Asia-Alpha (1983)

A year after their extraordinary debut, the supergroup Asia released their second full-length album, "Alpha". Composed almost entirely of shorter compositions, this album, unlike its predecessor which combined elements of progressive rock with appealing soft rock melodies, focuses on a more commercial and accessible sound, showcasing a melodic rock style very close to AOR. This would be the second album with the classic lineup of John Wetton (bass and vocals), Steve Howe (guitars and vocals), Geoff Downes (keyboards and vocals), and Carl Palmer (drums). Twenty-five years would pass before another album from this same lineup ("Phoenix" 2008). With a more corporate and commercial tone, the band faced an album that would be partly weighed down by the enormous success of their debut despite containing an interesting amalgam of excellent songs such as the catchy "Don't Cry", "The Smile Has Left Your Eyes", "The Heat Goes On", "Eye To Eye", "Midnight Sun" or "True Colors", while the only remnant of the sounds of the progressive past is found in the brilliant "Open Your Eyes".

Flower Travellin´Band-Make Up (1973)

"Make Up" was the fourth album by the Japanese band Flower Travellin' Band, a double LP recorded due to contractual obligations with Atlantic Records. However, by the time they entered the recording studio, the band, led by percussionist Akira Yamanaka, didn't have enough material to fill all four sides of the double record. As a result, some of the tracks included here are live recordings and other takes that had been discarded from their previous albums. This hodgepodge of material gives the album a certain incoherence, despite containing memorable moments of great psychedelic hard rock and space rock. It begins with the vigorous, driving exercises in heavy rock, propelled by Nobuyuki Shinohara's Hammond organ and Hideki Ishima's lysergic and visceral guitar. Along this path are tracks like "All The Days", "Make Up", and "Slowly But Surely", which contrast with the more subdued "Shadows Of Lost Days", "After the Concert", and "Broken Strings". But it's the epic live recording of "Hiroshima" that best showcases Flower Travellin' Band's crushing hard rock during twenty-five chaotic and visceral minutes, where there's even time for a powerful drum solo by percussionists Akira Yamanaka and Joji Wada.

The Oscar Peterson Trio-Night Train (1963)

Canadian Oscar Peterson is one of the legends of modern music. He managed to bring jazz to a wider audience like almost no one else, thanks to his remarkable ability to musically synthesize a style that had previously been reserved for a select and small public. Born in Montreal in 1925, he was already a talented child playing piano and trumpet at just five years old. Thanks to his classical music studies, young Oscar showed a keen interest in swing, bebop, and boogie-woogie. Influenced by the great Art Tatum, by the late 1940s he was already a renowned musician thanks to his impressive technique and improvisational skills on the piano. During those years, he released his first recordings on labels like Victor Records, and collaborated with jazz legends such as Louis Armstrong, Stan Getz, Joe Pass, Count Basie, and Ella Fitzgerald, among many others. During the 1950s, his trios were among the most sought-after and famous groups in the jazz world, and it was precisely the trio he formed with Ray Brown (bass) and Thigpen (drums) that recorded one of the most emblematic albums of modern jazz: "Night Train", released in 1963 on the Verve label. This recording showcases Peterson's captivating playing style, revealing him at the height of his career as an absolutely masterful pianist. Pieces like the bebop "Bag's Groove", the leisurely "Night Train", the rhythmic "C-Jam Blues", the heartfelt "I Got It Bad (and That Ain't Good)", and the bluesy "Band Call",  reflect the excellence of the Oscar Peterson Trio on an album considered one of the masterpieces of jazz of all time.

Asia-Aura (2001)

Five years after their sixth studio album ("Arena" 1996), Asia reappeared with "Aura" in 2001, a work that showcased their more melodic side, almost entirely moving away from the progressive sounds that had appeared here and there in all their previous works. For this new release, the duo, composed of John Payne (bass, guitars, and vocals) and Geoff Downes (keyboards), enlisted a large number of supporting musicians who helped create the album, including Steve Howe, Tony Levin, Simon Phillips, Chris Slade, Pat Thrall, Ian Crichton, Vinnie Colaiuta, and Elliott Randall, among others. In addition, former 10cc member Graham Gouldman collaborated on the composition of some of the tracks included here. Replete with captivating melodic atmospheres, the album features uplifting soft rock tracks such as "Awake", "Ready to Go Home", "Wherever You Are", "Forgive Me", "Kings of the Day", and "The Last Time". The work of guitarists Howe, Thrall, and Randall, Payne's evocative vocals and catchy choruses, along with Downes' grandiose and symphonic keyboards, guides them along the paths of sophisticated, high-octane rock that is truly appealing. Meanwhile, the jazz-rock track "Free" and the instrumental "Aura" add a progressive touch to this magnificent work from one of the most iconic bands in melodic rock.

Bonham-Mad Hatter (1992)

Jason Bonham is the son of the late, legendary Led Zeppelin drummer John Bonham. He followed in his father's footsteps and, over time, built a great reputation as one of the best percussionists of the late 20th century. Despite his innate talent, his surname has unfairly held him back on more than one occasion. In recent years, Jason has filled in for his father on several occasions when the legendary band has reunited sporadically, including the famous concert at London's O2 Arena in 2007. Years earlier, Jason had formed his own band, releasing two excellent albums that showcased his obvious Zeppelin heritage. The first of these was 1989's "The Disregard of Timekeeping", which was very well received thanks to songs like "Wait for You", "Guilty", and "Bringing Me Down". Three years later, at the height of the grunge explosion, their second and final album, "Mad Hatter", was released. It was another brilliant display of their Zeppelin and hard rock influences, though it received less media attention. Both this album and its predecessor showcased the powerful riffs of guitarist Ian Hatton, the vocal talent of Daniel McMaster, and the technical virtuosity of Jason Bonham's powerful drumming. Tracks like the instrumental "Los Locos", and the raw hard rock anthems "The Storm", "Bing", "Ride On A Dream", "Secrets", and "Hold On" deserved far more recognition and attention than they received.

Hiro Yanagida-Milk Time (1970)

This is one of the seminal and most celebrated albums of Japanese psychedelic rock. Created by keyboardist Hiro Yanagida, a legendary figure in Japanese hippie and lysergic culture, it features guitarist Kimio Mizutani, percussionist Hiro Tsunoda, electric violinist Hiroki Tamaki, bassist Keiju Ishikawa, and flautist Nozomi Nakatani. Together, they crafted an album brimming with raw guitar passages, organ, and energetic drumming. The lysergic, acid-tinged rock is contrasted by the understated flute, which brings calm and clarity to the frenzy with its marvelous interludes. This psychedelic style also evokes free jazz, funky rhythms, and even German krautrock. Ultimately, it's a brutal album of heavy, powerful rock improvisations with jazz and avant-garde influences.

Sonic Youth-Goo (1990)

Emerging in the midst of the punk craze, New Yorkers Sonic Youth were never categorized as part of that movement, but rather as part of the dark, underground sounds of the city of skyscrapers, despite having certain similarities to the sound created in England and North America in the late 1970s. Formed in New York City in 1981 by bassist and vocalist Kim Gordon, guitarist and keyboardist Thursten Moore, and drummer Lee Ronaldo, they distanced themselves from more conventional sounds to delve into distortion and bubbling rhythm sections, with seductive, aggressively unhinged melodies, transforming their alternative rock style into an anarchic, fiery, and subversive sound. With their sixth album, "Goo", the band reached their peak of popularity thanks to a record that contained tracks like the muddy "Dirty Boots", the insolent "Tunic", the punkish "Mary-Christ", and the gothic "Kool Thing".

Cat Stevens-Catch Bull At Four (1972)

In late 1972, "Catch Bull At Four", the sixth album by British singer-songwriter Cat Stevens, was released, achieving an undeniable number one spot on the US charts and number two in the UK. Although Cat Stevens still had five years of tremendous success ahead of him, with albums like "Foreigner" (1973), "Buddha and the Chocolate Box" (1974), "Numbers" (1975), and "Izitso" (1977), "Catch Bull At Four" began to mark his creative decline. Part of this was due to the fact that its repertoire was written during breaks from his grueling tour promoting "Teaser and The Firecat", which somewhat diminished the freshness of his compositions. Here, the acoustic and folk sounds that predominated in his earlier work, driven by guitars, give way to more refined arrangements where the piano takes center stage. Tracks like "18th Avenue (Kansas City Nightmare)", "Silent Sunlight", "Freezing Steel", and "Sweet Scarlet" are clear evidence of this. Even so, songs in his usual style appear here, such as "Sitting", "The Boy With a Moon and Star on His Head", "Can't Keep It In", and "Angelsea". Although the album reached number one, it spent less time on the charts than its predecessor, and its repertoire was less accessible than that of the three previous albums, which had garnered him numerous fans who continued to expect Stevens's rhythmic and catchy melodies and thoughtful lyrics. With this album, Cat Stevens reached a turning point, and his millions of followers began to tire of his religious fervor, his sophisticated arrangements, and his increasingly melodramatic style.

Mountain-Nantucket Sleighride (1971)

Mountain are another of the legendary American bands who, driven by the formidable guitarist Leslie West and supported by bassist and producer Felix Pappalardi, drummer Corky Laing, and keyboardist Steve Knight, enjoyed their glory days thanks to three superb albums released in the early 1970s. "Nantucket Sleighride", which appeared almost a year after their debut "Climbing!", delighted their large legion of fans, despite already offering some musical changes compared to its predecessor. While the previous album overflowed with raw, guitar-driven hard rock, dominated by West's guitar and full of catchy hits, this album maintains the heavy, melodic guitars but further explores the possibilities offered by the other instruments, with a repertoire that encompasses both epic themes and the boundaries of progressive rock. The intense hard rock and blues rock tracks "Don't Look Around", "Nantucket Sleighride", "Tired Angels", "Travellin' in the Dark", and "The Animal Trainer and the Toad" showcase an album of unbridled energy, only tempered by the melodic "Lady". With this second album, Mountain reached the peak of their inspiration and popularity, achieving a well-deserved gold record for sales in the North American market.

White Chocolate-White Chocolate (1973)

White Chocolate was a melodic hard rock band that was one of the sensations of the American East Coast for several years. The band was formed in the early 1970s by guitarist and vocalist Charlie Karp, drummer Jimmy Maher, and bassist David Hull. Their brilliant performances on the local circuit caught the attention of talent scouts, and RCA Records eventually signed them and financed an album that is now considered a cult classic among American hard rock fans. Released in 1973 and produced by Bruce Somerfeld, it also featured collaborations with various studio musicians, including Andre Lewis (keyboards), a horn section composed of Jerry Mirlaini, Jerry Marant, and Gene Hull, and vocalist Maxayn Lewis. From boogie soul sounds "Getting Ready to Rock'n'Roll", to psychedelic hard rock exercises "Midnight Flight", passing through energetic southern rock "I'm Crying" and "Looking For Love", hard rock "Make It Easy", funk rock "Let's Get Funked", mainstream rock "Sad Eyes" or irresistible blues rhythms "Outcast", make up an attractive album of the best North American hard rock.

Kenny G-Kenny G Live (1989)

In the late 1980s, saxophonist Kenny G was at the height of his popularity after releasing five albums focused on smooth jazz. In 1989, the double live album "Kenny G Live" was released, a perfect sonic document reflecting his melodic contemporary jazz. Recorded during the promotional tour for his previous album, "Silhouette", which would go on to achieve impressive sales of over 25 million copies worldwide, this live recording offers an excellent overview of some of his best compositions, such as "Going Home", "Songbird", "Midnight Motion", and "Silhouette", among others. His impressive mastery of the saxophone, combined with the fantastic instrumental passages of his backing band comprised of extraordinarily talented musicians like Lou Pardini (keyboards), John Kane (drums), Paulinho da Costa (percussion), Vail Johnson (bass), and John Raymond (guitar) create a kind of greatest hits collection, all under exquisite production and with superb instrumentation.

Scorpions-Blackout (1982)

With this album, Scorpions finally conquered the long-awaited North American market, achieving platinum status and entering the Billboard top ten for the first time. However, Scorpions already enjoyed considerable renown outside of Europe, for example, in the Japanese market, where all their previous albums had been very well received and revered by the Japanese public, as demonstrated by their double live album "Tokyo Tapes" (1978). Part of the success of this new album lay in the hit "No One Like You", with its catchy rhythm and addictive guitar riffs adorned with irresistible vocal melodies. In addition to this spectacular song, other standout tracks included the incendiary "Dynamite", "Blackout", and "Can't Live Without You", the exquisite "Arizona", the irresistible ballad "When the Smoke Is Going Down", and the devastating "China White". With this, their eighth work, the German band wisely combined commercial appeal and heavy rock, in an album as addictive as it is catchy and irresistible, which pleased both heavy metal fans and the general public.

Scorpions-Virgin Killer (1976)

The celebrated fourth album by the German band Scorpions was marked by controversy due to its provocative cover, but beyond this infamous artwork, this release would definitively open the door to coveted markets like Japan and Europe. Up to this point, Scorpions had moved between psychedelic hard rock and elements akin to krautrock, but in this new release, the band comprised of Klaus Meine, Ulrich Jon Roth, Rudolf Schenker, Francis Buchholz, and Rudy Lenners steered towards a visceral heavy rock sound, as demonstrated by a brilliant repertoire of heavy hard rock tracks such as "Catch Your Train", "Pictured Life", "Virgin Killer", "In Your Park", "Hell-Cat", and "Polar Nights". "Virgin Killer" was the first great classic heavy metal album by the Germans and at the same time their most successful work up to that point, and undoubtedly the one that would confirm them as one of the most promising bands in the hard rock scene of the 70s.

Scorpions-Animal Magnetism (1980)

With "Animal Magnetism", Scorpions ushered in the 1980s with their seventh album, a record that, despite containing echoes of the dark and heavy hard rock of the 1970s, already showcased some of the atmospheres typical of the heavy metal sound of their new era. The systematic guitar harmonies of Rudolf Schenker and Matthias Jabs are accompanied by the sublime vocal melodies of Klaus Meine and the driving rhythm section comprised of the prodigious drummer Herman Rareball and bassist Francis Buchholz. Thrilling tracks like the heavy metal anthem "Don't Make No Promises" lead the album down tremendously heavy and melodic paths; "The Zoo", "Only a Man", "Animal Magnetism", "Hold Me Tight", and "Make It Real", in which they still struggle to shed their hard rock roots, while the melodic sensibility remains present in formidable compositions like the atmospheric "Lady Starlight". With this work, the German band perfectly combined the haunting sound of hard rock, their usual melodies, and the power of metal, something their fans recognized, achieving a well-deserved platinum record in the North American market.

Scorpions-Crazy World (1990)

In the 1990s, the German band Scorpions were going through a creative crisis after their golden age of the late 1970s and much of the 1980s. After the mediocre "Savage Amusement" (1988), despite still containing some good moments, two years later they released their eleventh album, "Crazy World", with which they managed to recover some lost ground thanks to tracks like the magnificent ballad "Winds of Change". However, this song somewhat overshadowed a repertoire full of vibrant heavy metal, including tracks like "Tease Me Please Me", "Don't Believe Her", "Restless Nights", "Hit Between the Eyes", and "Money and Fame", which maintain the album's high standard. While not reaching the heights of their most commercially successful works, "Crazy World" would once again top the charts and sell over seven million copies worldwide.

Scorpions-In Trance (1975)

With this release, the progressive and psychedelic origins that the German band Scorpions had explored with their previous album, "Fly to the Rainbow", were left behind. In this third album, they unleashed a furious hard rock sound, laying the foundations for the heavy metal that would soon follow. In 1975, Scorpions consisted of Klaus Meine (vocals), Ulrich Roth (lead guitar), Rudolf Schenker (rhythm guitar and vocals), Francis Buchholz (bass and vocals), and Rudy Lenners (drums). On this album, Roth and Schenker's powerful riffs are brutal and fiery, the vocals are potent and strident, under absolute control, and the melodies are catchy, while the drums and bass simply amplify the sound to overwhelming levels. Bands like Thin Lizzy, Judas Priest, Iron Maiden, and Wishbone Ash are often cited as precursors to the twin-guitar attack, but Scorpions were never far behind, and songs like "Delta Lady" are a perfect example of this. The breakneck metal of "Dark Lady" and "Robot Man", the hard-rock/blues of "Top of the Bill", "Sun in My Hand", and "Longing for Fire", and a series of glorious ballads like "Evening Wind" and "In Trance" combine to create a highly technical and elaborate early heavy metal album, making it a landmark in the career of this legendary German band.

Scorpions-Fly To The Rainbow (1974)

With their second album, the German band Scorpions began to distance themselves from their krautrock and psychedelic influences, adopting a heavier sound brimming with solid hard rock elements. The addition of a new guitarist, Uli Jon Roth, brought a surge of energy and vitality, thanks to his incredible talent on the six strings and his enormous versatility. In this second release, they crafted an impressive and powerful album with ingenious songwriting skills, driving guitar riffs, and heavy bass and drums. It was also the first album to truly showcase Klaus Meine's incredible vocal range, undoubtedly a testament to his true talent. "Fly To The Rainbow" is a brilliant display of Scorpions' power, from the fiery hard blues track "Speedy's Coming" to the epic "They Need a Million" and "Drifting Sun", and the powerful ballad "Fly People Fly". Among the other compositions, although they do not reach the excellence of the previous ones, there are great moments such as the heavy hard rock "Far Away", the ambitious "Fly to the Rainbow" and the psychedelic "This is My Song".

Atmospheres-Voyage To Uranus (1974)

Renowned session musician and saxophonist Clive Stevens, who also played other wind instruments, briefly led Atmospheres, one of the most prominent jazz-rock bands. This short-lived project boasted a number of acclaimed instrumentalists, including keyboardist Ralph Towner, guitarists John Abercrombie and Steve Khan, drummer Billy Cobham, and bassist Rick Laird. In 1974, Stevens reunited members of the Mahavishnu Orchestra (Cobham and Laird), Oregon (Ralph Towner), and two of the best jazz-rock guitarists of the time (Abercrombie and Khan) in the studio to record the project's debut album. While not revolutionary, it perfectly captured the eclecticism of a genre that still had much to explore. Almost a year later came the second album from this short-lived project, which no longer featured Billy Cobham or Rick Laird, replaced by Stu Woods (bass) and Michael Thabo Calvin (drums). In this second release, unlike the jazz fusion style of their debut album, Stevens focused on a more dynamic and progressive jazz-rock sound. Powerful rock progressions like "Shifting Phase", "Inner Spaces and Outer Places", and "Voyage to Uranus" are reminiscent of the style of contemporary bands like Return to Forever and Mahavishnu Orchestra. These contrast with the slower, atmospheric "Un Jour Dans Le Monde" and the free jazz track "Electric Impulse from the Heart", while "Water Rhythms" is the most complex and avant-garde moment on this magnificent album.

Smokie-Greatest Hits (1977)

Smokie is a commercially successful British pop and rock band formed in the mid-1960s in Yorkshire, England, and still active today, although without its original members. Their most successful lineup consisted of Chris Norman (vocals and guitar), Alan Silson (guitar and vocals), Terry Uttley (bass and vocals), and Pete Spencer (drums). It wasn't until almost ten years after their formation that they released their first album. “Pass It Around” (1975) launched a string of chart successes with a simple yet highly effective pop-rock style, thanks to tracks like “If You Think You Know How to Love Me”, “Don’t Play Your Rock ‘n’ Roll to Me”, “Something’s Been Making Me Blue”, “I’ll Meet You at Midnight”, “Living Next Door to Alice”, “Lady Back in the Arms of Someone”, “It’s Your Life”, and “Oh Carol”. All of these songs reached the UK Top 20, making the group one of the biggest pop-rock sensations of the 1970s. All these hits are from the albums; “Changing All the Time” (1975), “Midnight Café” (1976), “Bright Lights & Back Alleys” (1977), “The Montreux Album” (1978), “The Other Side of the Road” (1979), “Solid Ground” (1981), “Strangers in Paradise” (1982), and “Midnight Delight” (1982). In 1977, their “Greatest Hits” album achieved tremendous success, earning several platinum and gold records in various European countries. However, starting with “Midnight Delight”, the band began a period of frequent lineup changes, which diminished the group's creativity. While they released albums regularly, these were far removed from the commercial impact and quality of their earlier work. In 1995 they had another huge chart success with a new version of the song “Living Next Door to Alice” (Who the fuck is Alice)” recorded with the collaboration of British comedian Roy 'Chubby' Brown.

Wes Montgomery-Full House (1962)

This legendary live album captures Wes Montgomery's performance at the Tsubo Jazz Club in Berkeley Hills, California, on June 25, 1962. For the occasion, Montgomery was accompanied by an impressive quartet comprised of pianist Wynton Kelly, bassist Paul Chambers, saxophonist Johnny Griffin, and drummer Jimmy Cobb. That year was a pivotal moment in Montgomery's career, a time when he was already considered one of the great musicians of contemporary jazz, and during which he would release a series of iconic works for the Riverside label, such as the seminal albums "The Incredible Jazz Guitar of Wes Montgomery", "So Much Guitar!", "Fusion!", and "Guitar on the Go". That moment of splendor is clearly reflected in this "Full House", where with a set list of brilliant pieces such as "Come Rain Or Come Shine", "I've Grown Accustomed to Her Face", "Blue'n'Boogie" or "Cariba", they showed not only Montgomery's enormous talent with the six strings, but also his subtle jazz style, his uplifting compositions and his excellent live performances.

Al Di Meola-Electric Rendezvous (1982)

Al Di Meola's fifth album, with its fitting title and magnificent cover, palpably reflects what lies within its grooves. In this release, the American guitarist sought to return to his roots, creating a work that, to some extent, harks back to his peak period ("Land of the Midnight Sun" and "Elegant Gypsy"), presenting a series of jazz-rock endeavors with the invaluable contributions of Jan Hammer, Paco de Lucia, Mingo Lewis, Steve Gadd, and Anthony Jackson. This solid and compact formation would lead to the creation of a perfect musical canvas combining the warm Latin sounds of "Ritmo de la Noche", with the magical sounds of "Jewel Inside a Dream", fiery jazz rock with blues airs of "Black Cat Shuffle", vigorous jazz fusion "Electric Rendezvous", dense guitar exchanges with flamenco influences between Lucia and Meola in "Grace, Passion and Fire", intense jazz funk with predominance of percussion in the frenetic "God-Bird-Change", or signature jazz rock pieces with "Cruisin'".

Pavlov´s Dog-Pampered Menial (1975)

Considered a cult band, Pavlov's Dog was founded in the early 1970s in St. Louis, USA, and played a pure progressive rock that combined elements of folk and hard rock. Their debut was the impressive "Pampered Menial" in 1975, which is also undoubtedly their best work, showcasing the talent of the band led by guitarist Steve Scorfina. Along with singer David Surkamp, ​​drummer Mike Safron, bassist Rick Stockton, keyboardists David Hamilton and Doug Rayburn, and violinist Siegfried Carver, the band comprised the lineup. On this first album, the band perfectly combined beautiful compositions with the immense talent of all its members. With a powerful start to the track "Julia", where acoustic and symphonic elements blend sublimely, the band showcases its diverse sounds, such as "Late November", where they display a heavier edge with great guitar riffs, or the apotheotic and rhythmic "Song Dance", which leads us to "Fast Gun", "Natchez Trace", and "Theme from Subway Sue", where we can appreciate the group's eclectic sound. The album concludes with the instrumental "Preludin" and the progressive "Of Once and Future Kings", which becomes the grand finale of one of the great progressive albums of the 70s, as worthy and magnificent as the masterpieces of the genre from that era.

Horizont-Summer In Town (1986)

The mere fact that Western influences were the seed from which a Soviet band called Horizont could create a musical tapestry like the one they did is not only admirable but also unbelievable. Let's remember that before the fall of the Berlin Wall, present-day Russia was the Soviet Union, a country of rigid, practically hermetic communism that rejected almost anything coming from outside its borders. Beyond these political and chronological considerations, the first work of this band, founded in the mid-seventies, is one of the most fascinating albums ever produced by a group behind the Iron Curtain. Founded in the ancient city of Gorky (now Nizhny Novgorod), the band consisted of five classically trained musicians, a fact that undoubtedly contributes to the evident classical influences in the compositions included on their first album, released in 1986. They were Andrey Krivilev (vocals and keyboards), Vladimir Lutoshkin (guitars and flute), Sergei Kornilov (keyboards), Alexey Eremenko (bass), and Valentin Sinitsyn (drums). A prime example of this is the grandiose "Snowballs", nearly ten minutes of majestic organ, piano, and string synthesizer sounds, underpinned by a coherent and solid rhythm section. Echoes of British symphonic rock groups like Genesis and ELP are present, making it an excellent composition that, while not entirely original, showcases the band's virtuosity and ingenuity. On the other hand, there is the hypnotic "Chacone" which, enveloped in an aura of melancholy and darkness, emanates great melodic bursts, while the final suite, composed of the epic that gives the album its title, is a much more eclectic cut, where symphonic sections, jazz, and atmospheric passages very close to space rock are given space.

Darryl Way´s Wolf-Night Music (1974)

After Curved Air disbanded, one of its leaders, violinist Darryl Way, formed a new band called Darryl Way's Wolf, which followed the same musical style as its predecessor. For its creation, Way recruited drummer Ian Mosley, singer Colin Hodkinson, guitarist John Etheridge, and bassist Dek Messecar. With this lineup, they released three albums focused on progressive rock with strong classical and jazz influences. "Night Music", released in 1974, was the band's third and final album, in which they achieved a balanced instrumental sound, as demonstrated in the frenetic "The Envoy", the more subdued "Black September", the hard rock track "Flat 2-55", and the progressive jazz number "We're Watching You". In this recording all the musicians showcase their instrumental excellence, but it is nevertheless Etheridge's fiery guitars, Mosley's powerful drumming and Way's immeasurable talent on the violin that stand out in this excellent British progressive jazz rock album.

Astrodome-Astrodome (2015)

Astrodome, along with Vircator and The Black Wizards, is one of the new bands in Portuguese psychedelic progressive rock. Their 2015 debut is a magnificent offering of expansive, spacey sounds, heavy metal, blues, and symphonic rock, driven by a thunderous rhythm section and the duality of heavy, atmospheric guitars. Their initial lineup consisted of José Costa (guitar), Manuel Guimarães (guitar), Michael Oliveira (bass), and Bruno Silva (drums). Their compositions also feature abundant ethnic and Eastern elements, lending them a mystical quality, as evidenced in tracks like the expansive progressive heavy metal song "Arrival", while the heavy and dark "Coronation" is the perfect stylistic synthesis of this magnificent Portuguese band. Other highlights on the album include the thunderous "High Spirits" and the intense psychedelic and space rock of "Through The Black Hole".

Chuck Mangione-Feels So Good (1977)

It took Chuck Mangione 17 years to finally achieve major success and international recognition, thanks to his 1977 album "Feels So Good". Mangione had begun his artistic career in 1960, releasing album after album a total of eight all of which, despite their undeniable quality, seemed stuck at the bottom of the charts with little commercial impact. His career up to that point had been quite prolific, with various collaborations such as the Jazz Brothers, alongside his brother Gaspare, in different jazz orchestras like Art Blakey's Jazz Messenger, and he even recorded an ambitious project with the Rochester Philharmonic Orchestra, where he wanted to express his ideas of fusing jazz and rock. This project included the track "The Hill Where The Lord Hides", which would capture the attention of jazz-rock fans. When "Feels So Good" was released, it sparked a collective frenzy for Mangione's music, even topping the pop and R&B charts a rare feat for a jazz album. But what was most unusual was that it won Grammy Awards in three different categories: pop, jazz, and rhythm and blues. Following "Feels So Good", Mangione released other highly successful albums such as "Fun and Games" and the soundtrack for "The Children of Sanchez", both in the late seventies.

Lucifer´s Friend-Banquet (1974)

The history of the German band Lucifer's Friend has been marked by diverse musical directions. They were never content to remain within a single defined style, but rather always preferred to explore new avenues with each subsequent album. They navigated brilliantly from the heavy prog of their roots to hard rock, passing through jazz rock, though always with a clear progressive perspective. In 1974, the band released their fourth album, "Banquet", where they moved away from the heavy sounds of their first two albums to delve into the realm of jazz rock, but without definitively abandoning their heavy rock roots. The compositions on this album remain powerful but with a different nature, partly replacing the sharp, dark guitar riffs with the sounds of electric piano, synthesizers, string instruments, and elaborate brass arrangements. Here, the guitars are more focused on solos than riffs, and the fact that pure hard rock is almost entirely absent does not mean that the overall tone of the album is any less powerful. Tracks like "Spanish Galleon" or "Sorrow" are a clear example of that orientation towards the realms of jazz rock, while "Thus Spoke Oberon" is closer to classic progressive rock, and in a similar tone appears the energetic and baroque "Dirty Old Town", with which they ended a muscular and forceful album, almost as much as any of the best hard rock albums of the time.

Brian´s Auger Oblivion Express-Second Wind (1972)

On his ninth album with his band Oblivion Express, organist Brian Auger expanded the lineup with a new vocalist, Alex Ligertwood, a guitarist and singer who had previously worked with the Jeff Beck Group. While the foundation of this new work remains an innovative, heavy jazz-rock sound, Auger incorporates other stylistic elements such as rhythm and blues and funk, styles that had appeared sporadically in his earlier work, but which are more prominent here. Songs like the energetic opening track, "Truth", have that characteristic Santana Latin rock feel. Written by Ligertwood, the bass, guitar, and Hammond organ sequences make for a strong start. In contrast to the latter, there is the more contemplative "Don't Look Away", the galloping jazz rock "Somebody Help Us", the dynamic with funk and rhythm and blues arrangements "Freedom Jazz Dance", or the excellent jazz fusion rock "Just Me Just You", while the song that gives the album its title, is an intense jazz rock driven by the interaction of Jim Mullen's guitar, the precise rhythm section composed of bassist Barry Dean and drummer Robbie McIntosh, along with Auger's organ, finally culminating this superb and surprising ninth album by Brian Auger's Oblivion Express.

Brian Auger´s Oblivion Express-Closer To It! (1973)

If with the album "Second Wind" Brian Auger and his band As Oblivion Express veered towards a more jazz-oriented sound, on the following album, "Closer to It!", that direction was even more pronounced, fully embracing jazz-rock with Latin influences. For this recording, vocalist Alex Ligertwood, guitarist Jim Mullen, and drummer Robbie McIntosh were replaced by Jack Mills (guitar) and Godfrey MacLean (drums), while Lennox Laington (congas), Barry Dean (bass), and of course Brian Auger himself (organ and keyboards) returned. The sounds of Latin jazz fusion are present in the opening track, "Whenever You're Ready", which sets the musical tone for the rest of the album. Along a similar path run the irresistible "Happiness is Just Around the Bend" and "Light on the Path", while the more sophisticated and progressive "Compared to What", the more predictable "Voices of Other Times" and the anthological version of Marvin Gaye's "Inner City Blues", make up one of Brain Auger's greatest and best contributions to progressive jazz rock.

Midnight Oil-Diesel And Dust (1987)

With strong social and political messages, Midnight Oil was one of the best-known and most controversial Australian bands of the 1980s and 90s. Their origins date back to the early 1970s in Sydney, when several musicians, including Jim Moginie (guitar), Rob Hirst (drums), and Andrew James (bass), formed a group initially called The Farm. In the following years, the band expanded to become Midnight Oil, a name taken from a Jimi Hendrix song. Under their own record label, Powderworks/Sprint, they released their debut album, "Powderworks", in 1977, which went largely unnoticed. With a more rock-oriented sound, they released "Head Injuries" several years later, which finally caught the attention of the Australian public thanks to songs like "Cold Cold Change", "Back on the Borderline", and "No Reaction". "Place Without a Postcard," released in 1981, confirmed this successful trend in countries like England, but it was completely ignored in their home country due to the limited promotional coverage the album received. Its controversial political and social lyrics were not always well-received by the public or the press. With their next album, "10,9,8,7,6,5,4,3,2,1,", the group managed to break into the American charts. However, it was their subsequent releases that garnered significant media and commercial impact in various countries around the world. Albums like "Diesel and Dust" (1987) and "Blue Sky Mining" (1990) showcased a more rock-oriented side, always underpinned by social and political themes. "Diesel and Dust" represented their greatest creative and commercial achievement, cleverly blending electronic sounds with rock. The addictive melody of "Beds Are Burning", the dynamism of the synth pop "Put Down The Weapon", the rich vocal harmonies of the surf pop "Dreamworld", the pop-infused rockers "Sell My Soul" and "Warakurna" or the hypnotic "Whoah", are undoubtedly the creative pinnacle of this Australian group.

Steamhammer-Speech (1972)

The fourth and final album from the legendary Steamhammer, a band that emerged in late 1969 within the fertile British blues-rock movement. While their debut was a clear example of the best blues of that era, their subsequent releases leaned towards a more jazz-oriented sound with elements of progressive rock. In 1972, this lineup, comprised of guitarist and vocalist Martin Pugh, bassist Louis Cennamo, and drummer Mickey Bradley, along with guest appearances from Renaissance members Keith and Jane Relf and vocalist Garth Watt-Roy, recorded Steamhammer's fourth and final album. On this fourth release, titled "Speech", the band embraced a style closer to dark hard rock, as demonstrated in the terrifying suite "Penumbra", a track that puts all the black metal bands of the eighties and nineties to shame. In a similar vein come the frenetic blues-rock of "Telegram" and the extravagant "For Against", which includes a long and somewhat tedious drum solo. Despite the heavy, angry hard rock sound, this album became their most progressive offering, featuring intricate songs and complex, challenging instrumentation.

Iron Maiden-Killers (1981)

Iron Maiden's second album confirmed the band's growing popularity among heavy metal fans worldwide. While more elaborately produced than its predecessor, it sacrificed the spontaneity and freshness of their debut, opting instead for more restrained and accomplished compositions and greater instrumental complexity a trend that would be further reinforced in subsequent releases. This complexity is evident in the frenetic tracks "Purgatory", "Wrathchild", and "Twilight Zone", the reflective "Murders in the Rue Morgue", the intense and emotional "Innocent Exile" and "Genghis Khan", and the melodic "Prodigal Son". "Killers" became a classic for Iron Maiden and heavy metal in general, achieving overwhelming commercial success with numerous gold and platinum records worldwide for its multi-million sales.

Kansas-The Prelude Implicit (2016)

"The Prelude Implicit", released in 2016, was the penultimate album recorded by the American progressive rock masters Kansas. By this point, the band had undergone numerous changes since that legendary lineup that began in the mid-70s, creating some of the genre's masterpieces. Guitarist Kerry Livgren, vocalist Steve Walsh, bassist Dave Hope, and violinist Robbie Steinhardt were no longer in the lineup, but original members Phil Ehart (drums) and Rich Williams (guitar) remained. The rest of the lineup consisted of Ronnie Platt (vocals), Zak Rizvi (guitar), David Manion (keyboards), David Ragsdale (violin), and bassist Billy Greer, who had already played on some albums in the 80s and 90s. Although the strictly progressive spirit of early Kansas is no longer present to some extent, purist fans found in this album a band that focused its efforts on completing a truly worthy record that navigates between AOR and modern progressive rock. Songs like the catchy "With This Heart", the carefree classic rock "Summer", the dramatic "Visibility Zero", the progressive "Rhythm In The Spirit", the epic "The Voyage Of Eight Eighteen", and the vintage "Section 60" are more than enough reasons to consider this an excellent album from this rejuvenated Kansas.

IQ-Are You Sitting Comfortably ? (1989)

Following two of the neo-progressive masterpieces, "Tales from the Lush Attic" (1983) and "The Wake" (1985), the British band IQ explored the more accessible sounds of sophisticated pop with their third album, "Nomzamo" (1989), and the stylistically consistent "Are You Sitting Comfortably" several years later. However, despite its more pop-oriented sound, progressive elements remain present in the album's final musical structure. The album showcases the sensational voice of Paul Menel, whose dark and somber vocal style is immeasurable, in a setlist of dynamic, balanced, and incredibly catchy songs. Likewise, guitarist Mike Holmes's work once again displays his acoustic delicacy with its brilliant arpeggios. On the other hand, Martin Orford's keyboards continue to be the driving force with their futuristic and progressive notes, particularly in the instrumental "Nostalgia", the dark "Falling Apart at the Seams", the hypnotic "Nothing at all", and the sinister "Drive On" and "Sold on You". After this fourth release, singer Paul Menel left the band, leaving behind a brilliant work that was nevertheless highly debated by their more orthodox fans. Four years later, IQ returned to their avant-garde path with the excellent "Ever", which, to the delight of their large fanbase, put them back on track in their discography.

Blackwater Park-Dirt Box (1972)

Another German band that succumbed early in the rock world was Blackwater Park. Despite releasing a remarkable progressive hard rock album, they unfortunately failed to achieve commercial or media success in their time. Founded in Berlin near the end of 1971, their original lineup consisted of guitarists and vocalist Richard Routledge and Michael Fechner, drummer Norbert Kagelmann, and bassist Andreas Scholz. Thanks to the German label BASF, they recorded their only album in 1972, "Dirt Box", which showcases their musical preferences for hard rock. Raw, incisive guitar riffs, the occasional Hammond organ, and a progressive undercurrent with psychedelic touches propel a series of commendable songs within a melodic and catchy framework. That progressive and psychedelic avant-garde is present in "Rock Song", while the heavy "Roundabout", the psychedelic "One's Life", the bluesy "Indian Summer" or the melodic rock "Mental Block", make up a very good work that would go totally unnoticed until many years later, when the Swedish progressive metal band Opeth, would rescue them from oblivion by titling their fifth album in their honor "Blackwater Park" (2001).

The Box Tops-The Best Of (1976)

Hailing from Memphis, The Box Tops were one of the biggest acts of the 1960s with worldwide hits like "The Letter" and "Cry Like a Baby". Formed in the first half of the 1960s by Alex Chilton, Gary Talley, John Evans, Bill Cunningham, and Danny Smythe, their debut single, "The Letter" (1967), was a massive hit in both the US and the UK. It topped the charts, remaining there for four weeks and selling over four million copies, earning them two Grammy nominations. Following this monumental success, the producer began using studio musicians to back Chilton, the band's most talented member. This decision led the other guitarists to leave the group. They were replaced by two new guitarists, and after recording the tracks "Neon Rainbow" and "Everything I Am", the album was largely unsuccessful. A year later, in 1968, they returned to the charts with "Cry Like a Baby" and "The Door You Closed to Me", which reached number two on the pop charts and sold over a million copies. After a couple of less successful tracks like "Choo Choo Train", "Fields of Clover", "I Met Her in Church", and "People Gonna Talk", Chilton was dissatisfied with the results and decided to record his own compositions. Some time later, after a fourth LP and several other unremarkable tracks, the group disbanded in 1970. However, in 1971, the record company released songs that had been recorded but never officially released. After the band's breakup, Alex Chilton joined Big Star, one of the most prominent bands in the 1970s underground power-pop rock scene.

Gwendal-Gwendal (1974)

Gwendal is a legendary French band that masterfully fused Celtic and Breton influences with jazz and rock elements. Its founder was saxophonist and flautist Youenn Le Barre, who, along with bassist Roger Schaub and guitarist Jean-Marie Renard, was one of the band's core members for many years. Their self-titled debut album, "Gwendal", was released in 1974, showcasing the rhythms and folk influences of Ireland and medieval music. On this first release, instruments like the violin and flute were the driving force behind a distinctly traditional style. However, by then, other artists such as The Horslips, Alan Stivell, Gryphon, and Clannad had already explored this eclectic fusion of traditional and avant-garde sounds, releasing seminal works that would have a profound impact on the world of modern music. Despite having a musical philosophy still undefined, this debut album showcases interesting creative contributions such as the rhythmic "An Dro-Nevez", the reflective "Planxty-Birke", the intriguing "Patrick's Day", and the minimalist "Deu Tu Ganene". Starting with their third album, "Á Vos Désirs" (1977), they incorporated drummer Arnaud Rogers, an instrument that would broaden Gwendal's musical palette, adding a deeper, more jazz-influenced dimension to their rich and distinctive style.

Magnum-On A Storyteller´s Night (1985)

With cover art that perfectly reflects the music within, Magnum's fifth album, "On A Storyteller's Night", became one of their best works, perfectly capturing their addictive style that brilliantly blends epic, melodic rock, and progressive structures. It's replete with great keyboard passages, courtesy of Mark Stanway, the powerful hard rock guitars of Tony Clarke, and the impressive vocals of singer Bob Catley. From the energetic "Just Like An Arrow" to the melodic "The Last Dance", passing through the infectious "Endless Love", the AOR "Two Hearts", and the epic and glorious "Haw Far Jerusalem", Magnum showcased their great musical diversity, producing everything from semi-progressive albums like "Chase The Dragon" and "Wings Of Heaven" to clear concessions to high-quality melodic rock such as "The Eleventh Hour", "Vigilante", and "Goodnight L.A".

Earth, Wind & Fire-The Best of Earth, Wind & Fire, Vol1 (1978)

Earth, Wind & Fire managed to turn every song they composed into a true anthem for an entire generation, whether it was funk, rock, soul, disco, or R&B. They are also one of the most successful bands of all time, with nearly 100 million records sold and seventeen Grammy nominations, winning six and countless other accolades. In 1978, with only seven albums released, they launched the compilation "The Best of Earth, Wind & Fire, Vol 1", which became a massive success, selling over 6 million copies thanks to an impressive collection of great songs like "Got to Get You Into My Life", "Fantasy", "Love Music", "Getaway", "September", and "Sing a Song". The band continued to release work until 2014, reaping success after success such as the million-selling albums "I Am" (1979), "Faces" (1980), "Raise!" (1981) or "The Essential" (2002).

Steeleye Span-All Around My Hat (1975)

"All Around My Hat" perfectly encapsulated Steeleye Span's nascent style, blending their folk sound with more accessible, commercial rock. It subtly replaced their usual fusion of artful folk and traditional folk from their earlier works, particularly their predecessors "Now We Are Six" (1974) and "Commoners Crown" (1975). For this new album, curiously released months after "Commoners Crown", the band, led by the duo Maddy Prior and Tim Hart (vocals and guitars respectively), expanded their musical horizons into the realm of folk-influenced rock, highlighting Bob Johnson's powerful electric guitar riffs. With a repertoire full of attractive songs such as "All Around My Hat", "Gamble Gold", "Hard Times Of Old England", "Sun Waves" or "Dance With Me", with this album, the eighth chronologically of Steeleye Span, they would achieve their greatest commercial success, achieving a gold record in the British charts and considerable sales outside the United Kingdom.

Boomerang-Boomerang (1971)

From the ashes of the legendary Vanilla Fudge emerged several bands: Cactus and Boomerang. Cactus was led by drummer Carmine Appice and bassist Tim Bogert, while keyboardist Mark Stein would form the core of Boomerang. To form Boomerang, Stein recruited several unknown musicians, starting with guitarist Richard Rameriz, bassist Jo Casmir, and drummer James Galluzi. Their only release was the self-titled "Boomerang," a decent hard rock album that drew from the sonic sources of other contemporary bands such as Vanilla Fudge, Led Zeppelin, and Steppenwolf, but with a clear psychedelic undercurrent. Rameriz's heavy guitar riffs, Stein's dense organ, and the dusty, southern rock-influenced rhythm are the common denominator of an album that, despite containing a commendable repertoire, would fail spectacularly, overshadowed by the success of his former bandmates in Cactus. Powerful hard rock tracks like "Cynthia Fever", "The Peddler" or "Juke", the country rock "Hard Time", the bluesy boogie "Mockinbird", the attractive southern rock "Fisherman" or the melodic ballad "Brother's Comin' Home", have enough merit for this release to have had greater media and commercial recognition.

Fischer-Z-Red Skies Over Paradise (1981)

Fischer-Z were one of the most successful and well-known post-punk and new wave bands of the early 1980s. Formed in 1977 by guitarist and activist John Watts, along with David Graham (bass), Steve Liddle (drums), and Steve Skolnik (keyboards), this quartet built a strong reputation over several years on the London club and pub circuit, thanks to their blend of punk rock and synth-pop with elements of pub rock and ska and reggae rhythms. Signed to United Records, they released their debut album, "World Salad", in mid-1979, which featured biting political themes of the time and a catchy, basic pop-rock style. With their next full-length album, "Going Deaf For A Living", Watts solidified the group's style, firmly establishing their music as a vehicle for conveying political ideas through the short narratives of their songs. On their first two albums, they featured sarcastic songs like "Pretty Paracetamol", "The Worker", "So Long", and "Room Service". With "Red Skies Over Paradise", their third release, they made clear political references to the Cold War between capitalist and communist countries, starting with the ironic cover art. This ironic narrative is present in songs like "Battalions of Strangers" and "Cruise Missiles", which contrast with melancholic love songs like the moving "Marliese". With this last album, Fischer-Z achieved their best creative and commercial work, selling over a million copies and, incidentally, becoming their epitaph. Shortly after, John Watts ended the band, at least for six long years, before reviving them with new members, but showcasing their usual forceful political messages mixed with other, more repetitive songs.

Seventh Key-Seventh Key (2001)

In early 2000, bassist Billy Greer, formerly of Kansas' second incarnation, and guitarist Mike Slamer, formerly of the band led by Steve Walsh Street, founded Seventh Key, a group that navigated between melodic rock and hard rock. At the start of 2001, they released their debut album, which, in addition to keyboardists David Manion and Igor Len and drummer Chet Wynd, also featured some members of Kansas, including Phil Ehart, Steve Walsh, Steve Morse, and Rich Williams. On this first album, the hard rock guitar riffs of Slamer, Morse, and Williams, along with Manion's keyboard flourishes and the irresistible vocal harmonies courtesy of Greer and singers Terry Brock and Steve Walsh, are the common thread running through most of the tracks. From attractive mid-tempo tracks like "Only The Brave", "Missy", "Surrender" or "When Love Is Dying", to catchy AOR tracks like "Everytime It Rains" and "Forsaken", passing through the energetic "The Kid Could Play" or "Prisoner of Love", they all together make up an excellent work highly regarded by fans of adult-oriented rock, which would have a brilliant continuation several years later with "The Raging Fire".

Todd Rundgren-Initiation (1975)

This is probably Todd Rundgren's most progressive solo work, considered by many to be a masterpiece of avant-garde rock, offering everything from energetic tracks to astonishing instrumental exercises on keyboards and guitars. Released in 1975, "Initiation" was his sixth album outside of his band Utopia, and on it the guitarist and producer surrounded himself with a wide range of collaborators, including Edgar Winter, Rick Derringer, David Sanborn, Dan Hartman, Rick Marotta, and Roger Powell, among others. With an unusual runtime of nearly 70 minutes, Rundgren managed to fit a repertoire twice as long as almost any other record released at the time onto just one side of the original vinyl. While the album features several songs with a clear conventional rock feel, it also contains many progressive and experimental moments. The heavy tracks "The Death of Rock and Roll" and "Eastern Intrigue" are perhaps the most peculiar among all the conventional ones, contrasting sharply with the pleasant "Real Man" or the extravagant "Born to Synthesize", an a cappella song sung by Todd himself. However, the expansive "Initiation", "Fair Warning", and especially the hallucinatory instrumental suite "A Treatise on Cosmic Fire" are the high points of this surprising recording by the blond guitarist from Pennsylvania.

Judas Priest-Sin After Sin (1977)

In 1977, Judas Priest was still finding its way, and despite having released the commendable "Rocka Rolla" (1974) and "Sad Wings of Destiny" (1976), these were far from defining the style that would propel them to fame years later. For their next album, "Sin After Sin", they moved away from the dark and melancholic sound of their previous record, raising the tone and adding much more aggression that would lay the foundation for their future work. They distanced themselves from the blues influences that had shaped greats like Black Sabbath, Led Zeppelin, and Deep Purple, and with their incendiary guitar duels perhaps the best in history (with all due respect to other legendary bands like Wishbone Ash and Thin Lizzy) and the accelerated tempos in some tracks, heavy metal began to grow and take shape. Tracks include true anthems like "Sinner" or the amazing version of Joan Baez's "Diamonds And Rust".

Judas Priest-Painkiller (1990)

"Painkiller" is one of the most memorable heavy metal albums ever recorded, a powerful record created by gods of the genre like Judas Priest. With this, their twelfth album, the British group reached the next level within their classic heavy metal style, featuring the blistering and lightning-fast guitar riffs of KK Downing and Glenn Tipton, Rob Halford's anguished and aggressive screams, Ian Hill's heavy and driving bass, and the prodigious, hyperactive double bass drumming of the newly added Scott Travis. Composed of ten tracks, the entire album is incredibly solid, dizzying, powerful, rhythmic, and tremendously catchy. Tracks like "One Shot At Glory", "Night Crawler", "A Touch Of Evil", "Painkiller", "Metal Meltdown", "Hell Patrol", "Battle Hymn" or "Leather Rebel" make up one of the most commercially successful and critically acclaimed albums worldwide, also representing a milestone in heavy metal, mainly due to the wide influence and impact it had on many subsequent bands.