Supertramp-Some Things Never Change (1997)

With "Some Things Never Change", Supertramp's tenth album, Rick Davies boldly embraced jazz and blues sounds, almost entirely abandoning the progressive forays and sophisticated pop tracks of their two previous releases, "Brother Where You Bound" and "Free As A Bird". On this new recording, Davies reunited with two of his bandmates from the group's golden era: saxophonist John Helliwell and drummer Bob Siebenberg. The lineup was further enhanced by guitarist Carl Verheyen, bassist Cliff Hugo, and singer, guitarist, and keyboardist Mark Hart, among other musicians. "Some Things Never Change" features exquisitely produced tracks with superb arrangements, most of them rooted in jazz and blues, but where progressive sounds still subtly coexist, as demonstrated in "It's a Hard World", a track with that typical Supertramp organic sound. Other tracks like "Live To Love You" and "Get Your Act Together" maintain that old spirit, but in a very subtle way. Following the stylistic pattern of the hit "Cannonball" comes "Some Things Never Change", a track that provides just the right amount of commercial appeal to give the album a lively and fresh feel. The vintage "You Win, I Lose" and "C'est What?", the jazz fusion "Sooner Or Later", the bluesy "Help Me Down That Road", and the melodic "Give Me A Change" all combine to form a very respectable effort that, while not reaching the heights of their excellent work from the 70s, left intact the enormous credibility of one of the greatest bands of all time.

Kiss-Love Gun (1977)

With his sixth album "Love Gun" published in 1977, Kiss closed his stage of best creativity and for many of his fans, the best of his entire career.
This superb album contains part of the history of the band with songs like "I Stole Your Love", "Shock Me" or "Love Gun" demonstrating the enormous amount of songs they composed in only three years in which they released five fantastic albums.
From here the bad addictions of its members, in particular Ace Frehley and Peter Criss and the egos of the rest of the band would take their toll on them, turning their environment into their own creative tomb.

Steeleye Span-Below The Salt (1972)

The fourth album from British band Steeleye Span showcases their evolution towards electric folk, while exploring traditional British folk. Changes in several members bring a renewed freshness and a new dimension to the band's sound. Peter Knight's magnificent contributions on violin, banjo, and mandolin, Maddy Prior's sublime vocals, and the powerful drumming of guitarist Bob Johnson and bassist Rick Kemp provide the necessary strength to consider this their best work. Songs like the traditional Scottish "Sheep-crook and black dog" become a poignant funeral dirge, featuring a sublime Maddy Prior. Another traditional song from the late 19th century, "King Henry", constitutes the album's high point, while the folk songs "Rose Bud In June", "Jigs: The Bride's Favorite, Tansey's Fancy", the lively "Royal Forester", the folk rock "Sheep-Crook And Blue Black Dog" or the version of the English folk tale "John Barleycorn", are part of an essential album of the best British folk rock.

Ozzy Osbourne-Down To Earth (2001)

Shortly after his sixth album, "No More Tears" (1991), singer Ozzy Osbourne expressed his intention to retire from the recording studio, but not from the stage, forming the successful Ozzfest festival with his wife, Sharon. However, his restless spirit wouldn't allow him to remain idle for long, and he ended up recording another album four years later, the celebrated "Ozzmosis" (1995), with which he was once again acclaimed as a metal god by his millions of fans around the world. Due to media pressure and pressure from his own record label, in 2001 Ozzy returned to writing material for a new album titled "Down to Earth". For its recording, the legendary singer enlisted his main collaborator, Zakk Wylde (guitars), as well as Mike Bordin (drums), Robert Trujillo (bass), Tim Palmer (keyboards and guitars), Michael Railo (keyboards), and Danny Saber (guitars). "Down To Earth" is undoubtedly his most relaxed work, where his characteristically poetic lyrics address everything from his personal experiences with drugs to the difficult times we are living through. Musically, the tone is quite melodic, with a solid, addictive, and infectious heavy metal sound, encompassing sophisticated ballads like "Dreamer" and "Running Out Of Time", as well as harmonic heavy metal numbers such as "Back Illusion", "Junkie", "Gets Me Through", "Can You Hear Them?", "Facing Hell", and "Alive". With this album, Ozzy adapted to the changing landscape of 21st-century heavy metal while always maintaining his timeless and distinctive style.

Marillion-Marbles (2004)

During the latter half of the 1990s, Marillion seemed to be preaching in the wilderness, releasing a series of rather predictable albums that would mark the lowest point creatively in their extensive discography. Albums like the unenthusiastic "Radiation" (1998), the predictable pop-rock "Marillion.com" (1999), and the more innovative "Anoraknophobia" (2001) left a certain unease among their more purist fans and a low commercial return, leading them to seriously reconsider their immediate future, convinced that this path was leading them nowhere. Thus, three years later they released "Marbles", a sprawling double album where they stepped outside their comfort zone to create one of their most consistent and progressive albums, meticulously delving into their musical origins with an intense and memorable neo-progressive sound. From epic progressive anthems like "Ocean Cloud" to the intense "Neverland", and from the melancholic "The Invisible Man" to the poignant "You're Gone" and "Fantastic Place", they demonstrated that they hadn't yet lost the essential original sound that had begun two decades earlier. However, there was also room for melodic and commercial soft rock, as exemplified by the catchy "Don't Hurt Yourself" and "Angelina". With this superb album (their thirteenth), Marillion entered a phase of great creativity, producing excellent works such as the subsequent "Happiness Is The Road" (2008), "Sounds That Can't Be Made" (2012), and "Fear" (2016).

Eloy-Eloy (1971)

The German band Eloy's career has always been characterized by their grandiose, spacey progressive rock style, replete with allusions to science fiction and mysticism. However, their debut album bears little resemblance to that musical orientation; in this first release, they focus on the more energetic and heavy sounds of conventional hard rock. Of the lineup that recorded this first album, only three members would continue after its release: Frank Bonermann (guitar), Manfred Wieczorke (guitar and vocals), and Wolfgang Stöcker (bass), while the rest consisted of drummer Helmuth Draht and organist and singer Erich Schriever. Although initially categorized as krautrock, their style was actually closer to the British hard rock of bands like Uriah Heep, Atomic Rooster, or Warhorse than to the German movement full of improvisation, psychedelic sounds, and experimentation. Plausible pieces such as the powerful "Today", the psychedelic "Something Yellow", the dark and heavy "Song Of A Paranoid Soldier", the relaxing "Isle Of Sun" or the hard rock groove "Voice Of Revolution", were part of the worthy debut of one of the most emblematic and famous bands that emerged from Germany during the 1970s.

Bon Jovi-Slippery When Wet (1986)

For many it was the best hard rock album of the 80s, especially because of the popularity that this album would generate, a statement perhaps exaggerated when checking the endless list of great albums that came out in that decade, but even so, this is undoubtedly the best work by one of the bands that best knew how to combine addictive songs with contagious refrains and great melodies, all with a plus of pop sound that made them tremendously popular.
"Slippery When Wet" is full of compositions with a spectacular commercial vein, highlighting above all of them "Livin'On A Prayer" and "You Give Love A Bad Name", two huge songs that were the creative pinnacle of Bon Jovi.
The rest maintained a very high level like the epic "Wanted Dead Or Alive", or the rock "Raise Your Hands" and "Wild In The Streets" where he showed the influence of his mentor Bruce Springsteen.

Grobschnitt-Rockpommel´s Land (1977)

In 1977 came the fifth album from the German band Grobschnitt, considered by many to be one of the most brilliant progressive rock recordings ever made. Conceived as a concept album, based around the naive story of a clever young man traveling through magical lands and finding wisdom and peace of mind, it is ultimately nothing more than a palpable display of the ironic humor of this German group. On this release, the lineup; Stefan Danielak (guitars and vocals), Gerd-Otto Kühn (guitars and backing vocals), Volker Kahrs (keyboards), Wolfgang Jäger (bass), and Joachim Ehrig (drums and percussion), showcases its most symphonic and intense side, with abundant guitar riffs and solos underpinned by atmospheric synthesizers, all tied together by a cohesive concept. However, it's also true that compared to their previous releases, they lose some of their defining characteristics, such as their extroverted music and humorous lyrics, while their effective hard rock guitars become more melodic and ethereal. Despite the simplicity of its story, musically it presents an inexhaustible source of creativity, which, from the opening track "Ernie's Reise", which establishes the album's main focus, through the intricate, somber soundscape of "Severity Town", the soothing and relaxed "Anywhere", and the progressive symphonic epic "Rockpommel's Land", makes this work a sumptuous and splendid example of progressive rock from the 1970s.

Krokus-Metal Rendez-Vous (1980)

Despite sometimes being accused of merely copying the Australian band AC/DC, Krokus forged a fruitful career filled with great moments that have gone down in the annals of world heavy metal with outstanding works such as "Metal Rendez-Vous", "Hardware", "Headhunter", and "One Vice At A Time". While it's true that their roots lie in the energetic and visceral hard rock of the bands led by the Young brothers, it's also true that they embellished it with the metallic sound of their guitars and intricate arrangements, transforming their style into a devastating and addictive heavy rock. In 1980, this Swiss band cemented their reputation with the release of their fourth album, "Metal Rendez-Vous". The lineup, comprised of vocalist Marc Storace, guitarists Fernando von Arb and Tommy Kiefer, bassist Chris von Rohr, keyboardist Jürg Naegeli, and drummer Freddy Steady, showcased their full stylistic maturity with a series of incendiary tracks such as "Heatstrokes", "Come On", "Lady Double Dealer", "Bedside Radio", and the frenetic "Back Seat Rock 'n' Roll". These contrasted sharply with the evocative ballad "Streamer" and the complex "Fire". The album became one of their greatest creative and commercial achievements, earning four platinum records and enormous sales across Europe.

The Jam-The Gift (1982)

In 1982, The Jam were at the peak of their career, having released several successful albums and enjoying their greatest popularity. That year, they decided to release their final album, "The Gift", which contains the trio's most famous song: the celebrated "Town Called Malice", a politically charged anthem against British Prime Minister Margaret Thatcher. Here, the group, led by Paul Weller, also abandoned their mod and post-punk roots to delve into other styles such as funk, as in "Precious", and forays into soul, in a repertoire of brilliant, well-structured songs. Tracks like "Happy Together", "Just Who Is The 5 O'Clock Hero?" and "Carnation" propelled the album to a number one hit in the UK charts. Following this, Paul Weller formed the duo The Style Council, with whom he enjoyed a highly successful career focused on soul, funk, and pop-rock.

The Cult-Electric (1987)

Under the guise of gothic rock and post-punk, The Cult began their meteoric rise in the early eighties, crafting several albums oriented towards those styles, which over time evolved towards heavier and more incendiary territory. Led by the aggressive and captivating riffs of guitarist Bill Duffy and the powerful vocals of Ian Astbury, in 1987 the group delivered their definitive breakthrough with the brilliant "Electric", in which they completely abandoned gothic sounds and embraced visceral hard rock. Duffy's powerful riffs and solos take center stage here, while the formidable rhythm section of Jamie Stewart and Les Warner backs up a series of incredibly forceful blasts. That powerful energy is present in bangers like "Love Removal Machine", "Lil' Devil", "Peace Dog", "Aphrodisiac Jacket", "Wild Flower", or the fiery version of Steppenwolf's iconic song, "Born To Be Wild".

David Gilmour-About Face (1984)

Once Roger Waters' relationship with the rest of Pink Floyd ended after the album "The Final Cut", guitarist David Gilmour focused his efforts on creating his second solo album. Far removed from Waters' political or social activism, Gilmour concentrated solely on showcasing his musical talent without engaging with his former bandmate's controversial messages. "About Face" reveals the musical sensibility of an excellent guitarist in an accessible and thoroughly enjoyable work. Melancholic atmospheres set the overall tone of the album, as exemplified by the emotive "Out Of The Blue" and the radiant "Love On The Air", where he receives invaluable assistance from Steve Winwood on keyboards. Winwood, along with other prominent musicians such as Jon Lord, Jeff Porcaro, Bob Ezrin, Roy Harper, Ray Cooper, Pino Palladino, and Michael Kamen, comprises the extensive list of guest musicians on the album's recording. The nods to his main band are present in the progressive "Blue Light" and "Near the End", while the more predictable eighties-inspired "Until We Sleep" and "All Lovers Are Deranged", put a worthy conclusion to an effort that is more appealing and less pretentious for the average listener than the vindictive schemes of the brilliant but irascible Roger Waters.

Blodwyn Pig-Getting To This (1970)

The blues leanings of guitarist Mick Abrahams and the jazz-influenced contributions of violinist and flautist Jack Lancaster fueled the style of the British band Blodwyn Pig. Formed in 1968, Blodwyn Pig were a pioneer of the British avant-garde movements of the late 1960s. Founded by former Jethro Tull member Mick Abrahams, along with Jack Lancaster, bassist Andy Pyle, and drummer Ron Berg, their debut album, "Ahead Rings Out", released in 1969, showcased the quartet's blend of blues, progressive rock, heavy rock, and jazz-rock the latter thanks to Lancaster's jazzy saxophones and flutes. This first album became a classic of British progressive blues and is often cited as one of the genre's landmark works. A year later came their second LP, "Getting To This", which featured pianist Graham Waller as a guest musician. Unlike their previous progressive album, this new release leaned towards classic blues rock with experimental and diverse tones, subtly moving away from their jazz approach in a clear attempt to expand their sonic palette. Tracks like the rhythm and blues "Drive Me", the progressive folk jazz "Variations on Nainos", the bluesy folk "Long Bomb Blues" and "Toys", the progressive blues rock "San Francisco Sketches", and the jazzy "Send Your Son To Die" represented this ultimately unsuccessful attempt to explore new sonic horizons.

Krokodil-Getting Up For The Morning (1972)

Krokodil was a Swiss band that emerged in the late 1960s, playing an addictive mix of acid hard rock, swampy blues, progressive and psychedelic touches with hints of Eastern and Indian sounds. Krokodil consisted of Walty Anselmo (guitar, sitar, and vocals), Düde Dürst (drums), Mojo Weidili (harmonica, flute, and percussion), Hardy Hepp (violin and keyboards), and Terry Stevens (bass). On their first two albums, "Krokodil" (1969) and "Swamp" (1970), the band explored a style related to the hard blues of bands like the British group The Groundhogs, but with a progressive edge. With their next album, "An Invisible World Revealed" (1971), they introduced more complex sounds of blues and psychedelic music, featuring a prominent Mellotron and highlighting the impressive atmospheric suite "Oddyssey In Om". "Getting Up For The Morning", released a year later, showcased a band more firmly established in the krautrock sound, with its wide variety of underground styles ranging from blues jams like "Schooldays" to motorik-like sounds with the acid folk of "Song No. 2 (Thought Under Conditions)", and including exotic tracks such as the interlude "Was There A Time", the powerful, dusty blues of "Rabatz", and the psychedelic and progressive sounds of "And I Know". However, the band began to show signs of creative exhaustion with their next release, "Sweat and Swim" (1973), which still maintains undeniable creativity, as demonstrated by tracks like the atmospheric, Pink Floyd-esque "Daybreak", the southern rock "All I Ever Wanted", the space rock "Skylabd", and the rural blues "Two to Twelf". Some time later, they disappeared until almost forty years later, when in 2013 some of its members revived the band, releasing several albums that recaptured some of Krokodil's original essence.

Manassas-Manassas (1972)

Once the massive (and at the same time, tumultuous) tour following the album "Deja Vu" by Crosby, Stills, Nash & Young had ended, each of its members decided to go their separate ways, temporarily leaving behind one of the greatest supergroups ever created. And it was Stephen Stills who first made a move, creating a new band called Manassas. For this, he recruited former Byrds and Flying Burrito Brothers member Chris Hillman, former Flying Burrito Brothers member Al Perkins, and some of the musicians who had participated in the recording of "Deja Vu", such as drummer Dallas Taylor and bassist Fuzzy Samuels. With the addition of several more members, including Paul Harris, who at the time played organ in B.B. King's band, and former Pacific Gas and Electric percussionist Joe Lala, as well as special guest appearances from musicians such as Rolling Stones bassist Bill Wyman, Grateful Dead frontman Jerry Garcia on pedal steel guitar, and Malcolm Cecil on keyboards, they entered Criteria Studios in Miami and recorded the double album "Manassas", the debut album of this country-rock supergroup. Divided into four sides with different subtitles, this self-titled first album was one of the decade's biggest releases and is still considered an extraordinary work today. On side A of the first disc, titled “The Raven”, we can enjoy a mix of rock with Latin fusions and among which stand out “Song Of Love”, with the immense sound of the guitars of Stills and Perkins, the fascinating “Rock & Roll Crazies / Cuban Bluegrass”, the jam rock “Both of Us” or the meritorious “Anyway”. The sounds of the countryside and rural life appear on the second disc, "The Wilderness", featuring tracks that blend country and bluegrass influences, such as "So Begins the Task", "Fallen Eagle", "Colorado", and "Don't Look at My Shadow". The third disc, "Consider", leans towards folk rock, with standout tracks like "Johnny's Garden", "It Doesn't Matter", and "The Love Gangster". This double album concludes with the fourth disc, subtitled "Rock & Roll Is Here", which, as the title suggests, is a tribute to blues and rock. It opens with tracks reminiscent of the best CSNY songs, such as "What to Do" and "Right Now", followed by the jam epic "The Treasure" and the acoustic blues "Blue Man". The latter is dedicated to three rock greats who had passed away in the previous two years: guitarist Jimi Hendrix, singer Al Wilson of Canned Heat, and guitarist John Allman the Great. Brothers, Duane Allman, a superb conclusion to an album as grand and apotheotic as the career of all the legendary musicians who participated in its creation.

Traffic-Shoot Out At The Fantasy Factory (1973)

In 1973, progressive rock was at its creative, media, and commercial peak. That year saw the release of many of the genre's masterpieces, and the British band Traffic was no exception with their eighth album, "Shoot Out At The Fantasy Factory". Following the same stylistic and visual pattern as its predecessor, they even re-released a cover very similar to the previous album, "The Low Spark Of High Heeled Boys", featuring a cropped sleeve from the original LP. Inside, they unveiled a captivating work where the intelligent compositions of Steve Winwood, Jim Capaldi, and Chris Wood guide us through a series of perfect songs that blend jazz and rock masterfully with progressive elements. Tracks like the title track are a perfect synthesis of the band's genius, eleven splendid minutes of avant-garde fusion, while boundless creativity is on full display in the magnificent "Tragic Magic". The musical climax arrives with the country/funk/blues track "Roll Right Stones", which evolves from a pastoral sound to a gloriously ecstatic finale. The fragile "Evening Blue" serves as a kind of interlude for the album's melancholic and standout track, "(Sometimes I Feel So) Uninspired", featuring a solemn Steve Winwood in his distinctive soulful voice and delivering a breathtaking guitar solo. Ultimately, with this release, Traffic delivered another memorable album, adding to the already extraordinary discography of the band during their eight-year, brilliant career.

Gila-Night Works (1972)

Despite its flawed production, the second album by the German band Gila is a true historical document of one of the cult bands of krautrock. Recorded live in the studios of a radio station based in Cologne in 1972, "Night Works" was the chronological (though unofficial) successor to their monumental debut, "Free Electric Sound", an album that showcased an ambitious and experimental approach focused on the psychedelic and hypnotic sounds of so called Kosmiche Music. On this second release, the lineup still consisted of guitarist and vocalist Conny Veit, bassist Walter Wiederkehr, organist Fritz Scheyhing, and drummer Daniel Alluno. With a style clearly related to their debut, the Stuttgart-based band follows in the footsteps of the acid and lysergic sounds of early Pink Floyd led by Syd Barrett, featuring expansive jams like "The Gila Symphony". a tour de force encompassing everything from atmospheric and hallucinatory passages to intricate interplay between a heavy Hammond organ and biting guitars, all under the spell of a powerful and brutal rhythm section. In addition to this impressive piece, the album includes memorable instrumental passages such as the psychedelic heavy rock of "Around Midnight", the lysergic "Braintwist", the hypnotic "Trampelpfad", and the atmospheric "Communication II".

Blue Oyster Cult-Cultösaurus Erectus (1980)

"Mirrors" had been a step back in the career of the Blue Oyster Cult, to the point of losing some credibility and the trust of their fans, so for their next album they hired producer Martin Birch to put them back on the record. level they deserved.
And partly thanks to the album "Cultösaurus Erectus" they would achieve it, with a powerful work and a brilliant and impeccable production.
Here the instrumental developments return and they are the main resource of this magnificent album, as from the beginning with "Black Blade" it is intuited, a song with a very hard sound, "The Marshall Plan" is a visceral rock full of power and quality, and there are even times for some interesting extravaganza like jazz rock "Monsters"

Robert Plant & Alison Krauss-Raising Sand (2007)

Together with Alison Krauss, the exceptional bluegrass singer and violinist from Illinois, and producer T. Bone Burnett, former Led Zeppelin singer Robert Plant returns to his roots on this album, revisiting a series of American country, folk, R&B, and blues covers from all eras and resurrecting them in a reflective and fresh sound. Songs of immense emotion and restraint, such as Townes Van Zandt's "Nothin' ", Gene Clark's "Through the Morning, Through the Night", Dorothy LaBostrie's "Rich Woman", Roly Jon Salley's "Killing the Blues", The Everly Brothers' "Gone Gone Gone", and "Please Red the Letter", composed as a duet with his Led Zeppelin bandmate Jimmy Page for the 1988 album "Walking Into Clarksdale", reflect a true masterpiece of American roots music, which was deservedly rewarded with five Grammy Awards.

David Bowie-Scary Monsters (1980)

"Scary Monsters" marked David Bowie's most "conventional" return after several albums of electronic and post-punk soundscapes reflected in the so-called "Berlin Trilogy" ("Low", "Heroes", and "Lodger"). On this occasion, the Thin White Duke once again delights us with a repertoire full of catchy songs, yet simultaneously boasting complex musical arrangements. For this fourteenth album, the British musician reunites with some of his regular collaborators, such as Robert Fripp and Carlos Alomar on guitars and Tony Visconti on acoustic guitar, in addition to other prominent musicians like Pete Townshend, Andy Clark, George Murray, and Dennis Davis. Songs like the addictive "Ashes to Ashes" alone make this album essential to Bowie's career, but it also features other great highlights like "Scream Like a Baby", which still retains glimpses of the creative brilliance of his earlier period. Other standout tracks like "Because You're Young", "Up the Hill Backwards", "Teenage Wildlife", and the surprising "It's No Game (Part 1)" make up one of his greatest recordings. With this album, David Bowie closed out a decade of immense creativity, producing some of the best albums in the history of rock music.

Cosmos Factory-An Old Castle of Transylvania (1973)

Taking their name from the legendary Creedence Clearwater Revival album, Cosmos Factory was another of the seminal Japanese psychedelic and progressive bands of the 1970s, releasing four albums between 1973 and 1977. Their lineup consisted of Tsutomu Izumi (keyboards, Moog synthesizer, vocals), Hisashi Mizutani (guitar, vocals), Toshikazu Taki (bass, vocals), Kazuo Okamoto (drums and percussion), and Misao (violin). Their debut, "An Old Castle of Transylvania", was their most progressive and ethereal work, driven by the sounds of a galloping Hammond organ, a soaring electric violin, and a fiery electric guitar. Songs like "Set The Controls For The Heart Of The Sun" evoke the most psychedelic and underground Pink Floyd, while the title track is a 20-minute epic that moves between the heavy sounds of hard rock, space rock, and symphonic rock. With their subsequent albums, this Japanese group presented a different style on each one, from the intricate and complex "A Journey With The Cosmos Factory" (1975), to the heavy rock-oriented "Metal Reflection" (1977), and the more experimental "Black Hole" (1976).

Arena-The Visitor (1998)

The third album by the British band Arena is one of the most acclaimed and praised neo-progressive records, an admirable work of intelligent fusion composed of exuberant melodies and vibrant rock under an intricate and passionate musicianship. In this new release, the band introduced a new guitarist, John Mitchell, who replaced Keith Moore, becoming a key figure with his heavy riffs and tremendous melodic solos. Added to this are the haunting keyboards of the group's leader, Clive Nolan, who creates multi-layered sounds, grandiose orchestrations, and dreamlike, spacey synthesizers. For his part, Paul Wrightson's passionate, expressive, yet delicate vocals greatly contribute to this concept album reflecting why it is one of the greatest neo-progressive records in history.

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.