Camel-The Snow Goose (1975)

Following Camel's magnificent second album, "Mirage", the British quartet released their second consecutive masterpiece: the concept album "The Snow Goose". Based on Paul Gallico's classic novel, Latimer and Bardens wrote a substantial amount of material with the intention of deeply exploring symphonic and classical influences, including orchestral arrangements and contributions. The display of melancholy and introspection is far more prevalent than in their previous work, instrumentally narrating a story literally translated into the language of music. The lyrical "Rhayader" and the expressionistic "Rhayader Goes to Town" are timeless Camel classics, while the majestic title track, the dramatic "Dunkirk", and the heartfelt "Fritha Alone" are crafted to be enjoyed as a harmonious whole. With "The Snow Goose", Camel succeeded in producing an album of highly sophisticated progressive rock, deeply reflective and with perfect, magical, and intelligent instrumentation.

The Nitty Gritty Dirt Band-The Rest Of The Dream (1990)

The Nitty Gritty Dirt Band are one of the legendary American folk and country rock bands, with over thirty studio albums to their name, some of which have won Grammy Awards. They have also been voted the best country band for years and have been inducted into the Country Music Hall of Fame. Formed on the American West Coast in the late 1960s by Jeff Hanna (guitar and vocals) and Jimmie Fadden (drums), they have undergone countless lineup changes throughout their more than 50-year career. With a style that encompassed traditional American sounds such as folk, bluegrass, country, blues, and Cajun, fused with rock, they achieved their greatest success in the 1970s and 80s with songs like "Mr. Bojangles," "House at Pooh Corner", "I Saw the Light", "Dance Little Jean", "Long Hard Road (The Sharecropper's Dream)", "Modern Day Romance", and "Fishin' in the Dark", among many others. Likewise, some of their albums are considered masterpieces of country and folk, such as "Uncle Charlie & His Dog Teddy" (1970), "Will the Circle Be Unbroken" (1972), "An American Dream" (1979), "Plain Dirt Fashion" (1984), "Will the Circle Be Unbroken: Volume Two" (1989), and "The Rest of the Dream" (1990). Focusing on this last one, "The Rest of the Dream", Following the groundbreaking "Will The Circle Be Unbroken Vol. 2", it was quite a challenge to replicate that success. The result was a solid return to genuine country rock, setting aside their roots with classic country, folk, and bluegrass songs. Here, they showcased their more approachable, accessible, and commercial side with a series of pleasant and catchy tracks like "From Small Things (Big Things One Day Come)", "Just Enough Ashland City", "Waiting On A Dark Eyed Girl", and "Blow Out The Stars, Turn Off The Moon". With these songs, they demonstrated that, in addition to their deep roots style, they could also easily create songs for the FM radio stations that broadcast the new country-pop sounds so popular in the late eighties and early nineties.

Faith No More-The Real Thing (1989)

Let's go back to the 80s, that decade where tastes and styles were constantly changing, opening and closing countless musical horizons. Another band categorized as alternative rock and heavy metal was the American group Faith No More. Formed in the late 70s, their main characteristic was their skillful combination of a multitude of styles, including heavy metal, funk metal, rap, and avant-garde hard rock. Their first lineup consisted of Mike Bordin (drums), Billy Gould (bass), Chuck Mosley (vocals), Jim Martin (guitar), and Roddy Bottum (keyboards). After their first and commendable album, "We Care a Lot" (1985), and the more elaborate "Introduce Yourself" (1987), they changed vocalists, a position that would fall to Mike Patton, a figure who would be crucial to Faith No More's successful trajectory. With this new lineup, they released their best work, "The Real Thing", where the Californian band showcased their eclectic style, revealing influences from thrash metal, punk, rap, and more accessible sounds, as demonstrated by energetic tracks like "Epic", "Falling to Pieces", and "Surprise! You're Dead". These were followed by captivating mid-tempo songs such as "Zombie Eaters" and "Underwater", the instrumental "Woodpecker from Mars", and an exciting cover of Black Sabbath's "War Pigs". Together, these tracks formed a superb repertoire that would lead them to achieve multiple platinum records for their multi-million sales worldwide. 

Crosby Stills & Nash-Daylight Again (1982)

In 1982, David Crosby, Stephen Stills, and Graham Nash reunited to record their fourth album in thirteen years, a brilliant work that showcased the unique talent of these legendary American musicians. It was in the late sixties that Crosby was asked to leave The Byrds due to his bandmates' rejection of his countercultural songs, such as the controversial "Triad". Nash, for his part, was quite frustrated by the musical direction his band, the Hollies, was taking, straying from their initial hippie roots. Meanwhile, Stills, having completed his time with the folk-rock band Buffalo Springfield, decided to explore new musical horizons. The union of these three geniuses was considered the first supergroup in history, a feat that would be further solidified in 1970 with the addition of Canadian Neil Young, another of the great geniuses of the late 1960s hippie movement. "Daylight Again" was originally conceived as a Stills and Nash album, for which they enlisted the collaboration of a wide array of renowned artists, including Art Garfunkel, Timothy B. Schmit, and Jeff Porcaro, among some twenty celebrated musicians from the American West Coast. However, due to pressure from Atlantic Records, they ultimately included David Crosby, who joined the project near the end of the album's recording process. "Daylight Again" was originally conceived as a Stills and Nash album, for which they collaborated with a wide array of great artists, including Art Garfunkel, Timothy B. Schmit, and Jeff Porcaro, among some twenty celebrated musicians from the West Coast. While not reaching the heights or creativity of their first three albums, "Daylight Again" is a fine example of American folk and rock, boasting a rich and varied repertoire that includes the opening track, "Turn Your Back On Love", an addictive melodic rock song; the melancholic folk number "Wasted On The Way", the bright and harmonious "Southern Cross", the rock tracks "Into The Darkness" and "Too Much Love To Hide", the rhythmic "Since I Met You", the beautiful "Song For Susan", and the introspective acoustic title track, "Daylight Again". "Daylight Again" was certified platinum for selling over one million copies in the North American market and nearly 800,000 worldwide.

Kandahar-In The Court Of Catherina Squeezer (1975)

We're not going to Belgium; this band, who played a style of progressive jazz-rock, was formed in early 1973 in the city of Ghent. The lineup consisted of Jeff De Visscher (electric and acoustic guitar, sitar, and vocals), Karel Bogard (keyboards and vocals), Jean Pierre Caléis (bass), and Etienne Delaruye (drums and percussion, piano, synthesizer, strings, clavinet, marimba, and vocals). This band released two interesting albums on their own record label, both sharing a clear common denominator: the avant-garde rock of the time and jazz, with influences from the Canterbury sound and certain avant-garde touches. "In the Court of Catherine Squeezer" was their second album, which followed in the footsteps of the jazz-rock of their debut, "Long Live the Sliced ​​Ham" (1974), but displayed greater consistency, solidity, and progressive creativity, leaving behind the bizarre touch of its predecessor. The raspy vocals are the perfect counterpoint to a captivating instrumentation, where synthesizers, organ, subtle guitars, sumptuous saxophones and a precise rhythm section give this album a haunting, alluring and ambient style of the best European jazz rock.

SBB-Ze Słowem Biegnę do Ciebie (1977)

Poland has proven to be one of the most creative countries when it comes to progressive rock. It is also undoubtedly the only country in Eastern Europe that takes pride in this style. Probably the best progressive rock band from Poland has been SBB. This group, formed in the early 1970s in the city of Siemianowice, has had several phases, the first being the most fondly remembered, spanning from 1975 to 1981. “Ze Słowem Biegnę Do Ciebie”, released in 1977, was their third studio album. On it, the lineup of Józef Skrzek (synthesizers, electric piano, Moog synthesizer, clavinet, Mellotron, bass, and vocals), Antymos Apostolis (guitar), and Jerzy Piotrowski (drums and percussion) created a truly substantial and powerful source of eclectic progressive rock, incorporating elements of jazz rock, space rock, and symphonic rock with well-structured, epic compositions that showcased the technical prowess of all three band members. The first side of the original album features the immense, eponymous jazz-rock track, a 19-minute musical epic that blends multiple styles, from energetic moments to more subdued sections. In contrast, "Przed Premiera" is closer to jazz fusion, featuring impressive keyboard and drum combinations with a touch of avant-garde and exploration. Without a doubt, this is one of the best European progressive rock albums, performed by one of the most talented bands ever, and is considered a true masterpiece of the genre.

Buddy Guy & Junior Wells-Play The Blues (1972)

"Play The Blues" is one of the landmark blues albums, a memorable work by two of the genre's greats, Buddy Guy and Junior Wells. This formidable duo contributed timeless moments to the history of the genre with recordings like this one, released in 1972. On this seventh album, released under the name Buddy Guy with Junior Wells, they were joined by legendary musicians such as Eric Clapton, Jim Gordon, Dr. John, A.C. Reed, and members of the J. Geils Band. Comprising original songs by the Guy-Wells duo and covers of some of the greatest bluesmen in history, it was recorded at Atlantic Records studios in New York in October 1970. Classics such as "My Baby She Left Me (She Left Me a Mule to Ride)" by Sonny Boy Williamson, "T-Bone Shuffle" by T-Bone Walker, and "Honeydripper" by Joe Liggins share the repertoire with irresistible blues of their own making, such as "A Man of Many Words", "Come on in This House/Have Mercy Baby", and "This Old Fold", creating an unrepeatable album of the best blues. 

Snowy White-Unfinished Business (2024)

"Unfinished Business" is the twenty-fifth album from acclaimed guitarist Snowy White, where he once again showcases his mastery of the six strings, delivering a moving blues-rock work. Throughout his career and achievements, White remains innovative and relevant, achieving impressive results worldwide. It's worth remembering that, in addition to being a member of the Irish band Thin Lizzy, he has played on albums and participated as a backing musician on various tours with Pink Floyd and Roger Waters, as well as contributing to projects by Jim Capaldi and Peter Green, among others. White's emotive and refined guitar work is undoubtedly the star of this album, from the melancholic and reflective "Endless Green, Deepest Blue" to the brilliant "White Cloud", the rhythmic "Overland and See" and "Long Time", and the lively "Sweet Little Secret" and "All the Way Home". In short, another exceptional album from a musician who has perfectly mastered the art of the blues.

King Diamond-Abigail (1987)

King Diamond is one of those musicians who are both admired and hated, the latter by a significant portion of the more puritanical segment of society. Founder and creator of iconic bands like Mercyful Fate and his own eponymous project, his career has been tarnished by his associations with Satanism and his terrifying stories. In 1987, under his own name, he released his second album, "Abigail", a concept album based on a horror story conceived by the musician himself. Amidst a rich instrumentation featuring the powerful guitar riffs of Andy LaRocque and Michael Denner, Diamond's own vocals take center stage, making him the truly sinister and demented figure in the entire work. Epic songs like "The Possession", "The Family Ghost", "Black Horsemen", "Arrival", and "A Mansion in Darkness" stand out, collectively forming one of the foundations of his controversial heavy metal style.

Steve Lukather-I Found The Sun Again (2021)

During the latter part of the 1970s and throughout the following decade, Steve Lukather led one of the most formidable bands in American rock: Toto. This band has left behind some of the most outstanding and successful albums in the melodic rock genre. At the end of the 1980s, the guitarist finally decided to launch his solo career, beginning in 1989 with his self-titled debut. In the following years, he continued to balance his solo career with Toto, sporadically releasing a series of acclaimed albums. "I Found The Sun Again" is his eighth solo album, featuring guest appearances from some of his Toto bandmates, such as David Paich and Joseph Williams, as well as other prominent musicians like former Beatle Ringo Starr, Gregg Bissonette, and John Pierce. Comprising a series of tracks divided between covers and original compositions, Steve Lukather showcases his virtuosity with the six strings, displaying all his guitar feeling in the attractive covers of "The Low Spark High Heeled Boys" by Traffic, "Welcome to The Club" by Joe Walsh and "Bridge of Sighs" by Robin Trower, while among his own songs the brilliant "Along For The Ride", "Won't Get Fooled Again", "Serpent Soul" and "Journey Through" stand out.

Pretenders-Pretenders (1980)

The Pretenders were one of the most successful bands of the early 1980s, achieving success by rejecting the punk and synth-pop of the era to focus on a simple yet magnificent rock sound. Led by Chrissie Hynde, the Pretenders originated in London amidst the last vestiges of the first wave of punk that swept through the late 1970s and early 1980s. Hynde, an American, had settled in England in 1973 after completing her Fine Arts degree at the University of Kent. During her early years, she combined her passion for singing and guitar with writing for the magazine New Musical Express. In 1978, after several unsuccessful projects, she formed the Pretenders with bassist Pete Farndon, drummer Martin Chambers, and guitarist James Honeyman-Scott. Their debut album, "Pretenders," arrived two years later—a powerful and straightforward rock album with an intricate, solid, and precise sound brimming with personality. Tight rock songs like "Precious", "Tattooed Love Boys", "The Wait", "Private Life", "Kid", and "Brass in Pocket" showcased the excellence of a band that played magnificent, unadulterated rock and roll. Surprisingly, the album achieved extraordinary sales, far exceeding one million copies and reaching number one on the British charts, and number seven on the American charts.

Spin Doctors-Pocket Full Of Kryptonite (1991)

Emerging in the midst of the grunge craze of the late eighties, Spin Doctors had a meteoric rise thanks to a debut album brimming with alternative sounds, funk, rock, and pop. Their laid-back and fun songs led them to earn half a dozen platinum records with their first album, "Pocket Full of Kryptonite", an ironic title that directly references the Superman comics. Founded in New York in 1988, their first and most successful lineup consisted of vocalist Chris Barron, guitarist Eric Schenkman, bassist Mark White, and drummer Aaron Comes. It wasn't until 1990 that they recorded "Pocket Full of Kryptonite" under Epic Records, which was released in the middle of the following year. Composed of a carefree repertoire of songs ranging from pop-rock sounds like "Two Princes" or "Little Miss Can't Be Wrong", to captivating funk-rock tracks like "Come Off My Line" or "What Time Is It?", passing through the tour de force rock "Shinbone Alley/Hard to Exist", the rhythmic "Jimmy Olsen's Blues" or the jazzy "Forty or Fifty."

Miles Davis-Agharta (1975)

Another of Miles Davis's great live albums is "Agartha", recorded entirely at the Osaka Festival Hall on February 1, 1974. Like the live album "Pangaea", which features the same concert but with a different setlist, this album differs from the atmospheric sounds of his earlier jazz-rock albums, presenting a series of more aggressive and direct jazz pieces. "Agartha" comprises five extended tracks, performed in the style of jam sessions with abundant solos, long improvisations, generally featuring intros by Miles Davis followed by bursts of energy from the rhythm section. On that tour of Japan, Miles Davis assembled one of the most solid and energetic lineups of his entire long career. It was comprised of the vigorous middle section; Henderson (bass) and Al Foster (drums), backed by the ingenious percussion of Mtume, the avant-garde experimentation of guitarist Pete Cosey, the rich palette of colors of saxophonist Sonny Fortune, and, of course, the brilliant trumpet solos of Miles Davis. From the overwhelming force of "Prelude" to the almost Latin melody of the jazz fusion "Maiysha", and including the spacious and intense "Theme From Jack Johnson", this album constitutes the penultimate masterpiece of one of the leading figures of 20th-century music.

Miles Davis Quintet-Miles Smiles (1966)

A few years before Miles Davis began exploring the more avant-garde sounds of jazz, fusing it with rock, electronica, and funk, he released another of his legendary albums focused on melodic and somewhat futuristic bebop, anticipating by almost a decade what would later be called jazz fusion. Surrounded by one of his legendary quintets—comprising Wayne Shorter (saxophone), Anthony Williams (drums), Ron Carter (bass), and Herbie Hancock (piano)—Miles Davis favored a jazz style with a clear emphasis on the extended solos of some of his bandmates. The musicians' remarkable flexibility led to fabulous rhythms driven by the flawless rhythm section of Carter and Wayne and the tight exchange of solos between Davis's trumpet and Shorter's saxophone. Hancock's vibrant piano notes, the brilliant percussion, the driving rhythm of the wind instruments, and the inspired notes present in every groove of the record reflect a jazz album at its finest and a true masterpiece of the genre. 

Bob Marley and The Wailers-Kaya (1978)

Bob Marley's tenth album is the most lighthearted and relaxed work of his entire career, with themes far removed from the social, racial, and political issues he had addressed in his previous albums. In this new release, Bob Marley, along with his inseparable band The Wailers, showcases his most amiable and laid-back side with a series of reggae standards such as the melodic "Is This Love", and the pleasant "Running Away", "Kaya", "Sun Is Shining", "Satisfy My Soul", and "She's Gone". However, it's also true that the brilliant moments of his earlier work are practically absent from this new release, even though it continued to maintain a high level of popularity. With three platinum and gold records, and sales that now exceed two million copies, it became his greatest commercial achievement and one of the high points in the career of the celebrated and iconic Bob Marley.

Neil Young-Harvest (1972)

Neil Young's most acclaimed and successful album is also one of his most uneven works, musically speaking. Released in early 1972, "Harvest" is the fourth album by the Canadian singer-songwriter, guitarist, producer, and musician. In addition to collaborations with his former bandmates David Crosby, Stephen Stills, and Graham Nash, other musicians who contributed to its creation include Linda Ronstadt, James Taylor, the London Symphony Orchestra, Jack Nitzsche, and Kenny Buttrey. Positioning a blend of acoustic and rock, Neil Young delivered a work dominated by the album's standout track, the immense and emotive "Heart of Gold", which somewhat overshadows other highly meritorious tracks such as the country-rock anthems "Are You Ready for the Country" and "Alabama", the intricate "Old Man" and the melancholic "The Needle and the Damage Done". However, it is the predictable and out-of-place “A Man Needs A Maid” and the orchestrated “There’s A Word” that somehow leave a bittersweet taste to an album that would reap an irrefutable commercial success with nearly ten million copies sold worldwide.

Nektar-...Sounds Like This (1973)

 "...Sounds Like This" is a rare bird within the discography of the British band Nektar, an album that shows a clear departure from the psychedelic and spacey side of works like "Journey to the Centre of the Eye", "A Tab in the Ocean", "Remember the Future", or "Recycled". With "...Sounds Like This", their third album, the English band attempted to infuse the energy of hard rock through the prominence of Roye Albrighton's distorted and raw guitar riffs, considerably increasing the volume and burying Allan Freeman's spectacular keyboards under his sonic blanket. In this release, the keyboards become mere instrumental support for the vast majority of the album's tracks. It is in the raw and primitive approach, at the expense of the usual structured and academic style, that the greatest appeal of this release lies, with tracks of marked instrumental improvisation such as "Good Day", which stands out for its continuous vocal refrain and the sounds of an arpeggiated guitar. The emotive "New Day Dawning", a clear nod to the Beatles, the bluesy "What Ya Gonna Do?", the expansive funk-rock "1-2-3-4", the lustful guitar of "Do You Believe in Magic", and the intense and epic bluesy "Odyssey", distanced them from the standard sounds of progressive rock. Although only for a brief period, this departure was initially poorly received by their most devoted fans for straying from the ordinary progressive canons, despite showcasing an interesting and more than valid take on the best incisive and sharp classic rock, something the British band would never repeat on any of their subsequent recordings.

Nazareth-2XS (1982)

In 1982, at the height of the AOR craze, the Scottish band Nazareth released their best work of the 1980s, an album that perfectly blended melodic rock with their signature hard rock sound. By this point, Nazareth had already experimented with this FM-oriented style with the brilliant albums "Close Enough For Rock 'n' Roll" (1976), "Expect No Mercy" (1977), and "Malice In Wonderland" (1980), records that were well-received by their fans and achieved significant success on the American and European charts. With “2XS,” the band’s thirteenth album, they returned to that formula, reflecting the charismatic rock that has always characterized them in tracks like “Take The Rap” and “Black To The Trenches,” alternating with more experimental and eclectic songs like “Mexico” and “Gatecrash,” while their more melodic side is present in the catchy “Love Leads To Madness,” “Games,” “Dream On,” and “Lonely In The Night”. Although it didn’t achieve the same commercial success as its predecessors, two of its singles, “Love Leads To Madness” and “Dream On”, climbed high on the Billboard charts in the UK and other countries around the world.

The Traveling Wilburys-Traveling Wilburys Vol.1 (1988)

 

A bizarre series of coincidences led five of the greatest rock artists in the world to come together and join forces to found the band The Traveling Wilburys and release several albums between the late 1980s and early 1990s. It all began when George Harrison (The Beatles) and Jeff Lynne (Electric Light Orchestra) finished composing and producing a song for the former Beatle's eleventh album, "Cloud Nine". Lynne also happened to be working at the same recording studios in Malibu, California, owned by Bob Dylan, producing Roy Orbison's album "Mystery Girl," so both ended up getting involved in Harrison's songwriting. Shortly after, Tom Petty and Bob Dylan also joined the project and collaborated on the recording. This amazing gathering of "friends" resulted in enough material to complete an independent album, which would be titled "Vol. 1" and released under the name The Traveling Wilburys. Released in October 1988, this debut album, comprised of ten high-quality tracks, was a fusion of the band members' styles, including country, folk, and rock, featuring the addictive songs "Handle With Care," "Dirty World," "Tweeter and the Monkey Man," and "End of the Line". Its reception was tremendously successful, selling over two million copies in the first few months after its release. However, The Traveling Wilburys' career was short-lived. Two months after the release of this first album, in December 1988, Roy Orbison died of a heart attack at the age of 52. Two years later, the four remaining musicians released a new and ultimately final album, "Traveling Wilburys Vol. 3," which they dedicated to Roy Orbison. Finally, after years of speculation about a reunion, The Traveling Wilburys would end up disappearing in 2001, with the death of George Harrison from lung cancer.

Rory Gallagher-Jinx (1982)

After releasing a string of outstanding albums throughout the 1970s, Rory Gallagher faced the 1980s with a considerable decline in his discography. During those decades, the Irish wanderer only released two albums, separated by a considerable gap between them: "Jinx" (1982) and "Defender" (1987). This sparse discography led many fans to wonder if the guitarist was still active. However, this decline was partly due to various legal issues with his record label, a severe creative crisis, and his ongoing struggles with alcohol. These factors, however, did not prevent him from releasing "Jinx" in 1982, his ninth album, unfairly considered by many to be a minor work within his extensive career. Alongside his inseparable squire, bassist Gerry McAvoy, plus collaborations from Brendan O'Neil (drums), Bob Andrews (keyboards) and Dick Parry and Ray Beavis (saxophone), the guitarist originally from the Irish city of Ballyshannon, showcases his powerful hard rock infected with distorted riffs in a series of songs with iron and tenacious sounds such as "Big Guns", "Bourbon", "Loose Talk", "Easy Come Easy Go" or the version of the bluesman Louisiana Red, "Ride On Red, Ride On".

Moraina-Loners & Lovers (1974)

This Danish band, formed in the early seventies, released only one excellent album, which is considered among the best musical productions to come out of Denmark. Composed of musicians from other prominent Danish bands such as Culpeper's Orchard and Day of Phoenix, the lineup consisted of vocalist Hans Lauridsen, guitarist and keyboardist Nils Henriksen, guitarist and harmonica player Ole Prehn, and drummer Ken Gudman, with bassist Thorkild Nielsen completing the band. During their early years, the band earned a strong reputation in their home country by releasing a series of singles that garnered considerable attention. Then, in 1974, they released their only full-length album, "Loners & Lovers," a superb record where warm vocal harmonies, reminiscent of American bands like Crosby, Stills & Nash and America, were complemented by beautiful folk-rock melodies. In contrast to these sounds, we also find highly inspired moments closer to energetic rock and even blues rock, such as the opening track "Late Night Woman Blues," the vigorous "Rock 'n' Man," and the bluesy boogie "Fortunate & Fame," while the aforementioned folk/country vein is present in the captivating "Break It Up," "Since You've Been Gone," and the melancholic "Alone." There's even room for AOR tracks like the catchy mid-tempo "Deep Within The Storm" and "City Rambling Boy." Some time later, the band would definitively disband, leaving behind this magnificent work of folk, blues, and rock, which has earned its well-deserved recognition among fans of 1970s rock music. 

Prefab Sprout-Steve McQueen (1985)

Prefab Sprout belonged to the large legion of British pop groups that emerged in the 1980s, but unlike most of them, who were immersed in a commercial, mainstream style aimed primarily at young people, they steered their sound towards a sophisticated pop more oriented towards adults. Formed in the late 1970s in Newcastle by brothers Paddy and Martin McAloon, their style has always been considered intelligent, sophisticated, and thoughtful pop, due to the influence of everyday life in rural England, Victorian-era British romanticism, and 1950s American rock and roll. Together with keyboardist Wendy Smith, they released their debut album, "Swoon", in 1984, which already showcased their original style, far removed from the new wave sounds so fashionable at the time. A year later, they released their second album, and ultimately their best, "Steve McQueen", which achieved gold status and widespread critical acclaim from the British press, hailed as one of the most beautiful and insightful albums of the 1980s. Produced by the renowned musician and producer Thomas Dolby, the band also collaborated with former David Bowie guitarist Kevin Armstrong, saxophonist Mark Lockhart, and drummer Neil Conti. Their distinctive, refined, and captivating pop is simultaneously sentimental and intense, as evidenced in such impeccable tracks as "Goodbye Lucille #1", "When Love Breaks Down", "Bonny", "Horsin' Around", and "Appetite".

Mariah-Mariah (1975)

A short-lived band originally from Chicago, formed in the late 1960s, which enjoyed considerable popularity in the Michigan club and concert hall scene for a few years. During the early 1970s, under the name The Jamestown Massacre, they recorded a series of singles released by Warner Bros., which received some airplay on local Chicago radio stations. After several lineup changes, in 1974 the band, now definitively renamed Mariah, reformed with keyboardist Mark Ayers, bassist Ed Burek, singer Comforte, drummer Wayne DiVarko, and guitarists Len Fogerty and Frankie Sullivan. After signing with United Artists, they moved to Los Angeles where they recorded their self-titled debut and only album, "Mariah." On this debut album, the band drew influences from a wide range of groups, from the vocal melodies of The Doobie Brothers to the progressive style of Styx, and the heavy sounds of American hard rock from Mountain. "Mariah" consists of nine uniformly enjoyable tracks such as "Reunion," "Broadway," "Rock and Roll Band," "I Was Born," and "Hey Mama," all brimming with catchy melodies aimed at North American FM radio. Despite the album's high quality, it went largely unnoticed, which led to the band's breakup some time later. Frankie Sullivan would later found the band Survivor, with whom he achieved massive success throughout much of the 1980s.

Robben Ford-Pure (2021)

We have before us another superb album from guitar virtuoso Robben Ford. This time, the understated combination of blues, jazz, and rock is perfectly synchronized, blending sensitivity and virtuosity with his instrument. Released on the Ear Music label, this is the twenty-eighth album from the Californian guitarist, who has been nominated for five Grammy Awards and was chosen as one of the 100 greatest guitarists of the twentieth century by the prestigious American magazine Musician. This is one of those albums made for the most discerning electric guitar purists and for connoisseurs of jazz, blues, and fusion, all played with great class and interpretive intelligence. Robben Ford transports us to hypnotic soundscapes with tracks like the intro "Pure (Prelude)", the bluesy "White Rock Beer...8 Cents", the ambient "Balafon", the jazz fusion "If You Want Me To" and "A Dragon's Tail", and the jazzy "Go".

Joanne Shaw Taylor-The Blues Album (2021)

Joanne Shaw Taylor is a young British blues guitarist considered one of the most talented of the last 25 years. Discovered in the early 2000s by Eurythmics frontman Dave Stewart, when she was sixteen, he offered to launch her recording career. Joanne had learned to play guitar by listening to iconic guitarists such as Jimi Hendrix, Albert Collins, Rory Gallagher, and Stevie Ray Vaughan. Her first official release was the album "White Sugar", released in 2009, a work that garnered attention from both the public and critics due to her immense virtuosity. The following years were quite fruitful, with the release of half a dozen albums, some of which earned her several important awards, including Best Female Vocalist at the British Blues Awards in 2010 and 2011. With her fourth release, "The Dirty Truth", she achieved great success on the British charts. Starting with her seventh album, "The Blues Album", the renowned bluesman Joe Bonamassa took the reins of her new productions in an attempt to showcase her voice and ensure that his guitar skills didn't overshadow her excellent singing. "The Blues Album" comprises a selection of blues classics such as Fleetwood Mac's powerful "Stop Messin' Around", Little Milton's funk-infused "If That Ain't a Reason", Aretha Franklin's poignant "If You Gotta Make a Fool of Somebody", and Albert King's devastating "Can't You See What You're Doing to Me". In all of these tracks, Joanne demonstrates her deep passion for the blues while maintaining a profound respect for the original essence of each reinterpreted song.

Tantor-Tantor (1978)

Tantor is one of Argentina's quintessential cult bands and, at the same time, considered one of the country's greatest. This mostly instrumental power trio, playing progressive jazz-rock, lacked wider commercial success, primarily due to the presence of instrumental tracks on their albums. Nevertheless, they garnered a large following and received significant critical acclaim in Argentina and internationally. The band consists of drummer Rodolfo García, bassist Carlos Alberto Rufino, and guitarist Héctor Starc. These three virtuoso musicians brought extensive experience from other important Argentine bands such as Aquelarre and Invisible. Formed in 1977, they released their debut album just a year later, featuring keyboardists Lito Vítale and Leo Sujatovich. This debut album is the perfect example of jazz-rock with progressive leanings, technically superb, with a frenetic and energetic rhythm, driven by incredible guitar work, electric piano and synthesizer sounds, and a powerful and punchy rhythm section. Released at a time when the progressive rock era was in decline worldwide and jazz-rock wasn't at its peak of popularity, this legendary band managed to create one of the best jazz-rock and progressive rock albums ever made. From the opening, energetic jazz-rock track "Guerreras Club" to the epilogue with the vigorous "Carrera de Chanchos," the album unfolds with excellent musical ideas that are as exciting as they are captivating. The serene "Niedernwohren," the funky "Llama siempre," the jazzy, Latin-tinged "Halitos," and the enthusiastic jazz-fusion "Oreja y vuelta al ruedo" complete an anthological and essential work for all fans of progressive rock and rock music in general. 

Neuschwanstein-Alice in Wonderland (1976)

Neuschwanstein was a German progressive rock band formed in the early 1970s in the town of Volklingen, near Saarbrücken. Their name comes from the famous castle of the same name, commissioned by King Ludwig II of Bavaria in honor of Richard Wagner. In their early years, this band, led by Thomas Neuroth and Klaus Mayer, focused on performing covers of progressive rock classics by artists such as Rick Wakeman, Yes, and King Crimson. By 1974, the band had begun to gain some recognition in their home country, opening for other German rock bands like Lucifer's Friends and Novalis. Two years later, they recorded their first album, "Alice in Wonderland," a conceptual and instrumental album with narrated interludes. The lineup that recorded this album included Neuroth and Mayer (both on synthesizers, keyboards, and flute), drummer Hans-Peter Schwarz, bassist Rainer Zimmer, and guitarist and narrator Roger Weiler. Echoes of Camel, Rick Wakeman or Genesis are interwoven with grand atmospheric passages, symphonic music and dreamy melodies that leave us with an album with a carefully and brilliantly executed classical background.

Made In Sweden-Made In England (1970)

Made In Sweden are another of those bands lost in the long tunnel of time, who released three studio albums and one live album over a few years before disbanding in 1970. Their original lineup consisted of Georges Wadenius on guitar, Bo Haggstrom on bass, and drummer Tommy Borgudd. Their style was clearly oriented towards progressive jazz rock. The album we're discussing today was their third recording, released in 1970 on the Sonet label, and is the best example of this Swedish trio's talent. Recorded in London, it was produced by bassist Tony Reeves, who had met the group during a short tour they did with his band Colosseum across Great Britain. Highlights on the album include the catchy jazz track "Winter's Bummer", the ethereal "Mad River", the jazz-rock "Love Samba", and the bluesy "Blind Willie". Shortly after this album they would separate until some time later, when they resurfaced with a new lineup, with guitarist Wadenius as the only member of the original formation, to record the epitaph "Where Do We Begin".

Frank Zappa and The Mothers of Invention-Weasels Ripped My Flesh (1970)

Divided between live and studio tracks, "Weasels Ripped My Flesh" is one of Frank Zappa's most accessible and least convoluted albums (within his characteristically extravagant and peculiar style). On this occasion, Zappa fully embraces jazz, even employing a large horn section and creating expansive instrumental passages. As is typical of the American musician, these passages feature a great deal of improvisation and abundant experimentation. In this new work (his eighth release), Zappa collaborates with his band, The Mothers of Invention, which included Lowell George, Don "Sugarcane" Harris, Roy Estrada, Jimmy Carl Black, Punk Gardner, Ray Collins, Don Preston, Art Tripa, Buzz Gardner, Motörhead Sherwood, and Ian Underwood. Among its grooves we can find everything from eccentric jazz rock "Didja Get Any Onya?", to typical blues "Directly From My Heart to You", passing through extravagant cuts like "Prelude to the Afternoon of a Sexually Aroused Gas Mask" or sound experiments like "Toads of the Short Forest" or "Weasles Ripped My Flesh", while others like "Get a Little" or "My Guitar Wants to Kill Your Mama", show its melodic and "accessible" side of conventional jazz rock.

David Gilmour-Luck And Strange (2024)

In 2024, legendary Pink Floyd guitarist David Gilmour surprised everyone by releasing a new album, his fifth solo effort, following "Rattle That Lock", released nine years prior. At this point, this iconic musician has nothing left to prove or impress; his legendary past speaks for itself, having crafted some of the best albums of the 20th century with his Pink Floyd bandmates. This time, he presents a relaxed and atmospheric work, with soft, melancholic sounds. Among the highlights of this new album is the title track, a mini-epic recorded many years earlier with his late Pink Floyd bandmate, Richard Wright, which undoubtedly represents the album's most progressive moment. The rest of the album comprises a collection of sophisticated and refined songs, some of which feature the angelic voice of David's daughter, Romany, a perfect complement to her father's melodic guitar lines.

Toad-Tomorrow Blue (1972)

“Tomorrow Blue” was the second album by the Swiss band Toad, a superb and successful blend of hard rock, blues rock, and progressive rock. Led by the brilliant guitarist Vic Vergeat, and supported by bassist Werner Fronlich and drummer Cosimo Lampis, this popular Swiss band, in this new release, moves away from the psychedelic and proto-rock of their debut album to delve into progressive sounds, incorporating elements of the most energetic blues rock. The album is brimming with sharp, searing guitar sounds, a precise and incredibly complex bass line, and powerful drumming, as demonstrated in tracks like the blistering “Vampires,” the epic “Change In Time,” the heavy rock tracks “Thoughts,” “Tomorrow Blue,” and “No Need,” and the progressive folk “Blind Chapman’s Tale.”

Iron Savior-Iron Savior (1997)

Iron Savior is another band that emerged from the family tree of the power metal group Helloween. This German band began its career when former Helloween and later Gamma Ray guitarist Kai Hansen joined forces with bassist and vocalist Piet Sielck (formerly of Savage Circus) and drummer Thomas Stauch (formerly of Blind Guardian). With a style based on melodic power metal and science fiction-themed lyrics, they recorded their self-titled debut album, "Iron Savior", in 1997 a concept album centered on a spaceship. Beyond the album's concept and themes, musically this debut contains some of the best classic power metal anthems, such as "Iron Savior", "Assailant", "Protect the Law", and "For the World", which showcase a driving rhythm influenced by the NWOBHM, with vibrant drums, fast guitar riffs, and catchy vocal choruses. However, the change in members would cause their style to evolve in subsequent years towards more conventional sounds of classic heavy metal, but without completely losing their original identity.

Coldplay-A Rush Of Blood To The Head (2001)

It's the year 2000, and the charts around the world are shaken by several singles from an unknown British alternative rock band that would soon become one of the sensations of rock music in the new century. They were Coldplay, a band led by singer and pianist Chris Martin, who, along with guitarist Jonny Buckland, bassist Guy Berryman, and drummer Will Champion, managed to climb to the top of the charts with their debut album, "Parachutes", and songs like "Yellow", "Shiver", "High Speed", "Don't Panic", and "Trouble", thanks to a simple approach and moving, intelligent lyrics. A year later, they definitively cemented their success with their second full-length album, "A Rush of Blood to the Head", where they continued along a consistent musical path based on a perfect combination of piano and guitar, simple melodies, grand string arrangements, a touch of epic grandeur, and captivating vocals. Replete with songs that shine with their own light such as "In My Place", "Amsterdam", "Warning Sign", "The Scientist", "Green Eyes", "Politik", "Daylight" or "Clocks", this second album became a true declaration of intent of the best indie-rock, with more than thirteen million copies sold and the Grammy award for best album of the year.

Frank Zappa and The Mothers Of Invention-Burnt Weeny Sandwich (1970)

This is one of Frank Zappa's most accessible albums, or at least by Zappa's own standards. This release features elements of jazz, avant-garde, classical, doo-wop, and rock, in what could be described as a collage brimming with easily digestible instrumental sounds (always within Zappa's peculiar and original style). The expansive "The Little House I Used To Live In" is, however, the most hypnotic and captivating moment on the entire album, thanks to its continuous, disparate rhythms and melodies which, despite their enormous complexity, make it as alluring as it is suggestive. Another standout is the saxophone, piano, and guitar showcase of "Holiday In Berlin, Full Blown", while "Igor's Boogie, Phase One" is a tribute to one of Zappa's most acclaimed musicians, Igor Stravinsky. With "Theme From Burnt Weeny Sandwich", Zappa attempts to emphasize guitar-driven rock over a frenetic percussion, which contrasts sharply with "WPLJ" and "Valarie", two short, catchy pieces of pure doo-wop and rhythm and blues. Ultimately, with this album, Frank Zappa succeeded in creating a heterogeneous collection of songs that appeal to both purists of his usual style and those skeptical of his eccentric music.

Fantasy-Fantasy (1970)

Throughout history, there have been quite a few bands called Fantasy. In fact, this blog features a British band that released a superb album in the early 70s, oriented towards progressive pop. But today we'll talk about another "Fantasy." This one, like the previous one, is from the late 60s, but they were American, more specifically from Florida, and would be the first to officially adopt that name. Emerging amidst the effervescent hippie and flower power era, this band consisted of Billy Robbins (lead vocals), his twin brother Bob Robbins (bass), Jim DeMeo (guitar), Mario Russo (keyboards), and Greg Kimple (drums). Initially, their style was related to what leading bands like Jefferson Airplane were doing at the time. However, this band gradually refined their style, moving towards more avant-garde sounds without abandoning their psychedelic spirit. Their enormous reputation led them to open for Iron Butterfly, Led Zeppelin, Frank Zappa, Grateful Dead, and The Doors. But in 1970, their lead singer suddenly disappeared, his body later found in the Everglades. The rest of the band had to quickly reinvent themselves to fulfill their contracts and began the arduous task of replacing such a charismatic singer as Robbins—something seemingly impossible—until a young woman of just 16, named Lydia James Miller, managed to convince them and landed the lead singer position. Despite her young age, this singer performed and sang like a seasoned professional with a vocal range very similar to that of Grace Slick of Airplane!, and even to Janis Joplin herself. Miller's vocal abilities allowed the rest of the band to explore a wider range of musical ideas, and conventional psychedelic rock transformed into something more progressive, just as the simplicity of the 1960s was being replaced by sophistication and musical ambition. This development quickly caught the attention of Liberty United Artists, with whom they signed a contract and recorded their self-titled album. The album contained hints of folk rock, psychedelic pop, jazzy textures, and even sounds very close to what many years later would be called new wave. Tracks like the epic "What's Next," the psychedelic "Circus of Invisible Men," the bluesy "Understand," and the catchy "The Stoned Cowboy" led Fantasy to enjoy a successful but ephemeral period of glory that didn't last much longer than this phenomenal album, now lost in the mists of time. 

Absolute Elsewhere-Playground (2024)

It took almost 50 years for the British group Absolute Elsewhere to release their second album. The reason this album wasn't released in the late 70s was due to new musical trends, which led Warner Records to abandon the project, shelving its release despite it having already been recorded. The lineup for this second album was the same as the one for their ambient and progressive debut, "In Search of Ancient Gods", which was discussed on this blog years ago, with the exception of drummer Bill Bruford, who was replaced by former Greenslade member Andy McCulloch. The rest of the band consisted of keyboardist Paul Fishman, bassist Jon Astrop, and guitarist Phil Saatchi, who also contributed vocals, along with guest saxophonist John Savannah. Unlike their debut album, the compositions on this second release moved away from atmospheric electronic sounds, developing a style that fused progressive rock with elements of jazz rock and hard rock. Recorded at CTS Wembley Studios in London during 1977 and 1978, the album utilized cutting-edge recording technologies such as the Neve automated console, resulting in a structured and innovative sound. Tracks like the captivating "Relax", the jazz-rock/fusion "Time to Change", the catchy "Talk to Me", the semi-progressive "The 7 Year Itch", and the ethereal "Tides" are filled with soaring keyboards, dynamic instrumental textures, and a sense of both immense complexity and accessibility, culminating in an album that is both technically flawless and exhilarating.

Nightnoise-The Parting Tide (1990)

When discussing traditional Celtic music, one cannot overlook Nightnoise, an innovative Oregon-based group comprised of Irish, Scottish, and American musicians, considered the spearhead of the Irish folk revival in the 1980s. However, Nightnoise's style wasn't solely rooted in Celtic folk; it also incorporated elements of jazz and chamber music. Their origins trace back to the early 1980s when American violinist Billy Oskay, bassist Tommy Thompson, and Irish guitarist Michael Ó Domhnaill released their self-titled debut album, "Nightnoise," on the prestigious Windham Hill label. This first release showcased a style that fused the relaxed atmosphere of classical music with jazz, all within a distinctly Irish framework. Some time later, the band expanded with the addition of Irish vocalist Triona Ní Dhomhnaill and American flautist Brian Dunning, thus completing the group's most stable and renowned lineup. In the following years came other works that are considered fundamental to new age music, such as "Something Of Time" (1987), "At The End Of The Evening" (1988), "The Parting Tide" (1990), "Shadow Of Time" (1993), and "A Different Shore" (1995). All of these were very well received in new music circles and garnered favorable reviews from the specialized press. In each and every one of them, Nightnoise managed to perfectly blend traditional Celtic music, ambient music, and jazz.

Electric Sun-Earthquake (1979)

After his time with the German band Scorpions ended, lead guitarist Uli Jon Roth formed the project Electric Sun, with whom he recorded three albums between 1979 and 1985. The first of these, "Earthquake," was released in 1979 and featured Roth on guitar and vocals, along with bassist Ule Ritgen and drummer Clive Edwards. It was followed by "Fire Wind" in 1981, which introduced a new drummer, Sidhatta Gautama. With this lineup, the band toured extensively around the world, achieving modest success. For their third album, "Beyond the Astral Skies" (1985), they enlisted former Jethro Tull drummer Clive Bunker, as well as vocalists Michael Flexig and Nicky Moore. The style of this project was far removed from what Scorpions were doing at the time, veering towards a psychedelic hard rock created in the image of what Jimi Hendrix had done ten years earlier. However, hippie trends were already quite outdated by the late 70s, so despite Roth's prodigious talent on the six-string and the undeniable quality of the other band members, the project was doomed to commercial failure. Another contributing factor was Roth's limited vocal range, which significantly diminished the final result of their debut album. Even so, on this first album, the instrumental work is in many cases breathtaking, where the epic, neoclassical style and hard rock are brilliantly and heroically executed by the power trio, as demonstrated in tracks like "Electric Sun," "Burning Wheels Turning," "Sundown," and the magnificent epic "Earthquake."

Pacific Eardrum-Pacific Eardrum (1977)

We continue expanding our musical palette with another forgotten band from the 70s, this time traveling to New Zealand, the home of Pacific Eardrum. This jazz-rock/funk and soul band released two albums on the British label Charisma in 1977 and 1978, followed by a third on CBS in 1980. The original lineup consisted of three New Zealanders (Dave MacRae, keyboards; Joy ​​Yates, vocals; and Bill Kristian, bass), two Britons (Jeff Seopardie, drums; and Isaac Guillory, guitar), and one American (Jim Cuomo, saxophone). Dave MacRae was the most experienced, having played in bands like Matching Mole, Nucleus, and The Walker Brothers, followed by Yates, who had contributed to albums by Cat Stevens, Chris De Burgh, and Chris Youlden. Their first album, which isn't discussed here, was produced by Laurie Latham at London's Workhouse Studios during the first months of 1977 and released in the middle of the same year. Joy Yates's vocals, along with the magnificent instrumental structures created by McRae and flawlessly performed by the band, are undoubtedly the highlights of an album that showcased great compositional talent and musical originality. Tracks like "All Around Us" and "Sun and Sand and Samba" are just a small sample of the enormous quality that, incomprehensibly, didn't achieve much success beyond a few thousand copies sold and the enthusiasm of a large legion of devoted fans.

Tears For Fears-Songs From The Big Chair (1985)

Formed under the guidance of two of the finest musicians of the 1980s new wave, progressive pop, and synth-pop scenes, Tears For Fears achieved meteoric success with their debut album, "The Hurting," released in 1983. This duo, composed of Roland Orzabal and Curt Smith, debuted with an album brimming with controversial themes such as childhood trauma, the treatment by oppressive parents, and the emotional struggles of adolescence. The album featured standout tracks like the catchy "Mad World." But on their next full-length album, the duo showcased a more mature and reflective side with refined pieces like the poignant "Head Over Heels" and the incredibly infectious "Everybody Wants To Rule The World" and "Shout," two of the most famous songs of the 1980s. Other songs, such as the complex "The Working Hour," the dark "Broken," and the nostalgic "Listen," cemented Tears For Fears as one of the most eclectic and talented bands of the 1980s. With its subsequent commercial success, this album reached number two in the UK and number one in the US, becoming a multi-platinum record with over ten million copies sold worldwide.

Bob Dylan-Time Out Of Mind (1997)

With his thirtieth album, the masterful Bob Dylan returned after a period of releasing mediocre works that never quite reached their creative peak, although commercially he continued his successful streak of millions of albums sold worldwide. In "Time Out of Mind", Dylan returns to what he does best, with brilliant and dense compositions, bitter lyrics sung in his raspy voice, superb instrumentation, and excellent production. As was typical for Bob Dylan, his roster of collaborating musicians is impressive, featuring artists of the caliber of Jim Keltner, Duke Robillard, Tony Garnier, Daniel Lanois, and Brian Blade, among many others. The diverse repertoire is divided between nods to the exotic sounds of reggae in "Love Sick", the epic "Not Dark Yet", the bluesy "Highlands", the sharp blues-rock tracks "Til I Fell In Love With You", "Cold Irons Bound" and "Dirt Road Blues", and the rural blues of "Standing In The Doorway". Without a doubt, this is one of their best works, which, while not reaching the heights of their legendary releases from the sixties and seventies, far surpasses the musical meanderings of their eighties.

Status Quo-In The Army Now (1986)

After a three-year hiatus from the stage, Status Quo released their seventeenth album, "In The Army Now", in 1986, which was met with great enthusiasm by their vast legion of fans worldwide. In this new release, the London band continued to showcase their addictive boogie blues rock, embellished here with exciting horn arrangements and synthesizers that permeate many of the tracks. At that time, Status Quo consisted of the regular members Francis Rossi and Rick Parfitt (guitars and vocals), Andy Brown (keyboards), John Edwards (bass), and Jeff Rich (drums). Produced by Dave Edmunds and Pip Williams at Chipping Norton Studios in Oxfordshire, the result of this new recording is an excellent work, featuring the catchy title track, as well as the superb "Dreamin' ", "Rollin' Home", "Overdose", "Calling", and a successful cover of Ian Hunter's "Speechless". The subsequent reception of the album would bring them several gold and silver records in different countries, as well as very high positions in the charts of much of Europe.

Wanka-The Orange Album (1977)

Wanka was a forgotten Canadian band that followed in the footsteps of the progressive hard rock of other bands from their country like Rush and Triumph, but they didn't achieve the same success, despite releasing an interesting album that ultimately went completely unnoticed commercially. Formed in the mid-seventies in Toronto by Britons Chris Gibb (bass) and Mark Pickett (guitar) and Canadians Howard Samuel (guitar and vocals), Mike McConnell (drums), and Doug Paul Smith (keyboards), the band spent several years building a strong reputation as a local act in the pub and concert venue circuit of Toronto and the surrounding area. The enormous talent of these five boys did not go unnoticed by Rush and Max Webster's producer, Terry Brown, who offered them the opportunity to record an album produced by himself and released in mid-1977. Published by the independent label Axe Records, this album, titled "The Orange Album," contained an exciting collection of tracks that ranged from pure hard rock to AOR with progressive touches, as demonstrated by tracks such as "Make Up Your Mind," "Wrong Door," "Get Ahead," and "Say No More."

Pentwater-Pentwater (1977)

Pentwater were the American equivalent of the British band Gentle Giant, thanks to their intricate style of complex sonic textures, fusing melodic lines with the intricate structures of progressive rock. Hailing from Chicago, their lineup consisted of Tom Orsi (percussion and vocals), Mike Konopka (guitar, flute, violin, vocals, and percussion), Ken Kappel (keyboards), and Ron LeSaar (bass). Their only release, aside from various reissues of unreleased material over the years, is this self-titled album, which is brimming with brilliant keyboard and guitar lines, fantastic vocal harmonies, and a grandiose and atmospheric repertoire. Tracks like the haunting "Frustration Mass", the bluesy "Living Room Displays", the frenetic "Orphan Girl", and the instrumental "War", make this album one of the most compelling works of American progressive rock from the 1970s.