Finch-Beyond Expression (1976)

A year after their debut album, the impressive "Glory Of the Inner Force", the Dutch progressive rock band Finch continued their adventure with the more experimental "Beyond Expression", a less frenetic and more challenging album than its predecessor. Finch have always been characterized by their unpredictable style, fusing energetic rock with more serene and spacious interludes, utilizing an arsenal of analog keyboards such as mini-Moogs and the Mellotron. However, on this album, Joop Van Nimwegen's guitar takes center stage, delivering many passages with great technique and impressive feeling. The suite "A Passion Condensed" stands out as their masterpiece, featuring superb instrumental layers, while the epic "Scars On The Ego" is their most metallic and hypnotic moment, with searing guitars. To finish this second album comes the dynamic "Beyond The Bizarre", the only one of the three tracks that make up the album where they approach the band's more usual sound.

The Tremeloes-Greatest Hits (1970)

The Tremeloes were a British band that began their career in the early 1960s and had several hits that made them world-famous. The band consisted of singer Brian Poole, guitarist and vocalist Alan Blakley, guitarist Graham Scott, bassist and saxophonist Alan Howard, and drummer and vocalist Dave Munden. The addition of Rick West to the group, replacing Scott, was crucial, as the newcomer had connections with producer Jimmy Grant, who chose The Tremeloes over The Beatles to sign them a disastrous decision that will go down in history as one of the biggest mistakes in pop music. They started with the Decca record label, but initially, the label began to question the group's artistic ability after releasing several singles with little success. After releasing "Twist and Shout", originally by the Isley Brothers and also popularized by The Beatles, the band began to emerge from obscurity in the UK, achieving stardom with "Do You Love Me". In 1964, further successes followed, and in 1965, and again a year later, they left Decca to join CBS. In 1967, The Tremeloes began to shine without Poole, who had left the band, reaching number 1 on the charts worldwide with "Silence Is Golden". Commercial successes continued in the following years, but always with covers of other artists' songs. At the height of the psychedelic era, The Tremeloes tried to remedy this lack of original material with "Helule, Helule", which put them back at the top of the charts. Later, Bob Dylan's "I Shall Be Released" became another hit. However, in 1968, they continued recording with little commercial success. In 1969 they achieved resounding success with "Once a Sunday Morning", and the songs "(Call Me) Number One" (69) and "Me and My Life" (70) also reached high positions in the British and European charts. In the 1970s they had some hits in Europe and over the years they continued recording but without the success of their earlier years.

Béla Fleck And The Flecktones-Flight of the Cosmic Hippo (1991)

Béla Fleck & The Flecktones are an American band that emerged in the late 1980s, led by the talented Béla Fleck, a banjo virtuoso and enthusiast of American roots music such as bluegrass, country, and rural blues. Fleck was supported by funk bassist Victor Wooten, his brother, keyboardist Roy Wooten, and jazz pianist Howard Levy. The band's musical approach was deeply rooted in the sounds of the American South, with many nuances of jazz fusion and post-bop. They created a unique and distinctive style by integrating the banjo into jazz, forging an alternative sound at a time when the jazz-rock genre was experiencing a decline. Their style, independent of pop and rock trends, soon found a massive and receptive audience around the world, who became their loyal fans. Their early albums showcase a total eclecticism, superbly blending different musical styles that stylistically seem completely disparate. While the band stands out for its instrumental mastery, it is the warmth of the melodies, the relaxing tones, and the creative use of tempos, along with the musical dynamics, that propelled this group to the peak of creativity in its early years.

Poco-Ghost Town (1982)

Well into the 1980s, the American band Poco was far from their glory days of the early 1970s, yet they continued to produce commendable work that kept them at the forefront of country rock. In 1982, they released their fifteenth album, "Ghost Town", featuring only two of their original members, guitarists Paul Cotton and Rusty Young, while the rest of the lineup consisted of Charlie Harrison (bass), Steve Chapman (drums), and Kim Ballard (keyboards). At this point, the band continued to offer that melancholic country rock style, bathed in brilliant vocal melodies and adorned with influences of catchy, harmonious, and melodic rock. The rich vocal harmonies of "How Will You Feel Tonight", the nods to the past with the country rock "When Hearts Collide", "The Midnight Rodeo (In The Lead Tonight)" or "Love's So Cruel", the addictive mid-tempo "Ghost Town" and the irresistible country "Cry No More" and "Break Of Hearts", reflected a remarkable work, despite being very far creatively from their legendary early albums.

Billy Squier-Don´t Say No (1981)

Billy Squier is a guitarist and vocalist from Boston who had notable success in the 1980s, some of which reached number one on the Billboard charts and chart high in numerous countries. As early as 1977, he had opened for Kiss with his band Piper, and a year earlier his self-titled debut album, "Piper", was a record of exceptional quality, as was his second and final album, "Can't Wait", released a year later. Squier's immense talent on the guitar, combined with his distinctive voice, did not go unnoticed by the talent scouts at Capitol Records, with whom he signed in 1979 to record his first solo album, "The Tale of the Tape". Released in 1980, it launched his meteoric rise thanks to tracks like "You Should Be High Love". In 1981, Billy Squier released "Don't Say No", his second and arguably best album. To achieve this, he got rid of the entire band with whom he had recorded "The Tale of the Tape", with the exception of the excellent drummer Bobby Chouinard. Interestingly, one of those dismissed was guitarist Bruce Kulick, who some time later would become a member of the legendary Kiss. "Don't Say No" soared to the top, opening the doors to a genre of rock whose presence on mainstream radio stations was not very common. With this album, Squier proved that melodic hard rock was not incompatible with commercial success. It was a record that also paved the way for the bands that, in the mid-80s, exploded onto the world rock scene. The imposing and memorable melodies that slipped in between the rock of early 80s American FM radio and the new hair metal that emerged in the mid-80s, thanks to the enormous work of numerous musicians like Billy Squier, with their many powerful yet accessible riffs and solos, caused a sensation around the world during those years. The following years would bring other hits such as "Everybody Wants You" (82) "Rock Me Tonight" (84) "Don't Say You Love Me" (89) or "She Goes Down" (91), his last great success before falling into oblivion with inconsistent and more predictable works.

The Chieftains-A Chieftains Celebration (1989)

The Chieftains are undoubtedly Ireland's walking ambassadors, having managed over nearly five decades to become a mainstream Irish folk music group while maintaining the versatility, roots, coherence, and spontaneous, natural personality of their native culture. Formed by piper Paddy Moloney in 1964, he brought together renowned Celtic instrumentalists such as Michael Tubridy, Sean Potts, Martin Fay, David Fallon, Peader Mercier, Sean Keane, Kevin Conneff, and Matt Molloy, some of whom are still part of the band today. Their music, through traditional and popular, has evolved into more contemporary and diverse sounds, even subtly and occasionally fusing Celtic music with other genres like jazz and rock. Their numerous collaborations over the years include some fifty artists of the caliber of Ry Cooder, Van Morrison, Elvis Costello, Mark Knopfler, Gary Moore, Bela Fleck, Roger Daltrey, Jackson Browne, Art Garfunkel, The Rolling Stones, Sting, Diana Krall, and Emmylou Harris. Six-time Grammy Award winners, the BBC Lifetime Achievement Award, and the honorary title of Irish musical ambassadors by the Irish government are just some of their many artistic achievements. With over fifty albums released, it would be impossible to single out one above the others, but it is undoubtedly "A Chieftains Celebration", a compilation released by RCA Victor in the late 1980s. Besides offering an exceptional retrospective of their first 30 years of dominance within Irish folk music, it was released to commemorate the millennium of Dublin.

Giant-Last Of The Runaways (1989)

Giant is an American band formed by a group of session musicians from various Los Angeles studios. The band members are brothers Dann and David Huff (guitar and drums, respectively), bassist Mike Brigadello, and the experienced keyboardist Alan Pascua, a musician with a highly successful past collaborating with Rick Springfield, Santana, Bob Dylan, and House of Lords, among others. In 1989, they moved to the UK, where, under the production of Terry Thomas, they recorded their debut album at Ridge Farm Studios in Rusper. On this debut, titled "Last of the Runaways", the Los Angeles group showcases exquisite AOR with beautifully crafted melodies and catchy choruses, all underpinned by the power of melodic hard rock. Tracks like "I'm a Believer", "I Can't Get Close Enough", "I'll See You in My Dreams" or more melodic pieces like "Love Welcome Home", catapulted them to share the top of melodic rock with the iconic bands of those years.

Catfish-Get Down (1970)

Catfish was a blues band from Detroit, and like so many others, a perfect example of what they could have been but never were. Formed in the late sixties by guitarist Bob "Catfish" Hodge, who, along with Mark Manko (rhythm guitar), Harry Phillips (keyboards), WR Cooke (bass), and Jimmy Optner (drums), built a strong reputation on the blues-rock circuit in the Motor City. Recognizing the band's great potential, Epic Records signed them and produced their promising debut album in 1970. On this first release, the band showcased a blend of powerful blues seasoned with country rock. Titled "Get Down", this debut album from this talented band brilliantly showcases their versatility, ranging from the bluesy "300 Pound For Mama" to dusty country tunes like "Sundown Man", lysergic psychedelic explorations like "Reprise; Catfish/Get High, Get Naked, Get Down", and heroic compositions such as "Love Lights". Despite widespread praise and acclaim, the album failed to achieve the success it deserved beyond the local and statewide scene in Michigan. From then on, they became regular opening acts for major media sensations like Black Sabbath, Bob Seger, and Ted Nugent. A year later, they tried again with the live album "Live Catfish", which, like its predecessor, failed to find mainstream appeal, precipitating the final farewell of one of the most promising bands in American blues rock.

Supersister-To The Highest Bidder (1971)

Alongside bands like Focus, Kayak, Shocking Blue, Golden Earring, and Finch, Supersister were one of the best Dutch groups, although they received less media attention than the others. This quartet, comprised of Robert Jan Stips (vocals and keyboards), Sacha van Geest (flute and vocals), Ron van Eck (bass), and Marco Vrolijk (drums), oriented their style towards the Canterbury sounds, jazz-rock, and the complex, humorous satire of Frank Zappa's Mothers of Invention. With "To the Highest Bidder", their second release, they continue down the musical path laid out on their debut album, where flautist Van Geest's role is as essential as it is entertaining, showcasing the dynamics of free jazz and progressive jazz. This progressiveness is reflected in the expansive tracks "A Girl Named You" and "Energy (Out of Future)", distinctly avant-garde pieces with exotic and Latin elements, imbued with a certain instrumental grandiosity. The rest consists of more introspective and calm tracks that navigate between Caribbean music and jazz rock.

Al Di Meola-Scenario (1983)

The 1980s were not an easy time for bands and musicians who had begun their artistic careers in the early 1970s, adapting as best they could to the changing musical landscape. Jazz rock was no exception, and as such, the style subtly shifted towards more modern sounds, with a massive use of new technologies, such as drum machines, synthesized guitars, and the latest generation of synthesizers. This is precisely what Al Di Meola sought to capitalize on with his sixth album, "Scenario", released in 1983. On this album, he shared the spotlight with another giant of 1970s jazz rock, Jan Hammer, with his arsenal of keyboards and synthesizers. In this release, Meola utilizes a range of modern instruments, such as the Roland synthesized guitar and the Fairlight CMI, in addition to his usual electric and acoustic guitars. The album also features guest appearances from various musicians, including drummers Bill Bruford and Phil Collins, and bassist Tony Levin. While not reaching the heights of their iconic earlier works such as "Land Of The Midnight Sun" (1976), "Elegant Gypsy" (1977), "Casino" (1978) or "Electric Rendezvous" (1982), this new release is an enjoyable album where the intricate and sophisticated programming, along with the guitars and keyboards of both musicians, are the most relevant aspects of a repertoire composed of outstanding songs such as the refined, slightly Mediterranean melody "Mata Hari", the exotic "African Nights", the synth-funk "Cachaca", the hypnotic "Calliope" or the vintage jazz-rock "Scoundrel".

Slade-Slade Alive! (1972)

Between October 19th and 21st, 1971, Slade gave three memorable concerts at Piccadilly Circus in London, from which material was taken to create one of the wildest live albums ever recorded, titled "Slade Alive!". With a repertoire packed with covers and original songs, the Wolverhampton band delivered an overdose of visceral and addictive rock 'n' roll. Right from the opening track, Ten Years After's "Hear Me Calling", we get a glimpse of what's to come with a powerful and fiery version. In Lovin' Spoonful's "Darling Be Home Soon", the band also knows how to tone down the frenzy and deliver a calm, highly melodic rendition, while on "Get Down and Get with It", the group takes Bobby Marchan's version and puts their own unique boogie-rock spin on it. To finish off the covers, Steppenwolf's "Born to Be Wild" is the most chaotic track on the album, an explosion of unbridled hard rock. Among the original songs, "In Like a Shot from My Gun" stands out with that infectious rhythm characteristic of Slade, as does "Know Who You Are", culminating in the rock 'n' roll anthem "Keep on Rocking". This superb live album reached number two on the UK Albums Chart.

Rush-Presto (1989)

With "Presto," the Canadian band Rush closed another chapter in their history, simultaneously creating an album that marked a return to their original sound, giving greater prominence to rock guitars at the expense of the synthesizers of their previous four albums. This shift stemmed from a point where their keyboard-driven, techno-heavy style had reached a stagnation, offering no possibility of further evolution. This radical change is evident in tracks like "Show Don't Tell", a song where Alex Lifeson and his guitars reclaim their lost ground. Similarly, Neil Peart's philosophical lyrics remain present in compositions of exceptional instrumental prowess, as exemplified by tracks like "Hand Over Fist", "Anagram (For Mongo)", "The Pass", "Presto", and "Available Light". This album would receive great acceptance from his millions of old and orthodox fans around the world, who viewed the album releases of the eighties with suspicion.

Captain Beyond-Captain Beyond (1972)

One of the most overlooked old-school supergroups was Captain Beyond, formed by former members of four iconic bands. They released three excellent albums: "Captain Beyond" (1972), "Sufficiently Breathless" (1973), and "Dawn Explosion" (1977). Formed in 1971 in Los Angeles by vocalist Rod Evans (ex-Deep Purple), guitarists Larry Rhino and Lee Dorman (ex-Iron Butterfly), and drummer Bobby Caldwell (ex-Johnny Winter Band), they drew inspiration from the styles of their parent bands, delivering hard rock and heavy sounds that permeate every groove of their three albums, albeit with a touch of avant-garde, especially on their second release. On "Raging River Of Fear", from their debut album, the heavy blues riffs stand out, as does the frenetic heavy rock track "Dancing Madly Backwards", which together form a general repertoire of high-octane rock pieces with acoustic and jazz interludes. With their next release, they began to incorporate much more stylistic variety and progressive influences, as demonstrated by the dynamic "Sufficiently Breathless", the jazz-rock with Latin tendencies "Everything A Circle", and the spacey "Starglow Energy". Finally, with their third release, "Dawn Explosion", they return to hard rock, albeit with a more organic and melodic tone, as shown by the captivating tracks "If You Please", "Fantasy", "Breath Of Fire", and "Midnight Memories".

Ralf Nowy-Lucifer´s Dream (1973)

Ralf Nowy was a talented German musician with a prolific artistic career, working as a producer, musician, composer, arranger, and musical director. In the 1960s, after graduating from the Stern Conservatory in Berlin, where he studied classical music, composition, arranging, and jazz, he formed several jazz bands, playing flute and saxophone. In 1963, he was chosen as the best soloist at the Berlin Jazz Festival. This award opened doors for him, leading him to direct the Forum Theatre in Berlin, become a production director, conduct the Saarländischer Rundfunk Orchestra of Saarbrücken, and collaborate with various German and European artists. In the early 1970s, he began collaborating with Giorgio Moroder on film soundtracks and composing numerous commercials for German television. Alongside all of this, he created his own music, releasing several albums focused on kraturock with a jazz influence. In 1973, he released his first album, "Lucifer's Dream", for which he recruited a large group of backing musicians from the German jazz and rock scene, including bassist Amon Düül II, Lothar Meid, and Missus Beastly guitarist Paul Vincent. "Lucifer's Dream" is primarily composed of a series of highly structured pieces with elaborate arrangements, recorded in spectacular quadraphonic sound, making it an exciting adventure into jazz fusion with clear cinematic undertones. A truly exquisite album, where the string arrangements, sophistication, guitars, and wind instruments combine to create a comforting musical experience.

Glass Harp-Synergy (1971)

Hailing from Ohio, Glass Harp were a classic rock power trio who alternated melodic folk sounds with hard rock jams inspired by legendary bands like The Jimi Hendrix Experience and Cream. This trio consisted of guitarist Phil Keaggy, drummer John Sferra, and bassist Steve Markulin, who in 1970 secured a deal with MCA Records to finance their debut album under their subsidiary Decca Records. The album's commercial success led them to open for leading bands such as Grand Funk Railroad, Traffic, Humble Pie, and The Kinks across North America. In 1971, the band released their second album, "Synergy", showcasing an even more powerful repertoire with the hard rock tracks "One Day At a Time" and "Never Is a Long Time", two clear examples of Keaggy's exceptional guitar skills. The rest of the album consists of the moody "Song of Hope", the acoustic "The Answer", and the rhythmic and upbeat "Mountains", which contrast with the psychedelic "Just Always" and the sedate "Child of the Universe", bringing to a close an engaging album that, as its title suggests, captures the perfect union of its three members at their artistic peak. The following year, they released the epitaph "It Makes Me Glad", in which they softened their style towards more predictable directions. Subsequently, each member pursued different artistic paths, with Keaggy achieving the most prolific career, shifting his style towards Christian rock and releasing some fifty albums, several of which were nominated for Grammy Awards. He is considered one of the best guitarists of the 20th century.

Robin Trower-Caravan To Midnight (1978)

By 1978, Robin Trower was firmly established as one of the great guitarists of hard rock and blues, having already released a series of high-quality albums that went gold and platinum, including "Twice Removed From Yesterday", "Bridge of Sighs", "For Earth Below", and "Long Misty Days", all of which garnered favorable reviews and strong sales. Following the release of "Long Misty Days", Trower made changes to his band, bringing in bassist Rustee Allen and freeing James Dewar from that role to focus on vocals. In 1978, Robin Trower released his sixth album, "Caravan to Midnight", which featured percussionist Paulinho da Costa. While not reaching the heights of his earlier work on "Caravan to Midnight", Robin once again delivers a series of high-quality tracks showcasing his brilliant guitar skills, as demonstrated in the catchy "My Love (Burning Love)" and the hypnotic blues "Caravan to Midnight". Other cuts, such as the rhythmic "I'm Out to Get You", the addictive blues-rock "King of the Dance", and the ethereal "Sail On", confirmed his status as the phenomenal guitarist who came to be unanimously dubbed the "white Jimi Hendrix" by the press.

Dillard & Clark-The Fantastic Expedition of Dillard & Clark (1969)

Towards the end of the 1960s, the American folk and country rock scene was at its peak. Bands and artists like The Byrds, The Band, and Bob Dylan had contributed significantly to this, leaving behind moments of great splendor. It was in this context that Gene Clark (formerly of the Byrds) and Doug Dillard emerged. Dillard, a renowned bluegrass musician and banjo legend, is an icon of the most ancestral sounds of rural America. These two musicians joined forces and created an album that would redefine modern country rock, laying the foundation for all subsequent movements and subgenres that drew from American country and folk. "The Fantastic Expedition of Dillard & Clark" is not only a journey into the heart of rural America, but also a voice that championed a traditional style and way of life that endures today and will continue to do so long after we die. This album thoughtfully showcases a series of iconic country songs like "Out on The Side", bluegrass classics like "She Darkens The Sun", and laments and rural experiences such as "Train Laves Here This Morning", "The Radio Son", and "With Care From Someone". Without a doubt, this is one of the most innovative, fundamental, and essential works of American roots music, and a true masterpiece of the genre.

Gary Moore-Victims Of The Future (1983)

Today, no one doubts the enormous talent of the late Irish guitarist Gary Moore, a fundamental figure in the history of rock. However, he was often criticized by some media outlets and fans for his inconsistency and opportunism in taking advantage of the musical trends he experienced. It's true that Moore explored different musical styles, from jazz-rock with the band Colosseum II, to pure blues with albums like "Still Got the Blues" (1990), passing through musical detours close to pop-rock with "Run For Cover" (1985), forays into Celtic folk with "Wild Frontier" (1987), heavy rock with "Corridors of Power" (1982), and electronica with "Dark Days in Paradise" (1997), not forgetting his time with Thin Lizzy and their original style of hard rock. Even so, Gary Moore's soul was always influenced by blues and hard rock, as demonstrated on his first album with his band "Grinding Stone" (1973), or even earlier with the Skid Row project (not to be confused with the band led by Sebastian Bach in the 1980s). At the beginning of the 1980s, Gary Moore steered his style towards the prevailing sound of the time, heavy metal, with several highly acclaimed albums within the genre. One of these works was "Victims of the Future", released in 1983, which for many is his best solo work. Recorded entirely at Townhouse Studios in London, Moore enlisted the help of bassists Bob Daisley, Mo Foster, and Neil Murray, drummer Ian Paice, keyboardist Neil Carter, and Slade member Noddy Holder. This album contains some of the guitarist's best compositions, such as the beautiful mid-tempo "Empty Rooms" or the heavy rock tracks "Victims of the Future", "Murder in the Skies", "All I Want" or "The Law Of The Jungle", not forgetting an exciting version of The Yardbirds' classic, "Shape Of Things to Come".

Metallica-Ride The Lightning (1984)

If their debut album had subtly revealed the musical direction Metallica was heading in, their second album left no doubt about it. The intensity and raw power remained in this second release, but they also became more versatile, creating more complex and intelligent music. This shift is evident in the epic and brilliant "Fade to Black" and "Call of Ktulu", two tracks of great instrumental complexity that border on progressive sounds. However, glimpses of the frenetic thrash metal of their first album still lingered in the incredible and intricate "Creeping Death", "Fight Fire with Me", and "For Whom the Bell Tolls". This second album would put Metallica's name on the lips of millions of heavy metal fans around the world and pave the way for them to explore new horizons with great works in the years to come.

Metallica-Kill´Em All (1983)

In 1983, Metallica unleashed their fast, furious, and exhilarating thrash metal with one of the most stunning debuts in heavy metal history. An album of killer guitars, intense and brutal riffs, and a hyperactive and devastating rhythm section, showcasing a raw, direct, and ice-cold sound. Lyrically, they focused on death, hell, wars, victories and bloody defeats, rebelling against the political establishment, and much, much more. James Hetfield (guitar and vocals), Kirk Hammett (guitar), Cliff Burton (bass), and Lars Ulrich (drums) created an album that, unlike their subsequent releases, is composed of relatively simple pieces overall, albeit with somewhat complex instrumental structures. Influenced by the new wave of British heavy metal (Iron Maiden), the American and British heavy punk movement (Motorhead), and fusing these styles with the aggression and rawness of hardcore, this album showcases all these hallmarks, from the frenetic "Hit The Lights", "Motorbreath", "Whiplash" and "Phantom Lord", to the more complex and intricate developments of the semi-progressive "The Four Horsemen" and the superb instrumental "(Anesthesia) Pulling Teeth". With this debut, Metallica rebelled against all the easy-listening music of the time, breathing new life into heavy metal and hard rock in the early eighties, and simultaneously inspiring and influencing tens of millions of young people around the world.

Alice In Chains-Dirt (1992)

Alice in Chains, along with Nirvana, Pearl Jam, Temple of the Dog, Soundgarden, and Stone Temple Pilots, were the leading exponents of the grunge sound born in Seattle. Founded in that city in 1987 by Jerry Cantrell, Laney Staley, Mike Starr, and Sean Kinney, their main characteristic was their energetic sound, very close to the most visceral and raw heavy metal, far removed from the alternative, garage, or punk rock sounds of their contemporaries. With their second album, "Dirt", the band reached the necessary maturity to solidify their style with a semi-conceptual album about heroin use, a substance that was, at the time, the main addiction of their singer, Laney Staley. On this album, the band displays fury and violence with dark undertones throughout almost the entire record, as can be heard in tracks like "Rooster", "Rain When I Die", "Sickman", "Dam That River", and "Them Bones". However, the band also knows how to blend that tremendous fury with more melodic and serene tracks like “Down In A Hole”, or the dark hard rock of “Rooster”. “Dirt” is considered one of the seminal works of the genre and, at the same time, one of the most successful Seattle sound albums, achieving half a dozen platinum records and reaching number six on the Billboard charts.

Eloy-Colours (1980)

The German band Eloy's eighth album featured several changes compared to their previous album, "Silent Cries and Mighty Echoes", both in terms of the lineup and the stylistic shift. Drummer Jürgen Rosenthal and keyboardist Detlev Schmidtchen were no longer with the band, replaced by Jim McGillivray and Hannes Folberth respectively, while Frank Bornemann (guitar and vocals), Hannes Arkona (guitars), and Klaus-Peter Matziol (bass) remained at the helm. Regarding their sound, this release maintains a similar direction to its predecessor but with a more accessible and catchy feel, undoubtedly paving the way for future releases that will be more focused on progressive pop-rock without the complexity of the previous work. The simplest melodies, without the pretensions of yesteryear, appear in pieces like "Gallery", "Sunset" or "Impressions", while the progressive "Horizons" continues the tradition of their previous albums and the epic "Child Migration" becomes the high point of this "Colours".

Memoriance-Et Aprés (1976)

Memoriance was an obscure and forgotten French art rock and symphonic rock band that released two compelling albums during the 1970s, now highly sought after by the prog rock community. Formed in the mid-70s, their original lineup consisted of Jean-Pierre Boulais (guitar and vocals), Jean-François Périer (keyboards), Didier Guillaumat (guitar and vocals), Didier Busson (drums), and Michel Aze (bass). Their intelligent fusion of styles, encompassing classic symphonic rock and space rock, is prominently featured on their only recordings. On their debut album, "Et Après", the sounds of a galloping bass, refined and elegant guitars, and certain jazz elements predominate, all underpinned by great musicianship. Tracks like "Je Ne Sais Plus" showcase the virtuosity of its members, crafting a powerful yet melodic, progressive structure with continuous rhythmic shifts. Jazz rock appears in the instrumental "La Grange Mémoriance", while the group's theatrical side is reflected in the title track "Et Aprés", a diverse piece that includes both quiet moments and frenetic rhythms, ending with the accessible and conventional classic rock of "Tracsir". Three years later, they returned with the concept album "L'Écume des Jours d'Apres Boris Vian", based on a 1940s novel by the philosopher and writer Boris Vian. ​​After a maxi-single titled "Sparadrap/Téléphone", released in 1981, the band finally disbanded, bringing their interesting recording journey to an end.

Magellan-Impending Ascension (1993)

Heirs to the avant-garde American sound of the 1970s, like Rush and Kansas, Magellan is a band formed in the mid-1980s, considered one of the flagship acts of the second wave of progressive rock worldwide. Formed by brothers Trent and Wayne Gardner (keyboards and guitars respectively), along with bassist Hal Stringfellow, they released their debut album, "Hour of Restoration", in 1991. This album featured a complex suite titled "Mana Carta", a concept album about old England, uniquely and originally blending elements of classic progressive rock with metal. With "Impending Ascension", their next full-length album, Magellan continued in a similar vein, albeit with an improved musical direction and a better balance in the arrangements, all combined with an even more refined level of instrumental skill. Their main influences here remain Kansas and the British symphonic progressive bands of the 70s, adding subtle touches of neo-progressive fused with metal, a factor that broadened their sonic palette by infusing a modern feel into their symphonic style. The expansive tracks “National Stadium”, “Waterfront Weirdos”, and “Storms and Munity” best define this distinctive style, while the striking instrumental “No Time For Words”, although it might sound somewhat pretentious, is simultaneously a clear indication of the Gardner brothers' immense talent as composers and instrumentalists.

Popol Vuh-In Den Gärten Pharaos (1971)

Popol Vuh were pioneers in expressing the diverse musical ideas that emerged in the late 1960s and early 1970s. With their second release, "In Den Gärten Pharaos" (1971), the band, led by Florian Fricke, demonstrated a clear evolution from their debut album released the previous year. In addition to Fricke (synthesizers, organ, and electric piano), the Popol Vuh lineup for this album included Betina (cymbals and production), Holger Trülzsch (Turkish, African, and Asian percussion instruments), and Frank Fiedler (Moog synthesizers). Comprising two expansive epics of genuinely hypnotic sounds, this is undoubtedly one of the great milestones of popular music, representing a fundamental step forward in the development and consolidation of the various musical movements that would follow. The nearly 20-minute title track, "In den Gärten Pharaos", establishes a surreal, cosmic adventure, with a multitude of ambient sounds and rich instrumentation that alternates between world music percussion, cymbals, organs, and synthesizers. In "Vuh", an even more extensive suite, the medieval church organ is the driving force behind the music, which, supported by synthesizers and the cacophonous sounds of cymbals and drums, creates a sound very close to trance and the deepest meditation. Without a doubt, despite its inaccessibility to the general public, "In den Gärten Pharaos" is a masterpiece of contemporary music and of the most experimental and innovative rock.

Hank Mobley-Soul Station (1960)

Unfairly overshadowed by contemporary musicians like saxophonists Sonny Rollins, Stan Getz, and John Coltrane, Hank Mobley was another of the great legends of hard bop and jazz soul. While not a mere innovator or pioneer, his career was remarkably prolific, releasing formidable albums for Blue Note Records between 1955 and 1970. His style, distinct from Coltrane's aggressive sound or Stan Getz's subtlety, was relaxed, delicate, and melodic. For Blue Note, he recorded some of the finest jazz albums, such as "Soul Station" and "Roll Call", albums of great musical and jazz solidity. In "Soul Station" (1960), Mobley surrounded himself with some of the great musicians of his time such as Art Blakey, Wynton Kelly or Paul Chambers, offering a masterclass in jazz starting with the anthological "I Remember" or the formidable "Dig Dis" and "If I Should Lose You", in which this talented musician also showed his tremendous ability to compose exquisite pieces of the best hard bop in history.

Return To Forever-Where Have I Known You Before (1974)

1974 was the year that the band Return To Forever, led by keyboardist Chick Corea, released their fourth album, "Where Have I Known You Before". On this album, they left behind their Latin jazz influences to delve into the more complex sounds of jazz-rock and fusion, a style that other groups like The Mashavishnu Orchestra were exploring at the time. Furthermore, this album featured the classic RTF lineup, fronted by the aforementioned Chick Corea and supported by drummer Lenny White, bassist Stanley Clarke, and guitarist Al Di Meola. Di Meola replaced Bill Connors, who left the band just as the recording of this album began. "Where Have I Known You Before" is a work that offers top-tier jazz-rock, where all four musicians contribute their own unique styles and sounds. Tracks like the dynamic “Vulcan Words” already demonstrate the perfect synchronization between all the band members, while “Shadow of Lo” is its counterpart, with rich atmospheric keyboard textures and a leisurely pace that gradually builds in intensity. The enthusiastic “Beyond the Seventh Galaxy” contrasts with the melody of “Earth Juice”, showcasing the accessibility of the band's music, while the sublime “Song to the Pharoah Kings” is the album's most elaborate moment, featuring expansive synthesizer sequences, exotic sounds leaning towards Latin influences, and Di Meola's energetic guitar work. With “Where Have I Known You Before”, Return to Forever began their anthological trilogy of essential jazz-rock albums, alongside the dazzling “No Mystery” (1975) and the apotheosis of “Romantic Warrior” (1976).

Return To Forever-Hymn Of The Seventh Galaxy (1973)

Return to Forever's career has been marked by diverse variations within jazz, from the progressive sounds of "Romantic Warrior" (1976) to the rock of "Hymn of the Seventh Galaxy" (1973), passing through the jazz fusion of their self-titled debut album (1972), and the forays into funk and Latin sounds of "No Mystery" (1975). For their third release, "Hymn of the Seventh Galaxy" (1973), band leader Chick Corea introduced a new guitarist, Bill Connors, who replaced singer Flora Purim, and a new drummer, Lenny White, who replaced Airto Moreira, while the rest of the lineup remained Chick Corea himself and bassist Stanley Clarke. On this new album, the band focused on a heavy jazz-rock sound driven by the virtuosity and surreal performances of all its members. Bill Connors's dissonant guitar style, Corea's delicate electric piano playing, and the formidable rhythm section comprised of Clarke's extraordinary bass and White's complex drumming result in an album brimming with dynamic, impeccably crafted jazz-rock pieces. From the brilliant title track to the ethereal "Alter the Cosmic Rain", and from the jazzy improvisation of "Captain Señor Mouse" to the groovy jazz of "Space Circus", this album stands as one of the finest and most essential jazz-rock albums of the 1970s.

Return To Forever-The Mothership Returns (2012)

With a title that is, to say the least, revealing, Return to Forever returned with a double live album 30 years after their last studio release, "Music Magic", in 1977. Featuring a lineup that included regulars Chick Corea, Stanley Clarke, and Lenny White, along with Frank Gambale replacing Al Di Meola and the addition of Jean-Luc Ponty, they undertook an extensive tour in 2011, from which the material included on the double album "The Mothership Returns" was taken. This double album is full of memorable moments, such as the opening "Medieval Overture" from the album "Romantic Warrior", with an incredible performance by all five members of a classic piece in their repertoire. This is followed by other highlights such as "Senor Mouse" and "The Shadows of Lo/Sorceress". It should be noted that the inclusion of Jean-Luc Ponty's electric violin gives a different dimension to the original sound of all the songs included here. On the other hand, while it's true that Frank Gambale could never be compared to Di Meola in acoustic guitar performances, it's equally true that his tremendous electric guitar skills are in no way lacking, even though his style is heavier and more rock-oriented than Meola's. In other tracks like "Renaissance", "After The Cosmic Rain", "Spain", "Beyond The Seventh Galaxy", and "School Days", Corea's piano, Clarke's funky bass, and Lenny White's dynamic drumming stand out for their talented instrumental performances, without in any way diminishing Ponty's violin flourishes and Frank Gambale's energetic guitar work.

Return To Forever-No Mystery (1975)

Beneath its typically psychedelic cover, Return to Forever's fifth album is another of their classic records, though somewhat overshadowed by its placement between their three masterpieces ("Hymn of the Seventh Galaxy", "Where Have I Known You Before", and "Romantic Warrior"). Released several years after the first two and a year before "Romantic Warrior", this fifth record is where the band, led by Chick Corea and supported by Al Di Meola, Stanley Clarke, and Lenny White, delves into the most overwhelming funk, as evidenced in tracks like "Dayride", "Sofistifunk", and "Jungle Waterfall", all from the first side of the original LP, where there are hardly any traces of the group's usual jazz-rock sound. However, it's the expansive jazz-fusion track "Flight of the Newborn" that brings a touch of sanity to the funky rhythms of the album's first half. As a counterpoint to that first side, the second side again showcases the frequent jazz rock with the brilliant "No Mystery" and "Celebration Suite", two compositions where all the musicians demonstrate their extensive instrumental abilities, forming together one of the essential works of jazz rock/fusion of the highest level.

Chick Corea-Return To Forever (1972)

Return to Forever's debut album (though technically a Chick Corea solo project) is a masterpiece of jazz fusion. Its iconic cover art transports us to the distinctive sounds of Corea's Fender Rhodes electric piano, accompanied on this occasion by Joe Farrell's vibrant flute and talented saxophone, Airto Moreira's Latin touch, Flora Purim's warm Latin American sensibility, and Stanley Clarke's understated yet effective double bass. The title track is a musical odyssey, navigating between warmth and mystery, melancholy and disquietness, while maintaining an excellent melody that allows the music to flow effortlessly. In contrast to this title track are "Crystal Silence" and "What Games Shall We Play Today?", two easy-listening pieces featuring Flora Purim's superb vocals. To finish the album comes the epic "Sometime Ago/La Fiesta", a huge 23-minute canvas that accommodates everything from Latin sounds, jazz fusion or melancholic features full of charm to traditional Spanish music, all without ever losing the connection between all those sounds and all those different musical environments.

Return To Forever-Musicmagic (1977)

1977 saw the release of Return to Forever's final jazz-rock album, a work recorded after the departure of guitarist Al Di Meola and drummer Lenny White, leaving only Chick Corea (keyboards) and Stanley Clarke (bass) as the band's founding members. For this album, the duo enlisted drummer Gary Brown and keyboardist/vocalist Gayle Moran, along with a large horn section. At the time, the album had its share of detractors for lacking RTF's usual jazz-rock punch, but despite the absence of a prominent guitarist, it still contains some good moments leaning towards jazz fusion. From the very beginning, the general feeling is that they are returning to the Latin jazz fusion of their early work, but as the minutes pass, that feeling gradually fades into the more conventional sounds of jazz fusion. Although the music here is also less ambitious, tracks like "The Endless Night", "The Musician" and "So Long Mickey Mouse" keep the creative bar quite high, even though this is undoubtedly one of RTF's least distinguished and appreciated releases by jazz rock/fusion fans.

Jeronimo-Jeronimo (1971)

Despite their name and album covers clearly reminiscent of Native American culture, Jeronimo was a German psychedelic heavy rock band formed in the late 1960s. For several years, they had a significant media impact in Europe, where, in addition to releasing several hits that reached high charts in various countries, they toured successfully across the continent, opening for leading bands such as Deep Purple, Steppenwolf, and Golden Earring. After a commendable debut album, "Cosmic Blues", featuring their hits "Heya" and "Na Na Hey Hey", two tracks geared towards radio airplay, they released their second and best album. This self-titled second album represents a step forward in their musical direction, clearly delving into the sounds of heavy, powerful hard rock dominated by Michael Koch's guitar and Gunnar Schäfer's bass, as demonstrated in tracks like "Shades", "How I'd Love to Be Home", and "End of Our Time". A touch of psychedelia is found in the brilliant opening track, "Sunday's Child". The galloping "Understanding" and the dark "Silence of the Night", along with the predictable "Hugudila", are the other highlights of this magnificent work.

Return To Forever-Light As A Feather (1972)

A year before reforming Return to Forever, adding an electric guitarist (Bill Connors) and venturing into the realm of powerful jazz rock, frontman Chick Corea was immersed in refined jazz fusion with clear Brazilian and Latin influences. Following his debut album recorded for the ECM label, Corea released the elegant "Light as a Feather" with Brazilian singer Flora Purim, drummer Airto Moreira, saxophonist Joe Farrell, and bassist Stanley Clarke. On this second recording, this lineup offers a warm setlist of island and Latin sounds, featuring the versatile "Captain Marvel", the epic "Spain", the classic "500 Miles High", the jazzy samba "You're Everything", and the bossa nova "Light As A Father". From this point on, only Chick Corea and Stanley Clarke would remain in Return to Forever for the next stage of the band, and yet the one that would record this "Light As A Feather" is undoubtedly responsible for one of the best jazz fusion albums of all time.

Jethro Tull-Heavy Horses (1978)

Following the formula of their previous album, "Songs From The Wood", Jethro Tull presented their eleventh album, "Heavy Horses", in which medieval British folk influences form the cornerstone of this release. This time, Ian Anderson emphasizes the unsustainable encroachment of urbanization into rural areas and its subsequent impact on wildlife and the countryside. This rural setting is reflected in music brimming with acoustic guitars courtesy of Martin Barre and Anderson, violins and orchestral arrangements by Darryl Way and David Palmer, and Ian Anderson's unmistakable flute. These structures underpin songs like "...And The Mouse Police Never Sleeps", "Acres Wild", "Moths", "One Brown House", and "Weathercock". However, they don't entirely abandon rock, featuring more sophisticated and energetic tracks such as the edgy "No Lubally", the semi-funky "Journeyman", and the progressive folk title track. "Heavy Horses" provided the best epilogue to a series of albums ("Minstrell In The Gallery", "Too Old To Rock'n'Roll; Too Young To Die!" and "Songs From the Wood"), where acoustic sounds and progressive folk had subtly replaced the energetic folk rock and progressive rock of "Aqualung", "Thick As A Brick", "A Passion Play" and "War Child".

Man-Be Good To Yourself At Least Once A Day (1972)

Man are undoubtedly the quintessential Welsh band. Despite their frequent lineup changes, they achieved legendary status thanks to a series of albums that resembled their American contemporaries, the Grateful Dead and Quicksilver Messenger Service, due to their long, improvised suites with riffs and extended guitar solos, their psychedelic style, and their influences from country rock and blues. In 1972, Man consisted of guitarists and vocalists Micky Jones and Clive John, keyboardist Phil Ryan, bassist Will Youatt, and drummer Terry Williams. With this lineup, they entered Rockfield Studios in Monmouth, Wales, to record their fifth album, "Be Good to Yourself at Least Once a Day". Featuring only four lengthy tracks ranging from eight to twelve minutes, this new release continues to showcase their experimental psychedelic side while achieving a greater balance between all the aforementioned styles. The relentless "C'Mon" opens this album, a true epic with doses of space rock, a shimmering Hammond organ, and explosive guitar improvisations. The instrumental "Keep on Crinting" moves between gentle country passages, the thick sounds of psychedelia, and subtle jazz touches. The astonishing acid rock track "Bananas" is another highlight, a classic from these Welsh musicians, straddling psychedelic rock and krautrock with a steady rhythm and excellent instrumental interplay. The album closes with the bluesy boogie "Life on the Road", where monumental instrumental passages and the two ingenious guitarists take center stage amidst the vocal sections.

Them-Them Featuring Van Morrison (1973)

Them was one of the most influential groups of the mid-1960s, creators of one of the genre's most famous hits, "Gloria", a true classic for many years and through countless versions by numerous artists and groups. Formed in Belfast in 1963, their original lineup consisted of Van Morrison on vocals, Billy Harrison on guitar, Alan Henderson on bass, Patrick McCauley on organ, and Ronnie Millinc on drums. Later, the group underwent several lineup changes without any impact on the band's quality, which was based almost exclusively on Van Morrison's overwhelming personality. In 1964, the group moved to London, and their first albums created a powerful climax around Morrison's personality and his almost soulful voice. "Baby Please Don't Go" and "Here Comes the Night", songs written by Bert Berns (author of other hits like "Shout" and "Hang on Sloopy"), catapulted them to stardom, but their biggest hit would be the aforementioned "Gloria", a number one hit in 1965 and one of the great songs of the 1960s. In 1965, they released their first album under the Decca label, "The Angry Young Them", which included the aforementioned "Gloria" and "Mystic Eyes", both written by Morrison, as well as covers of R&B classics. Them would go on to record many other brilliant tracks such as "Call My Name", "Here Comes the Night", "It's All Over Now", and "Baby Blue", among others. A year later came their second album, "Them Again", but in 1967, with only two albums recorded, Van Morrison disbanded the group to pursue a solo career. From then on, he became one of the most important figures in rock and blues worldwide, with a career that kept him out of the mainstream charts but placed him among the best solo artists of all time. In 1973, the compilation album "Them Featuring Van Morrison" was released, featuring the group's best songs.

Strawbs-Grave New World (1972)

Strawbs were one of the most original British bands due to their constant evolution, fusing English folk and progressive rock. Founded by guitarist and singer Dave Cousins ​​in the mid-1960s, they had to wait until almost the end of that decade to release their self-titled debut album. A year later, the addition of keyboardist Rick Wakeman gave them a more avant-garde style, steering their music towards symphonic rock, as demonstrated on "Dragonfly" (1970) and with greater emphasis on the following album, "From the Witchwood" (1971). However, after this latter release, Wakeman decided to join Yes and left Strawbs, being replaced by keyboardist Blue Weaver. Weaver, along with drummer Richard Hudson, bassist John Ford, guitarists Dave Cousins ​​and Tony Hooper, and with arrangements and production by Tony Visconti, recorded Strawbs' fourth album. In this release, the band presents a concept album about the life of man, from birth to death. "Grave New World", a title that references the novel by Aldous Huxley, contains everything from pleasant melodies, along with ironic and biting lyrics in the glorious "Benedictus", to psychedelic forays in "Queen Of Dreams", passing through the energetic guitars of "Heavy Disguise", the symphonic ballad "Flower and the Young Man", and the vigorous progressive rock of "Tomorrow", all interspersed with the folk interludes "On Growing Older" and "Ah Me, Ah My".

The Pretty Things-Savage Eye (1975)

In 1973, Led Zeppelin, along with their manager Peter Grant, founded their own record label, Swan Song Records, signing some of the most popular bands of the 1970s, such as Bad Company and The Pretty Things, who released several albums under their auspices. Focusing on the latter, The Pretty Things had maintained a very stable career since the mid-1960s with a style that navigated between psychedelic pop and proto-progressive rock. Albums like "S.F. Sorrow" (1968) and "Parachute" (1970) are considered two of the great masterpieces of the era. Even after their heyday, they continued to release commendable works focused on classic rock, such as "Freeway Madness" (1972), "Silk Torpedo" (1974), and the album we're discussing today, "Savage Eye", released in 1975 and, like the previous album, published under the aforementioned Swan Song Records. In this release, the band, comprised of Phil May (vocals), Jack Green (bass, vocals, and guitars), Peter Tolson (guitars and bass), Gordon Edwards (guitars, keyboards, and vocals), John Povey (keyboards), and Skip Alan (drums), focused on a repertoire primarily oriented towards conventional rock and the typical rock 'n' roll of the 1970s. Tracks like the monolithic, Zeppelin-esque "Under the Volcano", or the melancholic folk-pop-rock "Sad Eye", along with the grandiose "My Song", are more than enough to qualify this as a magnificent album. The rest, while not reaching the heights of the previous tracks, maintains a high level of compositional and instrumental quality, as demonstrated by the upbeat rock 'n' roll "It Isn't Rock 'n' Roll", the energetic rock of "I'm Keeping", and the relaxed pop-rock of "It's Been So Long".

Thelonious Monk-Brilliant Corners (1957)

"Brilliant Corners" was Thelonious Monk's ninth solo album, recorded for the Riverside label in 1956 in New York and released the following year. With this recording, Monk began to be considered a pioneer of modern jazz, after years of being misunderstood by critics and fans due to his experimental avant-garde approach. "Brilliant Corners" not only produced one of his best works but also one of the greatest recordings in jazz history. For this recording, Monk surrounded himself with a stellar cast of musicians, including Max Roach, Clark Terry, Paul Chambers, Sonny Rollins, and Ernie Henry. Most of the melodies on this album are based on relaxed, mid-tempo blues, beginning with the tour de force title track, a song ahead of its time due to its tremendous dynamism. The avant-garde jazz-blues "Ba-Lue Bolivar Ba-Lues-Are" or the delicate ballad "Pannonica" showcase Monk's poise on the piano keys, while the Afro-Caribbean "Bemsha Swing" returns to its experimental side alongside Sonny Rollins' saxophone, who, through Monk's challenging piano sequences, displays his sublime talent with the saxophone.

The Allman Brothers Band-Enlightened Rogues (1979)

In 1979, The Allman Brothers released their sixth studio album, "Enlightened Rogues", which showcases some of the hardest and most energetic tracks of the band's entire career. Despite its undeniable quality, it's considered one of their most predictable works. Recorded during a period of creative stagnation for a carefree Gregg Allman, guitarist Dickey Betts was the main driving force, writing five of the album's eight tracks. For this recording, the Jacksonville-based lineup no longer included keyboardist Chuck Leavell or bassist Lamar Williams, who were replaced by Dan Toler (guitars) and David Goldflies (bass), respectively. The regular lineup remained: Gregg Allman (organ, electric piano, and vocals), Dickey Betts (guitars and vocals), Jaimoe (drums), and Butch Trucks (percussion). Betts' compositions resulted in a series of powerful songs like "Can't Take It With You" and "Blind Love", while the characteristic sound of Southern blues infused with jazz passages is present in "Just Ain't Easy", the bluesy "Need Your Love So Bad", an original John Mertis piece, and the guitar tour de force "Pegasus". Weighed down by the success of his earlier, enormous works, the album didn't receive the recognition it deserved, yet it still reached number nine on the Billboard charts and earned a gold record for its numerous sales in the North American market.

Status Quo-On The Level (1975)

With their eighth album, "On The Level", Status Quo achieved their second number one hit on the British charts, in addition to numerous gold and platinum records worldwide. On this release, the English band boldly embraced infectious and addictive hard rock boogie, evolving towards more seductive rhythms and solidifying their signature sound. They had already achieved great commercial success with three albums: "Piledriver" (1972), "Hello!" (1973), and "Quo" (1974), all of which combined their blues-rock roots with boogie, seasoned with brilliant acoustic songs. But it was with "On The Level" that they achieved the stylistic maturity necessary to leap into the pantheon of rock's greatest bands. Songs like the extraordinarily catchy "Down Down", the refined "Where I Am", the rock and roll "Little Lady", the boogie blues "Most Of The Time" or the boogie rock "I Saw The Light", "Over And One", "Broken Man", "What To Do" and "Nightrider", constitute the magnificent repertoire of one of the masterpieces of rock music of the 70s.

Louis Armstrong-Louis Armstrong Plays W.C. Handy (1954)

Louis Armstrong is considered by many to be the greatest musician of all time, and his legacy, not only in jazz but also in popular music, is immense. We won't discuss his impressive career here; it would be difficult to summarize it in a few lines. Instead, we'll focus on one of his best recordings, "Louis Armstrong Plays W.C. Handy", originally released in 1954. On that occasion, his big band consisted of Barney Bigard (clarinet), Arvell Shaw (double bass), Barrett Deems (drums), Billy Kyle (piano), Trummy Young (trombone), and Velma Middleton (vocals), in addition, of course, to Louis Armstrong (vocals and trumpet). In this recording, the father of jazz, Louis Armstrong, wanted to pay homage to the father of the blues, W.C. Handy, by reinterpreting some of his old blues songs in a jazz style. What we have here is traditional jazz, with the exuberance and talent of Louis Armstrong, who manages to create extraordinary Southern-influenced blues melodies. And although W.C. Handy was originally from Tennessee (born in Alabama), this is pure New Orleans jazz. The album begins with the dazzling "St. Louis Blues", the more leisurely "Yellow Dog Blues", the timeless melody of "Loveless Love", and blues standards such as "Aunt Hagar's Blues", "Long Gone", "The Memphis Blues", "Chantez-Les Bas (Sing 'Em Low)", "Hesitating Blues", and "Atlanta Blues (Make Me a Pallet on the Floor)".

Trúbrot-...Lifun (1971)

We're going to Iceland, home to Trúbrot, an eclectic band that moved between the hypnotic and atmospheric sounds of psychedelic space rock and proto-hard rock. Founded in 1969, their lineup consisted of Karl Sighvatsson (keyboards), Gunnar Jökull Hákonarson (drums), Gunnar Þórdarson (guitar), Rúnar Júlíusson (bass and vocals), and Shady Owens (vocals). After several albums focused on the typical psychedelic pop-rock of the 1960s, "Trúbrot" (1969) and "Undir Áhrifum" (1970), they moved to England where, in 1971, they recorded their most ambitious work, "Lifun". In this release, the Icelandic band showcases its great stylistic diversity with a series of songs ranging from the heavy rock of "Lives Overture" to the stimulating atmospheric pieces of "Circulation," passing through the galloping progressive "School Complex", the folk of "Hush-S-Bye", and the grandiose mini-symphonies of "Margföld er Lifun er Lifum við Ein". After several more albums, "Mandala" and "Náttúra: Magic Key", both released in 1972, they disbanded at the end of the following year.