The Rolling Stones-Tattoo You (1981)

In 1981, the band led by Mick Jagger and Keith Richards released their sixteenth album, "Tattoo You" (their eighteenth in the American market). It was composed of unfinished tracks discarded from previous albums, given a precise reinterpretation for this release. Besides Mick Jagger and Keith Richards, the rest of the lineup remained the same as in recent years: Ron Wood, Mick Taylor, Bill Wyman, and Charlie Watts, along with guest appearances from Billy Preston, Nicky Hopkins, Ian Stewart, Pete Townshend, and Wayne Perkins, among others. The repertoire included here departs from the eclectic styles of their latest albums, maintaining a musical foundation rooted in the most organic and robust sounds of rock and roll, beginning with one of the band's anthems, the infectious "Start Me Up". The rest of the album showcases an effective collection of catchy, rhythmic songs like "Hang Fire", "Little T&A", and "Neighbours", nods to 80s sounds in "Heaven" and "Worried About You", vintage blues in "Black Limousine", and dusty, nostalgic tunes like "Waiting on a Friend". Despite being composed of songs that would have been considered dispensable in previous years, "Tattoo You" would go on to sell over eight million copies worldwide.

Chicken Bones-Hardrock In Concert (1976)

Chicken Bones was a short-lived German blues-rock band with a strong emphasis on guitars, reminiscent of British bands like Wishbone Ash. They released only one album in the mid-1970s, which has since become another holy grail of rock music. Formed in the early seventies, the band consisted of guitarist and vocalist Rainer Geuecke, rhythm guitarist Hilmar Szameitat, and a rhythm section comprised of bassist Werner Hofmann and drummer Wolfgang Barak. Influenced by British hard rock and blues from the late 60s and early 70s, with certain progressive elements, Chicken Bones displayed great creativity and instrumental talent with a clear focus on guitar jams, demonstrated in the wide variety of solos and riffs that are prominent throughout the album. This debut and only album by the band could be described as an example of early heavy and hard rock, which, however, did not receive the continuity or recognition it deserved at the time. This album was recorded at Blackfield Studios in Ostring, Bochum, in the state of North Rhine-Westphalia, very close to the Dutch border, and was not recorded live as its unusual title suggests. Highlights include the fast-paced boogie-rock track "Feeling", the psychedelic "I'm Falling", the progressive "Water", the hard rock "Factory Girl", and the melodic "Drive". This album was recorded at Blackfield Studios in Ostring, Bochum, in the state of North Rhine-Westphalia, very close to the Dutch border, and was not recorded live as its unusual title might suggest. After this release, the band would transform into another called Revanche, more oriented towards heavy metal, and they had a career that would last until the mid-eighties.

Lafauci-Lafauci (1978)

It's incredible how many Southern rock bands roamed the American South in the 1970s, and Lafauci is one of them. Formed in the mid-seventies in Louisiana, they released a single, limited-edition album in 1978, which is a highly sought-after piece of the genre today. The lineup consisted of Sal Lafauci (drums and vocals), Chip Weil (bass), Steve Dodds (guitar), and Keith Guidorz (guitar). This sole release was self-produced by the band, though primarily by Sal Lafauci himself, and pressed and distributed only within Louisiana. Their style, clearly related to other contemporary Southern rock bands like Lynyrd Skynyrd and Molly Hatchet, was full of solid, dusty hard rock, catchy melodies, and fiery guitar riffs. Skillful pieces of upbeat, cheerful southern rock such as "Loving You Is Right", "My Woman", "Ride Chester" or "Let The Good Times Roll", are interspersed with the restrained country rock "Help Yourself" and "Special Love" and even dare to include avant-garde songs as shown by the semi-complex "Flowing River".

Rare Earth-Ma (1973)

Rare Earth's sixth album was preceded by four excellent studio works and a sensational double live album, and became another of their great works thanks to a series of songs full of blues rock reminiscent of funk and soul. "Ma" was produced by one of the producers of the Motown label, Norman Whitfield, who in turn was co-author of some of the album's songs, which would provide it with the characteristic sound of the black bands of the legendary Detroit label. The line-up of Rare Earth for this new album was significantly different from that of their first works, said line-up was composed of Gil Bridges (saxophone, flute and vocals), Peter Hoorebelke (drums and vocals), Ray Monette (guitar and vocals), Mark Olson (keyboards and vocals), Pete Rivera (drums and vocals) and Mike Urso (bass and vocals). The seventeen-minute repetitive guitar riff on the psychedelic and sublime “Ma” is the high point of this album, a track that contrasts with the Zeppelin-like hard rock “Hum Along and Dance,” the soul-funk feel of “Big John is My Name,” and the experimental “Come With Me.” Although it did not have the same media or commercial impact as other previous works, “Ma” was considered one of the cult albums in the underground and over time became one of Rare Earth’s most popular albums.

Electromagnets-Electromagnets (1974)

Electromagnets was an interesting jazz-rock band known for having a very young Eric Johnson in its line-up, who was already showing signs of becoming one of the great jazz and blues rock guitarists. Originally formed under the name Aussenhorowitz in 1974 by keyboardist Stephen Barber and drummer Bill Maddox, they were soon joined by bassist Kyle Brock and guitarist Eric Johnson, changing the name to the definitive Electromagnets. That same year and under the EGM Records label they recorded their self-titled debut album, and ultimately their only release, where they showcase the instrumental virtuosity of the four musicians, especially Barber's skillful and sinuous jazz keyboards and Johnson's eclectic guitar sounds. Tracks like the funk rock “Hawaiian Punch”, the energetic jazz rock “Dry Ice” or the dynamic jazz fusion “Blackhole” show the outstanding mastery of Electromagnets, which together with an excellent production is among the highlights of jazz rock in the mid-seventies, almost at the level of the great bands of the genre such as Weather Report or Return to Forever.

Rory Gallagher-Live In Europe (1972)

After two solo albums, Irishman Rory Gallagher had established himself as one of the great British blues-rock guitarists. His career, which had begun years earlier with his seminal band Taste, culminated in a short but successful run after a superb performance at the Isle of Wight Festival in 1970. Those first two albums were his self-titled debut and "Deuce", two magnificent canvases of the best British blues-rock, seasoned with traditional Irish folk sounds. It was just after the release of his second album that Rory Gallagher embarked on a long tour across much of Europe, from which the material for his first live album was drawn. Accompanied by bassist Gerry McAvoy and drummer Wilgar Campbell, on this live album Rory Gallagher delivers a stunning and glorious musical performance, playing everything from his own compositions to masterfully executed covers. Among the covers, highlights include Junior Wells's exhilarating "Messin' With The Kid", Blind Boy Fuller's folk-blues "Pistol Slapper Blues", and the galloping blues "Bullfrog Blues", an old traditional song from the late fifties. His own compositions include the energetic "Laundromat", the hypnotic blues "I Could've Had Religion", and the dizzying boogie-blues "In Your Town". "Live In Europe" is undoubtedly one of the best live albums of the 1970s and a true historical document of one of the greatest Irish guitarists, alongside the legendary Gary Moore.

The Beach Boys-Pet Sounds (1966)

In 1966, the Californian band The Beach Boys left behind one of the most fundamental albums in rock music, "Pet Sounds", a true contemporary classic. With this release, the eleventh from the group led by Brian Wilson, they reached their creative peak, combining their laid-back surf style with psychedelia. The lineup that recorded this historic album consisted of Brian Wilson (vocals, piano, bass, and organ), Carl Wilson (guitars and vocals), Dennis Wilson (drums and vocals), and vocalists Al Jardine, Bruce Johnston, and Mike Love. By blending irresistible vocal melodies with psychedelic experimentation, The Beach Boys achieved their masterpiece thanks to immortal songs like "Wouldn't It Be Nice", "You Still Believe in Me", "Let's Go Away for Awhile", "God Only Knows", "I Just Wasn't Made for These Times", "Caroline, No", and "Sloop John B". Its reception was both triumphant and spectacular, achieving multiple platinum records in the United States and Great Britain. However, from this essential work onward, The Beach Boys began their gradual decline, although they would still release noteworthy albums such as "Smiley Smile" (1967), "Wild Honey" (1967), and "Sunflower" (1970).

Deep Purple-The Book of Taliesyn (1968)

With their second album, Deep Purple solidified their proto-progressive psychedelic style, with experimental touches. Recorded by the so-called Mark I lineup (Evans, Blackmore, Lord, Paice, and Simper), this release once again features several covers, including Neil Diamond's "Kentucky Woman" and The Beatles' "Exposition/We Can Work It Out", Among the original tracks, the instrumental "Wring That Neck" is undoubtedly the album's highlight, showcasing the talent of both Jon Lord and Ritchie Blackmore on their respective instruments. The psychedelic "Listen, Learn, Road On" and the elaborate "Shield" also feature excellent guitar work. The album closes with the delightful mid-tempo "Anthem", where Evans showcases his best vocal performance with Deep Purple, and with the progressive version of Ike and Tina Turner's "River Deep, Mountain High", which provides the ideal setting for the pyrotechnic excellence of Jon Lord's keyboards.

Vanilla Fudge-Renaissance (1968)

Vanilla Fudge's third album, "Renaissance", released months after their second, "The Beat Goes On", was their first to feature original songs. While it includes several covers, these are more suited to the psychedelic style this American band was exploring. This quartet, comprised of Vince Martelli (vocals, guitar), Mark Stein (organ), Tim Bogert (bass), and Carmine Appice (drums), had already showcased their ingenious style with clever reinterpretations of pop hits like Curtis Mayfield's "People Get Ready" and The Beatles' "Eleanor Rigby", which appeared on their previous releases. By this point, the band had definitively established itself as a true creative force, displaying a sound that would soon become fundamental to hard rock and progressive rock. The heavy sounds of guitar and organ are present in the opening track of this second album, "The Sky Cried - When I Was a Boy", early sounds of progressive hard rock that Jon Lord and Ritchie Blackmore of Deep Purple and Ken Hensley and Mick Box of Uriah Heep would soon make their own, and which are represented here in the hypnotic psychedelic tracks "Faceless People", "That's What Makes a Man", "Thoughts", and "Paradise". The album concludes with a cover of Donovan's pop song, "Seasons of the Witch", transformed into a dark demonstration of the creative avant-garde of this pioneering and sensational band.

Roxy Music-Country Life (1974)

"Country Life" was Roxy Music's most energetic and rock-oriented album, taking the experimental sounds of their earlier work a step further. In this new release, the addition of violinist and keyboardist Eddie Jobson brings a new level of originality and eclecticism to the group's music. The album features a repertoire brimming with memorable compositions that elevate their already high-quality musicianship to brilliant art rock heights. Besides Jobson, the rest of the band is at its peak, starting with the charismatic voice of frontman Bryan Ferry, and continuing with the talented Phil Manzanera and Andy McCay on guitar and saxophone respectively, and the driving drummer Paul Thompson, backed by bassist John Gustafson. The album features the compelling rock track "The Thrill of It All", the perfect introduction to Jobson's immeasurable electric violin. The exhilarating rock tracks "All I Wants Is You", "Casanova", and "Prairie Rose" are the album's most energetic and galloping numbers, contrasting sharply with the more subdued and delightful pop-rock numbers "Bitter Sweet", "Out of the Blue", and "Triptych". While not as complex as their earlier work, "Country Life" is a challenging album, enough to be considered one of Roxy Music's best releases. The original album cover featured two famous models of the time: Constanze Karoli (sister of Michael Karoli, guitarist and frontman of the krautrock band Can) and the charismatic Eveline Grunwald. Although the cover image was highly controversial in some countries, leading to its censorship and replacement with a rather lackluster cover.

Bang-Mother/Bow to the King (1972)

Let's move on to another band from the back of the closet, this time it's Bang, an obscure American hard rock group from Philadelphia, who released four albums between 1971 and 1973 under the Capitol Records label. Formed as a trio, this band falls within the proto-metal genre due to its dark and incredibly heavy style. Their lineup consisted of drummer Tony Diorio, guitarist and vocalist Frank Gilcken, and bassist and vocalist Frank Ferrara. With a style that fused the demonic riffs of Black Sabbath and the brutal hard rock of Grand Funk, this power trio showed their best form with their third release, "Mother/Bow to the King", where the heavy sounds and driving rhythms of hard rock tracks like "Humble", "Idealist Realist", and "Keep On", the epic heavy rock of "Bow to the King", and the melodic "Feel the Hurt" stood out. A year later they would release their epitaph "Music", with which they ended their ephemeral but interesting career, leaving behind a discography that is highly sought after today by fans of hard rock and heavy metal from the early 70s.

Porcupine Tree-Stupid Dream (1998)

With “Stupid Dream”, Porcupine Tree's charismatic frontman, Steve Wilson, turned his back on much of their previous sound and attempted a new musical direction, leaving behind the lengthy, sometimes somewhat indulgent, instrumental passages to focus on a more commercial and accessible approach. However, all of this was underpinned by the inherent relatability of their complex musical structures and the talented instrumental work of all the band members, the sophisticated arrangements, and their intricate compositions. The lineup that recorded this fifth album remained the same as the previous three, consisting of Steve Wilson (guitars, keyboards, vocals, and other instruments, as well as production), Colin Edwin (bass), Chris Maitland (drums), and Richard Barbieri (all kinds of keyboards and synthesizers). Tracks like “Piano Lessons” and “This Is No Rehearsal” are a clear nod to radio-friendly formulas, yet the grandeur of their earlier progressive sounds is still present in “Even Less”, “Pure Narcotic”, and “Don’t Hate Me”, all of which feature lyrics less controversial than usual in Wilson’s compositions. The rest of the album maintains a high standard, as demonstrated by the Floydian “Strange By The Minute” and the melancholic “Stop Swimming”. With this album, Porcupine Tree significantly increased their commercial appeal, gaining wider accessibility to a broader fanbase while retaining much of their original essence the very essence that had made them so popular with their core followers.

Tool-Ænima (1996)

This band, formed in Los Angeles in the early 90s, are pioneers of the progressive metal scene as we know it today. Comprised of Maynard Keenan, Adam Jones, Paul D'Amour, and Danny Carey, they are world-renowned for their haunting lyrics and innovative creative style. With their first and elaborate album, "Undertown", although a departure from their later musical direction, they managed to capture the world's attention with a blend of alternative sounds, a somber tone, and certain progressive influences. Three years later came one of their masterpieces, "Ænima", an album that received widespread acclaim and represented a significant leap forward from their debut. Here, the band achieves musical perfection, beginning with lyrics brimming with spirituality and imagery, guided by their charismatic vocalist, Maynard Keenan. The music here becomes both intricate and dazzling, featuring epic metal sounds and avant-garde elements. The complex “Stinkfirst” is a clear symptom of what was said above, while the voluminous “Eulogy”, the terrifying “Aenema” or the extraordinary “Third Eye” make up one of the fundamental works of rock music of the 90s.

Space Art-Space Art (1977)

Space Art was a French keyboard duo clearly in tune with the electronic and space music of their compatriot Jean-Michel Jarre. They released a series of highly regarded albums within this European genre. However, at the time, they failed to attract the same mainstream attention as their rivals due to limited promotion and distribution. This did not go unnoticed by Jean-Michel Jarre himself, who eventually recruited them as backing musicians for his tours, such as the one in communist China in the early 1980s, which was immortalized on his monumental double live album, "The Concerts in China" (1982). Space Art consisted of keyboardist Dominique Perrier and electronic and acoustic percussionist Roger Rizzitelli. Their first and best release came in 1977, in which these talented musicians offer a diverse catalog of extremely melodic and catchy sounds centered on powerful synthesizer notes and a driving, energetic drum and percussion section. From dark pieces like "Interlune" to the Berlin-school German sound of "Aquarella", and including grandiose mini-epics like "Naissance de Cassiopée" and "Ode à Clavius", the album is built on brilliant rhythmic and atmospheric patterns, creating a sound that is as captivating as it is effective.

Passport-Cross-Collateral (1975)

Although they never reached the same level as their American jazz-rock contemporaries like Weather Report, Mahavishnu Orchestra, or Return to Forever, the German band Passport became a leading name in the European jazz-rock scene, forging their own distinctive style in a market already overcrowded with bands and artists at the time. Alongside the surreal colors of their album covers, Passport showcased an explosive mix of progressive rock, jazz fusion, and funky groove in their first ten years. Led by the brilliant Klaus Doldinger (keyboards, tenor and soprano saxophones), this band released some of the most exciting jazz-rock albums throughout most of the 1970s and part of the 1980s. With their fifth album, "Cross-Collateral", they finally broke into the coveted North American market thanks to an exquisite work featuring drummer Curt Cress, bassist Wolfgang Schmid, and keyboardist Kristian Schulze. An engaging repertoire comprised of the pleasing fusion tracks with space rock influences, “Homunculus” and “Cross-Collateral”, showcases the overwhelming strength of a band led by the prominent bass and the dynamic sound of the drums and soprano/tenor saxophone. The dizzying “Jadoo” and the catchy, funky “Hill-O’ the-Wisp” and “Albatros Song” maintained the high standard of the rest of the album, contributing to encouraging sales in the English-speaking market. From this point on, Passport would become a regular on the Billboard Jazz charts, reaching very high positions thanks to albums like “Iguacu” (1977), “Ataraxia” (1978), “Garden of Eden” (1979), and “Oceanliner” (1980).

Eef Albers Kwartet-Skyrider (1981)

Eef Albers is a talented Dutch guitarist with a well-deserved reputation, having been a member of various projects such as Focus (replacing Jan Akkerman), Kraan, and Metrople Orkest, as well as collaborating with artists like Stanley Clarke and Toots Thielemans, among many others. In 1972, he formed his first band with Gerry Brown and John Lee, and several years later released his first solo album, "Blue Capricorn", In 1981, together with bassist Wim Essed, drummer Gerry Brown, and pianist Rob Van Den Broeck, he released one of his best works, "Skyrider", showcasing his vast guitar palette through exciting riffs and his great ingenuity on the six strings. "Skyrider" is composed of a series of compositions with effective, easy-listening jazz-rock/fusion arrangements and certain bluesy sounds. From fusion tapestries like the album's title track, to relaxing jazz landscapes like "Brown Eyes" and "Take Me There", to Latin-infused sounds like "Flamingo's Dance", and jazz-rock compositions like "Napalis". In the following years, Albers would release other significant works such as the commendable "Pyramids" (1987) and "Birds of the Night" (1996).

Tranquility-Silver (1972)

Tranquility was a short-lived band that remains one of the most interesting and yet most unknown acts in the 1970s folk-rock scene. Formed around Ashley Kozak, then manager of British singer-songwriter Donovan, the band had the intriguing idea of ​​creating a group that would play a kind of British folk-rock infused with 1960s pop sounds. To achieve this, he brought together a number of experienced musicians who came from bands with a distinctly progressive and psychedelic style from the late 1960s. Starting with singer-songwriter Terry Shaddick, who established himself as the group's leader and the only constant member in a band that underwent several lineup changes throughout Tranquility's three-year career. Thanks to Kozak, they secured a contract with Epic Records, who financed their first full-length album in 1972, simply titled "Tranquility". In this first release, the band showcases a smooth, hybrid style blending the sounds of West Coast flower power and British folk, with catchy vocal melodies and clear Beatles influences. On this first album, the folk-rock track "Try Again", the pop song "Look at the Time, It's Late", the pleasant melody of "Lady of the Lake", and the Beatles-esque "Oyster Catcher" and "Black Current Oyster" stood out. After this album, the band embarked on a long tour of the United States, supporting The Byrds, where they achieved some success among Americans with their gentle folk-rock sound, which could be vaguely compared to bands like America or Crosby, Stills & Nash. After this tour, the band returned to England and recorded their second album, "Silver", which confirmed their folk-rock and pop leanings, but with a greater emphasis on arrangements, adding instruments like synthesizers and the Mellotron, thus giving greater depth and complexity to their characteristic sound. Tracks like the psychedelic "Can I See You" contrast with others clearly influenced by the Beatles, such as "Dear Oh Dear" or "Nice and Easy", which, along with the melodic pop, The rock track "Eagle Eye" is the standout, followed by other less impactful songs such as the more complex "Whip Wheel", the country-rock "The Driver's Engine", the pure rock "Couldn't Possibly Be", and the vaudeville-style "Nice and Easy". These tracks closed out an album that, despite not achieving the expected success, led them to open for prestigious artists like Yes, Humble Pie, David Bowie, and The Eagles on another extensive tour of the United States. Subsequently, the band attempted to continue making inroads in the US with relative success, until 1974 when Epic Records, due to their limited commercial appeal, decided to terminate their contract. This situation was seized upon by the British record label Island Records, who offered them a new contract and released the promotional single "One Day Lady", a preview of a new LP, which, however, was never recorded. This would be the catalyst for the band's definitive breakup; from this point on, all its members... They will follow different paths, with Shaddick's songwriting work standing out above all, who thanks to his talent would create some later hits for pop singer Olivia Newton-John.

Passport-Oceanliner (1980)

As a general rule, Passport albums tend to reflect the era in which they were released, and that's precisely what "Oceanliner", released in 1980, clearly demonstrates. That year, Klaus Doldinger had made some substantial changes to the band. Kevin Mulligan's energetic guitar, Hendrik Schaper's sinuous keyboards, and Dieter Petereit's playful bass remained, while David Crigger took over on drums and percussion, replacing Willy Ketzer. "Oceanliner" is the German band's tenth album chronologically and also the one that showcases their early influences of 1980s synth-jazz, with various funk nuances and even hints of melodic pop-rock. The opening tracks "Departure" and "Allegory" showcase the aforementioned influences, with Doldinger playing the Lyricon, a synthesized wind instrument. In contrast, "Ancient Saga" features Mulligan's impressive guitar work. The engaging, funky "Oceanliner", the catchy vocal fusion "Uptown Rendezvous", the galloping jazz-rock "Rub-A-Dub", and the dynamic, atmospheric "Bassride", brilliantly executed by Petereit on bass, round out another commendable jazz-rock/fusion album from this legendary German band.

Oasis-(What´s The Story) Morning Glory? (1995)

Oasis's arrival on the music scene meant a return to the sounds inherited from The Beatles and 60s British pop, all done with pride and defiance, becoming the core of the new Britpop movement. From their debut album, "Definitely Maybe" (1994), Oasis made no secret of the Fab Four's influence, attracting thousands of fans eager to hear catchy and evocative pop-rock. With their second release, "(What's The Story) Morning Glory?", the band further expanded their fanbase thanks to an album that, while not offering anything particularly new or unprecedented, contained a repertoire of unforgettable tracks. From the presumptuous opening track “Hello” to the anthem “Don’t Look Back in Anger” and including the original “Wonderwall”, “Some Might Say”, and “Cast No Shadow”, the band led by brothers Liam and Noel Gallagher seduces and fascinates with addictive and catchy melodies. The album would soon become one of the best-selling British records of the 1990s.

Deep Purple-Whoosh! (2020)

Released in the bleak year of 2020, a year as depressing as it was disastrous due to the global pandemic that ravaged the world, Deep Purple released their twenty-first album. This album moves between nods to their past hard rock with progressive undertones and the conventional, modern hard rock of their recent work. Gillan, Morse, Airey, Paice, and Glover deliver an album that somehow encapsulates Deep Purple's glory days. Besides demonstrating why the band's music remained relevant that year, they didn't try to relive their past glories or rest on their laurels. An album featuring standout tracks like "Throw My Bones", with Morse's immeasurable guitar riffs and Paice's driving drum rhythm, the bluesy "We're All The Same in the Dark", the brilliant melody of "Nothing at All", the seventies-inspired hard rock of "No Need to Shout" and "The Long Way Round", the semi-progressive "Man Alive", and the gothic "Step by Step". With this album, Deep Purple proved to the world that they remained one of the most iconic bands in the history of rock music.

Three Dog Night-Around the World with Three Dog Night (1973)

Although their musical genre isn't exactly the most prominent within rock music, Three Dog Night achieved massive success thanks to their unique way of interpreting music, a style whose merit and talent far surpassed that of hundreds of solo artists from other groups in the 1960s and 70s. They were the atypical multiracial group with three lead vocalists who reached the top of the charts with more than thirty hits, many of them covers of other artists. They are Danny Hutton, Cory Wells, and Chuck Negron. The style born from the union of these three singers could be described as a "vocal style," but doing so would bring to mind groups like Crosby, Stills & Nash and other famous ensembles known for their rich vocal harmonies. However, unlike all of them, Three Dog Night owes its overwhelming success to the voices of its three lead singers, thanks to their sophisticated vocals that spanned everything from rhythm and blues to mainstream rock, encompassing pop, funk, and soul, skillfully blending commercial appeal with class and musical refinement. Nevertheless, the group's sound was supported by four other excellent instrumentalists who joined the three leaders: guitarist Mike Allsup, bassist Joe Schermie, drummer Floyd Sneed, and keyboardist Jimmy Greenspoon. In 1971, Three Dog Night held the number one spot on the charts worldwide for several months with their impactful "Joy to the World", which was chosen as song of the year not only in the United States but also in some fifty countries around the globe. That song, along with others and their albums "It Ain't Easy" (1970), "Golden Bisquits" (1971), "Naturally" (1970), "Harmony" (1971), "Seven Separate Fools" (1972) or the spectacular live album "Around The World With Three Dog Night" (1973), is the result of a masterful career, with all their albums at the top of the charts and making them one of the best vocal groups that have ever existed.

A.B. Skhy-A.B. Skhy (1969)

A.B. Skhy are a prime example of the brass rock that emerged in the late 1960s. Following in the footsteps of contemporary bands like Blood, Sweat & Tears and Chicago Transit Authority, they released two compelling albums highly regarded by jazz-rock fans of the era. Originally known as The New Blues, the band was founded in 1968 in Milwaukee, Wisconsin, by keyboardist Howard Wales, who already had extensive experience collaborating with artists such as Freddie King and James Brown. In addition to Howard, the band consisted of guitarist Dennis Geyer, bassist Jim Marcotte, and drummer Terry Anderson. Additional musicians included Russell Dashiell (guitar), Otis Hale (flute), Jim Liban (harmonica), Phillip Pruden (tenor saxophone), Jim Horn (saxophone), trumpeters Marvin Brown, Larron Holt, and Bud Brisbois, and trombonists David Thomas Roberts and Donald Waldrop. In early 1969, this large band moved to San Francisco, where they gained considerable prestige performing concerts throughout the city, which led to a contract with MGM Records. Shortly after, and under the production of Richard Delvy, they released their debut album in the middle of that year. Thanks to the hit "Camel Back", they entered the Billboard charts and were encouraged to release a second album, which came out in early 1970, titled "Ramblin' On". On both albums, A.B. Skhy showcased a vigorous blues-rock style with strong jazz influences, reflected in the instrumental structures, with the energetic horn section standing out in combination with the powerful rock band. Tracks such as the bluesy "Understand", the pseudo-jazz "Of All Sad Words", and the jazz-rock version of B.B. King's blues... King, "You Upset Me Baby", attested to the enormous instrumental quality of the album and that of this superb and forgotten American band.

Vangelis-Albedo 0.39 (1976)

The seventh album by Greek composer Vangelis is a masterpiece of electronic music, a work in which the musician further solidified his grasp on electronics and more ethereal concepts. Around this time, Vangelis began exploring Yamaha synthesizers, which, along with other electronic keyboards and synthesizers, plus a range of acoustic and electronic percussion instruments, allowed him to create unmistakable soundscapes akin to the typical progressive and symphonic rock. With "Albedo 0.39", the Greek musician completed a spectacular trilogy that had begun with the earthly "Earth" (1973), and continued with the mystical "Heaven and Hell" (1975), masterfully concluding it with a work in which his music is created from the perspective of space observing Earth. Outstanding pieces such as the spacey and powerful "Pulsar", the grandiose "Alpha", the astronomical "Main Sequence", the exotic "Free Fall" or the progressive divided into two parts "Nucleogenesis", make up one of the most avant-garde and solid works created by the Greek wizard of the keyboards.

Bob James & Earl Klugh-One On One (1979)

The first collaboration between jazz keyboardist and composer Bob James and veteran jazz guitarist Earl Klugh resulted in one of the finest works in the jazz fusion genre, which won a Grammy and reached number one on the Billboard Jazz Albums chart. Both musicians already possessed extensive experience that had led them to establish highly respected careers. Bob James debuted in the 1960s, releasing a series of solo albums. However, it wasn't until the mid-1970s and 1980s that his most acclaimed works arrived, such as "One" (1974), "Two" (1975), "Heads" (1977), and "Double Vision", the latter a collaboration with David Sanborn that won Best Jazz Album at the 1986 Grammy Awards. Earl Klugh, for his part, began his long professional career in 1976, releasing albums focused on light jazz sounds from that year onward. To date, he has released around twenty albums, almost always featuring nylon-string acoustic guitar. Albums like "Dream Come True" (1980), "Nightsongs" (1985), "Whispers and Promises" (1989), and "Naked Guitar" (2005) were also nominated for Best Jazz Album at the Grammy Awards. In this first release entitled "One On One", the duo showcases a style close to the sounds of jazz-pop, with a repertoire full of exquisite melodic compositions and silky and irresistible pieces perfect for easy listening.

Passport-Second Passport (1972)

The German band Passport's second album continues to showcase the fluid jazz-rock/fusion sound they established on their debut a year earlier. For this new album, Klaus Doldinger is the only remaining member of the previous lineup, a clear indication of his continued leadership. He recruited drummer Bryan Spring, keyboardist John Mealing, and bassist/guitarist Wolfgang Schmid. "Second Passport" displays a vigorous and energetic jazz sound that also incorporates some experimentation, yet proves quite appealing to a wide audience, as evidenced by several inspired tracks such as "Mandragora", "Nexus", "Fairy Tale", "Registration O", and "The Cat From Kathmandu". With this album, Passport achieved an even more balanced sound than their debut, seamlessly blending jazz, rock, and fusion through avant-garde and progressive elements.

Passport-Looking Thru (1973)

Passport's fourth album, and as with all their previous releases, frontman Klaus Doldinger recruited a nearly entirely new lineup. However, this time he managed to bring together some of the musicians who would remain on the next four albums, confirming that the saxophonist had finally found his ideal formation. These members were keyboardist Kristian Schulze, drummer Curt Cress, and bassist Wolfgang Schmidt. With this lineup now complete, Doldinger crafted another easy-listening jazz fusion album, incorporating some avant-garde elements, such as the progressive title track. Despite these avant-garde and progressive sounds, it remains quite accessible, with a rhythm that is often fast-paced and tight. For many, this is their closest album to krautrock in its jazz-rock vein, due to the light improvisations, funky rhythms, and atmospheric, spacious keyboards. Tracks like the jazz-rock anthem "Eternal Spiral" showcase a slight shift towards more energetic territory, partly due to Cress's driving drumming. Jazz fusion is present in the catchy "Rockport" and "Tarantula", while the ethereal "Things to Come" and the excellent "Zwischenspiel" make for another enjoyable and outstanding album from the iconic German group.

Passport-Iguaçu (1977)

With their seventh album, the German group Passport embraced the innovative sounds of Caribbean jazz and funk, influenced by the melodies of mainstream, commercial smooth jazz. The lineup that entered the recording studio for this album, titled after the waterfalls located on the border between Argentina and Brazil, consisted of Klaus Doldinger (saxophone, organ, and synthesizers), Curt Cress (drums), Roy Louis (guitar), Wolfgang Schmid (bass), and Elmer Louis (percussion), along with a number of Brazilian percussionists such as Wilson Das Neves, Pedro Santos, Marcello Salazar, Noel Manuel Pinto, and Clélio Ribeiro. Tracks with a distinct Caribbean/African flavor, such as "Sambukada" and "Iguaçu", alternate with the jazz-funk of "Aguamarinha", "Guna Guna", "Heavy Weight", and "Praia Lame", and the jazz fusion of "Bird of Paradise". In short, “Iguaçu” is another excellent jazz fusion/funk/rock album released in the 70s.

Passport-Garden Of Eden (1979)

Around the middle of 1979, the German band Passport, led by Klaus Doldinger, released their ninth studio album, "Garden of Eden". This album was preceded by several lineup changes, including the addition of guitarist Kevin Mulligan, who replaced Roy Louis. The rest of the lineup remained the same as on their previous album, "Ataraxia": Klaus Doldinger (saxophone, keyboards), Willy Ketzer (drums), Hendrik Schaper (keyboards), and Dieter Petereit (bass). Following the stylistic path of "Ataraxia", "Garden of Eden" blends light jazz fusion with jazz rock, creating a rather pleasant and sophisticated sound. Doldinger's captivating saxophone and Mulligan's infectious rhythms drive a sound that, at times, hints at the progressive jazz rock style of their early years. Tracks like the atmospheric "Big Bang", the semi-progressive "Garden Of Eden", the melodic "Snake", the jazz-funk "Gates Of Paradise", the southern jazz-gospel "Good Earth Smile" or the cheerful "Children's Dance" and "Dreamware", make up a splendid album that brings together the latest jazz trends of the late seventies, such as jazz fusion, jazz-rock and easy-listening melodic jazz.

Passport-Hand Made (1973)

In 1973, Klaus Doldinger finalized his band Passport by adding two talented musicians: drummer Curt Cress and bassist/guitarist Wolfgang Schmid. They joined Doldinger himself (saxophone and keyboards) and Frank Roberts (piano and Hammond organ). This was the first album in which Doldinger used the Mellotron, leaving behind the experimental and avant-garde sounds of his first two works. With this lineup, the German band released their third album, "Hand Made", which features a mix of clear space jazz fusion tracks like "The Connexion", "Yellow Dream", "Proclamation", and "The Quiet Man", and classic, dynamic jazz rock in tracks such as "Abracadabra", "Hand Made", and "Puzzle". With this third release, Passport clearly moved closer to a more accessible and compelling jazz rock sound with distinct progressive influences.

Passport-Doldinger (1971)

The German band Passport became one of the greatest European jazz-rock acts thanks to their intelligent combination of the jazz fusion of the British Canterbury sound and the atmospheric and spacey elements of German krautrock. With their debut album, considered a masterpiece, this band, led by saxophonist and keyboardist Klaus Doldinger, already hinted at their distinctive style, replete with keyboards, saxophone solos, psychedelic influences, and a subtle bluesy foundation, all underpinned by meticulous instrumental precision and a high degree of accessibility. Although energetic jazz rock is present in some parts of the album, such as "Uranus" or "Madhouse Jam", the overall style here is more relaxed and linear than its North American contemporaries, giving the music a more cosmic and spacey sound ("Lemuria's Dance", "Schirokko", "Hexensabbat", "Nostalgia" or "Continuation"), undoubtedly due to the intensive use of modern digital synthesizers, an innovation that distinguishes them from other jazz rock/fusion albums released at that time, which used analog keyboards such as the Hammond organ, electric pianos or first-generation synthesizers.

Gary Glitter-Remember Me This Way (1974)

Gary Glitter's story is marked by his perpetual second-rate status within Glam Rock. Although he briefly rivaled contemporaries like T. Rex and Sweet, he never achieved the massive success or recognition of these or other artists within that ambiguous musical genre of costumes and sequins. Gary Glitter's real name was Paul Gadd, and he often appeared on stage dressed as Elvis Presley, in grotesque, sequined outfits, demonstrating his lack of self-consciousness and, at the same time, his great sense of humor. His glory days lasted only a few years, during which some of his singles were successful on the British charts. However, his greatest contribution was "Remember Me This Way", his third album, which, to everyone's surprise, climbed to number five on the charts. Recorded live at London's legendary Rainbow Theatre, it contained some of his hits that were included in his first two works, such as the fun "I'm The Leader of The Gang", "I Love You Love Me Love", "Do You Wanna Touch Me (Oh Yeah)", or "Hello! Hello! I'm Black Again".

Brewer & Shipley-Weeds (1969)

Linked to the American counterculture of the late 1960s, Brewer and Shipley are one of the most respected duos in melodic folk rock. With a style reminiscent of another great American duo, the legendary Seals and Crofts, their music was imbued with catchy, reflective melodies, with recurring themes of human rights, the American Dream, and drug references, as evidenced in their controversial 1970 song "One Toke Over The Line". In 1968, under the A&M Records label, they debuted with the album "Down in L.A. ", for which the label provided them with a number of talented musicians such as Leon Russell, Jim Messina, and Jim Gordon, among other prominent artists from the Californian music scene. "Weeds", released a year later, was notable for being released on a new record label, Karma Sutra Records, and featured collaborations with Mike Bloomfield and Nicky Hopkins. This second release featured several folk-rock covers, such as Bob Dylan's "All Along The Watchtower" and Jim Pepper's "Witchi-Tai-To". However, it was with their third album, "Tarkio" (1970), that they achieved their best work, a collection of energetic and vibrant folk-rock songs like the aforementioned "One Take Over the Line", or the highly accomplished "Song From Platte River" and "Fifty States of Freedom", where they recount, among other things, the loss of personal freedoms, all performed excellently with great, harmonious vocal work. "Shake Off The Demon" (1971) and "Rural Space" (1972) were their subsequent albums, where they continued to produce brilliant folk-rock collections, although without contributing any major hits, but with some commendable covers such as Jackson Browne's "Rock Me On The Water" and "Blues Highway" by Electric Flag guitarist Nick Gravenites. With all these albums, Brewer and Shipley managed to place themselves among the greats of American folk rock, just when the style was at the peak of its popularity, creating an exquisite musicality, with refined, harmonious melodies, very attractive to the general public.

Sunday Funnies-Benediction (1972)

Sunday Funnies, along with Rare Earth, were among the first all-white bands to sign with the predominantly Black Detroit-based Motown label. Formed in the 1960s, they gained some recognition after being taken under the wing of Andrew Loog Oldham, the Rolling Stones' producer and manager at the time. Their psychedelic style, influenced by soul and gospel, is clearly reflected in their two releases. The lineup consisted of Richard Mitchell (drums), Richard Fidge (vocals), Ron Aiken (guitar, bass, and vocals), and Richard Kosinski (keyboards and vocals). For a time, under Motown's wing, Sunday Funnies toured extensively, opening for Deep Purple, Fleetwood Mac, Savoy Brown, and the James Gang, earning a solid reputation as a live act. Following in the footsteps of the muscular soul rock, with its rich harmonies and funky rhythms, of their first album, in 1972 they released their second album, "Benediction", in which they achieved even better arrangements and more psychedelic musical atmospheres. The raspy voice of their lead singer, the distorted guitar, a thunderous bass, and a sharp keyboard drive the album's content, as heard in the funk track "Get Funk", the energetic "Double Grace", the reflective ballad "Two Halves of a Whole", the bluesy "Keep on Trucking", the gospel-infused "Power & The Glory", the poignant "The Pillow", and the reworked version of the Motown classic "Reach Out I'll Be There". By the time the album was released, Motown had already lost what little interest it had in the band, to the point of not even bothering to promote them properly. This fact, along with other issues, would lead the band to end its days some time later, lost in the immense darkness of the tunnel of time.

King Crimson-Beat (1982)

For King Crimson leader Robert Fripp, recording a new album after the astonishing "Discipline" of 1981 would be no easy task. In a way, history was repeating itself from ten years earlier, when in 1970 they released "In the Wake of Poseidon", a massive and monumental album that was overshadowed by its predecessor, "In the Court of the Crimson King", While "Discipline" showcased the group's new and innovative side, venturing into pop and new wave under the influence of complex and progressive sounds, "Beat" saw Adrian Belew's influences take center stage, bringing the band's sound closer to the funk-pop-rock style of his previous band, Talking Heads. Despite not displaying the majesty and compositional genius of their best albums, this release still contains some highly redeeming elements, such as the dynamic instrumental "Sartori in Tangier" and the frenetic "Neurotica", tracks brimming with polyrhythmic guitars courtesy of Belew and Fripp and a precise and complex rhythm section, executed by two true masters: Bill Bruford and Tony Levin. The aforementioned references to Talking Heads are present in the catchy "Neil and Jack and Me" and "Heartbeat", while the haunting "Two Hands" and the sophisticated "Waiting Man" demonstrate that on this ninth album, the band remained deeply committed to creating enigmatic, captivating, and avant-garde music, despite the backlash it received from a large portion of their more orthodox fans, who dismissed it as a mere watered-down copy of the previous album, "Discipline".

Ramones-Rocket To Russia (1977)

For many, this is the definitive punk album, a record from the first and longest-running band of the genre, who, along with other bands with a style close to early punk rock, such as The Stooges and New York Dolls, spearheaded this revolutionary sound in North America. Their influences from 1950s rock and roll and 1960s pop rock were adapted to their basic instrumental and compositional structures. "Rocket to Russia" was the New Yorkers' third release, the album that definitively cemented their status as "the best punk band on the planet," showcasing a repertoire brimming with jovial, direct, and energetic tracks. With a string of classics like "Here Today, Gone Tomorrow", "Surfin' Bird", "I Wanna Be Well", "Teenage Lobotomy", "Sheena Is A Punk Rocker", "Rockaway Beach" or "Cretin Hop", this album became the pinnacle of the genre and a clear influence on British punk bands of the late seventies and early eighties.

The Doobie Brothers-The Doobie Brothers (1971)

Formed in the early 1970s, The Doobie Brothers are one of the seminal bands of American rock. Throughout their long career, they have showcased a versatile range of styles, evolving from the Southern rock of their beginnings to the jazz, rock, country, soul, and blues sounds of their subsequent releases. In 1971, their lineup consisted of Tom Johnstone (electric and acoustic guitars, harmonica, and vocals), Patrick Simmons (electric and acoustic guitars and vocals), John Hartman (drums and percussion), and Dave Shogren (bass, keyboards, and vocals). Produced by the renowned Ted Templeman, they released their self-titled debut album in mid-1971, already demonstrating their talent with a sound brimming with country rock, boogie rock, and rhythm and blues. Although still developing their style, this album features several of their legendary songs, such as the rhythmic "Nobody" and the country-rock anthem "Greenwood Creek". The dusty "The Master" and the beautiful vocal melodies of "Growin' a Little Each Day", "Closer Every Day", and "Travelin' Man" are other highlights of this seminal album, which received little of the media attention it deserved. A year later, the band achieved considerable success with their next release, "Toulouse Street", which incorporated other musical elements such as jazz and rural American sounds like bluegrass. These, combined with Southern country rock, became one of the defining styles of this magnificent band.

The Smiths-The Queen Is Dead (1986)

Experts at producing pop songs that combined the energy of classic rock with poignant and poetic lyrics, The Smiths were one of the leading bands of British pop-rock in the mid-eighties. The face of this band was vocalist Morrissey, who, along with his right-hand man, guitarist Johnny Marr, bassist Andy Rourke, and drummer Mike Joyce, managed to reclaim the importance of simple songs, moving away from the modern keyboards and elaborate technological arrangements so prevalent in pop music during the eighties.After releasing prominent and biting songs like "What Difference Does It Make", from their self-titled debut album, "The Smiths" (1984), came their third album, "Meat Is Murder" (1985), preceded by the singles compilation "Hatful of Hollow" (1985), which showcased a continuation of their earlier style with tracks of clear guitar-driven pop. A year later, they released their definitive work, "The Queen Is Dead", showcasing a cleaner, more refined sound of exquisite pop with tracks like "The Boy With The Thorn In His Side", "Bigmouth Strikes Again", and "There Is a Light That Never Goes Out". A number two spot on the British charts earned them their first platinum record and also their first gold record in the notoriously difficult North American market.

The Notting Hillbillies-Missing... Presumed Having a Good Time (1990)

In the late 1980s, Mark Knopfler had practically declared the Dire Straits story over, although in 1991 he returned with the album "On Every Street", a kind of revival with nods to the multi-platinum "Brothers in the Arms", ​​but without even coming close to its musical excellence. On "On Every Street", Knopfler recruited a legion of musicians outside the original members of the group, with the exception of bassist John Illsley. Therefore, it is unofficially considered a solo album by the guitarist, rather than a typical Dire Straits record. However, a year earlier, Mark Knopfler collaborated with renowned British blues and folk musicians such as Steve Phillips, Brendan Croker, Guy Fletcher, Paul Franklin, Marcus Cliffe, and Ed Bicknell, forming the project The Notting Hillbillies. They recorded and released a single album titled "Missing...Presumed Having A Good Time". On this single release, this gathering of talented musicians crafted a refined collection of blues, country, and folk tracks, featuring both covers and original compositions. Among these covers are the traditional 1870 blues song "Railroad Worksong", the folk song "Weapon of Prayer" by The Louvin Brothers, the country song "Feel Like Going Home" by Charlie Rich, the traditional "One Way Gal", the jazzy bluesy "Bewildered" by Teddy Powell, and the bluesy folk song "Blues Stay Away from Me" by The Delmore Brothers. Among the original compositions by the band, the country song "Will You Miss Me" by Steve Phillips stands out. Its commercial reception was very positive in various countries around the world, achieving several gold records and confirming the influence of these styles that have always been present in Mark Knopfler's music.

Eric Clapton-Backless (1978)

In 1978, Eric Clapton had just achieved immense success with his fifth album, "Slowhand", which reached number two on the Billboard charts, earning half a dozen gold and platinum records. Reuniting with the same musicians, studios, and producer (Glyn Johns), Clapton recorded his sixth album, "Backless". Released at the end of 1978, this new release saw the guitarist repeat the same musical formula as its predecessor, although it didn't contain as exciting a repertoire. The album was conceived without too many pretensions, as at that point in his career, Clapton no longer had anything to prove or surprise anyone, given his fabulous trajectory. Even so, the album is somewhat overshadowed by "Slowhand", due to the substantial difference between the two. However, Clapton once again delivers a series of noteworthy tracks, such as the outstanding country version of Feldman and Linn's "Promises", which showcases the guitarist's exceptional technique. There are also two songs written by Bob Dylan, "Walk Out In The Rain" and "If I Don't Be There By Morning", both of mediocre quality despite the British musician's skillful playing. The rhythmic version of J.J. Cale's "I'll Make Love To You Anytime" and "Tulsa Time", another cover, this time of Danny Flowers, are the most notable of the cover compositions. But it is his own songs that are the highlight of this album, starting with the appealing "Watch Out For Lucky" and the outstanding blues "Early In The Morning", while the ballads "Golden Ring" and "Tell Me That You Love Me" are relatively unremarkable. Commercially, "Backless" performed quite well, achieving platinum status and selling over a million copies in the North American market.

Rory Gallagher-Fresh Evidence (1990)

In mid-1990, Irishman Rory Gallagher released what would be his final studio album, "Fresh Evidence", his most eclectic work to date, showcasing all the facets that had characterized his long career. On "Fresh Evidence", Rory performs a series of songs that navigate between blues and jazz, passing through classic rock, rhythm and blues, and American folk roots. In addition to Gallagher (vocals, electric and acoustic guitars, mandolin, and electric sitar), this release features collaborations with frequent bassist Gerry McAvoy, keyboardist John Cooke, and drummer Brendan O'Neill. In the classic blues section, Gallagher covers blues greats like Eddie “Son” House with “Empire State Express”, and showcases the rich influences of Robert Johnson with “Heaven’s Gate” and Slim Harpo with “Middle Name”, while jazz is present in the instrumental “The Loop”. On the other hand, the energetic rock tracks “Kid Gloves” and “Bowed Not Broken”, the folk songs “The King of Zydeco” (a cover of the legendary Zydeco musician Clifton Chernier) and “Never Asked You For Nothin’ ”, the folk-blues songs “Middle Name” and “Ghost Blues”, and the blues-rock song “Walking Wounded” demonstrated Rory Gallagher’s enormous capacity to interpret different styles with great brilliance and flexibility.

Faces-Long Player (1971)

Towards the end of 1968, Steve Marriott decided to pursue his own solo career, later forming the enduring Humble Pie with Peter Frampton. This left Small Faces without their lead guitarist and one of their most prolific songwriters. However, the remaining members Ronnie Lane (bass and vocals), Kenny Jones (drums), and Ian McLagan (keyboards), decided to reform the band, adding a new guitarist, Ron Wood, and expanding the lineup with vocalist Rod Stewart. This new incarnation shortened the name to simply Faces, and they enjoyed a short but triumphant career, releasing four superb albums focused on uninhibited and straightforward rock and roll. After their self-titled debut album in 1970, which already hinted at their powerful rock style with touches of psychedelia, they released what would be their definitive breakthrough: the splendid album "Long Player", released a year later. Following in the footsteps of their predecessor's energetic rock and roll, Faces crafted one of the most compelling albums of the early 70s, as demonstrated by the raw rock and roll tracks "Bad 'n' Ruin", "Maybe I'm Amazed", and "Had Me a Real Good Time". On the other hand, the bluesy "Tell Everyone", the southern country "Sweet Lady Mary", and the extended version of Big Bill Broonzy's classic blues, "I Feel So Good", showcased the wide-ranging versatility of a group that, at the end of that same year, would release one of rock music's masterpieces with the seminal album "A Nod Is As Good As A Wink...To A Blind Horse". 

Hookfoot-Live In Memphis 1972 (1990)

Formed in the late 1960s in Great Britain, Hookoot was a band that emerged from the union of session musicians from the DJM Records label. Although they never achieved any significant chart success, nor did their albums garner any media attention, this band was a prime example of early 1970s rock and roll and blues. Their lineup consisted of Ian Duck (vocals, harmonica), Dave Glover (bass), Roger Pope (drums), and Caleb Quaye (guitar). Some time later, guitarist Bob Kulick and bassist Mick Grabham joined them. All of these musicians had participated in most of the recordings for the aforementioned label, including Elton John's early albums such as "Empty Sky" from 1969. After signing with A&M Records, they released five LPs, which were only marketed in the United States, beginning with "A Pie Of Pye" (1969), followed by "Turn The Radio" (1970), "Hookfoot" (1971), "Good Times A' Comin' " (1972), "Communication" (1972), and "Roarin'", with which they concluded their musical journey. Later, A&M Records released the double compilation album "Headlines", and a few years later, the live album recorded in 1972, "Live In Memphis". This live album is a brilliant example of Hookfoot's style, with that Southern flavor infused with rock and roll, electric and acoustic blues, and funky elements. Tracks like the funk rock “Bluebird”, the southern epic “Mystic Lady”, the dusty “Movies”, the country rock “Natures Changes”, the rhythmic jazz rock “Wim-Wom” or the melodic “Crazy Fool”, along with the brilliant and accomplished interpretation of Neil Young’s “Don’t Let It Bring You Down”, or the acoustic blues “Coombe Gallows”, demonstrate the talent that this forgotten band had behind them, combining excellent musicality with committed lyrics and a captivating and suggestive eclectic style.

Robby Steinhardt-Not in Kansas Anymore (A Prog Opera) (2021)

Robby Steinhardt is world-renowned as one of the founding members of the legendary American progressive rock band Kansas, with whom he recorded ten albums, many of them multi-platinum hits, earning dozens of gold and platinum records. This violinist and singer was present on all of his band's albums released in the 1970s and several in the 1980s, when he left at the end of 1982. He returned in 1997 and remained with the band until his final retirement in 2006. In 2021, Steinhardt released his only solo album, ironically titled "Not In Kansas Anymore (A Prog Opera)," and despite this curious title, the album evokes his former band in many moments. For the recording, he enlisted a stellar lineup of collaborators, beginning with Ian Anderson (flute), followed by Steve Morse (guitar), Billy Cobham (drums), Patrick Moraz (keyboards), Bobby Kimball (vocals), Pat Travers (guitar), Michael Thomas Franklin (keyboards), Chuck Leavell (keyboards), Lisa Fischer (vocals), Liberty DeVitto (drums), Billy Ashbaugh (drums), and Jim Gentry (guitar). The repertoire consisted of powerful tracks with virtuosic orchestral arrangements and instrumental prowess from all the musicians involved. Among the highlights were vigorous songs leaning towards melodic progressive rock with a distinct hard rock edge, such as "Tempest", "Truth to Power (Only Truth Can Change the World)", "Rise of the Phoenix", "Downtown Royalty", "Not In Kansas Anymore", and "A Prayer for Peace". He even covered his band's classic "Dust in the Wind", creating a beautiful version sung by Lisa Fischer, accompanied by an exceptional string section and expansive vocal harmonies. Sadly, Steinhardt would not live to see his album released, as he passed away several months before its official launch, due to a brief illness at the age of 71, a consequence of acute pancreatitis.