a rich and varied musicality featuring acoustic instruments such as mandolins, lutes, kazoos, harmonicas, and flutes.

Black Sabbath-Technical Ecstasy (1976)

In 1976, Black Sabbath were embroiled in a series of serious problems: drug and alcohol abuse, mismanagement by their manager, and, to top it all off, the love-hate relationship between some of its members (primarily Ozzy Osbourne and Tony Iommi) due to the musical direction they were supposedly taking. Amidst all this, they recorded one of their most controversial albums, "Technical Ecstasy", which would generate considerable controversy among fans and critics alike. Their seventh studio album was "Technical Ecstasy". By this point, the Birmingham-based group had set the bar quite high, having already produced some of the greatest heavy metal albums in the genre's history. Therefore, while "Technical Ecstasy" was a good album that, in the hands of any other band, would have been a masterpiece, coming from them, it ended up being somewhat mediocre and predictable. In this release, the quartet moves away from dark and gloomy heavy metal to offer a direct and forceful hard rock sound, although there are still moments that hark back to their past. These nods to their golden age are present in the corrosive and galloping "Back Street Kids" and "You Won't Change Me", while the rhythmic "Gypsy", the bluesy "All Moving Parts (Stand Still)", and the streetwise "Rock 'n' Roll Doctor", lack the heavy metal essence of yesteryear. On the other hand, they also have moments of brilliance with the engaging "It's Alright", the orchestrated "She's Gone", and the progressive hard rock track "Dirty Women", the latter undoubtedly the album's high point. Despite the tremendous criticism it received, especially from the British press, the album achieved gold status in the North American and British markets.

Emerson, Lake & Palmer-Love Beach (1978)

If we go back to the late 1970s, many of the great progressive rock bands were moving in a more commercial and accessible direction, as punk, disco, new heavy metal, AOR, and other new styles were in vogue. It was during these years that EL&P released their seventh and ultimately final album before disbanding until many years later when they would reunite. “Love Beach” is probably the weakest work in their entire discography, and although fans and critics fiercely panned it, it's also true that the British trio wasn't doing anything different from what other bands like Yes, Genesis, Jethro Tull, or Gentle Giant had already done. However, looking back, “Love Beach” isn't as mediocre as it was perceived to be in the past, although compared to their previous stellar albums, it's undoubtedly a step backward and in the wrong direction. Looking back, “Love Beach” still contains plenty of solid material, such as the enchanting progressive pop track “All I Want Is You”, where Greg Lake’s immeasurable vocals and Emerson’s magnificent symphonic keyboards shine. Another stellar moment is the dramatic and majestic “For You”, with Lake’s silky voice, Palmer’s intricate drum fills, and Emerson’s agile piano. The subdued grandiosity of “Taste of My Love” takes us back to the band’s early years, and “Canary” is a superb classical and progressive instrumental piece that allows all three members to showcase their considerable instrumental talents. The 20-minute epic “Memories of an Office and a Gentleman” is another progressive rock high point, featuring the sounds that, in the early 70s, led to millions of copies sold worldwide and placed them at the forefront of progressive rock. However, it was the mediocre tracks "The Gambler", an out-of-place blues pop number, and the saccharine "Love Beach" that partly tarnished its otherwise acceptable quality and precipitated the eventual breakup of the magnificent British trio. In conclusion, "Love Beach" isn't really as terrible as it was initially received, since roughly half the songs are quite good. While the inclusion of some generic pop tracks does detract from the final result, the album is still worthwhile for that handful of strong compositions that maintain the classic ELP sound. Perhaps it was the album cover, featuring the band standing on a Bahamian beach with their shirts open, that most alarmed everyone? It certainly wasn't the image we all expected from ELP, and perhaps it was one of the reasons (yet another) for the widespread criticism from their most ardent fans.

Temple-Temple (1976)

Temple was a short-lived band/project led by former Birth Control keyboardist Zeus B. Held, founded in the mid-seventies. The rest of the lineup consisted of Joachim Weiss (bass), Pauline Found (vocals), Otto Bretnacher (drums), Poseidon (vocals), and Heinz Kramer and Rolf Foller (guitars). Officially categorized as krautrock, Temple released their only album on the German label Pyramid in 1976, showcasing one of the most original musical movements within the German style, fusing gothic sounds with hard rock and progressive rock. It is undoubtedly the epic "Crazy Kat/Kingdom of Gabriel" that perfectly encapsulates Temple's dynamic style, with energetic passages interwoven with more subdued atmospheres and psychedelic elements. Other tracks like the opening "Leaves Are Falling/Black Light" showcase that somber gothic side, while the hard rock "Heathen" and the dark "Age Of Ages" make up an attractive album highly appreciated by fans of late German krautrock and the avant-garde European sounds of the mid-seventies.

Bad Company-Burnin´Sky (1977)

The career of the indomitable Bad Company left behind a trail of great classics in the form of generational rock anthems such as "Can't Get Enough", "Ready For Rock", "Rock Steady", "Sweet Lil' Sister", and "Good Lovin' Gone Bad", all of which cemented their status as one of the greatest exponents of hard rock worldwide. In 1977, the band, led by Paul Rodgers and Mick Ralphs, and backed by the formidable rhythm section of Boz Burrell and Simon Kirk, released their fourth album, "Burnin' Sky", showcasing their usual blues-rock sound but with a greater emphasis on the power and vigor of their repertoire. Ralphs's splendid guitar riffs, combined with the powerful bass and drumming of Burrell and Kirke, and adorned by Rodgers's prodigious vocals, result in a magnificent album composed of heavy tracks like "Heartbeat", "Burnin's Sky", "Everything I Need", and "Too Bad", while the bluesy numbers "Morning Sun", "Leaving You", and "Like Water" evoke the earlier Free lineup. Despite not achieving the same level of success as their previous works, "Burnin' Sky" reached number fifteen on the US charts, selling over a million copies worldwide.

Badfinger-Wish You Were Here (1974)

Badfinger's last great album was anything but lucky. Despite containing a dreamy repertoire of power pop-rock, it suffered a series of setbacks that hampered its promotional reach and ultimately led to its complete failure. But to understand this story, we must go back to the end of 1973, when Badfinger left The Beatles' Apple Records to sign with the powerful Warner Bros. label. With Warner Bros., they released the brilliant "Badfinger" (1974), but due to poor planning, it was released almost simultaneously with their last album for Apple Records, "Ass." This significantly diminished its promotional impact, as two different works by the same band were competing for the same label. To mitigate this failure, the band released "Wish You Were Here" nine months later, Badfinger's sixth album chronologically. It showcased the group's astonishing ability to create captivating and irresistible songs with exquisite instrumentation, as demonstrated by tracks like "Dennis", "Just A Chance", "You're So Fine", "Got to Get Out of Here", "Love Time", and "King of the Load". However, at the time of the album's release, Warner Bros. learned that Badfinger's manager, Stan Polley, had misappropriated over a quarter of a million dollars of the band's advances for unclear reasons, ignoring a formal demand for their return. The band's contract was frozen, meaning all promotional activity for the album was halted, condemning it to complete obscurity and commercial failure.

Tamam Shud-Goolutionites and the Real People (1970)

Beneath a beautifully crafted cover lies a simple yet highly effective concept album titled "Goolutionites and the Real People". Inside, its creators, the Australian band Tamam Shud, showcase an artistic delight encompassing everything from progressive experimentation to instrumental improvisation, touching on jazz, psychedelia, and hard rock. Formed in Sydney in 1967, its core lineup consisted of Dannie Davidson (drums), Zac Zytnic (guitar), Lindsay Bjerre (vocals and guitars), and Peter Barron (bass). Amidst the whirlwind of the emerging psychedelic style of the time, they released "Evolution", their debut album in 1969. This record of raw, basic sounds and instrumentation gained some notoriety when several of its tracks were featured in a well-known Australian surf film. The addition of a new guitarist, Tim Gaze, revitalized the band, leading to the recording of their second full-length album, "Goolutionites and the Real People", the following year. Considered by critics in Australia as one of the best conceptual and progressive albums, this release showcases a more cohesive style and, at the same time, an impetuous dynamism, with captivating tracks like "I Love You All" and "They'll Take Down on the Lot", two superb interludes before the more substantial compositions "Heaven Is Closed" and "A Plague", followed by the mini-epic title track. Subsequently, various setbacks led to the definitive dissolution of this ephemeral and interesting band in 1972, until years later when some of its members revived Tamam Shud, recording the commendable albums "Permanent Culture" (1994), "Eight Years of Moonlight" (2016), and "Resonate" (2018).

Ozzy Osbourne-Randy Rhoads Tribute (1987)

Far from the most optimistic predictions, Ozzy Osbourne achieved enormous success after leaving Black Sabbath (actually, after being kicked out of the band due to his persistent drug and alcohol abuse). Much of that success was due to guitarist Randy Rhoads, a young and talented guitarist who was instrumental in the creation of two absolute heavy metal classics: the albums "Blizzard of Ozz" and "Diary of a Madman". These albums catapulted the vocalist's career to almost the same heights he had reached with his former band. Rhoads, in a way, reinvented guitar playing, drawing influences from neoclassical heavy metal and employing dizzying pyrotechnics on the six strings. However, it all came to an end on March 19, 1982, when Rhoads died in a tragic plane crash during the "Diary of a Madman" tour. Five years later, Ozzy wanted to pay tribute to the young guitarist by releasing the double album "Tribute", a record featuring a series of live tracks from the "Diary of a Madman" tour. Improvised solos, heavier and more energetic songs than the studio versions, and a wide array of the young guitarist's spontaneous skills elevate this album to the status of a heavy metal masterpiece. Undoubtedly, what truly matters here, more than the repertoire itself, is the recognition of a tragically short-lived talent that made Ozzy a solo megastar and an essential historical document.

Jan Garbarek with Stenson, Rypdal, Andersen, Christensen-Sart (1971)

"Sart" was the third album by Norwegian saxophonist Jan Garbarek and his second under the ECM label. Recorded with the same musicians as his previous works (Terje Rypdal, Arild Anderson, John Christensen, and Bobo Stenson), it showcases a combination of electric jazz fusion and avant-garde acoustic jazz, with Garbarek increasingly influenced by Miles Davis's jazz-rock and inspired by the spirit of John Coltrane, and Rypdal reinforcing that sentiment. This was Jan Garbarek's most avant-garde and progressive period, featuring a series of albums that moved between free jazz, jazz-rock, and progressive jazz. Albums like "Afric Pepperbird" (1970), "Esoteric Circle" (1971), and "Sart" (1971) consisted of extended avant-garde tracks such as "Beast of Kommodo", "Blow Away Zone", "Rabalder", "Karin's Mode" and "Song of". "Space" or "Irr." From this point on, Garbarek's musical direction changed radically, incorporating elements of world music, chamber music, and ambient music, while still maintaining a focus on experimentation. Considered an institution, Jan Garbarek is a brilliant musician who, since joining the jazz elite, largely thanks to his collaborations with Keith Jarrett in the 1960s, has consistently released essential jazz albums, always a step ahead of his contemporaries. Some of these recordings are considered absolute masterpieces of avant-garde jazz.

Cream-Fresh Cream (1966)

"Fresh Cream" was Cream's debut album, a historic recording that contains innovation and at the same time is an overwhelming album of pure rock.
The first album of the first super band in history, is one of the best debuts ever recorded. Although the best of the band was yet to come, we must not fail to recognize that for this reason it does not lose any of the attributes as a masterpiece, despite having only half of the songs as own compositions and the rest by versions, in the you can already see the powerful conjunction between blues and rock, with psychedelic influences as in "I Fell Free" or "N.S.U".

James Rutledge-Hooray For Good Times (1976)

James Rutledge is known for having been a member of one of the most successful Southern rock bands, Bloodrock, with whom he recorded the superb albums "Bloodrock" (1970), "Bloodrock II" (1971), and "Bloodrock III" (1971). After completing the recording of the latter, James decided to launch his own solo career with guitarist John Nitzinger, one of Bloodrock's songwriters, who had already released his first solo album in 1972. However, the Rutledge-Nitzinger project failed to gain the approval of Capitol Records, the label to which both musicians belonged, leaving the completed album shelved and never officially released. Several years later, Rutledge tried again, this time recording a solo album. He collaborated with guitarists Michael Rabon, Lee Pickins, and Tommy Sabona, bassists Thom Caccetta and Jim Grant, drummer Dahrell Norris, and keyboardist Kenneth Whitfield. This time he had better luck, and Capitol Records produced the album, titled "Hooray For Good Times", which was released in 1976. In this, his only solo album, Rutledge delivers an interesting fusion of different styles, ranging from country rock to the dusty sounds of Southern rock and even some funk, as demonstrated in tracks like "Brown Paper Bag", "Laughin' and Cryin' ", "Sole Survivor", "Drivin' You Insane", and "Star Trackin' ".

Winger-Winger (1988)

Winger was a supergroup formed by bassist Kip Winger and guitarist Reb Beach in New York City in late 1987. To complete the lineup, the duo recruited former Alice Cooper keyboardist Paul Taylor and former Dixie Dregs drummer Rod Morgenstein. With such a talented roster, they were soon signed by Atlantic Records, with whom they released their debut album in mid-1988. This first album is an excellent collection of commercially appealing songs, thanks to their grandiose melodies and sublime guitar work under Kip Winger's refined vocals. AOR and melodic rock gems like "Hungry", "Seventeen", "Madeleine", "Head for A Heartbreak" or the exciting version of Jimi Hendrix's "Purple Haze", helped propel the album to the top of the Billboard charts, also achieving a platinum record in the United States and several gold records in countries like Japan and Canada.

Dschinn-Dschinn (1972)

Within the vast and diverse German Krautrock scene emerged Dschinn, an ephemeral hard rock and blues band preceded by another group called The Hurricanes, whose style was based on 1960s British beat music. Thanks to their widespread popularity throughout Germany, they caught the attention of a talent scout who offered to finance the recording of several singles, on the sole condition that they change their name. One of these singles even made it onto the charts; however, the era of British pop sounds was drawing to a close, and the band reconsidered their musical strategy, replacing their mod and pop style with the heavy, avant-garde rock that better suited the tastes of the time. It was in this context that their only album was released, featuring the band's unique lineup of two drummers; Uli Mund and Athamasios Paltoglou, plus guitarists and singers Bern Capito and Peter Lorenzo and bassist Silvio Verfürth, crafted a hard rock work with blues and progressive influences, where galloping psychedelic pieces such as "Freedom", "Fortune", "Train", "Let's Go Together", "I Wanna Know" and "For You Love", are the highlights of an excellent album with great instrumental intensity and enormous vocal personality.

The Souther Hillman Furay Band-The Souther Hillman Furay Band (1974)

After leaving Poco, guitarist Richie Furay considered launching his own solo career immediately, but instead, he answered the call of Asylum Records executive David Geffen and joined the project Geffen was founding with vocalist and bassist Chris Hillman and guitarist and vocalist J.D. Souther. Hillman came from iconic bands like The Byrds, Manassas (with Stephen Stills), and The Flying Burrito Brothers, while Souther was a folk singer-songwriter who would go on to become one of the genre's great composers, working with The Eagles, Dan Fogelberg, Bob Seger, and Christopher Cross, among others. But that wasn't all; Geffen also recruited other legendary musicians from the folk and country scene, such as drummer Jim Gordon (formerly of Derek and the Dominos), the renowned keyboardist Paul Harris, percussionist Joe Lala (formerly of Manassas), and guitarist Al Perkins, a true legend of American country and folk. Despite their enormous egos, their debut album is one of the landmark works of American country and folk rock, creating a dreamlike repertoire in a single release, beginning with "Fallin' Love" and "Border Town", songs that evoke the catchy country melodies and irresistible choruses of their contemporaries Poco and The Eagles. In that same vein are the addictive tracks "Trouble in Paradise", "Believe Me", "Prisoner in Disguise", and "Heavenly Fire". As expected, such a wealth of exquisite songs propelled the album to number eleven on the Billboard charts and considerable sales in the North American market.

Legs Diamond-Legs Diamond (1977)

We are looking at one of those great debuts from a band that, for various reasons, didn't achieve mainstream success beyond a few thousand fans. Legs Diamond belongs to that wave of American hard rock bands that emerged in the mid-seventies. Bands like Oz Knozz, Ted Nugent, Blues Oyster Cult, Triumph, Cheap Trick, Aerosmith, and Boston, among many others, dominated the American rock scene during those years. Legs Diamond formed in 1975 in Los Angeles with Michael Gargano (bass), Jeff Poole (drums), Roger Romeo (guitar), Rick Sanford (vocals), and Michael (keyboards and second guitar). Some time later, they managed to get Mercury Records to finance their first album, "Legs Diamond", a phenomenal work full of powerful riffs and the vocals of the quintessential American hard rock frontman. Songs with a lot of adrenaline such as "It's Not The Music", "Stage Fright", "Satin Peacock", "Rock and Roll Man" or the epic with progressive touches "Can't Find Love", deserve the attention that they lacked at the time.

Neil Young and Crazy Horse-Re·ac·tor (1981)

“God, grant me the serenity to accept the things I cannot change, the courage to change the things that can be changed, and the wisdom to know the difference”. With this Latin prayer, Neil Young’s eleventh album begins, flanked by his inseparable band Crazy Horse. If its title weren’t already taken by Bob Dylan, instead of “Re·ac·tor”, “Blood On The Tracks” would have been more fitting, because it’s hard to find an album as combative and courageous as this one. With allusions to topics rarely addressed in the eighties, such as the Vietnam War, “Re·ac·tor” was released in late 1981 on the Reprise label, his last with that record company before signing a new contract with Geffen Records, with whom he would spend much of the eighties, thus beginning his darkest and most mediocre period. “Opera Star”, a clear rock manifesto perfectly in continuity with “Rust Never Sleeps”, is the track that opens this album with an overwhelming force, while in “Surfer Joe And Moe The Sleaze”, Young’s highly distinctive guitar plays over a background of vocals to tell us stories of drunkenness, waste, and obscene excesses in a calmer, more melodic tone. “T-Bone” and “Get Back On It” are obsessive, rhythmic homages to the black roots of rock, the former in a hysterical tone and the latter closer to boogie blues, with which they bring the first side of the album to a close. The B-side is the rock 'n' roll mayhem of Neil Young and his band, starting with the killer “Rapid Transit”, followed by the pounding “Southern Pacific”, the southern-tinged “Motor City”, and that visceral nightmare titled “Shots”. Pure and simple rock, that's the best way to define this album, the last great work of the Canadian until his musical resurgence at the end of the eighties with the superb "Freedom", after his strange musical meanderings that occupied his entire journey under the aforementioned and controversial record label headed by David Geffen.

Carlos Santana & John McLaughlin-Love Devotion Surrender (1973)

In the early 1970s, Carlos Santana and John McLaughlin showed great interest in the Eastern philosophy of Guru Sri Chinmoy, and both musicians incorporated this philosophy into their albums: Santana's "Caravanserai" and "Abraxas", and McLaughlin's Mashavishnu Orchestra's "Inner Mountain Flame" and "Birds of Fire". In 1973, the two guitarists joined forces to pay tribute to John Coltrane through the hypnotic sounds of free jazz and jazz fusion. Each contributed musicians from their respective bands to the recording, including Armando Peraza, Michael Shrieve, and Doug Rauch from Santana's band, and Billy Cobham, Jan Hammer, and Larry Young from the Mashavishnu Orchestra. An album brimming with exquisite passages, such as the opening track "A Love Supreme", which, with its distinct Latin jazz style, showcases McLaughlin's virtuosic guitar work adorned by a prominent organ. In the following track, "The Life Divine", Carlos Santana lends his divine guitar to a fusion piece with psychedelic undertones. Both, despite their undeniable quality, pale in comparison to the legendary "Let Us Go Into The House Of the Lord", an epic display of virtuosity from the guitarists and the rest of the musicians. The album concludes with the meditative and measured "Mediation", which brings to a close one of the masterpieces of jazz fusion.

Deep Purple-Who Do We Thing We Are (1973)

Deep Purple's seventh album, "Who Do We Think We Are", has always been overshadowed by its three superb predecessors, "In Rock", "Fireball", and "Machine Head". Despite containing some of the most memorable moments in Deep Purple's musical essence, the lack of truly iconic tracks relegated it to the status of a secondary work by a large portion of their extensive fanbase and by music critics. Furthermore, this would be the last album to feature singer Ian Gillan and bassist Roger Glover, who left the band amidst strained relations with guitarist Ritchie Blackmore, who accused them of apathy and a lack of interest in the band's affairs. Neither of them would reunite until eleven years later when Deep Purple brought together their classic lineup for the recording of the 1984 album "Perfect Stranger", Recorded in various studios located between Rome and Frankfurt during the middle months of 1972, it was released in January 1973 under the Purple Records label and distributed worldwide by EMI Odeon.

Although we initially stated that it's an album lacking in classic tracks, that's not entirely true. It features the legendary "Woman From Tokyo", which for many alone justifies the album's greatness. 

But the rest is not far behind and does not even approach mediocrity, with a sound more oriented towards the roots of classic rock and roll, as demonstrated in "Smooth Dancer" and "Mary Long", it also consists of superb cuts such as the rhythm and blues "Place In Line", or the psychedelic and avant-garde "Super Trouper", while the heavy rock "Rat Bat Blue" recovers the usual essence of the most classic Purple.

George Benson & Earl Klugh-Collaboration (1987)

In 1987, two of the greatest guitarists in jazz history, George Benson and Earl Klugh, joined forces to record "Collaboration", an exquisite work of smooth jazz where both showcase their distinctive and distinct styles. The album moves seamlessly from mellow jazz to ambient music, featuring subtle synthesizer arrangements and electronic drum programming. Earl Klugh's solid and warm acoustic guitar playing contrasts with George Benson's fluid, blues-based technique. Both demonstrate their astonishing six-string skills, brilliantly and effectively fusing acoustic and electric sounds. For this project, the duo collaborated with various musicians from the jazz fusion scene, including guitarist Paul Jackson Jr., keyboardist Greg Phillinganes, drummers Harvey Mason and Vinnie Colaiuta, bassist Marcus Miller, percussionist Paulinho Da Costa, and programmers and keyboardists James Newton Howard, Jason Miles, and Larry Williams. Attractive tracks such as "Mt. Airy Road", "Mimosa", "Brazilian Stomp", "Jamaica" or "Since You're Gone", would propel the album to the top spot on the Billboard charts in the category of best contemporary jazz album.

The Keith Reid Project-The Common Thread (2008)

Keith Reid is best known as the co-writer of one of the most famous songs of all time, "A Whiter Shade of Pale", and for writing most of the original songs for the legendary Procol Harum during the 1960s and 70s. In mid-2008, he founded The Keith Reid Project, releasing the album "The Common Thread". Reid composed and wrote all the songs, as well as producing them, and the album features a stellar lineup of musicians including John Waite (Bad English), Chris Thompson (Manfred Mann), Barry Goldberg (The Electric Flag), Terry Reid, Southside Johnny, Bernie Shanahan, Michael Saxell, Chaz Jankel, and Steve Brooker. The resulting album is an excellent collection of high-quality songs that explore the sounds of melodic soft rock with elegant, laid-back rhythms and refined arrangements, undoubtedly destined for the enjoyment of even the most discerning listeners.

Go-Go Live From Paris (1976)

Stomu Yamashta, who in the early 1970s explored avant-garde and modern classical music, performing compositions by Toru Takemitsu and Hans Werner Henzel, had a chance encounter in 1970 with drummer Morris Pert, which set Yamashta on the path of jazz and rock. He then joined Pert's band, Come to the Edge. The track "One Way" from their ambient album "Music" is a good example of Yamashta's ability to create ambient pieces. In 1972, he became involved with film scores, beginning with Robert Altman's "Images", composed by the renowned John Williams. The soundtrack was nominated for an Oscar, partly due to Yamashta's contributions and his atonal sounds scattered throughout the film. A year later, he formed East Wind with keyboardist Brian Gascoigne, a band that also included the iconic Canterbury scene bassist Hugh Hopper. From this point onward, with a style difficult to categorize, percussionist and keyboardist Stomu Yamashta left his distinctive mark on a dozen works in the 1970s, showcasing a skillful blend of smooth, atmospheric jazz and rock developments. His music was highly enjoyable, featuring vital and accessible jazz-rock elements, but also darker and more unusual soundscapes. In 1975, Stomu formed the supergroup Go, composed of Steve Winwood, Klaus Schulze, Al Di Meola, and Michael Shrieve, and recorded the albums "Go" (1976), "Go Live From Paris" (1976), and "Go Too" (1977), considered masterpieces of modern music. Like most supergroups, Go's history is short. Such a collective of talented musicians from different parts of the world, each with their own busy recording and touring schedules, can only happen when the stars align and there's a fleeting moment of opportunity. Most of the musicians involved were in a state of transition at the time, and over a period of approximately a year, they produced spectacular music together. A band formed by former members of Blind Faith, Traffic, Santana, Tangerine Dream, and Return to Forever could easily have clashed over egos and artistic differences, ending the project before it even began. However, a shared interest in a new musical experience created something that, in fact, sounds like a hybrid of all these bands. After releasing a studio album, Go reached its peak during a short tour in 1976, which produced one of the most spectacular live recordings of all time: the excellent double album "Go Live From Paris". On June 12, 1976, at a packed Palais des Sports in Paris, this supergroup performed before an euphoric audience. Their relaxed and inspired performance featured a unique blend of styles, from soul (Steve Winwood) to electronic rock (Klaus Schulze and Stomu Yamashta) and jazz fusion (Al Di Meola). Michael Shrieve, former drummer for Santana, performs as the renowned and accomplished percussionist. Also noteworthy are the brilliant vocal exchanges between Steve Winwood and Karen Friedman. The band that presented the studio album "Go" live was almost the same but expanded, with Jerome Rimson on bass, Brother James on percussion, and Pat Thrall as second guitarist. The double album consists of six tracks, longer than the original studio versions, some with a jam session feel, interspersed with spacious electronic breaks and piano interludes. Long and developed pieces like "Man Of Leo", full of rhythms and intense solos by Di Meola, instrumental improvisations like "Windspin" with a funk bass taking the lead in a sublime way, outstanding jazz rock like "Ghost Machine", or funk/soul exercises like "Time Is Here", complement an anthological performance, where Stomu Yamashta holds back on his instrumental virtues to allow the other members to shine with their instruments.

Black Stone Cherry-Folklore And Superstition (2008)

"Folklore and Superstition" is the second album by Black Stone Cherry, a band based in Edmonton, Kentucky. Released in 2008, this album by the group comprised of Chris Robertson (vocals and guitar), Ben Wells (guitar), John Lawton (bass), and John Fred Young (drums) continues to embrace their hard rock sound infused with Southern rock, but with improved production, better arrangements, and a greater commercial appeal compared to their debut album released two years prior. Hits like "Blind Man", "Reverend Wrinkle", "The Bitter End", "Ghost of Floyd Collins", and "Long Sleeves" revisit that American hard rock style, clearly influenced by boogie blues and Southern rock, while other tracks, such as the more subdued "Thing My Father Said" and "Peace Is Free", offer a more relaxed feel.

Gamma-Gamma 1 (1979)

After his time leading the band Montrose, guitarist Ronnie Montrose ventured into a solo career, releasing "Open Fire" in 1978. However, shortly after, the legendary guitarist decided to form a new band called Gamma. For this project, he recruited vocalist Davey Pattison, drummer Skip Gillette, bassist Alan Fitzgerald, and keyboardist Jim Alcivar. Due to his growing popularity as a guitarist, they soon secured a contract with Elektra Records, with whom they released their debut album, "Gamma 1" in 1979 a solid work of American hard rock with blues influences and melodic rock sounds. With a basic formula of Alcívar's compelling keyboards and synthesizers, backed by Montrose's magnificent guitar work, along with the excellent vocals of Davey Pattison, it was clear that Ronnie Montrose had made the right choice in selecting this new vocalist, replacing his previous frontman, Sammy Hagar. Heavy hard rock tracks like the crackling "Thunder & Lightning", the rocking feel of "Fight to the Finish" and the exhilarating "Ready for Action", the appealing AOR tracks "I'm Alive" and "No Tears", the bluesy "Wish I Was", and the semi-progressive "Solar Heat" complete an elegant album and another of Ronnie Montrose's great contributions to the world of rock.

The Quireboys-Homewreckers & Heartbreakers (2008)

The Quireboys are one of the bands most faithful to their honest style, showcasing from their beginnings a rock sound brimming with catchy melodies that are both intense and powerful. They started by breaking into the charts with their debut album, "A Bit Of What You Fancy" (1990), a record that propelled them to an incredible number two on the British charts thanks to its rich influences from 70s rock bands like The Faces and the Rolling Stones. In the following years, they released several impressive albums, including the fantastic "Bitter Sweet & Twisted" (1993) and "This Is Rock 'n' Roll" (2001). By the time they released their fifth album, "Homewreckers and Heartbreakers", only two of the original members remained in the band: frontman and singer Spike, and guitarist Guy Griffin. The rest of the lineup consisted of bassist Jimi Crutchley, drummer Pip Mailing, keyboardist Keith Weir, and rhythm guitarist Paul Guerin. Touches of American roots rock and their basic British rock and roll are present in tracks like "Take A Look At Yourself", the honky-tonk "Louder", the energetic "Love This Dirty Town", and the exuberant "Hall of Shame". Without a doubt, this is another stimulating work from one of the most respected bands on the rock scene of the last 35 years.

Leadbelly-Negro Sinful Songs (1939)

Huddie William Ledbetter, better known as Leadbelly, was the quintessential chronicler of rural blues, folk, and gospel music. Like the troubadours of the Middle Ages, he traveled extensively throughout rural America, spreading traditional American music. Born in 1889 in Louisiana, he began his career playing the accordion, enlivening neighborhood dances. Over time, he moved on to guitar, piano, and violin, entertaining at parties and gatherings across much of the southern United States. During one of these rural tours, he was accused of killing a man after a fight and sentenced to more than fifteen years in prison. However, his time in prison, punctuated by several periods of parole, allowed him to record some of his songs for the Library of Congress songs that dealt with prison life. Although his recordings were never commercially successful, his extensive repertoire includes more than a hundred songs, from his earliest known recordings in 1935 until almost the end of the 1940s. Leadbelly died on December 6, 1949, at the age of 61 in New York City. His legacy and influence have been felt for the last seven decades by musicians such as Bob Dylan, The Animals, Creedence Clearwater Revival, Johnny Cash, Van Morrison, Elvis Presley, Ry Cooder, and Johnny Rivers, among many others. In 1988, Leadbelly was inducted into the Rock and Roll Hall of Fame, and in 2008 into the Louisiana Music Hall of Fame.

Rick Derringer-Knighted By The Blues (2009)

This is the second album from the tireless rock and blues artist Rick Derringer to appear on this blog; the first was the seminal "All American Boy", his 1973 debut. This time, we bring you his thirteenth album, "Knighted By The Blues", which, as the name suggests, is oriented towards blues rock. This work contains an inspired repertoire of tracks that showcase the virtuosity, blues feeling, and talent of this phenomenal guitarist. Tracks like the boogie-blues version of Ray Charles' "Mess Around", the powerful blues-rock numbers "Sometimes" and "If 6 Was 9", the jazzy "Cat On A Hot Tin Roof", and the slow, atmospheric blues numbers "My Gal's Kinda Crazy" and "Knighted By The Blues" place this album among Rick Derringer's most outstanding. Sadly, Derringer passed away in 2025, at the age of 77, due to serious heart problems.

Nazareth-The Fool Circle (1981)

Nazareth's twelfth studio album is one of their most abrasive yet eclectic works. On "The Fool Circle", the British band continues to blend their diverse influences with their signature hard rock sound. This time around, the group comprised of Dan McCafferty (vocals), Manny Charlton (guitars), Pete Agnew (bass), and Darrell Sweet (drums) along with guest appearances by Zal Cleminson (guitars), John Locke (keyboards), and Jeff Baxter (synthesizers and production), incorporates addictive 80s commercial sounds like reggae, which permeate several of the album's tracks. Songs like the lively rock "Dressed To Kill", the peculiar reggae "Let Me Be Your Leader", the pop rock "Little Part Of You", the catchy "Victoria", the refined ballad "Moonlight Eyes", the AOR "Another Year" or a reggae version of the classic song "Cocaine" by J.J. Cale performed live, make up one of their most harmonious albums, but at the same time it is unfairly one of the most underrated in their entire discography, despite achieving great acceptance in many European countries and in Canada.

The Kenny Wayne Shepherd Band-How I Go (2011)

Kenny Wayne Shepherd is one of the youngest bluesmen on the current scene. Born in the late seventies, his solo career began when he was just eighteen, releasing his first full-length album, "Ledbetter Heights" (1995). However, at only thirteen, he participated in several events alongside bluesman Bryan Lee, a fact that caught the attention of talent scouts who waited until he came of age to sign him to a record deal. From that moment on, Kenny Wayne Shepherd was in demand by many bluesmen of the era, playing with artists such as B.B. King, Clarence "Gatemouth" Brown, and Jonny Lang, among many others, and opening for Aerosmith, The Eagles, Bob Dylan, Lynyrd Skynyrd, and The Rolling Stones. A five-time Grammy nominee, he has won several of the most prestigious awards in the blues music industry. "How I Go", released in 2011, is his sixth album, steeped in the dusty sounds of the American South. On tracks like "Cold", Wayne demonstrates that he has little to envy in his contemporary blues guitarists, showcasing an enviable technique on the six strings. In his version of the classic "Oh, Pretty Woman", the guitarist delivers a track brimming with blues passion, and on other songs like the rocking "Come On Over" or the blues-rock "Never Lookin' Back", Wayne also makes it clear that he knows how to rock like few others. The more serene blues ballads are present in the radiant "Show Me The Way Back Home", "Anywhere The Wind Blows", and "Who's Gonna Catch You Now", where singer Noah Hunt also shines.

Gamma Ray-Land Of The Free (1995)

Taking inspiration from the iconic 1970s German progressive rock song Birth Control, guitarist and composer Kai Hansen formed Gamma Ray, a band that followed the same musical principles as his previous band, Helloween. After three albums of tremendous power metal, in 1995 they released one of the cornerstones of epic and grandiose metal with "Land of the Free." On this album, Hansen himself took over vocals from former vocalist Ralf Scheepers, while the rest of the lineup consisted of Dirk Schlächter (guitar), Jan Rubach (bass), Thomas Nack (drums), and Sascha Paeth (keyboards), in addition to a guest appearance by his former Helloween bandmate, Michael Kiske. Composed of a series of extensive compositions full of dynamism, power and epicness, here are cuts such as the thrilling "Rebellion In Dreamland", the incisive "Man on A Mission", the emotional "Farewell" or the brilliant "Time To Break Free", resulting in an essential album within the epic heavy metal of the nineties.

Second Movement-Blind Man´s Mirror (1976)

Second Movement were one of those strange and obscure cult bands of the early 70s who refused to completely abandon the psychedelia of the 60s and the hard rock of the early 70s, but who were always influenced by the pompous and complex sound of baroque keyboards and symphonic structures. Their beginnings, dating back to 1971 in Coburg, Germany, are often labeled as Krautrock. The music of their first mini-LP is characterized by a distinct symphonic style in its two songs, "Fool's Dance" and "Rainbow". This was followed by a full album, which they attribute to the progressive genre, titled "Blind Man's Mirror", with a repertoire of tracks exceeding nine minutes in length. The backbone of the band is formed by the excellent keyboardist Siggi Zeidler and the singer Harald Kesselhack, whose vocal timbre is reminiscent of Greg Lake (with a lower register). And last but not least, Thomas Möck's brilliant acoustic guitar solos create mystical atmospheres and flamenco flashbacks interwoven with frenetic, distorted electric guitar passages all of them simply exceptional musicians. “Blind Man’s Mirrors” opens with “Strange Shore”, a stunning introduction where Manni Greiner (bass) and Matthias Helk (drums) take the lead, with a lush development of guitar solos and passages of jazz and ambient sounds a perfect blend of genres, styles, and moods. The following track, “Blind Man’s Mirror”, is a 12-minute mini-epic that begins with the entire band playing a fluid musical section featuring lush keyboards, frenetic percussion, and acoustic guitar 12 minutes of pure prog rock with clear symphonic tendencies. “Shanghai” is a festival of sounds with heavy guitars combined with lush keyboard passages clearly inspired by Rick Wakeman. “Back in Town” is another long song (9.05 minutes), but for the first time they fully embrace a pure symphonic style. This extraordinary album closes with the mysterious “Different Autumn”, the icing on the cake, which ranges from medieval folk sections to vibrant and heavy passages, all enhanced by a baroque organ that keeps them firmly in symphonic territory. It's worth noting that only 700 copies of this album were pressed, and it was followed in 1981 by their second album, “Movements”, which represented a subtle stylistic shift, shedding the symphonic progressive elements to adopt a more conventional 80s prog sound, but with equally brilliant results.

Jethro Tull-Rock Island (1989)

In 1989, Jethro Tull had just won the Grammy for Best Hard Rock Album for their brilliant "Crest of a Knave", an award that surprised everyone and sparked considerable controversy. The oddity of this award lay in the fact that it was given to a band primarily known for their progressive folk rock sound, and who, with the exception of a few specific moments in their career, had never ventured into the hard rock genre enough to be categorized as such. So, with their next album, released at the dawn of the 1990s, Jethro Tull ironically embraced hard rock with "Rock Island", abandoning the "technological 80s" and giving Martin Barre and his powerful hard rock guitar riffs center stage, partly setting aside their usual pastoral sounds and acoustic guitars of British folk. Lyrically, Ian Anderson continues with his metaphorical lyrics, this time addressing the loneliness of modern society, among other recurring themes such as home and family. Although his characteristic folk sensibility appears at various points, it is the vibrant and energetic sounds that permeate this eighteenth album from the British band, as evidenced in tracks like “Kissing Willie”, “The Rattlesnake Trail”, “Rock Island”, “Big Riff and Mando”, and “Heavy Water”, while in “Ears of Tin” and “Another Christmas Song”, they return to their peculiar and captivating style. On the other hand, “The Whaler’s Dues” and “Strange Avenues” are the most progressive tracks on the album.

Hogjaw-Sons Of The Western Skies (2012)

Another of those devastating albums of Southern rock and 21st-century American rock is the one released by Hogjaw in 2012, a band formed in 2006 in Arizona. On this release, aptly titled "Sons of the Western Skies," this group comprised of Jon Boat Jones (vocals and guitar), Craig Self (lead guitar), Elvis DD (bass), and J. Kowalski (drums) delivers everything from pure Southern bangers like "Midnight Run to Cleator", "Dirty Woman", "Spoonfed", "Hells Half Home of Mine", and "Road of Fools", to bluesy tracks like "Mainstream Trucker" and "The Sun of All Things", and swampy cuts like "Everyone's Goin' Fishin' ". Without being entirely original, Hogjaw retain their own personality, rescuing with their music and their southern spirit, the enormous legacy left by the great bands of the golden age of American roots rock.

Squackett-A Life Within A Day (2012)

At this point, we're hardly going to discover who Steve Hackett and Chris Squire are: two of the greatest musicians in progressive rock worldwide. Hackett, a guitarist and fundamental figure in Genesis' golden era with Peter Gabriel at the helm, and Squire, a founder and co-leader alongside Jon Anderson of the iconic Yes. In 2012, both musicians spearheaded the Squackett project to release a single album titled "A Life Within A Day". On this album, the guitarist and bassist enlisted other musicians such as Roger King, Jeremy Stacey, Dick Driver, and Amanda Lehmann, resulting in an excellent work that, in many passages, captures the progressive essence of Yes and the melodic rock of GTR and Asia. Here, Hackett showcases his immense personality in his riffs and guitar solos, while Squire's incisive work is ever-present in every track. Likewise, the rich vocal harmonies shine, as demonstrated in the melodic "Sea Of Smiles" and "Can't Stop The Rain". On the other hand, the progressive vein can be found in "Last Train to Istanbul", "Tall Ships", "Aliens" or "Stormchaser".

The Groundhogs-Who Will Save The World? The Mighty Groundhogs (1972)

Inspired by the work of illustrator Neal Adams, The Groundhogs dared to challenge their rich British blues-rock past, and on their fifth album, they delved into experimentation, crafting their most avant-garde and progressive work. "Who Will Save The World? The Mighty Groundhogs", another Martin Birch-engineered masterpiece, was recorded at De Lane Lea's Studios in London and features a diverse collection of tracks brimming with allegorical themes, science fiction messages, and ecological statements. Musically, Tony McPhee's prominent guitar takes a backseat to the Mellotron. Even so, his driving riffs and guitar solos remain the hallmark of this legendary British band's sound. Songs like "Earth Is Not Enough", "Body in Mind", "Death Of The Sun" or "The Grey Maze", present a more heterogeneous musical panorama than the more recent past of this spectacular power trio formed by Tony McPhee, Pete Cruikshank and Ken Pustelnik.

Nazareth-Close Enough For Rock´n´Roll (1976)

With “Close Enough For Rock 'n' Roll”, the seventh album by the Scottish band Nazareth, they began to move away from their eclectic rock and roll and hard rock sound, venturing into the melodic rock that was so fashionable in the year of its release (1976). While their previous album, “Hair of the Dog”, overflowed with the energetic progressive heavy rock that would lead them to achieve a platinum and a gold record, this album lacked almost entirely that same punch and energy, with the exception of the vibrant “Telegram”, the boogie-rock track “Lift The Lid”, and the vigorous cover of Jeff Barry’s “You’re The Violin”. Harmonious and dynamic sounds took over with the silky “Homesick Again”, the rhythmic “Vancouver Shakedown”, the playful “Born Under The Wrong Sign”, and the melodic rock songs “Loretta” and “Carry Out Feelings”. Despite the risk involved in their radical change of style, the band managed to pull it off, producing an album that was well received by fans and decently maintaining their status among the top of the world's hard rock scene.

Syd Arthur-Sound Mirror (2014)

Founded at the beginning of this century, Syd Arthur is a British progressive and psychedelic rock band from Canterbury. The band consists of Liam and Joel Magill (guitar and bass, respectively), drummer Fred Rother, and keyboardist Raven Bush. With their debut album, released in 2006, the band showcased their immense potential with a work that draws on a wide range of influences, from jazz and rock to blues and folk. Evoking the sounds of the great bands of the seventies (Camel, Jethro Tull, Genesis, and King Crimson), this quartet continued to evolve, producing another superb, dynamic, and versatile album in 2014. Psychedelic tracks ("Chariots"), progressive folk ("Backward Stepping"), intricate pieces of progressive rock ("Singularity"), mainstream rock ("Hometown Blues"), and relaxed, accessible tracks ("All And Everything"), combine to create an elegant and enjoyable album of contemporary progressive rock.

Grand Funk Railroad-On Time (1969)

Grand Funk Railroad rose from the ashes of a local band in Flint, Michigan, called Terry Knight & The Pack, which included guitarist Mark Farner, drummer Donald Brewer, and singer Terry Knight. In 1968, Farner and Brewer recruited bassist Mel Schacher, thus forming the first lineup of this power trio, while Terry Knight took on the role of manager. Knight himself secured the band a performance at the prestigious Atlanta Pop Festival in mid-1969, achieving overwhelming success that earned them a contract with Capitol Records. Shortly after, they made their recording debut with their first album, "On Time", in which they superbly showcased their credentials with a vigorous and powerful style of hard rock with hints of blues and soul. Composed of ten songs, some featuring extensive instrumental passages like "Into the Sun", "Heartbreaker", and "T.N.U.C.", melodic and dynamic hard rock tracks like "Are You Ready?", intense blues rock like "Time Machine", and forays into the psychedelia prevalent at the time with the frenetic "Anybody's Answer" and "High on a Horse". A top ten hit on the Billboard charts and over a million copies sold made it one of the best debut albums in late 1960s rock music.

Walter Trout-Unspoiled by Progress: 20 Years of Hardcore Blues (2009)

Walter Trout is one of the most dedicated disciples of John Mayall, the father of British blues, who invited him to join his Bluesbreakers in the mid-1980s. However, prior to that, Walter Trout already had an extensive career as a blues guitarist, collaborating with artists such as John Lee Hooker, Percy Mayfield, and Canned Heat. In the late 1980s, Trout began his solo career, releasing his first album, "Life In The Jungle" (1989). Since then, he has released around thirty albums, both solo and with his various bands: Walter Trout Band, Walter Trout and The Free Radicals, and Walter Trout and The Radicals. "Unspoiled by Progress: 20 Years of Hardcore Blues" is an essential historical document that captures a significant part of his career, featuring fourteen tracks, some of them previously unreleased, that perfectly define his trajectory, showcasing some of his intense blues and his immense feeling and talent on the six strings.

Ken Hensley-Blood On The Highway (2006)

In 2006, the former Uriah Heep keyboardist and guitarist released his fourteenth solo album, "Blood On The Highway", conceptually based on his autobiographical book of the same name, in which he extensively recounts his history with Uriah Heep. The result is a kind of compilation of all his previous styles, from hard rock to progressive rock. For this album, Hensley enlisted guest musicians such as John Lawton, Glenn Hughes, Eve Gallagher, and Jorn Lande, among others. For many, this is his best solo work, brimming with energy, flawlessly performed, and imbued with feeling in every groove. A repertoire composed of magnificent sonic canvases such as "(This Is) Just the Beginning", "Blood on the Highway", "You've Got It (The American Dream)", "There Comes a Time", "The Last Dance (El Gitano Viejo)" or "It Won't Last", make up an excellent and rewarding album from one of the true talents in the history of rock.