Frank Marino-The Power Of Rock and Roll (1981)-Juggernaut (1982)

In 1981, Canadian guitarist Frank Marino parted ways with Mahogany Rush to begin releasing his subsequent albums under his own name. His first solo album was "The Power of Rock and Roll", released on Columbia Records. However, his backing musicians on this album remained the same as in his band, starting with his brother Vince Marino on guitar, bassist Paul Harwood, and drummer Jim Ayoub. What didn't change was his characteristic incendiary style, as demonstrated in the tracks "The Power of Rock and Roll", "Play My Music", "Stay With Me", and "Young Man", while the exhilarating hard rock emerges in the fantastic guitar tour de force "Runnin' Wild" and the dizzying "Go Strange". A year later, Frank Marino paid homage to AOR sounds with the release of "Juggernaut", in which the man considered the Canadian Hendrix showed himself to be quite comfortable setting aside his guitar hero to focus on the songs. An album featuring tracks such as "For Your Love", "Stories Of a Hero" or "Strange Dreams".

Frank Marino & Mahogany Rush-What´s Next (1980)

At the start of the 1980s, Canadian guitarist Frank Marino released his seventh album with his inseparable band Mahogany Rush, this time with the addition of Vince Marino (Frank's brother) on second guitar. The rest of the lineup remained the same: bassist Paul Harwood and drummer Jimmy Ayoub. Despite the growing emphasis on melody and the ubiquitous keyboards that were beginning to take hold in rock music during those years, Frank Marino was still determined to expand his powerful 1970s hard rock sound, as evidenced by "What's Next", with a repertoire packed with tremendous songs like "Loved By You", "Finish Line", "Something's Comin' Our Way", and powerful covers such as the traditional blues "Rock Me Baby", Bob Diddley's exhilarating "Mona", and The Doors' frenetic "Roadhouse Blues".

Etna-Etna (1975)

Etna was an interesting Italian band with a curious career, reflected in three albums released under different names. Formed in the early 1970s in Sicily by brothers Agostino and Antonio Marangolo (drums and keyboards respectively), guitarist Carlo Pennisi, and bassist Elio Volpini, they moved to Rome in early 1971. There, they established their base of operations and released several albums focused on progressive hard rock under the name Flea On The Honey. After several lineup changes, the band disbanded for a time until 1975, when the original members reunited and, under the name Etna, released their only self-titled album. In this new release, the band shifted towards melodic jazz-rock, creating a superb instrumental jazz-rock fusion album driven by guitar and keyboards. Echoes of iconic bands like the Mahavishnu Orchestra, Weather Report and Nucleus, seasoned with influences from the Canterbury sound, made up one of the most appreciated albums of transalpine and European jazz rock.

Streetwalkers-Red Card (1976)

After the breakup of Family, two of its members, Roger Chapman and John Whitney, formed Streetwalkers, a group that followed a similar stylistic pattern to its predecessor. Originally called the Chapman Whitney Band, after signing with Reprise Records, they recorded the album "Chapman Whitney Streetwalkers", with a lineup that also included other former Family members such as Ric Grech and John Wetton, as well as former King Crimson members Mel Collins, Ian Wallace, and Michael Giles. After several concerts in Great Britain, the group changed its name to Streetwalkers, with the addition of drummer Nicko McBrain. "Downtown Flyers" was Streetwalkers' debut album, which had little impact in the United States, but was very well received in Europe. A year later, they released "Red Card", which achieved considerable success on the British charts. For this album, the band had expanded with guitarist Bobby Tench (formerly of Jeff Beck) and bassist Jon Plotel. The reception of this splendid second album led to them being chosen for various tours across England alongside Outlaws, Little Feat, the Sensational Alex Harvey Band, and The Who. "Red Card" comprises a repertoire of infectious, classic-rock-oriented songs, with Chapman's raspy vocals as the main attraction. The opening groove of "Run For Cover", the spontaneous and carefree "Roll Up Roll Up", the bluesy groove of "Me An' Me Horse An' Me Rum", the magnificent "Shotgun Messiah" and "Decadence Code", and the hypnotic "Crazy Charade" are all part of one of the gems of the best British rock of the 70s.

Eric Clapton-461 Ocean Boulevard (1974)

Few musicians like Eric Clapton can boast of having belonged to four of the greatest bands in history: The Yardbirds, John Mayall and The Bluesbreakers, Cream, and Blind Faith, with whom he left behind some of the masterpieces of rock music, and yet having a solo career full of ups and downs. This somewhat diminished his credibility, not as a guitarist, which is beyond question, but due to his consistently limited songwriting ability. Even so, his extensive discography includes some of the best albums recorded in the 1970s, such as "461 Ocean Boulevard", released in 1974. This second album was his second and definitively cemented his solo career. In this second release, Clapton skillfully delves into the roots of American music, blending blues, country, and R&B with pop, reggae, and rock. Suggestive tracks like "Let It Grow" alternate with exquisite versions such as Bob Marley's "I Shot The Sheriff", Willie Dixon's "I Can't Hold Out" or Johnny Otis' "Willie and the Hand Jive", while the traditional and lively "Motherless Children" or the beautiful folk blues "Please Be With Me", led the album to the top of the charts on both sides of the Atlantic.

Asia Minor-Between Flesh And Divine (1980)

Asia Minor was a French band that emerged as the golden age of progressive rock was ending and the European neo-progressive movement was beginning to take hold. Formed by several musicians of Turkish and French descent, they released two magnificent albums that are among the finest recordings of the European avant-garde genre. Influenced by the atmospheric and symphonic sound of Camel, their debut in the late seventies showed great promise thanks to their exuberant symphonic style. However, all their creativity and immense talent would be fully realized on their second full-length album, "Between Flesh and Divine", considered one of the jewels of French progressive rock. It features highly musical compositions brimming with intricate interplay between all the instruments, as exemplified in tracks such as the harmonious "Nightwind", the bucolic "Northern Lights", the dark psychedelic "Lost in a Dream Yell", and the dynamic "Dreadful Memories". However, the lack of media recognition, both commercially and critically, would precipitate the dissolution of Asia Minor some time after the release of this second album. 

Electric Light Orchestra-Eldorado (1974)

In 1974, Electric Light Orchestra was still in the midst of a perfectionist process, searching for a distinctive style that blended progressive rock with the pop melodies inherited from The Beatles. That same year saw the release of "Eldorado", the band's fourth album, where frontman Jeff Lynne began exploring how to make his progressive and complex sound both addictive and popular. Conceived as a concept album about dreams and the magic of humankind, this new release features a 30-piece orchestra conducted by Louis Clark, in addition to Lynne's own band, comprised of Richard Tandy (keyboards), Hugh McDowell (cello), Bev Bevan (drums), Michael Edwards (cello), Mike Kaminski (violin), and Mike de Albuquerque (bass). This arsenal of musicians and instruments transforms the album into an uplifting torrent of grandiose progressive pop. This grandiosity is reflected in the opening "Eldorado Overture" and the closing "Eldorado-Finale". Here also appears one of the band's iconic pieces, the exuberant pop "Can't Get It Out Of My Head", a clear indication of what was to come in the following years. The poignant "Boy Blue", a classic piece featuring prominent brass instruments and string interludes, the melodic "Laredo Tornado", the rocking "Poorboy", the ingenious "Nobody's Child", and the brilliant "Eldorado" showed that Jeff Lynne was on the right track, gradually developing the characteristic sound of Electric Light Orchestra, a distinctive style that would later bring them definitive acclaim.

Beyond-O-Matic-Sonic Reclaimator (1996)

Beyond-O-Matic was an interesting American space rock band that released four noteworthy albums between 1994 and 2010. In 1996, with their second album, "Sonic Reclaimator", this band comprised of Peter Fuhry (vocals, guitar, accordion, flute, and clarinet), Glenn Wilcox (drums), and Kurtz Stenzel (keyboards), demonstrated the compositional maturity that had been somewhat lacking in their first and commendable release, "The Flight of Luis García" (1994). On this album, their brilliant approach, featuring expansive tracks, atmospheric and relaxed passages under the ever-present ambient synthesizers, and hard rock influences, makes this release one of the best American progressive efforts of the 1990s.

Flame Dream-Out In The Dark (1981)

In the 1980s, among the hundred or so progressive rock or art rock bands, few adhered to the avant-garde philosophy of the 1970s. However, several dozen maintained the germinal spirit of the genre's beginnings in the late 1960s. One of these was Flame Dream, a Swiss band that drew from the classic symphonic rock of Yes and Genesis during their golden age. Their style, driven by Ronald Ruckstuhl's keyboards, clearly displays these influences but with an added accessibility for modern audiences. The addition of wind instruments like the flute and saxophone broadens their musical palette, making them much more than mere imitators. Formed in 1977 in Lucerne, they released five superb albums over ten years, highly regarded today by proghead fans. "Out In The Dark", released in 1981, was the third album by this Swiss band, comprised of Roland Ruckstuhl (keyboards and synthesizers), Peter Wolf (wind instruments and vocals), Urs Hochuli (bass and vocals), Peter Furrer (drums), and Dale Hauskins (guitar). Tracks like "Wintertime Nights", "Nocturnal Flight", and "Strange Meeting", with their vintage Genesis influence, along with the elaborate instrumental "Kaleidoscope", make up a work that both revived and maintained a musical essence that seemed somewhat outdated in the early 1980s.

Blue Oyster Cult-Curse Of The Hidden Mirror (2001)

After a three-year hiatus, in 2001 the New York band Blue Oyster Cult released their fourteenth album, a prequel to "Heaven Forbid", showcasing a lighter sound but still clearly rooted in the metal of their 1970s era. At that time, Blue Oyster Cult still consisted of three of its founding members: Eric Bloom (vocals and guitar), Buck Dharma (guitar and vocals), and keyboardist Allen Lanier, while drummer Bobby Rondinelli and bassist Danny Miranda completed the lineup. "Curse of the Hidden Mirror" features memorable tracks such as the heavy rock anthem "Showtime", the hard rock songs "The Old Gods Return" and "Eye of the Hurricane", the dynamic "Pocket", the heavy metal track "One Step Ahead of the Devil", and the semi-progressive "Dance on Stilts". While not reaching the creative heights of their 70s masterpieces, "Curse Of The Hidden Mirror" is another magnificent recording from this legendary American band.

Frank Zappa-Roxy & Elsewhere (1974)

Recorded at Hollywood's legendary Roxy Theatre between December 10 and 12, 1973, "Roxy & Elsewhere" was Frank Zappa's third live album. Released as a double LP, it contained previously unreleased material of unquestionable quality, while also showcasing the enormous versatility of the brilliant American musician. During those years, Zappa had assembled one of his best lineups, featuring George Duke (keyboards), Don Preston (synthesizers), Frank Zappa (guitar and vocals), Chester Thompson (drums), Tom Fowler (bass), Jeff Simmons (guitar), Ruth Underwood (vibraphone), Bruce Fowler (trombone), Napoleon Murphy (saxophone), Walt Fowler (trumpet), and Ralph Humphrey (percussion). The content of this live recording ranges from jazz rock and fusion to operatic and ironic rock, with a bluesy undercurrent and a series of ingenious instrumentals, in addition to Zappa's usual banter and humorous, sarcastic dialogue. The jazz rock/blues of "Penguin In Bondage", the humorous funk of "Dummy Up", the twisted rhythm and blues of "Village of the Sun", the energetic jazz rock of "Cheepnis", and the progressive jazz fusion of "Be-Bop Tango" showcase the excellent talents of all the musicians involved in this double album, beginning with Zappa's heart-wrenching guitar solos and continuing with the magnificent work of George Duke, Ruth Underwood, Chester Thompson, and Napoleon Murphy.

Mahalia Jackson-In The Upper Room (1959)

Mahalia Jackson is undoubtedly the most admired and respected gospel singer and African American religious music artist in history. Considered a diva of the genre, she transcended being a prominent singer and performer; her religious and social commitment led her to participate in numerous advocacy activities alongside Reverend Martin Luther King Jr. Despite collaborating with jazz greats like Duke Ellington, she never accepted offers to record or participate in projects within that genre, limiting herself to singing spiritual music and recording countless works within that style. Nominated for several Grammy Awards and winner of other prestigious prizes, her discography, while not extensive, is one of the richest and most fundamental in the history of gospel music, having resonated worldwide and cementing her status as one of the great icons of contemporary music.

The Small Faces-Ogdens´Nut Gone Flake (1968)

One of the quintessential mod groups was Small Faces, who, with four extraordinary albums, firmly established their influence and were the only band to challenge the kings of the genre, The Who. Formed in the mid-1960s, it all began when guitarist Steve Marriott, who already had the experience of releasing the commercially unsuccessful track "Give Her My Regards", met bassist Ronnie Lane by chance in a music shop. Their shared musical tastes soon inspired them to form a band, recruiting drummer Kenny Jones and keyboardist Jimmy Winston. Taking advantage of Winston's influence (his parents owned a famous pub), they rehearsed and played their first gigs there. Shortly after, in the summer of 1965, Decca produced their single "Whatcha Gonna Do About It", which became a significant hit on the British charts. However, it was their next single, "Sha La La La Lee", that would propel them to the top of the charts. Before this, Winston left the group and was replaced by Ian McLagan, a keyboardist with greater technical skill. With a string of more good songs charting, the group immersed themselves in early 1966 in recording their self-titled debut album, "Small Faces", which contained the aforementioned hits, as well as others like the bluesy "You Need Loving" and their cover of Sam Cooke's "Shake". By this point, the group had achieved the perfect balance, particularly with the Marriott-Lane duo, and the results were reflected in their numerous concerts throughout Great Britain. This was a time of heightened mod fervor, so it was no surprise that the group consistently sold out venues. A series of great songs, such as "All or Nothing", "My Mind's Eye", and "I Can't Make It", foreshadowed their second album, "From the Beginning" (1967). That same year, the track "Itchycoo Park" became the English response to the hippie utopias of American music arriving in Europe. Another album, also titled "Small Faces" (1967), preceded their masterpiece, "Ogdens Nut Gon Flake" (1968), a work heavily influenced by The Beatles' "Sgt. Pepper's Lonely Hearts Club Band", but far more psychedelic, experimental, and conceptual. However, it was precisely this last album that marked the beginning of the Small Faces' final mod phase, as they disbanded a few months later, but not before releasing some excellent tracks like "The Universal", "The Journey", and "Afterglow (of Your Love)". Shortly after, Jones and Lane recruited Rod Stewart and Ron Wood to form The Faces, a band with mixed success due in part to Stewart's lack of interest, as he had begun his solo career. Nevertheless, they achieved a number one hit with the album "Ooh La La" (1973). Marriott, meanwhile, embarked on a new adventure with his band Humble Pie, which would achieve great success in the following years. Years later, in the mid-seventies, Small Faces were revived by Jones, McLagan, and Marriott, who, along with bassist Ricky Willis, formerly of Peter Frampton's band, recorded two albums with little impact: "Playmates" (1977) and "78 In the Shade" (1978).

Glass Hammer-The Inconsolable Secret (2005)

Fueled by a fascination with fantasy literature (Tolkien, C.S. Lewis, and John Krakauer), which its leaders Steve Babb and Fred Schendel profess, the American band Glass Hammer has been reflecting a clear influence of 70s progressive rock in their albums for over ten years. Both musicians play a wide range of instruments, although Babb primarily handles keyboards and bass, while Schendel plays guitar and drums. While both are also vocalists, the singing duties are generally entrusted to different singers who have participated on all their albums. In 2005, Glass Hammer released their eighth album, "The Inconsolable Secret", which, in addition to their core members, featured vocalists Walter Moore and Susie Bogdanowicz, drummer Matt Mendians, and some twenty backing vocalists, guitarists, and string and wind instrumentalists. With its structured development, the band displays a remarkable balance between complexity and accessibility in this new release, where the vocals blend seamlessly into the virtuosic instrumental framework of its members. The progressive epic "The Knight of the North", the intrepid "Long and Long Ago", the medieval "Morrigan's Song", the dark "Walking Toward Doom", and the grandiose "Having Caught a Glimpse" showcase the magnificence and grandeur of this astonishing American band.

The Outlaws-Dixie Highway (2020)

After more than 50 years in the business, in 2020 the southern rock band The Outlaws reunited to record a new album titled "Dixie Highway", a name taken from the famous highway that connects Chicago and Miami in the United States. Of the legendary lineup that in the 1970s gave us immortal southern rock classics like "Green Grass and High Tide", "There Goes Another Love Song", "Breaker-Breaker", "(Ghost) Riders In The Sky", and "I Can't Stop Loving You", only guitarist and singer Henry Paul remains. The current lineup is completed by Monte Yoho (drums), Dale Oliver (guitar), Randy Threet (bass and vocals), Dave Robbins (keyboards), Steve Grisham (guitar and vocals), and Jaran Sorenson (percussion). On their seventeenth album, the Florida-based band once again showcases the typical ingredients of Southern American roots rock: driving rhythms, powerful, sharp guitars, melodies brimming with country rock sounds, and exhilarating guitar improvisations. Tracks like the incendiary "Southern Rock Will Never Die", "Slow Down", "Dixie Highway", "Endless Ride", and the heartfelt tribute to departed members, "Heavenly Blues", make up a work that demonstrates the immense power that American roots rock continues to wield throughout the Southern states.

Heads In The Sky-Heads In The Sky (1981)

Despite being recorded in 1981, Heads in the Sky's self-titled album sounds more like it was created ten years earlier than it was recorded at the time, due to the lush Mellotron sounds, guitar arpeggios, and dynamic instrumental passages, all influenced by the Canterbury sound, space rock, and early 70s art rock. Heads in the Sky emerged from Canada in the late seventies, driven by multi-instrumentalist Russ Walter, who, along with several other musicians such as Steve Webster, John Cheesman, Dave Norris, and Martin Springett, released a mini-LP in 1979 titled "Poetry & Science". Two years later, with a now established band consisting of Larry Stanley (piano), Chris McKim (Mellotron), Ken Miskov (bass), plus former members Webster (cello), Fielding (drums), and Walker (guitars, keyboards, flutes, etc.), they undertook the recording of their first full-length album, which would ultimately be the last recording by this magnificent band. Echoes of Pink Floyd's more ambient side, the sound of Canterbury progressive jazz, forays into neo-progressive rock, and glimpses of classic symphonic rock parameters are what this forgotten but excellent album of the best art rock of the early 1980s offers. 

Tangerine Dream-Thief (1981)

Throughout their career, the German band Tangerine Dream also composed film scores, which musically remained true to the electronic and spacey style of their official albums. Having already composed the soundtrack for William Friedkin's 1977 film "Sorcerer", a remake of the French horror film originally titled "Le Salaire de la Peur", they returned to filmmaking four years later with "Thief", a Michael Mann feature film about a safecracker played by James Caan. The film blends mystery, elegant action sequences, and a realistic and existential narrative of suspense. In this work, Edgar Froese, Chris Franke, and Johannes Schmoelling created a repertoire that can easily be considered another organic album within their extensive discography. Replete with atmospheric synthesizer and keyboard sounds, sequenced rhythms, melodramatic and somber passages, and stunning electric guitar solos courtesy of Froese, the music perfectly encapsulates the film's plot. Tracks like the Pink Floyd esque "Dr. Destructo", the ethereal "Diamond Diary", the emphatic "Scrapyrad" and "Igeneous", and the glorious "Beach Theme" and "Confrontation" reflect and further enhance this splendid cinematic experience.

Nazareth-Rampant (1974)

The Scottish band Nazareth's continuous tours across the United States, promoting their early albums, clearly influenced the sound of their fifth album, "Rampant". In addition to various allusions to American life and culture, the album also reflected their musical roots. Recorded in Switzerland during the first months of 1974, this fifth release saw the band comprised of Dan McCafferty (vocals), Pete Agnew (bass, guitars, and vocals), Manny Charlton (guitar), and Darrell Sweet (drums) craft a work that, while showcasing their characteristic laid-back and versatile rock, leaned towards Southern rock sounds and the acoustic style typical of American rock. These American influences appear in the Southern rock track "Silver Dollar Forger", the atmospheric folk-rock song "Sunshine", and the infectious "Shanghai'd in Shanghai". On the other hand, their signature sound is present in the rock and roll anthem "Glad When You're Gone", the heavy "Loved and Lost", the intense "Light My Way" and the galloping "Jet Lag". As was customary on all their previous albums, this one also includes a cover of a song by a band other than themselves, this time the classic by The Yardbirds, "Shape of Things", reimagined here in a powerful hard rock style. With a gold record and excellent sales worldwide, this album confirmed Nazareth as one of the most popular and successful hard rock and classic rock bands of the 1970s.

Cargo-Cargo (1972)

Cargo were a fleeting Dutch heavy prog band, who only recorded one album published in 1972, which is full of overwhelming and dynamic sounds that, by way of guitar jams, is another of those amazing lost and dark albums from the 70's.
This band arose from the ashes of another Dutch band called September, which had released several unsuccessful singles in the early 70's and would later change their name to Cargo. Their lineup consisted of brothers Ad and Jan de Hont, both guitarists, bassist Willem DeVires, and drummer Denis Whitbread.
This unique work contains four extensive cuts where the guitar lines are intermingled with frenetic guitar duos in unison in the purest style of the British Wishbone Ash.
Due to the long duration of the four tracks, there is enough room for improvisation with powerful riffs, acid sounds, solos of all kinds and a mind-blowing electric jam style, all infused with melodic vocals.
The initial "Cross Talking" as its title implies, is a formidable theme of incredibly executed dual guitars and a powerful rhythm section that perfectly supports the feeling that it is played live. "Summerfair" is a fifteen minute tour de force with relaxing sounds, lots of improvisation and sweeping psychedelic sounds. While "Sail Inside", it begins with a powerful hard rock that ends in another instrumental jam.
However, and despite the fact that they had a good impact on the part of the critics, the album would go unnoticed due to the scarce promotional support from their record company, being relegated to the most absolute ostracism, which is why the band would disappear at the end of 1972, but leaving For posterity, another essential album in the history of European progressive rock of the 1970s.

Aerosmith-Aerosmith (1973)

"Dream on" is one of the songs that is part of the first album of the Boston band, Aerosmith, published in 1973, but it would be after its relaunch at the end of 1975, and thanks to countless American radio stations, when it was would place at the top of the American charts.
However, within that simple cover above the clouds of his first album, apart from the aforementioned “Dream On”, other songs float like “Walkin' the Dog”, a tribute to Rufus Thomas Jr, a relevant Bluesman, the classic “ Toys in the Attic”, a round song in every sense, the fusion of rap and rock connected in 'Walk This Way' or the first written contribution of guitarist Brad Whitford, “Round a Round”, a wonderful song flavored with psychedelic touches.
However, "Dream On" was first performed live at the Shaboo Inn in Willimantic, Connecticut in 1969 with Steven's old band (who wrote it as a young man in the mid-'60s), Chain Reaction. It was undoubtedly one of the band's most successful songs, and their most popular single during the group's formative years in the 1970s, and an immediate passport that would catapult this album to success.

Robert Berry-3.2 Third Impression (2021)

In 2015 Keith Emerson and Robert Berry considered giving continuity to the project in which both participated in 1988 and resulted in the album "To The Power of Three" in which the drummer Carl Palmer would also participate. For some time both musicians worked on this project but unfortunately a year later Keith Emerson died just when he was almost everything ready in order to start preparations for a new album.
Two years later Robert Berry published “The Rules Have Changed”, a tribute album to the legacy of Keith Emerson and in 2021 the long-awaited project left halfway five years before finally comes to light.
For this continuation entitled “Third Impression”, Robert Berry relied on recordings that Keith Emerson himself had left on cassette tapes, on keyboard parts recorded on his own mobile phone, as well as the ideas that both had started working on in those days. moments.
This work continues to keep intact the melodic tone of the debut from years ago, with an album full of progressive and epic rock, without neglecting the characteristic AOR sound and the great keyboard work, a clear musical heritage of Keith Emerson. So from the initial "Top Of The World" where the acoustic guitars and the epic voices together with the great keyboards, capture the listener with a dramatic and grandiloquent theme. The forceful “What Side You're On”, with a clear progressive cut, gives way to the more passionate “Killer Of Hope” and “Missing Piece”. The AOR “The Devil of Liverpool”, the jazzy “Emotional Trigger”, the epic “A Fond Farewell” and the progressive and extensive “Never” end an album with a great legacy to the most genuine sound of ELP but with a more accessible than that of the legendary British band.

10cc-...Meanwhile (1992)

One of the most refined progressive pop bands of the 1970s was the British formation 10CC. The ability of this band was to fuse addictive and catchy songs with an extraordinary sound universe of eclectic origin, great arrangements and productions of enormous class, turning them into the most snobbish and carefree of art rock.
His line-up was made up of four great musicians, all of them great composers and experienced instrumentalists, such as Lol Creme, Graham Gouldman, Kevin Godley and Eric Stewart. They separately, before forming 10 CC, had dedicated themselves to composing hits for artists in the sixties such as The Hollies, The Yardbirds, Herman's Hermits or Jeff Beck among others.
Already in 1970 Eric Stewart built the Strawberry Studios and hired Creme and Godley and from their first collaborations came the song “Neanderthal Man”, which achieved immediate success under the name of Hotlegs. This success leads them to open for The Moody Blues on the tour they gave during that year for which Gouldman would join him. The good feelings that the quartet offered resulted in the creation of 10CC, also motivated by the success of several songs such as the boogie rock "Rubber Bullets", which managed to reach the top of the British charts in 1973. At the end of that The same year their first album “10 CC” would arrive, where they demonstrated the group's songwriting skills with very original songs of great class. From here the group's career would skyrocket with a series of high-quality albums such as "Sheet Music" (1974), "The Original Soundtrack" (1975) and "How Dare You" (1976), all of them impeccable works studio with very sophisticated arrangements, enveloping and effective melodies, and certain qualities of romanticism, thus creating a unique and unmistakable style.
But after three years in which they had achieved international fame, they still had to conquer the North American market, which resisted their sophisticated mix of pop and rock, which was not conceived for tours and the great North American stadiums. All this was reason for the critics to begin to accuse them of cold technicality and part of the public would also begin to turn their backs on them, something that would lead the group to its first great crisis that would lead to the abandonment of Godley and Creme, who decided to continue. on their own, forming the duo Godley and Creme.
However, this abandonment would not limit the trajectory of the other 10CC, and thus Stewart and Gouldman resumed the group's career by publishing the album "Deceptive Bends" (1977) which was followed by the direct "Live And Let Live" (1977), and the interesting “Bloody Tourists” (1978).
The eighties were marked by works with disparate results such as “Ten Out of 10” (1981) and “Windows In The Jungle” (1983), after which the band disintegrated until new years later.
In 1993, the original line-up returned, thereby creating great expectations in the world of pop and rock, which were endorsed with the publication of the excellent album "...Meanwhile", a work in which they returned to their unmistakable style, with a series of songs refined rock and pop songs starting with the hit "Woman in Love" an addictive rock song that recovers the best 10CC, to which are added other outstanding cuts such as the melodic and catchy "Wonderland", the rock "Fill Her Up" , the reggae “Welcome To Paradise”, or the neo-progressive “Don´t Break The Promises”, while the rest keep intact the enormous songwriting quality of the group with sophisticated songs of refined quality.

Omega-The Hall Of Floaters In The Sky (1975)

Omega, are the most successful Hungarian rock band in the history of their country, which even had a great acceptance internationally. Such was their enormous success that as they released albums in other countries it became necessary to break the language barrier, leaving behind their mother tongue to sing in English. His style is a combination of the avant-garde sounds of Eastern Europe with symphonic and progressive influences, but with hints of 70's British hard rock. The result is a dark, orchestrated sound combined with extensive and well-developed improvisation. Their discography had begun in the late 1960s and the group has been around until 2020 when they released their latest album with more modern and up-to-date sounds. From 1968 to 1975: Omega released a series of albums that were basically oriented to brilliant pop rock with approaches to psychedelic sounds and some attractive ballads.
From 1976 to 1981, they released four albums oriented to space rock and progressive rock with great arrangements and a wide influence of bands with echoes of the more atmospheric Pink Floyd and the progressive hard rock of the Eloy Germans.
From this period are his albums "Time Robber" / "Idõrabló", one of his best works with space and electronic sounds, although "Skrover" / "Csillagok Útján" is the most musically diverse. In the same vein, the albums "Gammapolis" / "Gammapolisz" and "Working" / "Az Arc" followed.
One of the highlights of this band is that since 1971 they have incredibly maintained the same line-up until 2020, when they released their latest work "Testamentum" and is made up of vocalist János Kóborl, guitarist György Molnár, László Benkő, keyboardist and vocals, Tamás Mihály bass and drummer Ferenc Debreceni.
With their ninth album published in 1975, and entitled 'The Hall Of Floaters In The Sky' the band clearly begins its progressive orientation, a wonderful example of the symphonic style of this band made in the European style, largely influenced by bands leading British brands such as Yes, Genesis or PF. An album packed with synth sounds, backed by metallic guitars, polished with gritty English vocals, and packed with enough instrumental creativity not to envy most mid-seventies rock bands. This is a truly remarkable album, with hard and energetic instrumentation, full of catchy melodies and some devilishly engaging solos. Despite being recorded in 1975, its sound leans towards the typical electronic productions that would be common in the 1980s, albeit with the sensibility of the 1970s. The highlight of this album is 'Magician', which begins with muscular, chatty guitar playing courtesy of Gyorgy Molnar, or the eight-minute '20th Century Town Dweller', which balances shimmering synth lines with throbbing bass and drums. The rest follows a similar line with the powerful and melodic “Movin´World”, full of mellotrons and atmospheric sounds, or the space rock “One Mand Land” and “Never Feel Shame” both with vertiginous rhythms of great guitar riffs and huge layers of keyboards
All of their subsequent releases were packed with hard, creative prog rock of the highest class. However from 1981 the band moved towards a sophisticated electronic pop rock genre with progressive elements. However, from then on the band began to show clear signs of creative stagnation. Shortly after their twentieth album was released in 1986, Omega disbanded for good. After seven years of long silence, the band met again and recorded a new album in 1995, "Transcendent" / "Trans and Dance", a work with large keyboards and attractive progressive atmospheres that after almost 30 years, demonstrated with it that this hungarian band was still a legend in world progressive rock.

Crow-Crow Music (1969)

Crow were an interesting American heavy blues band that are recognized for their song "Evil Woman", which was later covered by Black Sabbath and included on their first album, having some relevance in the British charts.
Founded in Minneapolis, Crow barely had three years of history, from 1969 to 1972, until they returned in 1980 with some line-up changes and were active until around 2010, performing frequently in different North American states.
Its initial lineup consisted of vocalist Dave Wagner, guitarist Dick Wiegand, drummer Harry Nehls, bassist Larry Wiegand, and keyboardist Dave Middlemist.
Already in 1968 and under the name of South 40, this same formation had published an album of little impact.
In 1969 already as Crow and with the drummer Denny Craswell, replacement of Nehls, they signed a contract with the independent label Amaret, a subsidiary of Columbia Records and published their first album “Crow Music”. From here, in the following two years, they reach their peak placing half a dozen songs in the North American top 100. In this first album, Crow shows a powerful exercise of heavy blues rock with brushstrokes of funk as it is demonstrated in cuts like the aforementioned ""Evil Woman", a crude heavy rock that is practically identical to the version that Black Sabbath would later make, the aggressive and heavy hard rock “White Eyes”, the hypnotic “Thoughts”, the funk “Da da Song” and “Time To Make A Turn”, the lysergic “Busy Day” or the psychedelic jam blues “Sleepy Woman”.

10cc-Deceptive Bends (1977)

In 1976, the British band 10cc suffered the loss of two of its key songwriters, Kevin Godley and Lol Creme, who decided to leave to pursue solo careers. For many, this marked the end of the band's creative era. However, 10cc had enough going for them to move forward successfully with the other pair of great songwriters, Eric Stewart and Graham Gouldman, as they demonstrated on their first album after Godley & Creme's departure. Released in mid-1977, the band's new album was titled "Deceptive Bands", an ironic title taken from a road sign on the A24 motorway between the British towns of Leatherhead and Dorking in Surrey, warning of the dangerous curves ahead. “Deceptive Bends” was undoubtedly the best demonstration of the Stewart-Gouldman duo's great talent for continuing to create great works. While it's true that they lost the charm of the eccentricities and experimentation that the departing members Godley and Creme had brought to the group's style, we also discovered Stewart and Gouldman's greatness as songwriters, who at that time were in top creative and instrumental form. Majestic compositions like the bluesy “Modern Man Blues”, the playful rock and roll “Good Morning Judge”, the Beatles-influenced “The Things We Do For Love”, the melodic “Don't Squeeze Me Like Toothpaste” and “People In Love”, and the progressive and dynamic “Feel The Benefit”, confirmed, despite the loss of the aforementioned and brilliant Godley and Creme, that the band could perfectly well pull through, producing a superb and seminal work like this, which would achieve well-deserved commercial success on the charts in numerous countries around the world.

Gentle Giant-Three Friends (1972)

"Three Friends" was the first of two albums Gentle Giant released in 1972 (the second being "Octopus", released eight months later). This new release, the British band's third chronologically and their first to be released commercially in the United States, is a concept album about the anxieties and bitterness of three childhood friends. Unlike their previous experimental and dark album ("Acquiring the Taste" from 1971), here they express their more rock-oriented side, abandoning medieval and complex sounds and showcasing distorted and aggressive guitars and a powerful Hammond organ throughout. The captivating opening track, the catchy "Prologue", displays this energetic facet, though dominated by keyboards that are well supported by excellent bass lines. The stellar "Working All Day", on the other hand, is driven by the dazzling saxophone of Philip Shulman, which interacts brilliantly with Kerry Minnear's ethereal keyboards. On the other hand, the melancholic "Peel the Paint" (where Ray Shulman's violin takes center stage) transports us through delightful musical passages with a touch of madness. This track contrasts sharply with the rhythmic, hard-rock-influenced "Three Friends", the beautiful "Schooldays" with its complex vocal patterns and powerful percussion, and the dense, dissonant "Mister Class and Quality". From this point on, Gentle Giant specialized in crafting works that revolved around a concept, as would be the case with "In A Glass House" (1973), "The Power and The Glory" (1974), and "Interview" (1976).

Nazareth-Exercises (1972)

Nazareth's second album is a rare bird within their extensive discography, a record that departed from the interesting hard rock sound of their 1971 debut, "Nazareth". However, that first album suffered from a lack of stylistic cohesion, a fact that was understandable and normal for a new band. This second album, titled "Exercises", appeared in mid-1972, and on it, the band comprised of Dan McCafferty (vocals), Pete Agnew (bass), Manny Charlton (guitar), and Darrell Sweet (drums), changed direction, focusing on acoustic and orchestral sounds with dark and acerbic lyrics. Right from the start, the band displays this trend with the symphonic "I Will Not Be Led", featuring a clear and obsessive allusion to the manipulation of religious sects. Following a similar pattern are "Sad Song" and "1692 (Glen Coe Massacre)", which also showcase orchestral instrumentation, but the former in a more melancholic tone and the latter in a more dramatic one. On the other hand, the more subdued, acoustic sounds arrive with the folk tracks "Cat's Eye, Apple Pie", "In My Time", "Fool About You", and "Madelaine", while the bluesy "Woke Up This Morning" and the dynamic soft rock "Called Her Name" are the most energetic moments on the entire album. This radical musical shift led to bewilderment and rejection from a large portion of their fans, which is why, with subsequent releases, the band would significantly harden their style, moving towards classic hard rock.

Jefferson Starship-Red Octopus (1975)

Jefferson Starship's second album, "Red Octopus", will forever be remembered for one of the most iconic songs in American rock: "Miracles", This hit propelled the album to multiple platinum records and became the biggest commercial success of any of the Airplane incarnations (Jefferson Airplane, Jefferson Starship, and Hot Tuna). "Red Octopus" was the second release from this new incarnation of the band, following "Dragon Fly" (1974). This album moved somewhat away from the psychedelic sounds of the original band, focusing more on mainstream rock. On this second release, Airplane's founding guitarist, Marty Balin, officially became a member of Starship and composed the brilliant ballad "Miracles", in addition to co-writing five of the album's ten songs. At that time, Jefferson Starship consisted of eight members in total, including Grace Slick (vocals), David Freiberg (keyboards), and Paul Kantner (guitar), all of whom shared vocal duties, plus contributions from guitarist Craig Chaquico, violinist Papa John Creach, bassist Pete Sears, and drummer John Barbata. However, this superb second LP didn't just rely on the excellence of the aforementioned "Miracles". It featured everything from reinterpretations of the classic Airplane sound with a funky flavor, such as "Git Fiddler", to accessible pop-rock tracks like "Sandalphon" and "Play On Love", as well as excellent melodic rock compositions like "Fast Buck Freddie" and "Tumblin' ",  and energetic songs like the rock anthems "Sweeter Than Honey" and "I Want To See Another World".

Miles Davis-Live Evil (1971)

“Live Evil” was Miles Davis’s eighth live album, recorded during his effervescent jazz-rock period at the legendary Cellar Door in Washington, D.C., in December 1970. However, not all the material on this double album was recorded live. Some tracks were recorded at Columbia Studios in New York during the early months of that year, so technically it’s a “live” album, with some studio recordings. Generally, the shorter tracks are studio recordings, while the longer tracks are mostly live with some additional studio parts. Because of this, the lineup of musicians is extensive, starting with Miles Davis (trumpet), Gary Bartz (saxophone), John McLaughlin (guitar), Keith Jarrett (keyboards), Michael Henderson (bass), Jack DeJohnette (drums), Airto Moreira (percussion), Hermeto Pascoal (percussion), Ron Carter (bass), Steve Grossman (soprano saxophone), Chick Corea (organ), Herbie Hancock (electric piano and organ), Dave Holland (bass), and Joe Zawinul (electric piano). Overall, the album's atmosphere is funky and jazz-rock with many modified and altered electric pianos. Occasionally, it softens and becomes almost chamber-like without percussion. It's difficult to compare this to any of Davis's previous albums (studio or live), but it's stylistically similar to the legendary "Bitches Brew". The opening track, "Sivad", begins in funky jam-rock territory, while "Little Church" is avant-garde orchestral jazz without drums. The next track is "Medley: Gemini / Double Image", which begins in blues-rock territory, not far removed from the musical structure of early Led Zeppelin, becoming increasingly dissonant and avant-garde as it progresses. The suite "What I Say" opens with an incredible funky drum roll, featuring great interplay between McLaughlin's guitar, Davis's trumpet, and the rest of the band. The short tracks "Nem Um Talvez" and "Selim" are very avant-garde orchestral jazz pieces. "Funky Tonk", as its title suggests, is another long jazz-funk-rock track, with complex percussion and great electric keyboard moments, although the guitar carries the instrumental weight while the other instruments gradually take center stage, culminating in a controlled improvisation. The album closes with the longest track, "Inamorata and Narration", which is probably the most avant-garde piece on the entire record. It begins in a funky jazz-rock style with Miles delivering a wah-wah trumpet solo. The music becomes looser and more improvisational as it progresses, ending in a kind of atmospheric avant-jazz rock. “Live Evil” is undoubtedly one of Miles Davis’s best live albums, and with its spectacular cover art, it is considered another of his masterpieces.

Aerosmith-Permanent Vacation (1987)

By the mid-eighties, Aerosmith was mired in total decline. Their constant drug abuse, internal disputes, and the constant comings and goings of its members had led them to complete obscurity. In 1985, they released the understated "Done With Mirrors", which earned them a gold record. Even more importantly, the original lineup reunited after the strange experiments of the albums "Nights In The Ruts" and "Rock In A Hard Place", which featured interim members like guitarists Jimmy Crespo and Rick Dufay replacing Bard Whitford and Joe Perry. In “Done With Mirrors”, despite being a transitional album and not exactly a masterpiece, a noticeable improvement over their two previous works is already evident. Standout tracks included the vibrant “My Fist Your Face”, the playful “The Reason A Dog”, the bluesy “Shame On You” and “Shela”, and the interesting “She’s On Fire”, which contrasted sharply with other, much more predictable and less creatively accomplished songs. Two years after “Done With Mirrors”, they released the album “Permanent Vacation”, which marked the turning point between continuing or ending the band's career. Here, for the first time, they incorporated compositions by artists such as Desmond Child and Jim Vallance, along with an almost radical change in their sound, all in an attempt to gain wider acceptance from the public a public that, incidentally, had long since turned its back on them. Composed of a series of addictive and energetic songs such as the opening track “Heart’s Done Time”, the melodic “Magic Touch”, the rhythmic “Rag Doll”, the bluesy “St. John”, the southern-tinged “Hagman Jury”, and the powerful “Girl Keeps Coming Apart”. The album's subsequent reception resurrected Aerosmith from obscurity, propelling them to number eleven on the US charts and achieving sales exceeding five million copies in the US market alone and over one million worldwide a figure that would be surpassed by their next and outstanding album, “Pump”, released several years later. 

Miles Davis-Nefertiti (1968)

Just as he had done nine years earlier with the acclaimed "Kind of Blue", in 1968 Miles Davis once again gave us another seminal work of jazz, this time featuring, as before, a stellar lineup of musicians in his Quintet. On this occasion, the American trumpeter was joined by the keyboard wizard of fusion and jazz-rock, Herbie Hancock, drummer Tony Williams, saxophonist Wayne Shorter, and bassist Ron Carter. Comprised of extraordinary musical creativity, this was Miles' last great "classic" jazz album before he gradually shifted towards rock and more avant-garde and experimental sounds. However, many remnants of the hard bop of the previous decade can still be heard here, but in more acoustic tones and harmonic melodies ("Nefertiti" and "Fall"), dynamic free jazz ("Hand Jive" and "Madness"), or compositions with clear accents to standard hard bop ("Riot" and "Pinocchio"). From here, Miles Davis would choose the electronic side of jazz with psychedelic elements, wisely fusing rock and jazz, starting with the next "Miles in The Sky" (1968) and continuing with two of the masterpieces in the history of the genre, "In A Silent Way" (1969) and "Bitches Brew" (1970). 

King Curtis-Live At Fillmore West (1971)

Despite his short career, King Curtis was one of the most impressive saxophonists in American jazz. He played with iconic groups like Lionel Hampton's orchestra and was a major influence on the careers of Aretha Franklin, Wilson Pickett, and Otis Redding, among other prominent soul artists. His style, steeped in blues, rhythm and blues, and gospel, made him a versatile musician who moved brilliantly through the purest sounds of jazz, funk, and blues. Considered today one of the quintessential cult jazz performers, he left behind some of the most fundamental works of African American music, such as his magnificent live album "King Curtis Live at Fillmore West", recorded in early 1971 with his band His Soul Inc. A few months after this recording, King Curtis was murdered under mysterious circumstances after a heated argument with a man who was loitering near his Manhattan apartment late at night.

Bob Dylan-Planet Waves (1974)

1974 was the year of the most spectacular, anticipated, and talked-about comeback in modern music history: Bob Dylan's. If it's difficult to study and analyze the reasons that might drive a great artist to remain out of the public eye for eight years (except for sporadic appearances), it's even more challenging to decipher the reasons for his return. Nostalgia? A desire to regain his leading role? The egocentric sense typical of great divas? Money? Dylan's withdrawal following his accident in mid-1966 has been studied in previous years. Bob's charisma, never inclined to explain or justify his actions, lends itself to all sorts of interpretations; therefore, the 1974 tour generated a flood of commentary, which he allowed to continue without offering any explanations. Dylan scholars reached complex but logical conclusions. Bob Dylan had been sending money to Israel under his father Abraham Zimmerman's name. His Semitic sensibilities, his Jewish roots, seemed more than enough to justify such an act. When the Arab-Israeli War broke out in October 1973, the Jewish people once again rallied around "their" cause. The need for money to finance a war, however short and triumphant it might be, as in this case, was urgent. When Bob Dylan announced his return to the road on December 12th, with a tour of twenty-one cities in the United States, the shock of the event was compounded by the prevailing political climate. The $350 million in profits was a significant sum, both for Dylan and for any cause. Leaving aside the political factor, Bob would generate a wave of news between the end of 1973 and the beginning of 1974. Dylan left his record company, CBS, and David Geffen (named "executive of the year") signed him to his label, Asylum Records. CBS's "Revenge" consisted of quickly releasing a self-titled album, "Dylan", featuring outtakes from other albums. Despite this, the LP went gold. Meanwhile, Dylan was recording his new album, "Planet Waves", with The Band. Released three years after his previous album, "New Morning", it was recorded in the studio as a cohesive work (Dylan had released a "Greatest Hits" LP and the soundtrack to the film "Pat Garrett and Billy the Kid" during that period). Later in 1974, another LP, a double live recording from the "Before the Flood" tour, was released. However, in August 1974, Bob claimed he had made a mistake signing with Asylum Records, prompting CBS to quickly make him an offer, which he accepted. Bob was returning "home" with another contract and more millions. The negotiations between 1972 and 1973, which had given the impression of a Dylan overly concerned with money, and the two sudden changes, from CBS to Asylum and from Asylum back to CBS, brought Dylan's likely motives for money back into the spotlight. Throughout the tour that began in January 1974, there was speculation that the money Americans paid to see him wasn't being used to buy bullets used to kill Arabs at the hands of Jews in the Far East. These claims were never confirmed. And in the end, the only certainty was the enormous success of Bob Dylan on that triumphant tour.

Hot Tuna-Yellow Fever (1975)

In 1975, Hot Tuna, the band led by former Jefferson Airplane members Jorma Kaukonen and Jack Casady, decided to shift their blues-folk style, which characterized their first four albums, towards a harder, blues-rock sound. "America's Choice" would be the first of this new phase for the group, dubbed "The Rampage Trilogy", and characterized by this new stylistic direction. Six months after the release of "America's Choice", came "Yellow Fever", the group's seventh album, which, like its predecessor, featured a new drummer, Bob Steeler, replacing Sammy Piazza. Long instrumental developments, heavy rock with distorted riffs and dense blues sounds are the common denominator of a repertoire composed of pieces such as the boogie rock "Baby What You Want Me To Do", the hard rock "Free Rain" and "Half/Time Saturation", the psychedelic southern "Sunrise Dance With the Devil", the blues rock "Hot Jelly Roll Blues" and "Song for the Fire Maiden", or the energetic instrumental "Surphase Tension".

Julie Driscoll, Brian Auger & Trinity-Streetnoise (1969)

Julie Driscoll was a singer heavily influenced by rhythm and blues and jazz, genres that were somewhat niche or highly stylized commercially, and very likely even more difficult for a woman in the sixties, who was sometimes pressured to compromise in order to reach the mainstream charts with songs like "Road to Cairo" or "Take Me to the Water". She was a singer with deep, heartfelt emotions, with a strong vocal tone that sounded more like a Black voice than a white one. With her, pop music gained one of the most fascinating and unique singers in its history. But to speak of Julie Driscoll is to speak of Brian Auger; their careers ran parallel until 1969, the year they separated. Together, however, with the group Trinity, they forged a powerful musical bond. For a time, they were the best group that ever existed in that style. Julie's voice, Auger's masterful organ playing, and the band's magnetism created extremely important works, primarily a double album, now considered an absolute masterpiece: "Streetnoise" (1969), which is undoubtedly the work that best showcases the genius of both artists. On this album, Driscoll reaches unparalleled maturity with lyrics full of humanity, sadness, pain, respect, and gentleness, manifested in magnificent songs like "When I Was a Young Girl" or the masterful "Czechoslovakia". The album contains an amalgamation of styles ranging from jazz to gospel, without abandoning rock, with nods to soul and even experimental progressive sounds. Composed of original tracks and covers of greats like The Doors, Richie Havens, Nina Simone, and Miles Davis, it forms a complex yet surprising and unique record.

Brian Auger & The Trinity-Befour (1970)

In 1969, Julie Driscoll decided to leave Trinity, the band she led with Brian Auger, with whom she had released some of the best rhythm and blues and jazz fusion rock albums of the 1960s ("Open", "Jools and Brian", and "Streetnoise"). Despite this significant departure, Brian Auger decided to carry on, recruiting guitarist Gary Winston Boyle. Together with the rest of the lineup,Dave Ambrose (bass), Clive Thacker (drums), and Auger himself (keyboards and vocals), they recorded Trinity's sixth album, "Befour", released in mid-1970 by RCA. Drummers Mickey Waller, Barry Reeves, and Colin Allen also contributed to the album. On "Befour", Auger presents a series of surprising jazz-rock and groovy fusion covers, driven by Brian Auger's brilliant work on the Hammond organ and Boyle's phenomenal guitar style. The ingenious interpretations of the classics "Pavane" and "Adagio per Archie e Organo" showcase Brian Auger's intelligent style, which, far from seeming pretentious, demonstrates his incredible mastery of the organ. The atmospheric version of Traffic's "No Time to Live" is performed in a haunting manner, while the audacious cover of Herbie Hancock's "Maiden Voyage" is unorthodoxly but equally effectively redirected to the territory where the band excels. The exuberant "Listen Here", a brutal fusion of jazz-rock rhythms with four drummers and two bassists delivering undeniably powerful sounds, and the captivating "Just You Just Me" are tracks that foreshadow the direction Auger and Oblivion Express will take in the following years. The latter is a hypnotic piece of repetitive rhythms with intricate guitar work and captivating, atmospheric organ solos. With this album Brian Auger once again created a work that was as vibrant as it was captivating, and a true masterpiece of early 70s jazz rock.

Humble Pie-As Safe As Yesterday (1969)

Humble Pie were one of the formidable British blues-rock bands formed in the late 1960s. Considered one of the first supergroups in history, they consisted of Peter Frampton (guitar and vocals), Steve Marriott (guitar and vocals), Jerry Shirley (drums), and Greg Ridley (bass). Humble Pie made their recording debut in 1969 with the album "As Safe As Yesterday". On this first record, the band showcased their heavy blues-rock style fused with psychedelic and country-rock influences. Their initial sound was closely related to the hard/heavy blues-rock of contemporary bands like Led Zeppelin, the Jeff Beck Group, and Cream, but with an added dose of swagger and raw energy. Produced by Andy Johns, this first release features standout tracks such as the bluesy "Natural Born Woman", the psychedelic cover of Steppenwolf's "Desperation", the galloping rock anthem "Buttermilk Boy", the psychedelic pop song "Growing Closer", another cover, this time of the Small Faces, the semi-progressive "As Safe As Yesterday", the heavy rock anthem "Bang!", the guitar jam "A Nifty Little Number Like You", and the country song "Alabama '69". However, this debut is most notable for its enormous musical diversity, a fact quite different from the later sound of Humble Pie, a style so distinctive that it would bring them worldwide fame and which they would showcase starting with their second full-length album, the excellent "Town and Country", released a few months later.

Kansas-Freaks Of Nature (1995)

"Freaks of Nature" marked Kansas' return in the 1990s, an album preceded by the conceptual "In the Spirit of Things" from seven years prior. However, after all those years, much had changed within the group, and with a revamped lineup, Robby Steinhardt, Kerry Livgren, Dave Hope, and Steve Morse were no longer present, replaced here by Greg Robert (keyboards), Billy Greer (bass), and David Ragsdale (violin and guitar), while original members Steve Walsh (vocals and keyboards), Phil Ehart (drums), and Rich Williams (guitars) led this new incarnation of the Topeka band. The first thing that stands out is the return of the prominent violin of yesteryear, after several albums where it had lost the prominence it displayed in their 1970s work. Another characteristic of this new release is its departure from the melodic rock sounds of the eighties, taking a step back towards the progressive rock of the seventies, but with a strong emphasis on hard rock. This progressive hard rock style is present in tracks like "Desperate Times", where violinist Ragsdale and the powerful instrumental section drive a magnificently executed piece. The melodic "Hope Once Again" becomes one of the highlights, contrasting with the heavy "Black Fathom 4", the exotic "Need", and the acoustic "Peaceful and Warm". On the other hand, the most progressive moments are embodied by the dramatic "Under The Knife" and the complex "Cold Grey Morning". In short, "Freaks Of Nature" marked the return of the most eclectic and effective Kansas, undoubtedly a great starting point for their subsequent releases, which would continue with the orchestrated "Always Never The Same" (1998) and the epic "Somewhere to Elsewhere" (2000).

Art Blakey & The Jazz Messengers-Moanin´ (1959)

Art Blakey was a drumming prodigy, a leader who perfectly combined talent, skill, technique, power, and subtlety. Along with other legendary drummers like Max Roach and Kenny Clarke, he invented the modern bebop drumming style. His hard bop style, infused with blues elements and funk rhythms, was fundamental in influencing subsequent generations of drummers worldwide. Blakey mastered swing tempos like no other; he knew how to complement his style within a band, employing his instrumental technique to provide the necessary drama and inspiration. For many years, Blakey led one of the most formidable jazz bands, The Jazz Messenger, which featured some of the greatest musicians of the era, including Wynton Marsalis, Lee Morgan, Wayne Shorter, and Clifford Brown. All these facets and qualities are perfectly represented in his album "Moanin'" with The Jazz Messenger, which was released under the Blue Note label in early 1959. The soul-infused jazz style of the title track, a composition written by pianist Bobby Timmons, was very popular during the 1960s. On this album, saxophonist Benny Golson also composed four extraordinary tracks, including "Blues March", "The Drum Thunder Suite", and "Along Came Betty", all of which are modern jazz standards, in which Blakey displays his dazzling instrumental prowess.

Kraftwerk-Trans-Europe Express (1977)

Often considered a cornerstone of electronic music, Kraftwerk's sixth album is a masterpiece that has decisively influenced everything that followed, from pop and dance music to industrial sounds and new wave. "Trans-Europe Express" stands as the perfect counterpoint to the nascent technology of "Radio-Activity" (1975) and the joyful dynamism of "The Man-Machine" (1978). Composed of two distinct facets, the music here oscillates between warm, melancholic sounds and the cold, mechanical sound of electronic instruments. Although composed of a series of relatively simple pieces, it is nonetheless unforgettable, with synthesizers as the driving force and repetitive electronic rhythms reminiscent of motorik. With austere, minimalist and tremendously captivating sounds, close to gothic electronica, in this record we find wonderful compositions such as "The Hall of Mirrors", "Showroom Dummies", "Europe Endlos" or "Metal On Metal", all of them under futuristic cloaks and magnificent robotically processed voices.