Hannibal-Hannibal (1970)

Brass rock wasn't exclusively an American style; bands from other parts of the world also emerged that fused jazz with rock, classical music, blues, and progressive rock, but they had less media and commercial success than the genre's flagship bands, such as the American groups Chicago Transit Authority, Blood, Sweat & Tears, If, A.B. Skhy, and Dreams. Hannibal was one of those bands that emerged in the wake of the aforementioned groups and was formed in Birmingham, England, in the late 1960s. Short-lived, they only released one album in 1970, featuring Alex Boyce (vocals), Adrian Ingram (guitar), Bill Hunt (Hammond organ), Cliff Williams (tenor saxophone and clarinet), Jack Griffiths (bass), and John Parkes (drums). With a style based on elaborate compositions that navigate between blues rock and jazz rock, this band would manage to create an excellent repertoire in which the avant-garde jazz "Winter", the blues rock-jazz "Wet Legs" and "Look Upon Me", the hypnotic and psychedelic "Winds of Change", the experimental jazz-blues "Bend for a Friend" or the dark and progressive "1066" stood out.

UFO-Lights Out (1977)

UFO are legends within the world of hard rock, but they were almost equally unfairly relegated by many fans to mere second-rate acts compared to other great bands of the genre, despite having produced a colossal and brilliant discography. One of those impressive works is their mythical "Lights Out", a true masterpiece of British hard rock, released in 1977 as their sixth album up to that point. The mere presence of guitarist Michael Schenker, demonstrating his enormous talent and virtuosity, is more than enough reason to consider this album a simply masterful work. But in addition to Michael Schenker, Phil Moog showcases his excellent vocal range, delivering a memorable performance, as does the rest of the band, composed of Paul Raymond (guitar and keyboards), Pete Way (bass), and Andy Parker (drums). Power, rhythm, melody and energy are what UFO leaves on record in the grooves of this album, highlighting the vigorous "Too Hot to Handle With", "Just Another Suicide", "Gettin' Ready" and "Electric Phase", in addition to the semi-progressive epic "Love to Love", while the beautiful ballad "Try Me", or the successful version of the Americans Love, "Alone Again Or", put the brakes on such a robust repertoire of magnificent songs of the best hard rock of the late 70s.

Casiopea-Casiopea (1979)

Casiopea symbolizes the best of Japanese jazz, inspired by smooth jazz, funk, and rock—a group that has been one of its leading exponents for decades. This Japanese band has always revolved around its leader and principal composer, Issei Noro (guitar), the only member who has remained with the band since its founding in the mid-seventies, despite countless lineup changes over nearly five decades. Several years after its formation, and after successful participation in various jazz festivals, they released their first full-length album with Minoru Mukaiya (keyboards), Takashi Sasaki (drums), and Tetsuo Sakurai (bass). This debut also featured collaborations with three of the greatest musicians on the North American jazz fusion scene: David Sanborn, Michael Brecker, and Randy Brecker. Although their style was still developing, on this first recording, the Japanese band created a fascinating fusion album blending melodic jazz, vigorous rock, and rhythmic funk. The funk rhythm is present throughout much of the album, especially in the dynamic tracks "Dream Hill" and "Black Joke." Meanwhile, the progressive "Space Road," the smooth jazz of "Tears of the Star," and the addictive jazz fusion of "Swallow" showcase Casiopea's great eclecticism. From this point on, the band would enjoy a prolific career, releasing over fifty albums, both studio and live, making them one of the most prolific labels in the history of jazz-rock.

Howard Leese-Secret Weapon (2009)

The career of American guitarist and composer Howard Leese is as productive as it is successful, from his beginnings in the late 1960s as the leader of the bands The Zoo and Mad Dog, with whom he released the albums "The Zoo Presents Chocolate Moose" (1968) and "Down Of The Seventh Sun" (1969) respectively, to his later participation as a member of the famous band Heart, with whom he achieved a brilliant and successful career, releasing half a dozen of some of the best and best-selling melodic rock and hard rock albums of the seventies and eighties, and his collaborations with other artists such as Randy Meisner of The Eagles, Lita Ford, and Paul Rodgers. In 2008, after regularly collaborating with Rodgers and his reformed Bad Company, he decided to record his first solo album, for which he collaborated with Paul Rodgers himself, as well as Joe Lynn Turner, Keith Emerson, Jimi Jamison, and Keith St. John, among others. With such a lineup of top-notch musicians, Howard recorded "Secret Weapon", a veritable showcase of great rock that blends various styles, from powerful hard rock to lighter folk-rock riffs and forays into progressive rock. From the opening and energetic "Alive Again", Leese makes his songwriting prowess evident, while also offering a clear nod to his glorious past with his beloved Heart, featuring the incomparable Joe Lynn Turner on vocals in a powerful and addictive hard rock track. American roots rock is present in the southern-tinged "Hot to Cold", while the symphonic and instrumental "33 West Street" is the album's most progressive moment, where Keith Emerson shares the instrumental spotlight with Leese's powerful guitar, his imposing keyboards complementing his driving guitar. While "Rada's Theme", another brilliant instrumental track, the melodic and irresistible "The South Summit" and "In These Eyes", or the blues rock "I've Been Leavin' You", demonstrate the enormous quality of an outstanding album of great American rock.

Loverboy-Get Lucky (1981)

Loverboy was one of the most successful and inspired bands of the early 1980s, achieving three multi-platinum albums in just four years, all focused on melodic FM rock. This Canadian band was formed in Calgary in 1979 by guitarist Paul Dean and vocalist Mike Reno, who were later joined by drummer Matt Frenette, keyboardist Doug Johnson, and bassist Scott Smith. With a lucrative contract from Columbia Records, they released their self-titled debut album, "Loverboy", which featured the hits "The Kid Is Hot Tonight" and "Turn Me Loose", two FM radio classics and anthems of adult-oriented rock. This debut propelled them to stardom, earning them half a dozen platinum records. However, it was with their second album, "Get Lucky", that they achieved definitive stardom thanks to their excellent hard rock blended with original synthesizer lines, captivating vocals, and exquisite production. Part of this success was due to the impressive team of engineers and producers, including Bob Rock, Mike Fraser, George Marino, and Bruce Fairbairn. “Get Lucky” contains an irresistible collection of songs, such as the catchy “Working For The Weekend”, engaging mid-tempo tracks like “When It’s Over” and “Gangs In The Street”, pure hard rock anthems like “Emotional” and “Lucky Ones”, and AOR hits like “Jump” and “Take Me To The Top”. “Get Lucky” became an essential AOR classic and one of the most successful albums of the genre, achieving seven platinum records and selling five million copies in the North American market alone.

Moon Martin-The Very Best of Moon Martin (1999)

John David Martin (better known as Moon Martin) is one of the most intriguing artists of the new wave movement. He began playing in several local Oklahoma bands in the late 1960s before moving to Los Angeles and forming a band called Southwind, with whom he released three albums that had little impact. However, his work as a songwriter and session musician for artists such as Linda Ronstadt and Gram Parsons, among others, paved the way for his solo career. In 1978, he released his first album, "Shots from Cold Nightmare", which featured several standout tracks, including "Nights Thoughts", "Victims of Romance", "Cadillac Walk" (which became famous after being recorded by Willie DeVille), and especially "Bad Case of Loving You" (released by Robert Palmer a year later, which became a major commercial success). From then on, some of his songs were included on the albums of various artists, and Moon Martin established himself as a solo artist. The new album "Escape from Domination" (1979) and the singles "Rolene" and "No Chance" are key pieces, ushering in the 1980s with the LP "Street Fever", which cemented his status as one of the best artists of the following decade. In 1979, Moon formed his own group, The Ravens, with Jude Cole (guitar), Dennis Croy (bass), and Rick Croy. In 1982, he released his fourth album for Capitol Records, "Mystery Ticket", followed in 1984 by "Mixed Emotions". From this point on, Martin distanced himself from his solo career and dedicated himself to songwriting for other musicians, although he released a few albums in the following decades with little commercial success. Tracks like "Bad Case of Loving You" more than justify why this man went down in pop-rock history. It has all the ingredients of a great song: warmth, rhythm, desperation, a catchy chorus, and unforgettable guitar riffs.

Magna Carta-Lord Of The Ages (1973)

Magna Carta is one of the most talented bands to emerge in the late 1960s amidst the burgeoning British folk progressive movement. Formed in London in 1969 by Chris Simpson, Glenn Stuart, and Lyell Tranter, they quickly became one of the most promising English folk-rock groups, drawing on influences from the American West Coast style of The Byrds and the British folk of Fairport Convention, all wrapped in orchestral arrangements and rich vocal harmonies. Their first albums, "Magna Carta" (1969), "Seasons" (1970), and "Songs From Wasties Orchard" (1971), were released in this stylistic vein. Two years later, the band underwent its first lineup changes, with guitarist Stan Gordon replacing Tranter, and the addition of Dave Peacock on bass, Gerry Conway on drums, Danny Thompson on double bass, and Jean-Alain Roucel on keyboards. With this lineup, they recorded "Lord of the Ages", the album that would definitively establish Magna Carta's reputation. Beneath its enigmatic cover, designed by Roger Dean, this album is Magna Carta's most progressive production, featuring the epic title track nearly ten minutes of sweeping progressive passages the addictive "Wish It Was", the restrained folk of "Two Old Friends", the medieval-tinged "Falkland Green", and the melancholic "Father John". "Lord of the Ages" is a masterpiece of British progressive folk, an album brimming with refined details and, with certain jazz influences, became Magna Carta's debut work.

Irish Coffee-Irish Coffee (1971)

Irish Coffee was a Belgian hard rock band formed in the early 1970s, emerging from the ashes of a cover band called The Voodoo. In their short five-year career, tragically cut short by the death of their drummer in a car accident and serious injuries to another member, they released only one album in 1971. The lineup included singer and guitarist William Souffreau, drummer Hugo Verhoye, keyboardist Paul Lambert, bassist Willy De Bisschop, and guitarist Jean Van Der Schueren. Their generic hard rock style was driven by a heavy Hammond organ, clear psychedelic influences, and a driving rhythm that drew from funk and blues. Heavy boogie-rock tracks like "Can't Take It" showcase the established hard rock formula of the era, where clever compositions become intoxicating pieces, as is the case with the captivating "The Beginning of the End". Funk invades the rhythm of "The Show (Part 1)", while blues does the same for the second part of the same track. But misfortune would prevent this first and only work from having any further release, beyond a series of singles that years later would be included on the CD reissue of this forgotten progressive hard rock album.

Kraftwerk-2 (1972)

Far removed from the classic style they would showcase in their subsequent recordings, the German group Kraftwerk, then still comprised of the duo Ralph Hütter and Florian Schneider, presented a repertoire for their second album similar to that of their debut. Utilizing classic instruments such as guitar, bass, drums, flute, organ, and violin (all expertly processed by engineer Conny Plank in the recording studios), this album displays a more abstract and irrational sound, with experimental compositions that in many cases veer into ambient, musique concrète, and sonic avant-garde. Featuring the same cover as their debut, but with the iconic green traffic cone instead of the red one, this album is a true experimental challenge that, after several listens, subtly reveals aspects of Kraftwerk's future style. Despite being one of their most underrated works, their most devoted fans consider it one of the most important albums in the entire career of this fundamental German krautrock and electronic music group.

Bennie Maupin-The Jewel in the Lotus (1974)

Saxophonist Bennie Maupin is primarily known for his contributions to high-caliber albums such as Miles Davis's "Bitches Brew", Herbie Hancock's "Mwandishi" era (1971-1973), and for being a member of Hancock's band, with whom he recorded "Headhunters" (1973) and "Thrust" (1974). However, his career also includes stellar appearances alongside artists like Horace Silver and McCoy Tyner, in addition to a solid solo career that has produced half a dozen acclaimed albums. One of these was "The Jewel in the Lotus", his solo debut, which featured much of Herbie Hancock's backing band, including Hancock himself on electric piano, as well as Buster Williams on bass, Charles Sullivan on trumpet, and drummers Bill Summers, Billy Hart, and Frederik Waits. With a style that differs substantially from his previous work in various collaborations, Maupin leans towards avant-jazz and experimental free jazz. Featuring intricate sounds, the pieces unfold with a distinctly avant-garde and experimental bent, largely eschewing melodic interpretation, though harmonically it remains brilliant and enjoyable jazz. Eerie passages immerse us in fascinating and addictive atmospheres with rich, atmospheric textures of fluid jazz, replete with psychedelic patterns that are simultaneously abstract and diffuse.

Brand X-Unorthodox Behaviour (1976)

For the British press of the time, Brand X was hailed as England's answer to the Americans Return to Forever, and unlike other contemporary groups from across the Atlantic such as Weather Report, Mahavishnu Orchestra, or Spyro Gyra, in addition to the aforementioned RTF, they had a distinctly British style. Composed of talented musicians from other bands, they created a side project to unleash each musician's individual creativity. These included drummer Phil Collins (Genesis), guitarist John Goodsall (Atomic Rooster), bassist Percy Jones (Soft Machine), and keyboardist Robin Lumley. Their debut album, released in 1975 by the progressive label Charisma Records, is one of the most memorable jazz/rock/fusion works of the 1970s. Comprising seven tracks, it demonstrated that the British style was much more closely associated with progressive rock than American jazz-rock, which was more influenced by funk, blues, or Latin sounds. From the monumental opening track "Nuclear Burn", a song where the entire band showcases their instrumental prowess, to the acoustic "Touch Wood", the rocking "Running on Three", the melodic "Smacks of Euphoric Hysteria", and the funk influences of "Born Ugly", this album is a powerful example of the best progressive jazz rock and undoubtedly belongs on the list of essential records in the genre.

Eric Dolphy-Out To Lunch! (1964)

This is one of the most advanced albums of its time, and even today, fifty years after its release, it remains far ahead of its time. The product of a genius like saxophonist Eric Dolphy, "Out to Lunch" paved the way for future musical experimentation in jazz, an avant-garde approach that musicians like Frank Zappa, along with the Mothers of Invention, knew how to interpret perfectly. From the late fifties to almost the mid-sixties, Eric Dolphy established himself as one of the most respected jazz musicians, as well as one of the most popular in the media. His work with Charles Mingus opened the doors to exploring and fusing jazz with classical music. Recorded in early 1964, Dolphy assembled a formidable band for this recording, composed of bassist Richard Davis, vibraphonist Bobby Hutcherson, trumpeter Freddie Hubbard, and drummer Tony Williams. Months after the release of "Out To Lunch", just as he had finished a European tour presenting this album with Charles Mingus, Dolphy would suddenly pass away in the German city of Berlin.

Fish-Internal Exile (1991)

After leaving Marillion, Fish debuted with "Vigil In A Wilderness Of Mirrors", a work that, in some ways, was very much a continuation of what he was doing with his former band, showcasing a brilliant, reflective, and moving neo-progressive sound. After this first album, it wasn't long before the Scottish giant made another move, releasing his second album, "Internal Exile", just a year later. On this album, he continued in that neo-progressive direction but placed more emphasis on the lyrics and vocals, at the expense of the long instrumental passages, which are shorter and more concise, while still incorporating certain folk and Celtic sounds. Songs like the energetic "Shadowplay" recall Marillion's album "Misplaced Childhood", with its dazzling and precise rhythm, while the uplifting "Credo" and "Tongues" move towards heavy and raw rock. On the other hand, "Just Good Friends" and "Dear Friend" become the most accessible and commercial tracks, contrasting with the moving and powerful "Lucky." In Fish's own words, with this album he wanted to capture "a collection of stories of young people" inspired by his home country, and indeed, his reflective and poetic lyrics are part of the album's appeal and are, without a doubt, small works of art in themselves.

Dream Theater-Systematic Chaos (2007)

It's 2007, and Dream Theater were firmly established as the spearhead of progressive metal. That year, the band, led by John Petrucci and James LaBrie, along with Mike Portnoy, Jordan Rudess, and John Myung, released their ninth studio album, "Systematic Chaos", a work preceded by the phenomenal "Octavarium" from several years prior. While not a fully conceptual album, it explores recurring themes ranging from anti-war sentiment and science fiction to self-confessed vices. Undoubtedly, the most progressive tracks on the album are the expansive and instrumentally intricate "The Ministry of Lost Souls", a dark composition featuring an anthological performance by guitarist Petrucci, and the intriguing "In the Presence of Enemies Part 2", a progressive track divided into four sections with extraordinary work from the entire band. The rest of the album is comprised of intense, harrowing tracks like "In The Presence of Enemies Part 1", vigorous and accessible canvases like "Forsaken", powerful anti-war thrash metal like "Prophets of War", and Pink Floyd-influenced "Repentance". While not reaching the heights of works like "Images and Words", "Awake", "Metropolis Part 2 Scenes from a Memory", or "Six Degrees of Inner Turbulence", with this release Dream Theater continued to explore their majestic progressive structures, sublimely fusing them with heavy metal and a magical, grandiose epic feel.

Matrix-Tale Of The Whale (1979)

Matrix was another of the many second-tier American jazz-rock bands that released four interesting albums between 1976 and 1981. Hailing from Appleton, Wisconsin, their origins date back to 1974, specifically to Lawrence University, where four of its members were students. These were trumpeters and players of other instruments such as percussion and keyboards: Larry Darling, Jeff Pietrangelo, Mike Hale, and Kurt Dietrich. Along with the additions of Michael Bard (saxophone), Randall Fird (bass), Tony Wagner (drums), John Harmon (keyboards), and Fred Sturm (trombone), they gained considerable recognition by participating in various prestigious jazz festivals, such as Monterey and Newport. After two commendable albums clearly oriented towards the brass-rock style that linked them to Blood, Sweat & Tears; Following "Matrix" (1976) and "Wizard" (1978), in 1979, under the Warner Bros. label, they released their best work, "Tale of the Whale", a much more conventional and accessible album aimed at a wider audience. Ambient sounds reminiscent of smooth jazz, new age, and funk jazz-rock vibes are present in most of the tracks on this third album, which features the brilliant jazz fusion "Narouz", the ambient "Nessim" and the title track, the funky "The Fly", and the soaring "Galadriel".

Barry White-Can´t Get Enough (1974)

Barry White was an undisputed genius of romantic soul. His cavernous, deep voice and orchestral arrangements brimming with funk, soul, and rhythm and blues are iconic, and his music remains timeless and admired by millions around the world. This singer, songwriter, and arranger crafted a sound adorned with rich instrumental harmonies and sensual, irresistible melodies. Born in 1944, he grew up in one of Los Angeles' most disadvantaged neighborhoods and, as a young man, found himself in serious trouble with the law. Over time, Barry White dedicated himself to teaching himself to play the piano, listening to classical music and practicing for many hours a day. A few years later, he began playing as a session musician in his city's burgeoning music scene. During those years, he also began working as a composer and arranger in various recording studios, something that would prove vital to his later solo career. In the 1970s, White formed his own band, the Love Unlimited Orchestra, with whom he released albums influenced by soul and funk music, featuring refined classical arrangements. His recording debut came in 1973 with the album "I've Got So Much to Give", which included his first major hit, "I'm Gonna Love You Just a Little More, Baby". His deep voice, along with his romantic lyrics, quickly propelled him to the top of the radio airwaves worldwide. Throughout the rest of the 1970s, he continued to release a dozen successful albums, such as "Stone Gon". "Can't Get Enough". and "Just Another Way to Say I Love You". which contained hit songs like "Just the Way You Are", "It's Ecstasy When You Lay Down Next to Me", "You're the First, the Last, My Everything", and the famous "Can't Get Enough of Your Love, Babe". Although his fame gradually declined from the 1980s onward, he maintained his enormous popularity and great talent by regularly releasing albums that were well-received by the public, such as his 1994 album "The Icon Is Love", which brought him back to the heights of success. Throughout those years, Barry White earned numerous gold and platinum records and several Grammy Awards, and he is currently considered one of the greatest influences on countless contemporary R&B, soul, and funk artists.

Can-Soundtracks (1970)

Between 1969 and 1970, the German krautrock group Can composed a series of songs that were included on the soundtracks of several independent films: "Cream", "Bottom", "Deadlock", and "Deep End". In late 1970, the group decided to compile all these songs on their second album, "Soundtracks", marking a new step in Can's musical development. The album features seven very different compositions that range from jam sessions and free-flowing rock to strange sounds and emotive atmospheres characterized by repetitive guitar lines, chaotic percussion, and minimalist rhythmic passages. Songs like the scorching "Mother Sky" alternate with others with a distinctly psychedelic feel, such as "Tango Whiskyman", the jazzy textures of "She Brings the Rain", and poignant pieces like "Deadlock". Despite not being one of their most memorable works, with this second album the German group continued to evolve artistically, evoking the excellent experimental forays that had begun a year earlier with their recording debut.

Kaleidon-Free Love (1973)

The excellent Italian pianist Stefano Sabatini founded the Kaliedon project in the early seventies, a brilliant experiment that, despite going largely unnoticed, is a noteworthy work focused on free jazz and low-key jazz-rock, primarily due to the absence of an electric guitar. Its origins date back to the end of the previous decade when Sabatini himself led a psychedelic pop band called Free Love. However, a tragic car accident claimed the lives of two of the musicians, leaving Sabatini seriously injured. Years later, Sabatini formed a new band, which he named Kaliedon, recruiting Massimo Balla (saxophone and flute), Franco Tallarita (bass), and Giovanni Liberti (drums), while Sabatini himself handled the keyboards and electric piano. Their only release, titled "Free Love" as a tribute to his former band and released in 1973, is a true reflection of jazz driven by the sounds of the saxophone and electric piano. Composed of a series of elegant pieces of melodic jazz such as the homonymous "Free Love", the melancholic "Inverno'43" or the jazz fusion "Polvere", demonstrating in all of them the instrumental talent of Sabatini, one of the outstanding keyboardists of European jazz.

Arkus-1914 (1981)

Arkus is a Dutch band that has the distinction of being one of the very first to release a neo-progressive album, a subgenre that emerged in the early 1980s. Formed in the late 1970s by guitarist and singer Frans Smits, bassist John Bouman, drummer Erik Van Duin, keyboardist Jan-Henk Wiggerlinkhuizen, and guitarist Ron Willems, their debut album, "1914", was recorded and released privately by the band and is based on the writings of the renowned Dutch author Bert Voeten. This record is an effective example of early neo-progressive rock, featuring a repertoire full of catchy and cohesive melodies. However, the band's style leans more towards the atmospheric and melodic sounds of late 1970s progressive rock than the pastoral and theatrical style of the early 1970s.

Christmas-Christmas (1970)

Christmas was an excellent Canadian avant-garde psychedelic rock band formed in Ontario in late 1969. Created from the ashes of another Canadian band called Reign Ghost, it consisted of guitarist and singer Bob Bryden, vocalist Lynda Squire, and percussionist Helge Ritcher. However, some time later, Lynda Squire was replaced by guitarist Robert Bulger and bassist Tyler Reizanne, a lineup that solidified and went on to record several highly regarded albums. After a respectable debut release titled "Heritage," they released their best effort, this self-titled work, which, despite a truly horrendous cover, managed to create a record worthy of the best Canadian acid and psychedelic rock bands of the era. Here, the band delivers everything from psychedelic passages like the opening track "Just Suppose," to progressive exercises like "Christmas," and hypnotic experimental endeavors like "Jungle Fabulous," a sublime epic where they unleash their brilliant compositional and instrumental creativity.

Jane-Jane At Home Live (1977)

“Jane at Home Live” is another of those fantastic double live albums released in the 1970s, this one specifically from the legendary German band Jane, a vigorous group that during that decade moved between a fusion of classic rock with hard rock influences and elements of progressive rock. On their early albums, their progressive roots led them to create two superb works: “Together” (1972) and “Here We Are” (1973). On their third and fourth albums, “Jane III” (1974) and “Lady” (1975), they veered towards blues rock and more conventional classic rock, before returning to the progressive path with their next album, “Fire, Water, Earth & Fire” (1976), an effective and excellent concept album. The material for this double live album was captured from the tour following their last concert. In it, the German band delivers an intense and powerful performance of some of their most emblematic songs, such as the space rock epics "Windows", "Hangman", and "Daytime", interwoven with other sublime, avant-garde compositions of hard rock and blues rock. The album also showcases the immense skill of keyboardist Manfred Wieczorke and extraordinary guitarist Klaus Hess. "Live At Home" reflects everything from the virtuosity of its members to the immense instrumental creativity of their powerful progressive rock, as well as the band's remarkable ability to seamlessly transition from highly complex pieces to simpler structures.

This Oneness-Surprize (1975)

This Oneness is another of those thousands of short-lived bands that only released one obscure and little-known album of estimable art rock. Their story is as simple as this: they were "basically" the backing band for singer Olivia Newton-John on a tour of North America in the mid-seventies. At the end of that tour, all the musicians involved decided to try their luck composing and recording the album "Surprise", a record with a multitude of influences ranging from jazz rock to progressive rock, including the more accessible melodies of American rock. The lineup of The Oneness consisted of Dale Strength (vocals and guitars), Robyn Lee (keyboards and vocals), Bernard Pershey (drums), Douglas Nelson (bass), and Greg Inhofer (keyboards and guitars). In their only recording they showcase an eclectic style that moves between complex and spacey pieces like "You Can't Do That/Surprise", to attractive and accessible melodies like "Please Let The Sunshine", passing through thrilling old school Canterbury jazz rock like "In Out In Out" or progressive jazz rock like "Surprise (Reprise/Go In Peace").

The Mahavishnu Orchestra-Visions Of The Emerald Beyond (1975)

After three intense albums, "The Inner Mounting Flame" (1971), "Birds of Fire" (1973), and "Apocalypse" (1974), the group led by John McLaughlin returned with the same lineup as on this latest release, marking the second iteration of the Mahavishnu Orchestra. It's worth noting that the previous album, "Apocalypse", featured new members: violinist Jean-Luc Ponty, keyboardist Gayle Moran, bassist Ralphe Armstrong, and drummer Michael Walden, replacing former members Jan Hammer, Jerry Goodman, Rick Laird, and Billy Cobham. With this new lineup, they recorded their fourth album, "Visions of the Emerald Beyond", recorded at Electric Lady Studios in New York in late 1974 and released in February 1975. In this new release, the band maintains its approach and musical style from the previous work, but subtly shifts towards bluesier territory, as we can hear in the opening tracks, "Eternity's Breath Part 1" and "Eternity's Breath Part 2". These tracks, with a solid bluesy foundation, ingenious violin solos, and Gayle Moran's excellent vocals, along with McLaughlin's guitar exploration, result in a very harmonious and balanced song. In "Lila's Dance", the band continues down the path of the previous track with an even bluesier approach, where McLaughlin takes center stage with a long and superb guitar solo. Meanwhile ,“Can’t Stand Your Funk”, as its title implies, is a clear example of funk jazz rock with a great combination of bass, rhythm guitar, and the powerful horn section. The melodic “Pastoral”, the coherent and very well-structured jazz rock “Faith”, the haunting “Pegasus”, and the superb and spacey “Earth Ship” make up an excellent album that, while not reaching the heights of their first two works, would maintain their position as one of the leading bands in the global jazz rock scene, alongside contemporary bands like Weather Report and Return to Forever, and would also complete an essential quadrilogy within the aforementioned style.

The Mahavishnu Orchestra-Apocalypse (1974)

In 1974, John McLaughlin reformed the Mahavishnu Orchestra, bringing in keyboardist Gayle Moran, violinist Jean-Luc Ponty, bassist Ralphe Armstrong, and drummer Michael Walden, who replaced Jan Hammer, Jerry Goodman, Rick Laird, and Billy Cobham, respectively. With this new lineup, he recorded the band's third album, which also featured the London Symphony Orchestra, conducted by Michael Tilson Thomas, as well as session musicians Marsha Westbrook (viola), Carol Shive (violin and vocals), and Philip Hirschi (cello and vocals). The fiery rhythm section of Armstrong and Walden propelled Ponty's rich instrumental passages and the London Symphony's orchestral arrangements, all underscored by McLaughlin's dark and gritty guitar work, creating an album that, as its title suggests, is apocalyptic. All of this is reflected in the captivating "Power of Love", with its astonishing work by the French violinist, a dark guitar, and subtle orchestral passages. The terrifying "Vision Is A Naked Sword", the orchestral interlude of "Wings of Karma", and the heart-wrenching "Hymn to Him" ​​combine to create another masterpiece of jazz-rock, demonstrating the immense creative capacity of the brilliant John McLaughlin.

The Mahavishnu Orchestra-Between Nothingness & Eternity (1973)

"Between Nothingness & Eternity" was the only live album officially released by the Mahavishnu Orchestra, and it came out amidst strained relations within the band, a situation that would lead John McLaughlin to reform the group shortly after its release. Composed of three extended tracks not included on their studio albums, it was recorded during the summer of 1973 in New York's Central Park and features the original Mahavishnu lineup: John McLaughlin (guitar), Jan Hammer (synthesizers and keyboards), Billy Cobham (drums), Rick Laird (bass), Jerry Goodman (violin), and Sri Chinmoy (vocals). Replete with intense jazz fusion/rock sounds, it showcases the astonishing instrumental mastery of each and every musician in the band, from McLaughlin's virtuosity on the six-string to Cobham's superb skill with the drumsticks, Hammer's powerful Moog synthesizer notes, and Jerry Goodman's tremendous talent on the electric violin. The live performance begins with the exhilarating "Trilogy Medley", a piece where the instrumental chemistry between all the musicians demonstrates they were at a superior level within the jazz-rock of that era. This is followed by "Sister Andrea", which maintains a similar style but slows the frenetic pace of the previous piece, veering towards progressive jazz-rock. The finale is reserved for "Dream", a tour de force of over twenty minutes divided between initial ambient and atmospheric sounds and a fiery jam session in its closing section. As we said at the beginning, this was the last official recording of the original band, a fact that would not surprise anyone due to the talent and individual ego of each of them, so a year later Mahavishnu would return with a completely different lineup except for its leader John McLaughlin.

Cannonball Adderley-Cannonball Adderley Sextet: Planet Earth (1969)

Cannonball Adderley was one of the greatest saxophonists in the history of jazz, a musician with a unique and innate ability to communicate his music to a wide audience and make it incredibly popular. With an established career behind him, in the mid-1950s he moved to New York from his native Florida, where he quickly became a sensation and ended up playing in Miles Davis's band. At the end of that decade, he released some of his masterpieces, such as "Somethin' Else" with Miles Davis, Hank Jones, and Art Blakey. During the 1960s, his soulful hard bop style shone through, and he recorded prestigious albums for the Riverside and Capitol labels, including "Know What I Mean" with Bill Evans and "Accent on Africa". With Capitol Records, his albums shifted towards more mainstream and commercial sounds, as demonstrated by his tremendous success "Mercy, Mercy, Mercy" in 1966. Towards the end of the sixties, the now-defunct Riverside label released the live album "Cannonball Adderley Sextet: Planet Earth", featuring notable collaborations with Joe Zawinul, Louis Hayes, Nat Adderley, Yusef Lateef, and Sam Jones. A technically impeccable album, it included a series of modern jazz compositions such as the soulful "Seventh Son", exotic performances like "Brother John", and intriguing hard bop like "Syn-Anthesia", all reflecting an avant-garde style with clear Eastern influences.

Granada-España, Año 75 (1976)

Granada was a Spanish symphonic rock band that, with a very particular and unique style, released three magnificent albums in the 1970s. Led by multi-instrumentalist Carlos Cárcamo, the band also included drummer Juan Bona, bassist Antonio García, and guitarist Michael Vortreflich. In 1975, the group released their debut album, "Hablo de una Tierra" (I Speak of a Land), an eclectic work that fused different styles such as blues and rock, always through a progressive lens. On this debut, the sound of the sharp guitars and the omnipresent Mellotron take us on pleasant journeys with a Mediterranean and Andalusian flavor. A year later came their second album, "España Año 75" (Spain Year 75), an ironic title for a crucial year in Spanish history. The entire album is full of magnificent displays of symphonic progressive music with abundant folkloric allusions. The jazzy nuances and Mediterranean atmospheres, along with the atmospheric and tranquil passages, are the highlights of an album that features standout tracks such as the epic "El Calor que pasando este verano" (The Heat We Experienced This Summer), the atmospheric "Septiembre" (September), and the progressive folk songs "Noviembre Florido" (Flowery November) and "Ahora vamos a ver que pasa (vámonos para el Mediterráneo)" (Now Let's See What Happens (Let's Go to the Mediterranean)). With this album, Granada and Spanish progressive rock in general demonstrated the solid style that the Spanish music scene was producing during the musically fertile 1970s.

Rose´s Pawn Shop-Dancing On The Gallows (2010)

Rose's Pawn Shop are a band that gave a breath of fresh air to the American sound in 2005, when they were founded (this does not mean that there are not many others that have also contributed to keeping the legacy alive). They make everything from classical music ("classical" if you were born in the southern United States), from bluegrass to country to folk, rock and blues.
"Dancing On The Gallows" was the second album by this magnificent band released in 2010. By then the band consisted of Paul Givant, vocalist, guitar and banjo, Tim Weed, Mandolin, fiddle and vocals, John Kraus, banjo, mandolin and guitar, Stephen Andrews, bass and drums, Christian Hogan, Debtors of the sounds that The Byrds or The Band created in the sixties, Rose's Pawn Shop manifest their style in superb songs like "Strangers", "Debt Collector" or "Pine Box", themes that if they had been published in the 70s, we would speak of a jewel of the genre.

Rush-Clockwork Angels (2012)

Five years would pass before the Canadian band Rush released their next album, which would ultimately become their discographic epitaph. On "Clockwork Angels", the trio returned to their heavy hard rock style, but blended it with a series of highly complex and progressive pieces. With brilliant musicianship, Lifeson, Lee, and Peart created another concept album about a traveler and his various encounters, involving law enforcement, chaos, the world of piracy, and other surreal scenarios. The album opens with the heavy hard rock track "Caravan", a highly accomplished instrumental piece, followed by the thunderous "BU2B", another energetic song with heavy riffs, galloping bass lines, and virtuosic, dynamic drumming. However, it's with the track "Clockwork Angels" that the trio begins to expand into progressive and complex sounds, an inspired piece that continues with the elaborate "The Garden", the haunting "Headlong Flight", the exotic "The Anarchist", and the catchy "Wish Them Well". For many, this was Rush's finest conclusion, an album closer to the musical philosophy of the distant and spectacular "Moving Pictures" (1981) than to almost all of their subsequent releases in the eighties and nineties.

Manfred Mann´s Earth Band-Watch (1978)

In 1978, Manfred Mann's Earth Band were at the height of their success and worldwide recognition; however, creatively they seemed to have stagnated, if anything, regressing towards a more commercial sound. That said, they were still producing excellent progressive rock albums. "Watch" is undoubtedly Earth Band's last great album, a stunning progressive rock record that gradually morphed into a commercial regression. Although it closely resembles their most commercially successful songs to date, such as "Blinded By The Light" from their previous album, "The Roaring Silence" (1976), they even achieved significant commercial success with the single "Davy's On The Road Again". Despite this, it remains a certified minor masterpiece of the progressive rock genre. This is underscored by the superb mellotron sounds, the addictive choruses, and the catchy acoustic and electric guitars that permeate the entire album. "Watch" is undoubtedly the last great Earth Band album, thanks to its stunning mellotron work, addictive choruses, and infectious acoustic and electric guitars. Tracks like the brilliant “Circles” or the brilliant “Drowning on Dry Land/ Fish Soup”, “Chicago Institute” and “Mighty Quinn” demonstrate the potential of an album of abundant quality, a product of the unquestionable talent of one of the greatest British progressive bands of the 70s.

Spooky Tooth-The Mirror (1974)

The origins of this important British blues-rock band with progressive influences date back to late 1964, when a band called The V.I.P.'s released several singles with little success. These singles paved the way for Spooky Tooth, specifically for a group called Art, who released the album "Supernatural Fairy Tales" (1967). Just a year later, singer Mike Harrison, keyboardist and vocalist Gary Wright, guitarist Luther Grosvenor, bassist Greg Ridley, and drummer Mike Kellie officially formed Spooky Tooth, releasing their first album, "It's All About a Roundabout" (1968), on the Island label. On this first album, the psychedelic influences of their predecessor, Art, are quite evident, but the blues-rock sound that would later become the band's hallmark is also timidly emerging. The album alternated between covers and original songs, but it ultimately met with little fanfare. The same could not be said for their second album, the magnificent "Spooky Two" (1969), which managed to carve out a place for itself on the British and American charts, thanks in part to tracks like "Evil Woman" and "Waitin' For The Wind". After the album, Greg Ridley left the group to join Humble Pie. With a new bassist, Andy Leigh, they released "Ceremony" (1970), which, due to the shift towards a more electronic sound, suffered a monumental failure and precipitated the general exodus of almost all the band members. From this point on, Luther Grosvenor joined Stealers Wheels and Gary Wright founded Wonderwheel. In the middle of that same year, the group reformed with the addition of some members of Joe Cocker's Grease Band, such as Chris Stantion, Henry McCulloch, and Alan Spenner, but they were unable to revive the group's career with the recording of the album "The Last Puff" (1970). This latest failure led to the band's disbandment in late 1970. But three years later, Spooky Tooth resurfaced with a harder rock sound. The return of keyboardist Gary Wright and Mike Harrison, along with new members like singer Mike Patto, guitarist Mick Jones, drummer Bryson Graham, and bassist Ian Herbert, seemed to breathe new life into the group. With this lineup, they released the albums "You Broke My Heart So I Busted Your Jaw" (1973) and "Witness" (1973), achieving respectable sales and even better reviews, marking the band's peak period. On "The Mirror" (1974), the group recruited new members, including former Van Der Graaf Generator bassist Keith Ellis. However, despite containing strong tracks like "Kyle", "Fantasy Satisfier", "The Mirror", and "The Hoofer", it failed to achieve the desired success. In 1974 the band officially broke up, although this didn't prevent the occasional reunions with some of the original members. A year later, Island Records released the compilation album "The Best Of" (1976). Subsequently, some of the members went on to join bands such as Foreigner (Mick Jones) and The Alvin Lee Band (Bryson Graham).

Manfred Mann´s Earth Band-The Roaring Silence (1976)

Fueled by a hugely successful single with their rendition of Bruce Springsteen's "Blinded by the Light", Manfred Mann's Earth Band produced one of their best albums in the mid-seventies with "The Roaring Silence". However, by this point, vocalist and guitarist Mick Rogers had left the band after the release of the previous and epic album, "Nightingales & Bombers". This was a mutual decision, the result of his almost obsessive interest in the music of Frank Zappa and his desire to take the band in an avant-rock jazz direction. In Rogers' place, the band expanded to a quintet, recruiting vocalist Chris Thompson and guitarist Dave Flett. The rest of the lineup remained the same, having left behind such widely acclaimed albums as the outstanding "Messin'" (1973), "Solar Fire" (1973), "The Good Earth" (1974), and the aforementioned "Nightingales & Bombers" (1975). These musicians were Manfred Mann (keyboards), Chris Slade (drums), and Colin Pattenden (bass). In addition, a dozen more musicians contributed to the recording process, including saxophonist Barbara Thompson and a large group of backing vocalists. Among those featured were Chris Hamlet Thompson, Irene Chanter, Suzanne Lynch, and Mick Rogers. The album opens with a cover of "Blinded by the Light", featuring a magnificent keyboard solo by Manfred Mann. While the song clearly has a pop-rock foundation, it differs significantly from the original with a lengthy middle section that reinforces the group's progressive credentials and became a true avant-garde hit. This is followed by "Singing the Dolphin Through", a fine piece of melodic progressive rock, and the atmospheric and chaotic "Waiter There's A Yawn in My Ear". The B-side features "Road to Babylon" and "This Side of Paradise", two tracks with a leisurely progressive rhythm, strong melodies, and complex instrumental work. The album closes with the simple yet beautiful "Questions", where Chris Thompson's distinctive voice showcases his talent as a superb vocalist. The album went on to achieve several gold and silver records, achieving great success in the North American market.

Manfred Mann´s Earth Band-The Good Earth (1974)

Manfred Mann's Earth Band's fifth album, "The Good Earth", sits between their two masterpieces: "Solar Fire" (1973) and "Nightingales Bombers" (1975), which might have relegated it to the status of a mere media transitional album. However, on this new release, the group, led by Manfred Mann (organ and synthesizers) and supported by Mick Rogers (guitar and vocals), Colin Pattenden (bass), and Chris Slade (drums), created an ingenious blend of 70s guitar-driven heavy rock and the familiar patterns of progressive blues rock. Purely instrumental tracks like "Sky High" and "Earth Hymn" showcase that hard rock power, while the progressive "Give Me The Good Earth" (an excellent cover of Gary Wright's song) and "Launching Place" perfectly exemplify the triumphant interplay between Rogers' electric guitar and Mann's synthesizers, all under the cloak of cryptic and chaotic lyrics. On the more melodic side, there's the catchy cover of Mike Rudd's "I'll Be Gone" and the country/folk rock-tinged "Be Not Too Hard". Despite being somewhat hidden among the albums mentioned earlier, "The Good Earth" is another indelible mark left by the legendary Manfred Mann's Earth Band.

Manfred Mann´s Earth Band-Manfred Mann´s Earth Band (1972)

Manfred Sepse Lubowitz, better known as Manfred Mann, began his career in the early 1960s, releasing a series of works focused on jazz, rhythm and blues, and pop, achieving several hits in the British market such as "Do What Diddy Diddy" and "Pretty Flamingo", among others. At the end of that decade, he formed Manfred Mann Chapter Three, a group that steered his style toward the experimental realm of jazz. After two noteworthy albums, the South African-born keyboardist created Manfred Mann's Earth Band, in which the restless musician sought to expand his sonic palette by exploring the progressive rock trends that were flourishing at the time. For this new lineup, he recruited drummer Chris Slade, guitarist Mick Rogers, and bassist Colin Pattenden, a lineup that would remain unchanged for the next five albums. The first album of this new venture, released in 1972 on the Polydor label, was met with great acclaim in the British and American markets thanks to its eclectic progressive style. Tracks like the midstream rock of "California Coastline", the progressive blues-gospel of "Captain Bobby Stout", the jazzy "Jump Sturdy", and the experimental psychedelic "Sloth", contrasted with the progressive folk melodies of "Part Time Man" and "I'm Up and I'm Leaving". From then on, a series of excellent examples of the talent and creativity of Manfred Mann's Earth Band followed, with highly acclaimed albums that achieved enormous commercial success.

Manfred Mann´s Earth Band-Glorified Magnified (1972)

Released the same year as their debut but several months later, Manfred Mann's Earth Band's second album is a clear indication of the sound that would become the group's signature. It showcases a brilliant variety of styles, which the band performs with considerable fluency and confidence. In fact, on their subsequent albums, these sounds become even more pronounced and progressively more expansive. The lineup remains the same as on the first album: Manfred Mann (organ, synthesizers, and vocals), Mick Rogers (guitar and vocals), Colin Pattenden (bass), and Chris Slade (drums). Those eclectic sounds we mentioned earlier are present in the colorful and picturesque rock of "Meat", the intense hard rock of "Look Around", with its outstanding and enormous guitar solo by Rogers, the semi-acoustic "One Way Glass", the emotive "Ashes to the Wind", and a nod to 60s rock with their cover of Bob Dylan's "It's All Over Now, Baby Blue". The album delves into the roots of country blues with "Down Home" and the dense mid-tempo "Our Friend George". Finally, the album closes with more experimental approaches in the hypnotic instrumental "Wind" and the progressive "Glorified Magnified".

Manfred Mann´s Earth Band-Messin´ (1973)

In 1973, Manfred Mann's Earth Band released their third album, "Messin' ", a record that followed the stylistic path of their first two works, with its blues and R&B influences interwoven with their burgeoning progressive rock sound. The lineup of Mick Rogers (vocals and guitar), Manfred Mann (keyboards), Colin Pattenden (bass), and Chris Slade (drums) was beginning to solidify, and some time later they would create one of their best albums, "Solar Fire". But focusing on "Messin' ", they began to showcase characteristics that would establish them as one of the best progressive rock bands, such as the expansive tracks, an almost hard rock rhythm in many passages, and the interplay between guitars, Hammond organ, and synthesizers. The swampy "Mardi Gras Day", the bluesy "Black and Blue", the jazzy "Messin'", the emotive "Cloudy Eyes" or the energetic "Pretty Good", make up a solid work that little by little approached the sound that would make them world famous in the years to come.

Manfred Mann´s Earth Band-Angel Station (1979)

As we've mentioned before, the 1980s marked a turning point for all those bands that had achieved creative and commercial success during the 1970s. Manfred Mann's Earth Band was no exception, adapting to the changing times while preserving their original musical philosophy. It was in this context that the band, led by keyboardist Manfred Mann, released their ninth album, "Angel Station" (a title referencing a London Underground station). Mann, along with Chris Thompson (vocals), Geoff Britton (drums), Pat King (bass), and Steve Waller (guitar), created a solid work that displayed certain new wave influences and commercial sounds within their usual progressive framework. That commercial appeal is evident in the opening track, "Don't Kill It Carol", a thunderous classic rock song driven by bass, guitar, and keyboards. Another rock classic appears in their version of Bob Dylan's "You Angel You", which showcases the band's knack for performing such successful covers. On the other hand, the hypnotic and sublime "Angels at My Gate", the bluesy "Belle of the Earth", the sarcastic "Resurrection", the epic and iconic "Waiting for the Rain", and the somber "Hollywood Town" complete an album that is as enjoyable as it is commendable, at a time in history when artists had to tread carefully to avoid musical bankruptcy.

Aragorn-The Suite (1973)

Aragorn's short career lasted only a few months, just enough time to record an album that was initially released in a limited edition of fifty copies, until many years later it was rediscovered and reissued on CD. This Australian band was led by a talented classically trained musician named Oleg Dietrich, who in 1967 had begun composing a work called "The Suite", influenced by the book "The Lord of the Rings". Years later, he finished most of the composition and formed a band called Aragorn to record and officially release it. With a fully established lineup, they recorded "The Suite", a record that draws directly from the roots of British progressive rock with echoes of medieval folk and jazz. The work displays great intensity, with a sober and complex composition, featuring dense passages in a series of fluid, separate pieces that result in a hidden masterpiece of progressive rock.

Premiata Forneria Marconi-Storia di Un Minuto (1972)

In the late sixties, the British progressive rock movement was in full swing, and hundreds of bands from numerous countries influenced by the genre ventured to experiment with their own sounds in search of success and glory. One of these many bands was the Italian group Premiata Forneria Marconi, who absorbed this new rock sound, fusing it with different elements such as Italian music, creating their own unique identity. In this context of effervescence and creativity, this Italian band released their second album in 1971, "Storia di Un Minuto", a record that departed completely from the melodic, psychedelic pop sound of their debut. This second album is characterized by reflective and complex passages that support impeccable instrumentation, as demonstrated in the pastoral "Impressioni di Settembre". The following tracks, such as "Paloma…Quando", a sentimental piece reminiscent of medieval music, and the atmospheric "La Carrozza di Hans", continue in this introspective vein, with touches of drama. The popular Italian tarantella style shines through in the lively "E Festa", driven by extroverted keyboards, while jazz improvisation is present in "Paloma…Quando Part II". To close the album, the band reserves its most progressive moment with the experimental "Grazie Davvero", which features precise orchestral arrangements and an outstanding acoustic ending. "Storia di Un Minuto" proved to be an excellent starting point for Premiata Forneria Marconi, who in the following years would release such monumental works as "Per Un Amico" and "Photos of Ghosts", “L´ Isola Di Niente” or “Chocolate Kings”, becoming one of the biggest bands of the Italian progressive movement and the one with the greatest international impact.

Premiata Forneria Marconi-L'Isola di Niente (1974)

Amidst the buzz surrounding the success of “Photos Of Ghosts” in the English-speaking market, the Italian band Premiata Forneria Marconi embarked on a new project, their fourth release chronologically titled “L'Isola Di Niente” (The Island of Nothing). Recorded with meticulous production, the band took significantly more time to develop the musical structures, resulting in greater instrumental and lyrical depth. This shift is evident in the opening track, the title track, an instrumental interlude where Franco Mussida's guitar and Franco Premoli's keyboards, accompanied by a haunting choral arrangement, showcase the strength of their new sound. This track is followed by the progressive “La Luna Nuova” (The New Moon), where the keyboardist once again takes center stage with his Moog synthesizer sounds. The Mediterranean melody of “Dolcissima Maria” and the jazzy “Is My Face On Straight” are the tracks that lead to a spectacular closing with the lively “Via Lumiere”, the culmination of another masterpiece from one of the best bands to have emerged from Italy.

Premiata Forneria Marconi-Jet Lag (1977)

With their eighth album, "Jet Lag", the Italian band Premiata Forneria Marconi forged a new musical path, abandoning their poetic lyrics and singing in English without the involvement of lyricist Peter Sinfield, who had translated the albums "Per Un Amico" (released as "Photos of Ghosts") and "L'Isola Di Niente" (released as "The World Became the World"), both for the English-speaking market. This time, the band focused primarily on the ambitious North American market, producing a work closer to the jazz fusion/rock style so popular in the late seventies. The interplay of the rhythm section, composed of Franz Di Cioccio and bassist Jan Patrick Djivas, is truly electrifying and complex, while the absence of the usual horn section, due to Mauro Pagani's departure, is compensated for by Gregory Bloch's excellent violin. Special mention must be made of Franco Mussida's guitar, displaying an unusual intensity with dizzying riffs reminiscent of hard rock. From the incredible title track, a superb progressive jazz-rock composition, to the pastoral and instrumental "Peninsula", the Italian band delves into and finds an unclassifiable sound within progressive rock, always remaining true to the essential Italian progressive approach. The vocals perfectly complement the overall musical philosophy, and while they don't quite reach the eloquence of their emblematic works, they still retain moments of grandeur. The rest of the repertoire consists of pieces that navigate between pure progressive rock ("Traveler"), highly talented instrumental exercises ("Meridiani"), and avant-garde explorations like the energetic "Left-Handed Theory". Without a doubt, "Jet Lag" is another essential work from Premiata Forneria Marconi, despite the substantial stylistic shift from their initial sound.

The Next Morning-The Next Morning (1971)

The Next Morning was a short-lived American band founded in New York City by Trinidadian guitarist Scipio Sargeant, who had emigrated to the Big Apple in the late 1960s. Once settled in the city, he formed a close friendship with guitarist Bert Bailey, and together they decided to create a band in the style of the Jimi Hendrix Experience's hard rock and psychedelic, acid blues rock. To this end, they recruited drummer Herb Bailey, organist Earl Arthur, and singer Lou Phillips. After a series of concerts in various New York venues, the band garnered significant media attention and was signed to a subsidiary of Rhino Records. With the support of this label, they recorded their first and only album at Electric Lady Studios in New York City. The final result of this album is a clear example of Jimi Hendrix's tremendous influence on the band, who, driven by a dizzying and strident organ and fuzz guitars, left a repertoire full of psychedelic and hard rock sounds, with hints of funk and soul as demonstrated in the tracks "Jam Of Love", "Life Is Love", "The Next Morning", "Changes of the Mind" or "Back to the Stone".

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".