Kitaro-Ten Years (1988)

Kitaro is one of the most admired and respected musicians worldwide, his career has been marked by great albums that have been an obligatory reference to the so-called new music or the new age.
His brief stay in the progressive rock group Far East Family Band and his association some time later with Klaus Schulze and his electronic school, earned him enough experience to later demonstrate his inexhaustible talent with synthesizers and composition.
However, it would be the soundtrack of "Silk Road" from the early eighties that makes him world famous and as a consequence, the Geffen Records label signs him a contract to distribute his entire label.
"The Best of Ten Years" is a double compilation that covers his creations from his first albums in 1976 to 1986, here Kitaro shows us a large collection of hypnotic, elegant melodies, interpreted with very deep symphonic synthesizers with a certain drama.

John Miles-Rebel (1976)

In 1976 John Miles would publish his first and best known album, which was produced by Alan Parsons and contained a song "Music", which was a musical epic that would achieve overwhelming success.
"Rebel" is an exceptional album with a bombastic sound, due to the register of sections of synthesizers, guitars and pianos, as well as powerful drums and orchestral arrangements with a taste of neoclassicism by Andrew Powell.
A varied repertoire ranging from pompous themes like the aforementioned "Music", "You Have It All", to melodic rock "Highfly", "Rebel" or approaches to symphonic pop "Everybody Wants Some more".
From now on John Miles would publish about a dozen records but without reaching the creative impetus of this "Rebel" or his next album "Stranger In The City" from 1977.

Status Quo-Dog of Two Head (1971)

Roy Lynes's departure in 1970 left Status Quo a balanced quartet. Thus consolidating the classic lineup of the most remembered and unforgettable Status Quo. For the band, the period from 1970 to 1976 marks the height of their creativity and success, producing works ( indispensable in any newspaper library worth its salt ) of the caliber of the aforementioned "Piledriver" (1972), "Hello!" (1973), or the great "Blue for You" from 1976.
In 1971 the band published their fourth album "Dog of Two Head" that from the beginning with 'Umleitung' until its closing, the album is a forgotten jewel that is easily loved. The duo of Rick Parfitt and Francis Rossi (undervalued where they exist) will surely delight the respectable with their great improvisations. Well, the intrinsic beauty of the compositions, like the acoustic 'Gerdundula', are authentic auditory marvels.
The minimalist production of the album, along with the phenomenal play drawn by the guitars and the piano, is one of the strengths of the album. A true diamond in the rough where the best virtues of the Quo come to the scene at this point in their career. Bluesy parts, long guitar solos, and improvisations with a spectacular instrumental display are some of the hallmarks that the band displays here. The acoustic closure with 'Nanana' catchy and effective, reminiscent of Van Morrison's 'Brown Eyed Girl', is responsible for leaving us with a good taste in the mouth, also demonstrating that the Quo have a higher quality than it seems to appear at first view.
Despite the undoubted quality of their subsequent releases, they never again offered an experimental approach similar to this 1971 album. "Dog of Two Head" is, to this day, a work of unquestionable value and uniqueness. It is a transitory album that leaves the initial psychedelic proposal of the band behind and that begins to define the classic sound for which the Quos will be known. Unfortunately, the limited distribution of the album by Pye Records will condemn it to musical ostracism, despite very favorable reviews from the specialized press.
In short, a unique and unrepeatable album, typical of an equally magnificent feat and vintage.

T.Rex-The Slider (1972)

The world of Rock owes much to Marc Bolan and David Bowie, two artists who went beyond music, two stage animals, forerunners of Glam-Rock and mentors of thousands of later artists, two great minds that went beyond concept musical; some geniuses.
"The Slider ", was his most ambitious and risky work, which on top of that always had the difficult ballot of overcoming that great "Electric Warrior". The album was published in the summer of 1972 and was recorded in the Parisian Château d'Hérouville studios to avoid the always dangerous and undaunted British Treasury.
An exciting, sexual and erotic album, which opens with "Metal Guru" and its successful acoustic rhythm section and powerful, deep bass, along with Bolan's soft and sweet voice, forming an interesting mix between pop and glam rock, with catchy choruses. Easy and digestible theme to go fully into the album. "Mystic Lady" is sinuous and tempting, a perfect example of the elegant eroticism that I was talking about before and that this album awakens. With Marc singing in a suggestive way to attract the females accompanied - again - by the excellent section provided by the muscular bass and the soft and beautiful acoustics that play perfectly with the occasional horn section and the perfect choirs of the band.
"Rock On" and its simple base of easy electrics, the ubiquitous bass and acoustic guitar, always there, to a greater or lesser extent and whose presence on this occasion is more blurred, with a great solo by Bolan that you will surely love, lost among so much delicacy. "The Slider" and its simple guitar riff and with Marc leaving the seduction for a moment to sing in a more earthly way, even imposing low voices in the song.
"Baby Boomerang" is a great ironic boogie boogie, with great backing vocals, Bolan's sensual and simple guitar and bass, more crouched than in previous songs, but carrying the weight of the theme with mastery, like the drums, with their rhythms and singles, accompanying the song to perfection and serving as a bridge for "Spaceball Ricochet", which surely recalls the group's early days. Marc's sweet and brittle voice along with a rhythmic base that seems to be absorbed by Bolan's gasps give name and surname to one of the songs of "glam-rock" par excellence. But not everything in T.Rex is elegance, simple melodies and Bolan's voice, they also know how to be more aggressive, or else take a listen to "Buick Makane", with an absolutely brutal riff, which at first reminds "Children Of The Revolution ". Marc's voice deserves a separate chapter, always tempting but this time more intense, twinning with the spectacular orchestra and the delicate guitar picks of one of the kings of glam, an apotheosis ending does the rest.
"Telegram Sam" with another spectacular riff and another devastating bass on a more rhythmic theme, a kind of boogie twinned with "Bang a Gong" (Get It On ", from his previous album, Electric Warrior) The orchestra is perfect, with tempting moments whose potency increases and with distant echoes of superficial and contained sweetness when it moves away.
Sugary guitar rays accompanied by devastating rhythmic bases introduce us to "Rabbit Fighter" and its epic chorus rocked by the unforgettable string section. We travel to "Baby Strange" and its hardest rock riff and catchy beat. A song that will make you want to go out dancing, wisely combining hard music with the group's hallmarks: Bolan's picks lost in the immensity of an ocean of flavors and textures, which appear here without you expecting it, impregnating one of the best songs on the album with lights, with Bolan winking to lure you into the frenzy of merriment, happiness, lipstick and mascara that is this song and this album. "Ballroom Of Mars" and Chariot Choogle "drop the bar a little bit when compared to this kind of continuous seduction that is the album." Main Man "is made for you to sing to your girlfriend or the girl you like and conquer her; great choruses that support the voice of the glam dandy.

Uriah Heep-Very´Eavy...Very´Umble (1970)

Although much better known for great progressive works like "Look at Yourself" or "The Magician's Birthday", the origins of Uriah Heep (name taken from the literary antagonist of David Copperfield) had a much more bizarre and raw beginnings. However, this first album by the Londoners already had the foundational elements of their music: operatic voices courtesy of Byron, great vocal harmonies and, of course, a huge role for keyboards and organs, in addition to this, we should highlight the immense work of Mick Box, his great guitarist who takes an absolute leading role thanks to his incendiary, dry, and cutting riffs, as acidic as those performed by stars such as Ritchie Blackmore or Jimmy Page.
You just have to listen to the frenetic opening bars of the now classic 'Gypsy' to know that we are facing something very special, Byron's magical tone of voice lets us carry on an accelerated blues dedicated to an enigmatic and bewitching woman. The main riff of this song is one of those that sits chair, simple and direct to the jugular, but the brief final duet between Napier's drums and Box's guitar is simply orgasmic, not to mention the aforementioned and insane screams of Byron, an underrated singer where they exist.
From the hand of the beautiful ballad 'Come Away Melinda', where Byron's melancholic voice takes center stage again, here we have the opportunity to enjoy the great work done on vocal harmonies ( a more arduous task than we normally recognize) by the whole group.
For their part, songs like 'Walking in Your Shadow' or 'Real Turned On' move in less exceptional parameters, but equally valid, continuing with the meandering and bluesy rhythms that populate the corners of this album. Likewise, the final 'Wake Up (Set Your Sights)' is another of the album's high points. With a changing structure, the strength of the song lies once again in Byron's vocal power and in the great atmosphere created by the guitar and keyboards. The rest of the songs may not be as spectacular as those already mentioned, but they do not affect an album too much, which, in itself, is highly recommended only for the historical value that it entails.
Uriah Heep germined the musical experimentation, blues, and a lot of vocal drama that we would find later on all the albums of bands like Yes, Judas Priest or Genesis. There they were Uriah Heep as the spearhead of a movement that, by then, was beginning to awaken. Without being a complete essential, ... Very 'eavy ... Very' umble is crucial to understand not only the sound and the subsequent evolution of the band, but of an entire musical movement.
Distinguished mention and bonus points for the gruesome and memorable cover. The ghostly face is none other than that of singer David Byron with his face covered in dried glue. According to Box himself, Byron took a whole week to remove all the glue. Disgustingly unbelievable, but true.

Judas Priest-Unleashed In The East (1979)

'Unleashed In The East' is considered by many to be the best studio-recorded live album in history. In fact, Glenn Tipton acknowledges that some of Rob Halford's voice overdubs were re-recorded in the studio, but absolutely nothing else. It seems credible that Judas Priest, in February 1979, which is when the Japanese tour in which this album was recorded was made, were at an optimal moment, which would not lead them to have to organize a testing laboratory to release a live album that, in any case, transmits the strength, aggressiveness and power that the group that led the second generation of heavy metal gods had in 79.
When in November 1978 Judas Priest sold out for three consecutive nights at the Hammersmith Odeon in London, it is when it is considered more or less unofficially that the so-called New Wave Of British Heavy Metal began, which would explode as a true phenomenon of masses in England in the summer of 1980.
The success of this album live and the point of reference that it marked as long as it recovered for a heavy metal group in England that "great" award that had enough success in Japan to record a live album there, he had to necessarily influence the fact that Geoff Barton, founder and director in 1981 of Kerrang! wrote in Sounds in April 1979: “Judas Priest have done more than just put out a flawless live album: They have resurrected an entire genre of music that many had condemned to the rock history books as an outdated and exhausted style Hard rock, the legacy that Black Sabbath or Deep Purple left in the early years of this decade could not be diluted in the nostalgic memory of those who no longer go to concerts, stay home watching “Los Roper” and are scandalized by punks who dance pogo and face the police. It has been an indelible mark on a whole new generation, ready to bring hard rock up to date and give it a new personality Judas Priest are the most relevant example of this new wave of British Heavy Metal ”.
The live versions of “The Green Manalishi”, “The Ripper”, “Exciter”, and the shocking “Tyrant”, make this fantastic album a sensational, unique document of the genesis of everything that legendary New Wave meant. Of British Heavy Metal, of which no one has been able to fail to recognize Judas Priest as spiritual parents, and in whose concerts in Japan recorded on this album - in whose CD reissue "Rock Forever", "Delivering The Goods" were added, "Hell Bent For Leather" and "Starbreaker", sowed the fruitful seed whose fruit would change rock history well into the 80s.

Iron Butterfly-Metamorphosis (1970)

After the overwhelming lysergic success of the "Ball" released in 1969, Iron Butterfly a year later on 1970 released their fourth studio album "Metamorphosis".
Despite the sudden departure of guitarist Eric Brauun caused by differences with his companions, two new members of great weight on the six strings join the band; Larry "Rhino" Reinhardt and the historic Mike Pinera, who provide the band and the album in question with nuances of visceral hard rock, of course without abandoning their ingrained flower power style.
The album comes out in a period in which bands of perhaps more renowned for many such as Led Zeppelin, Black Sabbath or Deep Purple were going through an epic moment in the history of rock and roll, because by then they were established as the main managers of the hard rock and heavy metal clearly influenced by blues and psychedelic passages. Despite this, the creativity of the band was not overshadowed because thanks to the talent of the old figures of the group and the appearance of these two majestic guitarists, they launched a sound project that although it has airs and melodies much softer than the previous ones, has an amalgam of baritone voices, acoustic, sharp pieces and extensive riffs in the best style of hard rock with hints of acid as well as the evidence of temperate developments in terms of progressive sound embodied in the last two pieces of said work as they are "Easy Rider" and "Butterfly Bleu".

The Doors-Morrison Hotel (1970)

We are in 1970, the golden decade of rock and the year of publication of the album. The vast American continent is an inexhaustible source of musical resources, from which an extensive and abundant variety of styles emanate, but if we go back in time, we will realize that America equals blues, one of its primary methods when it comes to music produce music and it is in the blues, where "Morrison Hotel" best suits.
Without a moment's hesitation, "Morrison Hotel" was one of the great works made by the American band The Doors, the fifth of their discography and one of their most famous works, with permission from the later released "L.A. Woman”.
In a way, the Doors return to the blues, explore their musical roots and result in a classic rock album, the kind that last forever in the memory.
Produced by Paul A. Rothchildy and published by the legendary Elektra Records label, it featured the bass collaboration of Ray Neopolitan and Lonnie Mack, the latter, the idol of the legendary Texan bluesman Stevie Ray Vaughan and one of his great influences, Lonnie Mack plays during the performance of the songs "Roadhouse Blues" and "Maggie M'Gill." And pleasant is the surprise, when incorporating John Sebastian under the pseudonym G.Puglese, who was one of the graphic icons of Woodstock 69, adding his harmonica.
Morrison Hotel consists of eleven tracks, among which the powerful blues rock of “Roadhouse Blues” stands out, one of their most successful songs and one of the most covered by other later groups.
Others like “Waiting For The Sun” have a certain experimental air and sometimes a tendency towards psychedelia, “You Make Me Real” is pure rock and roll with a very dedicated Ray Manzarek on piano and a complete Krieger on guitar, "Blue Sunday", a beautiful ballad, full of melancholy, and to finish “Maggie M’Gill”, full of blues melodies from beginning to end and that bears similarity to John Lee Hooker's “Boom Boom”.

Bob Dylan-At Budokan (1978)

"Bob Dylan is the Picasso of the song" is how the legendary singer-songwriter Leonard Cohen referred to Dylan and that is how we can define this album "At Budokan" is a totally unexpected twist, an unprecedented musical variation on Dylan's sound and has nothing to do with his previously released work.
Dylan appeared in the land of the rising sun, accompanied by an outstanding band, altering several of his great classics, giving them an innovative and evolving sound. The album began with the perpetual “Mr. Tambourine Man”, one of the legendary songs of the genius from Minnesota, to continue reeling off hits like “Shelter From The Storm”, “Love Minus Zero / No Limit” or the immortal ballad “Ballad Of a Thin Man”, coming from his eternal “Highway 61 revisited” , we will pass with a certain air to “Reggae” in “Knockin 'On Heaven's Door” and that we can also appreciate in “Don't Think Twice, It's All Right” another one that undergoes an extraordinary change is “All Allong The Watchtower”, with a wind section and memorable guitar riffs.
As anecdotal data, the album ends with "The Times They Are A-Changin", (times are changing), coincidence or genius? ...
Originally, this musical work was recorded in 1978, during a tour that Dylan realized by Japan. At the time of the publication of this direct anthology and compilation in 1979, many of Dylan's followers and analysts criticized it harshly, even claiming that it was one of the worst albums in rock history ...
And it is that sometimes many years have to pass for the importance and quality of a famous work like this to be appreciated and recognized, by a musician whose songs elevated rock to the category of art.

Lito Vitale-Ese Amigo del Alma (1988)

"Ese amigo del alma" published in 1988 is Lito Vitale's second work, a tremendously popular album that was nevertheless made as a kind of special edition to be forcibly introduced to the Spanish market given its curious list of songs.
If compositions such as "Recuerdo en MÍ Bemol" or "Estar entre Nosotros" appeared in the first album, they also appear here, but recorded with a different formation, also in the texts that accompany the release of the album there are notes that are appreciated among others people to Lara, Ramon and Rogelio for their help and advice in selecting songs for the album.
Logically it is assumed that Lara and Ramon are none other than Lara Lopez and Ramon Trecet, the main supporters of Vitale in Spain through their radio program Dialogos 3 on Radio Nacional de España (RNE3).
The novelties presented by "Ese amigo del alma" are three, "La vida es un tango", a beautiful melody interpreted by the extraordinary quality of the band, the following "Estar vivo Hoy" an ambient melody executed in a sensational way.
But the third song is undoubtedly "Ese Amigo del Alma", an extraordinary piece of sublime beauty, intimate, tender, emotional, thirteen glorious minutes in which we have to let ourselves be carried away and caress it with our ears while listening.
Vitale composed this outrageous piece in memory of Lyle Mays, Pat Metheny's keyboardist, who is undoubtedly the main influencer of his music.
One of those few compositions that, after having listened to many years of music, captivates us and whose melody remains in our minds for a long time or perhaps a lifetime.

Patrick O´Hearn-Rivers Gonna Rise (1988)

Hardened in many experiences such as having collaborated with Frank Zappa, and having belonged to different bands such as Group 87 with Mark Isham and Missing Persons with Terry Bozzio, Patrick O'Hearn combined them as a session musician especially in the jazz world, before beginning a glittering solo career.
After signing for the Private label, O'Hearn proved to be a musician who created great atmospheres and precise rhythms in counterpart to the jazz improvisation with which he had extensive experience and had grown professionally.
After publishing his first album "Ancient Dreams" of dark environments and lively rhythms, "Between Two Worlds" would arrive more complete than its predecessor, until in 1988 he published his masterpiece "Rivers Gonna Rise"
An album where electronic and acoustic percussions, keyboards and an emphasis on the electric bass and with the help of ex-bandmates from his old bands (Terry Bozzio, Mark Isham, Peter Maunu or Warren Cucurullo) created an unforgettable experience of rich sonic nuances thanks to its freshness and homogeneity with a classic album in the genre of the "new age".

Simply Red-Stars (1991)

Simply Red were a band framed within white soul and pop rock that until 1991 had published a series of albums of considerable importance within the new wave and Anglo-Saxon pop rock.
That same year 1991 they released their best album "Stars" considered one of the best British albums of all time, where the band partly left electronics to focus more on a more natural and acoustic sound.
Elements from jazz, funky, pop and new wave are found in an album that contained a handful of great songs such as "Stars", "Something Drop Me Started", "Thrill Me", "Your Mirror" or "Wonderland"and that they raised it until the first position in the British lists with millionaire sales.

Various Artists-Dialogos con la Musica (1994)

"Dialogues with music" is a collection of glorious themes of new and old music compiled by the Spanish journalist Ramon Trecet, who for years presented a radio program focused on these genres called "Dialogues 3".
From the majestic "Harrys Game" by Clannad to the already millennial "Brain Boru's March" performed by the Irish flute player James Galway, passing through timeless and classic of the new age or the so-called new musics like "Outlaws" by the Capercaillie, "Hourglass" by Nightnoise, "Blackbird" by Richard Stoltzman, "Sypnosis II" by William Ackerman or "Wide Asleep" by Michael Manring, in addition to other tracks by highly reputed musicians such as Patrick O'Hearn, Ray Lynch, Suzanne Ciani, Yanni, Oysten Sevag or Mark Isham.
This and a subsequent second volume made up a small but impressive review of the history of new music, with an undeniable quality and a historical document.

Far Corporation-Division One (1985)

One of the great parallel projects that many members of established bands would create, were "Far Corporation", formed by the components of Toto; Steve Lukather, Bobby Kimball, and David Paich in the mid-eighties.
Those will be joined by Curt Cress from Saga and Simon Phillips (curiously, this would become part of Toto some time later as official drummer to replace the late Jeff Porcaro).
The rest of the components was a luxury team where Mel Collins, Robin McAuley and Frank Farian stood out among others.
This project would have an overwhelming success in different European countries thanks in part to a "modernized" version of the Led Zeppelin classic "Stairway To Heaven".
Undoubtedly the sound was heir to the style of Toto, great harmonies, perfect melodies, with a high school AOR thanks to songs such as the addictive "One Of Your Lovers", the operatic "Johnny Don't Go The Distance", electronic rock "Fire and Water" or the fast-paced "Rock ´n´Roll Connection".
The album later became a collector's item and a cult item for lovers of AOR and classic rock.
Nine years later they would release another album under the name "Solitude" but they would not get the same success as with "Division One".

Tracy Chapman-Tracy Chapman (1988)

Tracy Chapman's songs were never surrounded by beautiful words and beautiful passages as was usual in other singer-songwriters, her music was synonymous with raw stories told in a sincere and harsh way.
Chapman is one of the few black singers and songwriters in pop rock history to make her message salable.
With her first album she would reach number one on the North American and English charts with a sober album, from the cover itself to the arrangements, her song "Talkin' Bout a Revolution" opened the door to glory, in it she described cruelly and realism the frustration of the unemployed, "Fast Car" is a distressing subject and a lament in the face of the uncertain future of young people, it also addressed racism with "Across The Lines", human misery "Why" or the isolation of the couple "Baby I Can Hold You".

Jimmy Page-Outrider (1988)

Jimmy Page does not need any kind of introduction, acclaimed as one of the great guitarists in history, he has written part of rock music with golden letters, first with The Yardbirds, then with Led Zeppelin and finally with The Firm.
In 1988 Jimmy Page finally decided to publish a solo album and ultimately the only one he would publish, "Outrider" which was released by the Geffen Records label and would have a luxury team among which were Robert Plant, Chris Farlowe, Jason Bonham, Barriemore Barlow, Tony Franklin or John Miles among others.
An album where Page without risking excessively or surprisingly leaves us with a zeppelin flavor and large doses of blues rock.

Enya-Watermark (1988)

"Watermark" is one of the most important albums in the history of the new age, and not only because of its huge sales but also because it was the album that would influence many musicians in the following years.
Enya Brennan is a singer, keyboard player who lives secluded in Manderley Castle, in Dublin, almost hermitically away from all kinds of unwanted public contacts and who had belonged to the Irish folk band Clannad to whom she would abandon them at the beginning from the 80s.
From here and together with her collaborators Nicky and Roma Ryan, she dedicated herself to composing her own music, which is reflected in the album "The Celts" published in 1987.
A year later he signed a contract with the WEA and published "Watermark", an album where his music is based mainly on the superposition of voices, (their own voices), who sing over each other, thus creating textures based on their own voice of the artist and on the way preventing her songs from being faithfully performed live.
An album full of nostalgic, intimate and dark themes, with timid piano notes and synthesizers creating a complex mosaic of great brilliance.

Brian Eno-Ambient 1: Music For Airports (1978)

"Music For Airports" was published in 1978, but its author, Brian Eno, had already devised the concept of this work some years before.
In 1975, while Brain Eno was convalescing after a car accident, he asked a woman who had come to visit him to put a record on his stereo (a 17th century harp record) before leaving, something she did. no problem ... but he forgot to turn up the volume, so that Eno found himself trying to capture the notes of the harp over the ambient noise, among many others, it was coincidentally a rainy day.
Far from being frustrated by the unfortunate moment, the musician was captivated by the sound and from this bitter experience his concept of "ambient music" emerged.
"Music for Airports" was the first example of this concept, and it is reconfigured in unexpected ways from deliberate impulse.
With a very simple structure, with a series of notes arranged in cycles, one note is repeated every 23 1/2 seconds, the other every 24 7/8 seconds, another every 29 15/16 seconds and so on, on a background that repeats constantly.
As the times are totally irregular, it is impossible for the cycles to synchronize at any given moment.
The result is a work of infinite duration that will simply never sound the same at any time.
Consequently the work itself becomes less important than the rules that determine its evolution, and the notes and the duration of the cycles.
As the work develops, one listens to different arrangements and configurations of the irregular elements, contrasting on the repetitive basic elements, achieving a fascinating result.

"The Alan Parsons Project"-Freudiana (1990)

Originally agreed as an album to be attributed to The Alan Parsons Project "Freudiana" would eventually be released as a work that lacked names.
The original idea was born when Woolfson presented Parsons with a new concept album about the life and work of Sigmund Freud and thus they would begin to coincide and even both began to compose both the lyrics and the music.
However, in the middle of the composition and recording work, the figure of Brian Brolly appears, a music promoter who convinces Woolfson that her idea was ideal to take it to a theatrical show, this fact is not to the liking of Alan Parsons who leaves the project when she had already composed most of the songs for the album.
Despite everything, the songs would be recorded with musicians who used to be the regulars of The Alan Parsons Project; Ian Bairnson, Stuart Elliott, Laurie Cottle or Parsons and Woolfson themselves.
In addition to the voices of Leo Sayer, Eric Stewart, Chris Rainbow or John Miles, (these last three also collaborators of APP) among others.
The album itself is heir to the characteristic sound of The Alan Parsons Project, such as the epic "The Nirvana Principle", the melodic and impressive "Freudiana", the rock´s "I Am a Mirror" and "You're On Your Own", the electronic pop "Let Yourself Go", the complex "No One Can Love You Better Than Me", the Beatle "Little Hans" or the old "Upper Me".
This would be the last album recorded but not officially signed by The Alan Parsons Project who would say goodbye with a work that was not even signed by its authors, but which curiously is one of their best works of the project and which although not officially is attributable to the Parsons-Woolfson duo.

Nightwish-Once (2004)

Nightwish is one of the bands that have rewritten all the norms established in symphonic metal, since their first album they have been adding the necessary elements so that over the years they have become one of the greatest formations in the history of rock.
However, it would not be until their fifth album "Once" published in 2004 when they would become the center of attention around the world thanks to this spectacular symphonic metal album.
Here the vocal register of Tarja becomes much more powerful to the detriment of her lyrical tone, the same happens with the guitar riffs of Emppu and the keyboardist Tuomas adds many more pompous orchestrations.
An album where all the songs stand out from the epic "Ghost Love Score" to the effective "Wish I Had An Angel", passing through jewels like the hypnotic "The Siren" or the melancholic "Higher Than Hope".
This marked the last album of the phenomenal singer Tarja Turunen, who was fired by the band, due to conflicts between the singer and the other members.
A masterpiece of symphonic metal and power metal.

Dedicated to Maarett (my everlasting love)

David Lanz & Paul Speer-Natural States (1985)

David Lanz and Paul Speer published in 1985 one of the best works of the "new age" genre, already a classic of this style, it also became one of the biggest hits on the Narada label.
Before, David Lanz had achieved great success with "Cristofori´s Dream" years ago and with his albums "Heartsounds" and "Nightfalls".
This virtuoso pianist would join guitarist and producer Paul Speer in the mid-eighties and together they began to explore other, more electronic sounds.
Thus was born "Natural States" that thanks to a fantastic melodic base of electronic keyboards and piano together with the hypnotic sounds of electric guitars make up an unforgettable album.
Moments like the delicious "Behind the Waterfall", a melody that has been broadcast thousands of times and that has been the tune of TV programs, the energetic "Miranova", the melancholic "Faces of the forest", the atmospheric "Allegro 985" or the ethereal "First Light", culminate one of the genre's masterpieces and one of the best albums of the 20th century.

Various Artists- GRP Live In Session (1985)

The GRP record label was founded in the late 1970s by keyboardist Dave Grusin and musician and producer Larry Rosen which was primarily focused on jazz fusion and smooth jazz.
The first album released by GRP was "Mountain Dance" by Dave Grusin, and from 1982 on they would begin to publish all their releases on digital CD, being the first worldwide label to do so.
Among many other artists who would record for this label were Dave Valentine, Sadao Watanabe, Tom Scott, David Benoit, Russ Freeman, Billy Cobham, Lee Ritenour, Kevin Eubanks, Chick Corea, Dianne Schuur, John Patitucci or Dave Samuels.
In 1985 the album "Live in Session" was published, a live album that culminated the long tour that some of the label's stars had made in Europe and the United States.
"Live in Session" is an extraordinary document of great interaction of all these artists together on stage, a perfect spontaneity combined with a sensational rapport between all of them.
From Dave Grusin's initial "Mountain Dance" to the final ecstasy with the hit "St Elswhere" to Dave Valentin's "Oasis", Ritenour's guitar tour de force with "The Rit Variations" and "Rio Funk" or Diane Schuur's sensitivity to the mesmerizing "Reverend Lee".

Led Zeppelin-Houses of The Holy (1973)

After publishing one of the jewels of rock music par excellence such as "Led Zeppelin IV", and few things greater could do, "Houses of the Holy" his next album was a worthy successor but also a general relaxation in his music and with a more varied tonic.
From the funk sounds of "The Crunge" to the rhythmic "Dacing Days", Led Zeppelin moves through more experimental terrain such as reggae "D´Yer Mak´er", without neglecting the most characteristic sound of the band. with the classics "The Song Remains The Same", "No Quarter", "The Rain Song" or "The Ocean", making the album his most heterogeneous and varied work.

Daryl Stuermer-Steppin´Out (1987)

Daryl Stuermer's career would begin in the mid-70s as a guitarist for Jean Luc Ponty's band with whom he would record the albums "Aurora", "Imaginary Voyage", "Enigmatic Ocean" and "Civilized Evil".
However in mid-1977 he would replace Steve Hackett as guitarist and bassist for Genesis tours after each published album.
With Genesis he would go on tour from 1978 to 1992, with the Tours from "And Then There Were Three" to the album "We Can't Dance".
At the same time, he would become part of the recordings of Phil Collins' records and be the main guitarist of his band throughout the eighties.
He would also collaborate on albums by artists such as Philp Baley, George Duke or Joan Armatrading, in addition to the members of Genesis Mike Rutherford and Tony Banks.
In 1987 he would publish his first solo album, "Steppin' Out", under the GRP label, a magnificent work of smooth jazz, instrumental rock and versions that would get great reviews and good sales thanks to songs like "Kyoto Rose", "I Don´t Wanna Know" or "The Highlands".

The Beatles-White Album (1968)

A year after "Sgt. Pepper's Lonely Hearts Club Band" The Beatles offered a wide repertoire of songs quite different from each other that constituted the double "White Album".
It is also undoubtedly the most rocker album of The Beatles as demonstrated by "Revolution 1", "Helter Skelter" or "Back in The U.S.S.R.".
Along with the aforementioned "Sgt. Pepper's ..." this would become one of the cornerstones of the group, their later global influences are well endorsed in styles such as hard rock, classic rock, pop rock or indie rock.

Premiata Forneria Marconi-Chocolate Kings (1975)

The sixth album by Premiata Forneria Marconi, "Chocolate Kings", would mean the first sung in full in English and was thus made to enter the North American market.
It would also be the first where the band became a sextet with the incorporation of a new vocalist; Bernardo Lanzetti.
In "Chocolate Kings" the band maintains its references to British progressive rock, such as "From Under" which sounds like Genesis and much more if you look at Lanzetti's voice timbre, with a certain resemblance to Peter Gabriel.
The Powerful "Out Of the Roundabout", undoubtedly sounds like Yes, however what does change in this work are the Mussida guitars that have a harder tone approaching the sound of American rock, as can be seen in songs like "Harlequin" or "Chocolate Kings".
This album had an immense impact worldwide, with an impressive tour that would end in Japan and they even performed at the Royal Albert Hall in London before the Queen Mother.

Kansas-Monolith (1979)

"Monolith" was the sixth Kansas album, which due to the great success of the previous "Point Of Know Return" would be partly overshadowed by the general public.
However, it was another great album, once again maintaining the compositional zenith and the unmistakable essence of the group.
His two singles "People Of The Sound Wind" and "Reason To Be" had a good reception on the commercial plane, also contained the usual dose of progressive rock with the initial "On The Other Side" and "A Glimpse Of Home" .
Among the rest, the classic rock "Away From You" or "How My Soul Cries Out For You" stand out.
A worthy successor to a masterpiece like its successful predecessor.

The Cult-Love (1985)

The Cult are one of the best and most revolutionary bands that emerged in the eighties that, under their post-punk and gothic rock origins, built a great reputation within hard rock, a genre where they would end up framed.
With their second full length "Love" the band would enter a different dimension by polishing their compositions, with elaborate melodies and a guitar sound that amazed their fans.
The success of this album owes a great debt to the song "She Sells Sanctuary" since it allowed the album to have a great impact.
But the album not only feeds on this great theme, there are also the mysterious "Rain", or the extraordinary "Big Neon Glitter", "Hollow Man", "Revolution" or "Black Angel".
But they are undoubtedly "Brother Wolf; Sister Moon" with that candelic melody or the rhythmic "Love" the two jewels of this spectacular album.

Yes-Fragile (1971)

At the beginning of the 70's, Yes were in the creative zenith, creating works as spectacular as "The Yes Album", "Fragile", "Close To The Edge" or "Tales from Topographic Oceans", taking them to the top of progressive rock and with millions of fans hallucinating with the sound that this group constantly created.
In 1971 Yes they released "Fragile", which would eventually become one of the most capital albums in progressive rock. With two long suites to recreate an atmosphere of the most diverse such as "South Side Of The Sky" and "Heart of The Sunrise", in addition to the forceful "Roundabout".
Each member explores and shines in different parts of the album, Chris Squire on "Fish", Steve Howe on "Mood For a Day", Rick Wakeman on "Cans And Brahms", Jon Anderson on "We Have Heaven" and a Bill Bruford that is plethoric throughout the album.
But apart from these personal highlights, what was really important is that for the first time the authentic Yes sound is heard, which would create a school for posterity.

Black Sabbath-Black Sabbath (1970)

This album would mean the beginning of heavy metal, without detracting from other bands that at the same time released albums of almost identical genres (Deep Purple, Steppenwolf or Led Zeppelin to name just three of them).
Without being his best album, it was the one that laid the foundations of an unstoppable career until the mid-70s, with jewels of the caliber of "Black Sabbath" and its sinister and funereal rhythm, the brutal "The Wizard", the germinal heavy "NIB", the melodic "Evil Woman", the energetic "The Warning" or the virtuous "Wicked World", all of them made up an arsenal that became a legendary album and essential to understand the heavy metal genre.

Deep Purple-In Rock (1970)

"In Rock" would be the fifth album of the legendary Deep Purple, published in 1970, it would be up to that moment the hardest and most powerful made to date and one of their top works, in addition to being one of their best-selling albums commercially.
An album that exudes forcefulness and energy at the same time that it contains progressive moments contributed by Jon Lord's keyboards.
From the initial and heartbreaking "Speed King", to the epic and virtuous "Child In Time" passing by the danceable "Black Night", the playful "Flight of the Rat", the groove "Into the Fire" or the heavy "Bloodsucker" they demonstrate the perfect example of the group's classic sound with this hard rock and heavy metal masterpiece.

Led Zeppelin-Led Zeppelin I (1969)

For many Led Zeppelin represents the largest and most influential hard rock band, an institution that goes beyond any qualification, and which released a series of albums, most considered spectacular masterpieces of heavy metal and hard rock.
With their debut in 1969, they would get a start as spectacular as controversial, in part because there were certain tricks on the part of Jimmy Page in some of the compositions such as Willie Dixon's version "You Shook Me" of which it seems it was an idea by Jeff Beck, also that he "borrowed" the concepts of "Dazed and Confused" from the musician Jake Holmes and finally that in the song "How Many More Times" i included an excerpt from "Beck's Bolero" by the aforementioned Jeff Beck.
Even so and despite everything, no one until that moment had sounded like Led Zeppelin did, and it is demonstrated in their own songs such as "Good Times, Bad Times", "Your Time Is Gonna Come", "Communication Breakdown" or the aforementioned "How Many More Times".

Jeff Beck-Flash (1985)

"Flash" is undoubtedly Jeff Beck's most commercial album, in which his style is close to pop-rock, this due in part to the producers of said album; Nile Rodgers and Arthur Blaker.
Both gave this album a very eighties sound and thanks to this, Beck would achieve a remarkable success on the album charts.
Here is the only hit single of Jeff Beck's entire career "People Get Ready", featuring the vocals of Rod Stewart and an impressive final guitar solo.
The rest of the album is saturated with commercial sounds and electronic percussions but with Jeff Beck's sensational guitar that gives color to the compositions and a very valid addition to the final result.

The Alan Parsons Project-Tales of Mystery and Imagination (1976)

In 1976 Alan Parsons began his project with his first album entitled "Tales of Mystery and Imagination", based on the life and work of the romantic poet Edgar Allan Poe.
For this work Parsons had surrounded by renowned musicians such as Arthur Brown, Ian Bairnson, Andrew Powell, Stuart Elliot, Mel Collins, John Miles or Chris Rainbow among others, in addition to Eric Woolfson, vocalist, composer and right hand of Alan Parsons in practically his entire career.
An album that at times is hypnotic, sophisticated, orchestral, progressive, with a dose of very addictive commercial pop that left us surprising themes such as the forceful "The Raven", the theatrical "The Tell-Tale Heart", with the plethoric voice of Arthur Brown, the musical "The Cask Of Amontillado", or the initial and tetric pseudo instrumental "A Dream Within a Dream" with the impressive narration of Orson Wells.
The second of the album is composed by the suite "The Fall of the House of Usher", orchestrated by the arranger Andrew Powell, and the beautiful and delicious "To One In Paradise" that puts the finishing touch to an essential album within the 20th century music.

AC/DC-If You Want Blood (You've Got It) (1978)

Weighed in part by its older brother and retouched "Live" released years later in 1992, "If You Want Blood" is undoubtedly the best direct AC / DC, where there are no "Overdubbings" or "Backtrackins" and all those manipulations in the studio where they seek perfect sonic perfection.
Here the band is shown as they were, rough, raw, rough and dirty, with pure rock' n' roll of the great.
Only 10 songs were enough to put this direct into legend, from the opening bars of "Riff Raff", to the rabid "Rocker", passing through masterful versions like "Whole Lotta Rosie", the shameless and sublime "The Jack", or the masterful "Let There Be Rock" without forgetting that jewel that is the euphoric "Hell Ain't A Bad Place To Be".
A live show as real as life itself, which showed us AC / DC at its best for the glory and history of Rock.

Yes-90125 (1983)

As would happen with Genesis and their album "Invisible touch", Yes would obtain with "90125" the biggest commercial success until reaching a surprising top-5 in the album chart.
Unlike their previous Yes albums here they completely abandon complexity to focus on a more hard rock sound with many AOR influences.
The album contains moments of great affordable melodies, catchy rhythms and an irresistible commercial sound.
The band at this time, as had happened with other greats of the seventies, had adapted to new ways of making music, which compared to their masterpieces of the previous decade is favored by its originality.
An important part of this revulsion would be its new guitarist Trevor Rabin, who almost completely assumes the leadership, both compositionally and his guitarist contribution; very aggressive and melodic and his way of conceiving music.
The mega-hit "Owner Of A Lonely Heart", the energetic "Changes" and the rhythmic "Hold On" are the ones that best demonstrate the second youth of a resurrected band with a recycled, attractive and addictive sound.

Cat Stevens-Greatest Hits (1975)

Cat Stevens' career is marked by three different stages, the first during the sixties, when he wanted to be one more singer in the waves of British artists that dominated the international market.
It was at this time when he would achieve his first great success with the song "Matthew and Son", but an illness kept him withdrawn for a long time in which he would change his way of seeing music, moving away from commercial pop and entering the genre of singer-songwriter , in which he would achieve his best albums.
After his success in the seventies he would retire for a long time to return under the name Yusef Islam with whom he would record exclusively Muslim religious music.
His stage of glory includes a series of great albums focused on folk rock such as "Mona Bone Jakon", "Tea For The Tillerman", "Teaser and the Firecat", "Catch Bull at Four", "Foreigner", "Buddah and the Chocolat Box", "Numbers" or "Izitso" all of them published in the period between 1970 and 1977.
In all of them great songs appeared that filled his repertoire with classics such as "Morning Has Broken", "Moonshadow" or "Father and Son" ... among others.
In 1975 these and other hits were included in the compilation "Greatest Hits", which achieved overwhelming success in some countries, leaving evidence of the legacy of this talented and multifaceted musician and singer.

The Alan Parsons Project-Eye In The Sky (1982)

In 1982 The Alan Parsons Project abandoned the concept of progressive pop albums to enter a more commercial pop rock, without losing a bit of quality and certain doses of the progressive style of yesteryear.
However, the concept was still presented in some way, since the first and worldwide successful song "Eye In The Sky" is based on the work of George Orwell, the voice of David Patton that stands out in pop-rock is also available "Children Of The Moon", the instrumental with a certain Pink Floyd aftertaste "Mammagamma", the hypnotic "Sirius" or the wonderful ballad "Old And Wise".
"Eye In The Sky" would become The Alan Parsons Project's biggest commercial success, with over two million records sold, as well as being nominated for a Grammy Award the following year.

Fleetwood Mac-Live (1980)

In 1980 Fleetwood Mac published the superb double live album "Live", where a good part of the last tours of the band was shown in a few moments in a national way both in the compositional and commercial plane.
Here are almost all his great songs such as "Sara" which is lengthened in a seven minute coda, the epic and majestic "I´m So Afraid", or the eternal "Monday Morning", "Dreams", "Oh Well", "Rhiannon" or "Fireflies".
The album would get great reviews and very good sales, keeping the level of the band very high thanks to the genius of its members throughout this fantastic live show.

Wings-Wings Over America (1976)

"Wings Over America" is a triple live album by the band Wings, and contains recordings of various concerts that took place during 1976 at Madison Square Garden in New York, El Forum in Los Angeles and in Seattle during the tour "Wings Over The World Tour ".
For the occasion Paul McCartney had prepared a 30-second spot for North American TV with some passages from the live show.
From the initial medley with "Venus and Mars / Rock Show / Jet", or the majestic "Let Me Roll" the rock "Medicine Jar" or the frenzy "Maybe I'm Amazing", passing through the classic "Live And Let Die", the plethoric "Call Me back Again" or the eternal "Yesterday"... they leave us a superb live show that showed that Paul McCartney was the most rocker of the four Beatle, the most enthusiastic and above all the one who harvested and would reap the most success in ahead.

The Eagles-Eagles Live (1980)

By the time the double live album "Eagles Live" was released, the band was practically separated, but they still had an unfinished business with their record label, publishing a live album, so both Glenn Frey and Don Henley took it upon themselves to mix with producer Bill Szymczyk live material that belonged to different tours of the United States, to fulfill the contract and be released from Asylum Records.
It was finally released with songs ranging from the "Hotel California" tours in 1976 and "The Long Run" in 1980.
Some time after its publication from certain sectors the band was accused of overloading studio recordings and in fact the magazine "Rolling Stone" itself would rate it as the most overloaded album in history.
In any case, this was the last testimony of one of the greatest rock bands of all time, with an extensive review of their iconic songs like "Hotel California", "New Kind in Town", "Take It to The Limit ", "Desperado", "Take It Easy" or "Life In The Fast Lane".

The Moody Blues-The Present (1983)

Several years after "Long Distance Voyager" the Moody Blues reissued a new album, "The Present", a worthy successor that followed the same path as the previous one, albeit with less commercial impact.
The band showed its more commercial side with a more sophisticated pop sound but pleasant to listen to, such as the melodic "Blue World", "Meet Me Halfway", the beautiful ballad "Going Nowhere", the rhythmic "Under My Feet", or the stale "Sorry".

The Moody Blues-Long Distance Voyager (1981)

In 1981 the Moody Blues would obtain their last great success with the album "Long Distance Voyager", reaching number one in the United States.
Several years earlier they had been joined by keyboardist Patrick Moraz replacing Mike Pinder who had left just after the album "Octave" (1978).
Moraz was a breath of fresh air to the sound of the band, which shows more vitality than ever on this album.
This is undoubtedly the band's most commercial album, with a sound as vibrant as it is spectacular, in which both guitars and keyboards take a leading role.
"Gemini Suite" and "The Voice" became two icons in the group's musical career, while ballads such as the sublime "Taking Out Of Turn", "In My World" or "Meanwhile" keep the characteristic style fresh of the band with that sweet and melancholic touch.
"Long Distance Voyager" was the last great album of The Moody Blues, which with this work showed how great they were.

Vangelis-Direct (1988)

Vangelis had started the eighties with numerous solo projects in addition to collaborations with Jon Anderson contributing great works such as "The Friends of Mr Cairo", "Chariots of Fire", "Mask" or "Invisible Connections" among others.
They all had a common denominator, they had been born in large European cities, especially London, but for his next album "Direct", Vangelis would choose to move to his hometown, Athens, trying among other things to reconnect with the flavors of his home and his childhood.
For this new work Vangelis would abandon the long suites divided into movements to record a series of shorter, very rhythmic, contemporary and commercially more urban themes.
From the spirited "The Motion Star", to the immeasurable "Intergalatic Radio Station", passing through the exotic and rhythmic "The Will of the Wind", the epic "Metallic Rain", the cosmic "Elsewhere", the majestic "Dial Out" "or the sublime" Glorianna "make up the indisputable work of a genius like Vangelis

Bob Dylan-Desire (1976)

"Desire" was Bob Dylan's seventeenth album and in all probability his album where his companions and collaborators such as Scarlet Rivera with her violin, Emmylou Harris as chorus girl and the compositions with Dylan by Jacques Levy take center stage.
"Desire" is full of real life stories, such as "Hurricane", about the boxer Rubin Carter, wrongly accused of triple murder, or "Joey" about the mobster Joey Gallo.
The ballad "Isis", the harmonious "Mozambique" or the emotional "Oh Sister" and "Sara", acclaimed an album that was enormously well received by critics and their fans and that would become an emblematic rock album.

Iron Maiden-Piece Of Mind (1983)

In 1982 Iron Maiden had captured one of the top heavy metal works with the album "The Number Of The Beast", an album that had been the presentation of Bruce Dickinson replacing Paul Di´Anno.
Since the aforementioned album the band had begun to leave behind their punk influences to focus on an epic heavy metal, with philosophical and historical stories.
With "Piece of Mind" released a year later, the memory of their punk past is totally forgotten to deepen the instrumental developments based on guitar riffs and songs like "Flight Of Icarus" or "The Trooper" become icons of the band.
Other songs like "Where Eagles Dare" made it clear where the band's trajectory would follow with an exercise of instrumental virtuosity on the part of all its members.
But also the band evolves to more commercial and even progressive lines like "To Tame a Land" or melodic lines like "Revelations".

Pink Floyd-Meddle (1971)

"Meddle" was the beginning of the most characteristic sound of Pink Floyd, which would lead him to create works as fantastic as "The Dark Side Of The Moon" or "Wish You Were Here".
Published in the most important moment of the band who knew what this would mean for their future and that it would mean the transition point between psychedelic rock and progressive rock.
An album that contains some of his greatest achievements such as the epic "Echoes" or the psychedelic "One Of These Days", without forgetting the exquisite "Pillow Of Winds", the acoustic melodic "Fearless" or the blues "Seamus".
An album that is undoubtedly one of the jewels of rock music without question.

Robben Ford-Talk To Your Daughter (1988)

In 1988 Robben Ford released his second album titled "Talk To Your Daughter" an exuberant jazz rock album that was even nominated for best jazz album at the Grammy Awards.
In "Talk To Your Daughter" Robben Ford showed his clear influence of jazz-fusion, partly due to the inclusion of Russell Ferrante on the electric piano, which made his "Robben Ford Trio" a quartet.
With a concise and very solid sound, Ford leaves us the mark of his talent in great compositions such as the initial "Talk To Your ..." the ballad "Ain´t Got Nothin´ But the Blues", his particular version of the Albert King classic, "Born Under A Bad Sign" or the rock "I Got Over it", which rounded off an extremely great album.

Tangerine Dream-Ricochet (1975)

"Ricochet" was Tangerine Dream's first live album, the third with the Virgin label and the eighth chronologically by the German band.
Unlike their previous albums Edgar Froese, Peter Baumann and Christopher Frank, the members of the group at that time, gave their music an environment more experimental than atmospheric, the concept here is harsher and more forceful, with a treatment closer to rock progressive than ambient music.
An album that consists of two long tracks, one for each side of the album, which seem more like contained improvisations than material created in advance, even so "Ricochet" is one of his best works from the 70s.

Roy Orbison-Mystery Girl (1989)

Roy Orbison was one of the great icons of rock n roll, a man with a fragile and brittle appearance, but who had one of the most eternally contrived and at the same time most moving voices.
Although his career began in the late fifties, it would not be until 1961 when he published his first songs and in 1964 he would get one of his biggest hits "Oh Pretty Woman", which would go on to add to a long list of mythical songs in the history of the popular music.
Although his beginnings were rock, soon his career would deviate towards a softer style with ballads and half times with which he would get another 15 songs among the top 40.
Roy Orbison showed a very personal way of singing, full of emotion, with a very high tessitura and very well structured with a very effective crescendo that transmitted emotion to the listener.
In 1987 Jeff Lynne and George Harrison called Roy Orbison to finish a series of songs that they had in mind to record for an album by Harrison himself, ... finally several albums came out of these meetings, on the one hand "Vol.1" of the Traveling Wilburys and another "Mystery Girl" by Roy Orbison.
But before this album was released Roy Orbison would die of a heart attack in Tennessee, so the album that would be released months later would be a posthumous album title.
An album that became a rock masterpiece, a testament to outstanding quality, thanks in part also to his friends Lynne and Harrison, among many others (Tom Petty, Al Kooper, Steve Crooper ...) who knew how to get it out of the box ostracism Orbison was going through at the time.
"Mystery Girl" is an album that overflows with feelings, melancholy, something very common in Orbison's music, songs like "In the Real World" or "A love So Beautiful" are of pure feeling.
The elegant "California Blue", the soul "The only One", or the rock "(All I Can Do Is) Dream You", left us an album as fascinating as it was superb, with a lot of nostalgia, full of vitality, which by way of A great farewell put Roy Orbison in the place he deserved and that should never be forgotten.