Missionaria Protectiva

     Mick Fleetwood deserves inclusion on this list for no other reason than being the inspiration for the lovably insane Muppet Animal but he's obviously got a lot more going for him than that.The wide-eyed British drummer lent his name to one of the best-selling and most legendary rock bands of all time,which says a lot,notably that he was one of only of two members that lasted from the bluesy Peter Green days up through the more synth pop '80s days.Most of what's worth remembering is his tense,restrained contributions,from the foreboding bass drum thump  in 'The Chain',up to the soft shocks of 'Dreams',but he could go wild when necessary.   MICK FLEETWOOD  The Visitor   RCA,1981   https://www.sendspace.com/file/9ey743

     The krautrock king of the blues scale!At the outskirts of Damo Suzuki's guttural shouts and Jaki Liebzeit's inimitable,ticky-tack traipse of the hi-hat,often lay his strange and angular hits and punches,waiting to soar above the relative cacophony.His classical training,which informed his approach to guitar on albums such as 'Tago Mago' and 'Future Days',seems almost antipodal to his loose improvisation and pot-smoke-tinged solo technique.But his internal ambivalence is what makes him so interesting-a constant sense of unpredictability,yet cool control. CAN Tago Mago UA,1971 https://www.sendspace.com/file/svp79i

      In 1954, a school friend showed him the basics of boogie-woogie piano and Clive Powell (aka Georgie Fame) quickly became known in his secondary school for his ‘jazzy’ musical skills.       Clive named his first group The Dominoes and led them to success by winning a talent contest at Butlin's  in Pwllheli in South Wales. One of the judges was drummer Rory Blackwell, and before the holiday week was out, Clive had joined Blackwell’s London-based rock & roll combo as their pianist and featured singer.       In London, Clive was recommended to Britain’s foremost pop impresario Larry Parnes   by composer Lionel Bart. Parnes was impressed by Powell and renamed him Georgie Fame, setting him up with a new band – The Blue Flames.       By 1962 Georgie had ditched the piano for the warmer sounds of a Hammond organ, which had set him back £825 – a fortune in those days – and was playing US air bases across Britain.       After two independent singles, Rik Gunnell delivered G

     The bass of Thin Lizzy's celebrated leader was the musical equivalent of his band's perspective.Not given in to flash or showmanship,Lynott simply laid down a consistently sturdy ground line better than anyone in '70s hard rock,unassuming on the surface but too well-toned to ignore.But if he felt like it,he'd double the guitar line just to show that he could. PHIL LYNOTT Solo In Soho Vertigo,1980 https://www.sendspace.com/file/7sak9v

       Bill Bruford grew up with jazz. As an amateur drummer in the 1960s, and after a handful of lessons from Lou Pocock of the Royal Philharmonic Orchestra, he began his professional career in 1968. He was a guiding light in the so-called British "Art Rock" movement, touring internationally with Yes and King Crimson from 1968-74. There then followed several years spent observing and participating in the music making processes of, among others, Gong, National Health, Genesis and U.K., until Bill felt ready to write and perform his own music with his own band Bruford, recording four albums from 1977-80.       It was, however, the reconstituted King Crimson of 1980-84 that provided the vehicle for his revolutionary use of electronics in developing the melodic side of percussion. Following an interim two year/two album stint improvising on acoustic piano and drums with Patrick Moraz, Bruford formed his electro-acoustic jazz group Earthworks in 1986, with Django Bates and I