Smith/Kotzen-Smith/Kotzen (2021)

In 2021, two of the greatest guitarists of the latter part of the last century, Adrian Smith (Iron Maiden) and Ritchie Kotzen (Poison and Mr. Big, in addition to his extensive solo career), decided to join forces to form the Smith/Kotzen project and release an outstanding repertoire of songs that make up their debut album. For this album, they enlisted drummers Nicko McBrain (Iron Maiden) and Tal Bergman, while the rest of the instruments were played by Kotzen and Smith themselves. What we find here is a wide variety of styles focused on the electric guitar, as one would expect, from mammoth funk rock tracks like "Taking My Chances" and "Some People", to hard rock bangers like "Running" and "Til Tomorrow", passing through bluesy numbers like "Scars" and "I Wanna Stay", or exquisite melodic rock like "Glory Road" and "You Don't Know Me". Without a doubt, this is an excellent debut, which would be followed four years later by the album "Black Light/White Noise".

Dan Fogelberg-Phoenix (1979)

Dan Fogelberg was one of the most exquisite folk and country rock singer-songwriters of the 1970s, with a discography brimming with hits, as evidenced by his first six albums, all of which went platinum and ultimately made him one of the most significant artists of the genre and a true idol in the United States. Dan Fogelberg was also a frequent collaborator on the work of other great artists such as Jackson Browne, Roger McGuinn, and Randy Newman. From his second album, "Souvenirs" (1974), Dan had the support of some members of The Eagles, such as Joe Walsh, Don Henley, and Glenn Frey, as well as other legendary musicians like Gerry Beckley of America, Al Perkins of The Flying Burrito Brothers, and Graham Nash. In the following years, Dan Fogelberg released a series of brilliant folk and country rock albums such as "Captured Angel" (1975), "Nether Lands" (1977), and "Phoenix" (1979). The latter was his greatest commercial success, selling over two million copies and reaching number three on the US Billboard charts. It included "Longer", one of his most iconic songs and a number one hit, as well as other appealing tracks like the country rock songs "Phoenix" and "Face the Fire", the beautiful, intimate folk song "Gypsy Wind", and the irresistible and captivating soft rock songs "The Last to Know", "Beggar's Game" and "Heart Hotels".

Crosswind-Crosswind (1978)

Crosswind was another of the most important Japanese jazz-rock bands, a natural competitor to others like the legendary Cassiopeia or Space Circus. However, Crosswind focused on atmospheric and progressive sounds with intricate compositions far removed from the funk-rock fusion of their contemporaries. Along with another highly popular band like Space Circus, Crosswind was fundamental in the evolution of Japanese rock. They bridged the gap between the era of hard rock and Japanese space rock, exemplified by bands like Flower Travelling Band or Far East Family, and the progressive hard-rock jazz sounds of Kenso or Ain Soph. Formed in the mid-seventies by the virtuoso guitarist Ginji Ogawa, who already had an extensive musical career in bands like Nezuma Kozo, Crosswind had earned a great reputation in the Japanese jazz scene. In 1976, Ogawa recruited bassist Kazou Kobayashi, drummer Souro Toru, and keyboardists Megumi Marou and Fumitaka Anzai, with whom he released his debut album, "Crosswind", two years later. On this first album, the band showcased the virtuosity of their guitarist and the duality of the two keyboardists alongside a powerful and dynamic rhythm section, as demonstrated in the tracks "Ari No Daiido" and "Crosswind", while a fusion influence is present in the relaxed "Neko To Kororin no Fushigina Tabi". On the other hand, the atmospheric and progressive side appears in the evocative "Ryuhyo" and "Yuyake". This first album was followed by “Crosswind II” (1979) and “Soshite Yume No Kumi E” (1982), after which the journey of this formidable band came to an end, with all its members going on to take part in independent projects.

McPhee-McPhee (1971)

Hailing from Australia, McPhee were a strange and obscure psychedelic rock band whose single album, released in 1971, has earned them a place among the rare gems of the rock world. The lineup consisted of vocalist and organist Jim Daverell, singer Faye Lewis, guitarist Tony Joyce, drummer Terry Popple, and bassist Benny Kaika. Their style straddled proto-progressive rock and acid rock, characterized by powerful vocals, sharp guitars, and a prominent organ, all underpinned by a solid and driving rhythm section. Their only album, released on the Violets Holidays label, features original songs and covers, including a spectacular rendition of Neil Young's "Southern Man", which they elevate to a breathtaking psychedelic climax. Another standout cover is "Wrong Time", originally by Spooky Tooth, which they transform into an epic progressive hard rock anthem, while "Sunday Shuffle" showcases the band's melodic side with a good dose of addictive rock and roll. Meanwhile, with "Indian Rope Man", they return to hard rock with progressive touches. The Beatles' "I Am The Walrus" takes center stage here with a hypnotic and dark version full of raw energy, before concluding with the expansive psychedelic jam "Out to Lunch".

Chuck Berry-The Anthology (2000)

Chuck Berry is one of the great pioneers of rock and roll, as influential as Elvis Presley or The Beatles, and one of the best songwriters the genre has ever known, a fundamental figure in the history of rock music. Chuck Berry began his long career as a rock and roll songwriter and guitarist in the mid-1950s. This legendary artist composed countless songs that have become classics of the genre, such as "Roll Over Beethoven", "Johnny B. Goode", "Rock and Roll Music", "School Day", "Carol", "Sweet Little Sixteen", "Memphis, Tennessee", "Reelin' and Rockin' ", "Around and Around", "Little Queenie", and "Too Much Monkey Business". Bands like The Beatles and The Rolling Stones, among many others, have covered his songs countless times. The song "Roll Over Beethoven" reached number 29 on the charts, but the Beatles received a gold record for it in 1965. Chuck Berry influenced musicians such as Ritchie Valens, Bill Haley, Little Richard, and Buddy Holly, among many others. He created the famous "Duck Walk". Legend has it that one day he arrived at a concert without time to change, and to avoid being noticed for his wrinkled clothes, Berry began waddling around the stage like a duck. In 1972, his song "My Ding-A-Ling" reached number one on the charts in both the US and Great Britain. Among the musicians who have been part of the bands that have supported him were Bruce Springsteen and Steve Miller. His music has even reached space. In 1979, when NASA sent the Voyager probe into space, it carried a tape of his music as a testament to human civilization. That tape contained, in addition to Beethoven's "Ninth Symphony" and Mozart's "The Magic Flute," Chuck Berry's song "Go, Johnny, Go, Go". The musician has won numerous awards, including a Grammy Lifetime Achievement Award in 1984. He is also a member of two Halls of Fame: the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. His guitar riffs have been endlessly imitated by rock guitarists. His artistic career was one of the longest in rock music, spanning from 1953 until his death in 2017. In 2000, Chess Records released the double compilation album "Anthology", featuring 50 of his best songs, almost all of them classics of the genre and fundamental pieces in the history of rock.

Harvey Mandel-Shangrenade (1973)

A pioneer of modern Chicago electric blues, Harvey Mandel developed and mastered sustained and controlled feedback like no other, showcasing great virtuosity on the electric guitar and creating techniques that were incorporated by countless subsequent guitarists, such as Eddie Van Halen and the two-handed tapping method. Throughout his long career, Harvey Mandel performed alongside blues legends such as Muddy Waters, Buddy Guy, Otis Rush, and Howlin' Wolf, in addition to collaborating on albums by The Rolling Stones and Canned Heat. In 1966, together with the legendary blues harmonica player Charlie Musselwhite, he released the album "Stand Back! Here Comes Charlie Musselwhite's Southside Band", considered one of the most iconic albums in blues and rock and roll. Two years later, Mandel released his first solo album, "Christ the Redeemer", where he confirmed his enormous talent on the electric guitar, presenting a series of blues-focused tracks. The late sixties were a frenetic time for Mandel, as he collaborated frequently with other artists such as Barry Goldberg, Graham Bond, John Mayall, and Canned Heat, with whom he performed at the legendary Woodstock festival, replacing guitarist Henry Vestine. It was during this period that he began his professional relationship with Don "Sugarcane" Harris, who would become a regular collaborator on all his subsequent work. However, Mandel never abandoned his solo career, regularly releasing blues-rock albums such as "Righteous" (1968), "Games Guitars Play" (1970), "Baby Batter" (1971), and "The Snake" (1972). On "Shangrenade", his seventh album, the blues gives way to more jazzy and funky sounds, resulting in a work that is both captivating and evocative, showcasing his six-string technique throughout the entire record. Excellent efforts focused on jazz-funk such as "What The Funk" alternate with others of a clear jazz-rock nature such as "Fish Walk" or "Sugarloaf", approaches to rock such as "Midnight Sun Li" or relaxed jazz fusion tracks such as "Green Apple Quickstep" or "Million Dollar Feeling".

Eric Clapton-From The Cradle (1994)

In 1994, Eric Clapton returned to his blues roots with his twelfth solo studio album after his recent forays into mainstream rock/pop. Composed mostly of blues classics, the album featured a small core group of musicians, including Jim Keltner (drums), Dave Bronze (bass), Jerry Portnoy (harmonica), and Andy Fairweather-Low (guitar). With this new record, Clapton saw the return of his most devoted fans, those who admired his extraordinary guitar skills and his profound blues feeling on the six strings. For the occasion, the guitarist chose a splendid selection of legendary blues tracks such as "Third Degree", "Standin' Round Crying", "Hoochie Coochie Man", "Reconsider Baby", "Motherless Child", and "How Long Blues", demonstrating in each one his immense emotion and purest blues essence, masterfully interpreting each of the songs presented here. A number one hit on the charts in the United States and England, as well as very high positions in a dozen other countries, led to over six million albums sold worldwide.

Osibisa-Osibisa (1971)

Osibisa released their debut album in 1971. In this first work, the Afro-British band showcased a brilliant fusion of psychedelic Afro-pop and jazz-rock sounds, magnificently captured by a group of outstanding instrumentalists and vibrant, energetic compositions. Tracks like the beautifully arranged “The Dawan” and the joyful jazz-rock “Music For The Gong Gong” demonstrate the group's sonic diversity, while the superb “Ayiko Bia”, the dynamic “Oranges”, and the sublime “Phallus C”, perfectly encapsulate Osibisa's style with soaring saxophone, organ, and guitar lines, supported by simply masterful percussion. In conclusion, this is undoubtedly one of the best jazz-funk-afro-pop-rock albums ever released and would elevate Osibisa even though in subsequent years they would release other major works such as "Woyaya" (1972), "Heads" (1973), or the magnificent double live album "Black Magic Night; Live At The Royal Festival Hall" (1977).

Crown Lands-Fearless (2023)

One of the latest surprises to emerge from Canada is the duo Crown Lands, a group formed in 2015 by vocalist and drummer Cody Bowles and multi-instrumentalist Kevin Comeau. Their style, clearly influenced by their compatriots Rush, is characterized by its science fiction and epic themes, as well as the talented musicianship of its members. After an intriguing self-titled debut album released in 2020, they worked hard on their second full-length album, "Fearless," which showcases their clear influences from Rush's golden era. Epic tracks like "Starlifter: Fearless Pt. II" also reveal other rock roots, ranging from the ambiguous rock of Nazareth to the powerful sound of fellow Canadians Triumph, resulting in a remarkable work that seamlessly and originally blends different styles. The hard rock tracks "Dreamer of the Dawn" and "The Shadows" leave us with a taste of 70s sounds, while in other cuts like "Citadel" or "Lady of the Lake", the Zeppelin influences are more than evident. Ultimately, this album is a good sampler of what this band could offer in the coming years, despite its clear and evident stylistic connotations and influences from the trio of Geddy Lee, Neil Peart, and Alex Lifeson.

Starcastle-Fountains of Light (1977)

The second album from this American band, often unfairly compared to the British band Yes, showcases a more polished and refined sound, along with a much more meticulous production, unlike their debut. The vocal harmonies, reminiscent of Jon Anderson's, the excellent bass lines, the driving organ and Moog synthesizer solos, and the brilliant interplay between the two guitarists result in melodic and catchy compositions delivered through energetic arrangements. The orchestral guitar and keyboard combinations during the symphonic passages sometimes evoke the sound of their compatriots Kansas, but with a more commercial edge, leaning towards AOR. Songs like "Fountains", "Dawning of the Day", "True to the Light", and "Diamond Song (Deep is the Light)", reflect these characteristics, while the bucolic "Portraits" highlights the band's folk-rock side. In short, this second album is an excellent continuation of their enormous debut album, which kept Starcastle among the leading progressive rock bands of the late 70s.

Peter Frampton-Frampton Comes Alive! II (1995)

Nineteen years after the multi-platinum "Frampton Comes Alive!" (1976), Peter Frampton released his second live album, a clear sequel to that historic event, and, fittingly, titled "Frampton Comes Alive II". In those nearly 20 years, Peter Frampton had released seven albums, from the successful "I'm In You" to his latest release, "Peter Frampton", which came out a year before this live album. Recorded almost entirely at the Fillmore in San Francisco, Frampton was joined by his longtime collaborator Bob Mayo on keyboards and vocals, as well as John Regan on bass and J.R. Robinson on drums. For the setlist, the blond guitarist opted to steer clear of the original album's greatest hits, including only material from his later albums. However, a subsequent reissue did include several tracks such as "Show Me The Way", "Lines On My Face", and "Do You Feel Like We Do". While it's true that his music has shifted towards a melodic rock and soft rock style, losing the raw power of the 70s sound, the spirit of that era remains very much alive thanks to his obvious skill with the six strings and his muscular, melodic style. Tracks as captivating as "Day in the Sun", "Most of All", "Hang On To a Dream", and "Can't Take That Away", clearly demonstrate that "Frampton Comes Alive II" is a sequel almost as entertaining as its original work, showcasing the great abilities of this legendary guitarist upon which he built a solid and successful career.

V.S.O.P.-Tempest in The Colosseum (1977)

"Tempest in the Colosseum" is a landmark jazz recording by one of the most legendary groups in the genre's history: V.S.O.P., named after a high-quality cognac brandy. This iconic lineup consisted of Herbie Hancock (piano and synthesizers), Wayne Shorter (tenor and soprano saxophones), Ron Carter (bass), Tony Williams (drums), and Freddie Hubbard (trumpet), all former members of Miles Davis's band. This all-star ensemble was primarily a live band, releasing a series of live albums: "The Quintet" (1977), "Tempest in the Colosseum" (1977), and "Live Under the Sky" (1979), as well as one studio album, "Five Stars" (1979). Recorded on July 23, 1977 at the Tokyo Den-En Coliseum, it showcases the excellence of five talented musicians as demonstrated in a repertoire full of jazz emotion, with the enviable instrumental technique of each musician, producing a dense, complex jazz rich in hundreds of nuances, but which at the same time has an amazing accessibility both for connoisseurs of the jazz genre, and for the general public.

Aerosmith-Draw The Line (1977)

Amidst strained relationships within the band due to drug use, Aerosmith released the last great album of their early period. While it lacked the power, swagger, and brilliance of their earlier work, it still possessed considerable quality. Recorded in an old New York convent that was converted for the recording sessions between June and October of 1977, it was produced by Jack Douglas, who had also helmed the previous albums. Highlights of this fifth album include the playful rock and roll title track, the boogie-rock anthem "Critical Mass", the powerful "Get It Up", the heavy hard rock track "Kings and Queens", and the boogie-blues number "Milk Cow Blues". Although it didn't achieve the commercial success of its predecessor, "Rocks", "Draw the Line", reached a respectable number eleven on the Billboard charts and earned several platinum records for its sales in the North American market.

Ash Ra Tempel-Ash Ra Tempel (1971)

The debut album from German band Ash Ra Tempel is a true classic of space rock and krautrock, driven by the exhilarating and experimental onslaught of guitarist Manuel Gottsching and the raw percussion of a very young Klaus Schulze. This first album has a unique, divided personality, featuring two extensive and very different tracks, from the epic opening 20 minutes of "Amboss" to the soaring and serene "Traummaschine". However, both seem to stem from the same cosmic journey that permeates the album's mysticism. "Amboss" is a heavy, acid-tinged space voyage that draws the listener in with a heavy dose of energy, replete with bursts of energy, frenetic guitar sounds, and frenetic percussion accompanied by electronic elements. In contrast to this is "Traummaschine", based on a profoundly spatial climax, with many eerie moments, clearly in tune with the electronic meditation that transports us, with moments of very relaxing calm, to another sonic dimension. For many, this work is the quintessential Krautrock, even though other legendary works from many top-tier German bands arrived in the following years, but none surpass this superb debut from the mythical Ash Ra Tempel in experimentation and originality.

Kossoff Kirke Tetsu Rabbit-Kossoff Kirke Tetsu Rabbit (1972)

Towards the end of 1971, Free, one of the greatest British bands of all time, succumbed amidst internal disputes and drug addiction, the latter primarily due to guitarist Paul Kossoff. Although initially this separation was for a brief period, its members soon embarked on side projects or solo endeavors. Vocalist Paul Rodgers formed the band Peace, bassist Andy Fraser formed another group called Toby, and the remaining members, Paul Kossoff and Simon Kirke, joined bassist Tetsu Yamauchi and keyboardist John "Rabbit" Bundrick. All of these projects shared a common denominator: their short lifespans. This last project resulted in the recording of a single album titled "Kossoff Kirke Tetsu Rabbit", on which the four musicians delivered an outstanding album of the best British heavy blues rock of the decade, which, to some extent, followed a similar vein to Free's. Heavy rock tracks like “Just For the Box” and “Blue Grass” alternate with catchier songs such as “Sammy’s Alright” and “Anna”, funk-rock forays like “Fool’s Life” and energetic blues-rock numbers like “Dying Fire”, “Hold On”, and “I’m On the Run”. Shortly after this release, Free reformed, releasing the decent albums “Free At Last” (1972) and “Heartbreaker” (1973), which marked the end of their run and the band’s history. From their ashes rose another legendary hard rock band of the seventies: the indomitable Bad Company.

Sutherland Brothers & Quiver-Reach For The Sky (1975)

The debut of this Scottish quartet in early 1972 catapulted them to fame as one of the most promising folk-rock bands, influenced by a style that inherited the irresistible vocal melodies of The Beatles and the instrumental sound of The Byrds. Formed by brothers Iain and Gavin Sutherland, both guitarists and vocalists, Kim Ludman on bass, and Neil Hopwood on drums, they got their start in the early 70s when they signed with Island Records. With them, they released their first album, "The Sutherland Brothers Band", in 1972, which included the single "Sailing", a song later covered by Rod Stewart, achieving resounding success on the British charts. Shortly after, the band broke up, and the Sutherland brothers decided to continue as a duo, releasing the album "Lifeboat" (1973), which went largely unnoticed. However, in an attempt to diversify their folk-rock style, the duo joined forces with a local rock band called Quiver, which consisted of guitarist Tim Renwick, bassist Bruce Thomas, and drummer Willie Wilson. This collaboration resulted in the albums "Dream Kid" (1973), "Beat of the Street", "Reach for the Sky", "Slipstream" (1976), and "Down to Earth" (1977). With a string of major hits that achieved considerable notoriety, such as "Ain't Too Proud", "Arms of Mary", "When the Train Comes", "Secrets", and "Easy Come Easy Go", the band established itself as one of the biggest sensations of British folk rock in the mid-70s. However, after the album "Down to Earth", the band would eventually disband as some of its members left, including Renwick, who went on to collaborate with Al Stewart, with whom he had already worked in previous years, and Bruce Thomas, who answered Elvis Costello's call to join his group The Attractions. Willie Wilson then became actively involved in the projects of Pink Floyd guitarist David Gilmour.

Savoy Brown-Street Corner Talking (1971)

Savoy Brown were one of the genuine British blues bands, with a clear affinity for the style of Alvin Lee's Ten Years After, but with an instrumental synergy closer to Peter Green's Fleetwood Mac and even John Mayall's Heartbreakers. In 1970, this band, originally from the small town of Battersea in southwest England, faced its first major setback when almost all of its founding members left simultaneously: Lonesome Dave, Roger Earl, and Tony Stevens, who went on to form the boogie-rock band Foghat. Therefore, the sole survivor, guitarist Kim Simmonds, had to reorganize the band, recruiting a completely new lineup, starting with singer Dave Walker, bassist Andy Silvester, and drummer Dave Bidwell, as well as pianist Paul Raymond, all former members of the blues band Chicken Shack. Taking advantage of Walker's fervent vocals, which counterbalanced Simmonds' energetic and robust guitar, this new lineup recorded Savoy Brown's seventh album, "Street Corner Talking", a powerful and solid example of the best British blues rock of the early 70s. Tracks like the elegant versions of Willie Dixon's "Wang Dang Doodle" and the Motown classic "I Can't Get Next To You", plus the dark and sublime "All I Can Do" or the bluesy subtlety of "Tell Mama", are credit enough for an attractive and multifaceted album, where each musician contributes their talent uniformly to the final result, demonstrating that the loss they had suffered did not diminish them in either quality or grandeur.

Shotgun Ltd-Shotgun Ltd (1971)

Shotgun Ltd. were another one of those obscure and forgotten short-lived bands that left their mark with a superb, single album released in the early 1970s, which, by a twist of fate, would be lost in the dark tunnel of rock and roll history. Formed in Los Angeles, they rose from the ashes of other bands called The Twilighters and The Ash, and consisted of organist Dave Norup, guitarist Jack Schoolar, singer Joe Gutierrez, bassist Ruben Dominguez, and drummer Buzie Buchanan, all between the ages of 17 and 21. During their concerts at one of Los Angeles' most famous venues, The Galaxy on Sunset Strip, they were discovered by a talent scout named Delaney Bramlett, who secured them a contract with a small local label called Prophesy Records. Under this label and produced by Jim Gordon, the renowned keyboardist of Delaney and Bonnie, they released their first and only album, self-titled after the band. Several supporting musicians also participated in the recording process, including guitarist Ben Benay, saxophonist Jerry Jumonville, and even Jim Gordon himself on keyboards. This single album is brimming with bluesy hard rock sounds, tinged with psychedelic influences and dark progressive elements, the latter due to Jim Gordon's use of Moog synthesizers. Tracks like the opening track, "Bard Road", clearly establish the band's heavy blues rock sound, while the intricate "Number Two" is a rather complex psychedelic track. Other tracks, such as the brilliant "I Don't Mind", the vigorous "Mixed Nuts", and the rhythmic "Trials", demonstrate the enormous potential of this phenomenal band. However, they also showcase their impressive vocal talents, as demonstrated in the exquisite "Feeling Bad" and the irresistible "River of Hope". Despite the album's exceptional quality, it went completely unnoticed, as happened with countless others released around the same time, fading into obscurity. This led to the dissolution of Shotgun Ltd. some time later, due to a lack of interest from the public, who were more focused on the hundreds of bands and mainstream artists of the era.

Genesis-Duke (1980)

After two melodic and emotional albums ("Wind & Wuthering" and "...And Then There Were Three..."), Genesis, now a trio with Phil Collins, Tony Banks, and Mike Rutherford, released their tenth album, "Duke", in the early 1980s. This new record retained the earlier progressive elements, but this time in a rather subtle way, as sophisticated pop underpinned much of the sound. From the semi-progressive "Behind the Lines", "Duchess" or "Guide Vocal", to the addictive pop "Turn It on Again" and "Misunderstanding", passing through the melancholic "Heathaze", the rocker "Man Of Out Times" or the tour de force composed of "Duke's Travels" and "Duke's End", they make up an album that without reaching the excellences of their previous works, showed the musical change that the time required, in years where the most avant-garde rock was at its lowest point.

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.