Peter Gabriel-II (1978)

A year after releasing his first solo album, Peter Gabriel returned with his strangest and most eccentric work yet. From the self-mutilation of its cover to his continued refusal to give it a proper title (something that undoubtedly displeased his record label), and the sheer musical extravagance on display, this album demonstrates that Gabriel was still searching for his identity away from his original band, Genesis, slowly progressing with an avant-garde and experimental style. Produced by Robert Fripp, Gabriel enlisted a stellar lineup of musicians, including Larry Fast (synthesizers), Jerry Marotta (drums), Tony Levin (bass), Sidney McGinnis (guitars), and Robert Fripp himself (guitars). Unlike his first album, this one leaned more towards new wave and post-punk/electronic rock sounds. Bittersweet songs like "Mother Of Violence", electronic experiments like "Exposure" or "Flotsam & Jetsam", rock songs like "On The Air" and "Animal Magic" or the intense atmosphere of "White Shadow", make up a meritorious album that is less accessible than their debut due to its strange compositions and its unusual and opaque production.

Mike Oldfield-Platinum (1979)

Platinum released in 1979 would be the successor of Incantations and broke with the previous schemes in the works of Mike Oldfield, marked by long and instrumental suites to last until the end of the disc. From now on there will be a long piece directing the work, supplemented by shorter topics.
On this album, Oldfield and begins to experiment with electronic sounds and distortion effects in anticipation of the 80s, terribly marked by abuse of such techniques. However, the use of a healthy, just as mere accompaniments, while the music (the real one) is still that particular seal that Mike Oldfield was only able to print and even shows influenicas pop, funk and jazz in some parts of the disk.
The suite that opens the play is a piece of almost 20 minutes with a high progressive component divided into four parts (one of which is a piece adapted from Philip Glass North Star). The other songs too have their story: The song Woodhenge was replaced in the American version of the album (called Airborn) on the topic Guilty (single included in the previous live album Exposed), Sally, who appears on the back as the subject 3, does not actually appear on the disc, but is replaced by the subject Into Wonderland. Sally is a somewhat innocent ditty dedicated to Sally Cooper, Oldfield girlfriend back then, and only appears in the early editions of the LP (it was later taken by Richard Branson, and replaced by the above issue) is the particular insult Punkadiddle Mike Oldfield to Punk music, and when played live, the musicians were naked from the waist up, and I Got Rhythm is a version of a topic of George and Ira Gershwin.
Taken together, the whole album is very interesting, full of changes, melodic richness and as always the case of Oldfield, a quality hard to match.

Jefferson Starship-Dragon Fly (1974)

In the mid-70s, Jefferson Airplane adapted to the changing times and changed their name to Jefferson Starship. This represented a significant shift in every sense, and with this "modification" from "airplane" to "starship", it was as if they wanted to emphasize the group's evolution and continuous changes. Moving away from the psychedelic hippie sound of their late-sixties albums under the Airplane name, they now opened themselves up to the demands of a new audience, modernizing their music with a more accessible, powerful, and, to a certain extent, sanitized rock sound. "Dragon Fly", released in 1974, would be the starting point. By this time, much of the original lineup that recorded the legendary "Takes Off" (1966), "Surrealistic Pillow" (1967), and "Volunteers" (1969) was still present: Grace Slick, Marty Balin, and Paul Kantner. Along with new additions like Craig Chaquico, Papa John Creach, and David Freiberg, they brought a fresh stylistic approach, incorporating more accessible AOR sounds that were nonetheless high-quality. Chaquico's versatile guitar work and Papa John Creach's violin sounds lend the album depth and eclecticism. "Ride The Tiger" showcases the melodic and incredibly addictive side of their compositions, "That's for Sure" is a throwback to their experimental years with an updated sound, "Caroline" is the album's hit, written by Balin, which gives the album the necessary commercial consistency, however, it is the rhythmic "Devils Den" or the epic and wonderful "Hyperdrive" that are the best of "Dragon Fly", which marked the resurgence of one of the most important bands of the sixties who brilliantly resurrected themselves in the seventies, signing superb works like this one or the following "Red Octopus" (1975) or "Spitfire" (1976).

Black Sabbath-Mob Rules (1981)

The 1980s began majestically for Black Sabbath, showcasing two heavy metal masterpieces: the immense "Heaven and Hell" and the dark and heavy "Mob Rules". Both featured Ronnie James Dio on vocals, replacing Ozzy Osbourne, who had been "invited" to leave after the 1978 album "Never Say Die!" While it didn't reach the creative and commercial heights of "Heaven and Hell", its follow-up, "Mob Rules", saw the band, led by Tony Iommi, display a more overwhelming and consistent sound. In addition to Ronnie James Dio (vocals), Tony Iommi (guitar), and Geezer Butler (bass), this recording featured drummer Vinny Appice replacing Bill Ward and keyboardist Geoff Nichols. Like the aforementioned "Heaven and Hell", this is a true and undeniable heavy metal classic, containing a series of crushing songs such as "Turn Up The Night”, “The Mob Rules”, “Slipping Away” or “Voodoo”. On the other hand, nods to the past appear in the fatalistic and epic “The Sign of the Southern Cross”, in the melancholic and ominous “Over and Over” and in the tremendously furious “Falling Off The Edge Of The World”.

Peter Gabriel-Peter Gabriel I (1977)

Peter Gabriel's first solo album, released three years after his last studio recording with Genesis, "The Lamb Lies Down On Broadway", and two years after his final departure from the band, is undoubtedly one of his most accessible and versatile works. For this debut album, Gabriel enlisted the help of a vast array of talented musicians, including guitarists Robert Fripp, Steve Hunter, and Dick Wagner; bassist Tony Levin; drummer Allan Schwartzberg; keyboardists Larry Fast and Jozef Chirowski; and the London Symphony Orchestra. Recorded during the final months of 1976 in various studios in Canada and London, and produced by Bob Ezrin, it showcases a Peter Gabriel far removed from his past work with Genesis, with the exception of the opening track, "Moribund the Burgermeister", which almost sounds like an outtake from "The Lamb Lies Down On Broadway". The rest of the album is eclectically crafted, with each track possessing a distinct style. Forays into rock with the powerful “Slowburn”, blues with “Waiting For The Big One”, prog rock with “Down The Dolce Vita”, electronica with “Humdrum”, pop rock with “Solsbury Hill”, and the epic “Here Comes The Flood”. With all of this, Peter Gabriel would demonstrate that he could easily have a life without his former band. Even with the help of some of the great musicians of the 70s, such as Robert Fripp (King Crimson) and synthesizer wizard Larry Fast, Gabriel is the true star of the album. With its powerful and vibrant production and exquisite arrangements, this prodigious debut album is undoubtedly a testament to his greatness as a composer, singer, and musician.

Tom Waits-Rain Dogs (1985)

"His music is bizarre," a music critic once described Tom Waits, and he wasn't wrong. This actor, singer, and songwriter, with a career spanning almost 50 years, has garnered critical acclaim in underground circles and a cult following. However, Tom Waits has never achieved commercial success with any of his work, mainly due to his strange, experimental, and risky music, his unmistakable style, and that raspy voice, a product of tobacco and alcohol, which has kept him from reaching a wider audience. In fact, he has a small but dedicated legion of fans who have remained steadfast in following all his work. Influenced by the Beat Generation writers, his lyrics deal with real life on the streets, the shady dealings in the underworld, and the nocturnal atmosphere of seedy neighborhoods. In 1985, his ninth album, "Rain Dogs", was released. It was another experimental work with an eclectic style, but looking back to his earlier albums, it had a more melodic and "accessible" sound (though it's certainly not very accessible). The music here continues to be eccentric to an unexpected degree, with nods to jazz and blues, and prominent double bass and percussion rhythms. Even so, Tom Waits has a special and unique aura, to the point that artists of the caliber of Bruce Springsteen, The Eagles, and Rod Stewart, among others, have covered many of his songs.

Guru Guru–Känguru (1972)

Guru Guru was one of the first bands of the Krautrock movement to emerge in the late 1960s, spearheaded by the experienced drummer Mani Neumeier, who had extensive experience collaborating with European jazz bands throughout much of the decade. From their origins, this band, formed in the German city of Heidelberg and influenced by LSD, developed a style towards acid and spacey sounds with a strong emphasis on improvisation. Throughout their four decades of activity (the band was still active in 2017), they have undergone countless lineup changes, resulting in a seemingly endless succession of different bands and musical concepts. After their first experimental and creative album, "UFO" (1970), they released "Hinten" (1971), showcasing their psychedelic and improvisational blues-rock side. However, it was with their third album, "Känguru" (1972), that they gained wider recognition from the progressive rock community, creating an essential work in the Krautrock genre and progressive rock in general. "Känguru" consists of four long, well-structured tracks, unlike the chaotic repertoire of their previous albums. These tracks feature extended explorations of acid, psychedelic, and space rock, showcasing strong influences from Jimi Hendrix and early Pink Floyd, as demonstrated in tracks like the surprising "Oxymoron". Meanwhile, "Immer Lusting" displays the heavy and powerful sound of their space rock style with impressive guitar solos. The original tracks "Baby Cake Walk" and "Ooga Booga", which close the album, showcase the band's joyful jamming side. These songs are a far cry from the irritating tracks of their first two albums and demonstrate the versatility of this enormous and essential German band.

T.Rex-Electric Warrior (1971)

By the end of 1971, T. Rex, the band led by the charismatic Marc Bolan, had enjoyed over two years of overwhelming success. Songs like "Debora", "Ride a White Swan", and "Hot Love", along with albums such as "Prophets, Seers & Sages...", "Unicorn", "A Beard of Stars", and "T. Rex" (the first three under the name Tyrannosaurus Rex), led them to be hailed one after another by a segment of the sensationalist press and the British public as the natural successors to The Beatles. This exaggerated and magnified assertion was due to the "T-Rexmania" fever that had swept through England during those years. Amidst this whirlwind of success, T. Rex released their sixth album, "Electric Warrior", which became another massive hit on the British charts, further boosting their popularity to unimaginable heights. Released in late 1971, "Electric Warrior" became his most accomplished work to date. With eleven brilliant tracks, Marc Bolan not only remained at number one on the charts for weeks, but also created one of the greatest glam rock albums and a masterpiece in the history of rock music. Many of the songs on this album immediately became iconic classics, such as the well-known "Get It On", or the dazzling "Cosmic Dancer", "Planet Queen", "Jeepster", "Mambo Sun", "Rip Off", and "Girl" all brimming with rich string arrangements, powerful riffs, addictive rhythms, playful percussion, and catchy vocal choruses.

Various Artists-Bumpers (1970)

In the late 1960s, British record labels began releasing a selection of their artists' material on discs known as "samplers." These weren't intended as anthologies or compilations; their main purpose was to give listeners the opportunity to discover a variety of underground musical styles at a reduced price (also known as mid-priced), particularly artists who lacked a conventional singles market and therefore had limited opportunities for radio airplay on British stations. Around the same time, Columbia and Liberty Records' "The Rock Machine Turns You On" in the United States had already begun this trend with the album 'Gutbucket'. The British response came from Islands Records, producing a series of so-called "samplers," from "Nice Enough to Eat" and "You Can All Join In" in 1969, to "Bumpers" in 1970 and "El Pea" in 1971. "Bumpers" meant "the best choice," and comprised eclectic yet cohesive collections of music on double LP 33 rpm vinyl records. By the late 1960s, the British music scene was remarkably vibrant, and Island Records was arguably the most experimental, innovative, and diverse label, and certainly the most successful independent label before its founder, Chris Blackwell, sold it to A&M Records many years later in 1989. Blackwell had started in the record industry in Jamaica in 1959, promoting the emerging sounds of bluebeat and ska. He had achieved notable success with Millie Small's "My Boy Lollipop" in 1964, at which point he moved his Island label to Notting Hill Gate in 1964. London. The label would expand to include a wide range of styles, from pop and rock to genres like folk, jazz, blues, reggae, progressive rock, underground music, and experimental offerings. It's no surprise, then, that "Bumpers" was a collection of artists who primarily recorded albums, not singles for the charts. "Bumpers" was released in 1970 and contained the label's most acclaimed acts of the time, from Traffic, King Crimson, and Jethro Tull its flagship acts to up-and-coming artists who would later become stars, or established bands like Free, Renaissance, Cat Stevens, Fairport Convention, Bronco, Spooky Tooth, Quintessence, Jimmy Cliff, Mott the Hoople, Nick Drake, and If. With a powerful opening track like Traffic's "Every Mother's Son", this compilation started strong. Spooky Tooth's version of The Beatles' "I Am the Walrus" was one of the highlights. Exciting, while Jethro Tull showcased their folk-rock arsenal with “Nothing to Say”, If, one of the lesser-known acts, revealed their potential in the intricate progressive “I’m Reaching Out On All Sides”, “Cadence and Cascade” displayed the more bucolic side of King Crimson, while Cat Stevens and his “Maybe You’re Right” clearly demonstrated the folk side that would bring him great success shortly thereafter, as did Fotheringay with “The Sea” and Fairport Convention with “Walk Awhile”. However, it was the young Jimmy Cliff with “Going Back West” and the fledgling Renaissance with “Island” who benefited most from this anthological showcase of the power of British music from the late 60s and Island Records in particular.

Colosseum-Those Who Are About to Die Salute You (1969)

Formed from the ashes of John Mayall's Bluesbreakers, Colosseum released their debut album, "Those Who Are About To Die Salute You", in 1968, with a lineup heavily influenced by jazz and blues. Led by drummer John Hiseman and saxophonist Dick Heckstall-Smith, the band also included organist and vocalist Dave Greenslade, bassist Tony Reeves, and guitarist James Litherland. Colosseum's style, while rooted in blues and jazz, also incorporated a significant amount of avant-garde and progressive rock. Tracks like their rhythm and blues version of Graham Bond's "Walking In The Park", the bluesy "Plenty Hard Luck", "Debut", and "Backwater Blues" are filled with passionate saxophone solos from Heckstall-Smith and guitarist Litherland. Others, like "The Road She Walked Before", are more jazz-rock oriented. In all of them, the group moves with considerable fluidity thanks to the eclectic fusion of styles and the musical influences of each member. Released by the Fontana label, this debut album sold a large number of records, leading to countless concerts across Europe and further increasing Colosseum's popularity.

Eric Burdon and War-Eric Burdon Declares War (1970)

Eric Burdon was the greatest singer of the 1960s, thanks to an incredible voice that, even when reciting songs, produced cadence, rhythm, and movement. His legend and his nonconformity are a story apart within history itself, so much so that his career is considered almost an example of progression and evolution in the golden age of rock and pop music. Eric Burdon and The Animals were a major part of the evolution of blues and rhythm and blues in the early years of the beat movement. By the end of the sixties, Eric Burdon already had seven years of professional experience, great success, and numerous projects under his belt, including masterpieces with his band The Animals such as the incredible, now-classic rock singles "The House of the Rising Sun" and "Don't Let Me Be Misunderstood", as well as a series of significant albums. In 1966-67, Eric Burdon and The Animals traveled to the American West Coast and recorded their spectacular album "Wind of Change". In 1970, Burdon announced a new formation, creating a band composed of Black musicians called War. He explained that this change stemmed from his feeling of being Black, because he thought, reasoned, and sang like a Black person. War consisted of half a dozen musicians steeped in blues, soul, and funk. Eric Burdon & War got off to a great start with their track "Spill the Wine", and the album "Eric Burdon Declares War" was a superb blend of blues, psychedelia, funk, and African American music. In addition to the aforementioned "Spill the Wine", the album features standout tracks such as "Tobacco Road" and "Mother Earth", two long, hypnotic, lysergic, and cathartic suites, making this record an instant classic and one of the greatest albums in music history. At the end of that same year, another extraordinary album was released, this time in double LP format entitled "The Black-man's Burdon", another explosion of black music with a mix of funk, soul, rock and R&B with psychedelic touches and where the Stones' version "Paint it Black", the exciting "Bare Back Ride" or the legendary "Nights in White Satin" by the Moody Blues stood out.

Kate Bush-Hounds Of Love (1985)

Discovered by Pink Floyd guitarist David Gilmour, Kate Bush is one of the greatest singers England has ever produced, distinguished by her extraordinary talent for melody and poetic imagery, but above all by her unique and distinctive voice, something never before heard. Her debut album, produced by Andrew Powell and titled “The Kick Inside” (1978), was one of the most captivating records ever written, showcasing with her innocent voice and the vibrant, nuanced arrangements a work that, to some extent, approached progressive rock, with a style that linked her to contemporary bands like The Alan Parsons Project. In her subsequent works, she continued in a similar vein, producing a string of high-quality albums such as the magical and elegant “Lionheart” (1978), the less progressive but more romantic “Never For Ever” (1980), and the more experimental “The Dreaming” (1982). In the mid-eighties came "Hounds of Love", which appears on many lists as one of the best rock albums of all time, published by magazines and music websites. However unreliable those lists may be, in this particular case there is no exaggeration, as Kate Bush's fifth album is an indisputable masterpiece, a near-perfect record that still sounds as fresh today as it did more than thirty years ago. The music here is by turns ethereal, romantic, melancholic, and at times even aggressive and haunting. "Running Up That Hill" opens the album with a strong, almost dance-like electronic beat, against which Kate's dramatic voice soars and stirs emotion. The dark, driving percussion also features prominently in "The Big Sky". The poignant "Mother Stands for Comfort" paves the way for the epic "Cloudbusting", whose video (featuring Donald Sutherland) is as deeply moving and beautiful as the song itself. The second side is entirely occupied by "The Ninth Wave" (the title is taken from a poem by Lord Tennyson), a suite in seven separate movements, based on a fascinating concept: the final hours of a woman trapped under the ice, her thoughts and memories before death. It may sound macabre, but Kate treats this haunting subject with her characteristic lightness. Musically, it is as captivating as the story behind it, with Kate's voice sounding heartbreakingly sweet on the opening "And Dream of Sheep" and "Hello Earth", menacing on the sinister "Waking the Witch", melodic on the traditional Irish "Jig of Life", or melancholic on "Watching You Without Me". On "Hounds of Love," as with its predecessor, "The Dreaming", ethnic instruments blend with the violins and the ever-present Fairlight piano played by Kate herself to create a dazzling musical mix that is both adventurous and soothing to the ear. Without a doubt, a classic album to be appreciated by all lovers of top-quality music, which would achieve half a dozen platinum records and numerous Top Ten hits around the world.

Santana-Borboletta (1974)

In 1972, Santana released his debut album, "Caravanserai", which cemented the American guitarist's worldwide fame after another monumental album, "Abraxas" (1970). But right after that album, the band suffered its first lineup changes. Guitarist Neal Schon and keyboardist Gregg Rolie left to found the progressive hard rock group Journey, while singer Leon Patillo and keyboardist Tom Coster joined, followed by a few short-lived additions for the subsequent album, "Welcome" (1973), such as vocalist Leon Thomas and keyboardist Richard Kermode. However, despite the loss of two of its best members, Schon and Rolie, the band didn't suffer musically, and in 1974 they released their fifth album, "Borboletta", in which Santana achieved another great work of jazz-rock and jazz-fusion that, in some ways, resembled the percussion and atmosphere of the masterful "Caravanserai". Tom Coster, the new lineup's main keyboardist, perfectly filled Rolie's shoes, playing abundant Hammond organ and organ sounds, and occasionally some great electric piano fills. The rest of the band was more or less the same as the one that played on "Caravanserai", with the sole exception of the new lead vocalist, Leon Patillo, who does a great job here. "Borboletta" is another top-notch demonstration of jazz-rock with forays into Latin sounds, featuring powerful emotional sections, all filtered through a funk lens. The album is meant to be listened to in its entirety, without diminishing the value of any single song, because they all flow seamlessly from one to the next, just as they did on "Caravanserai". However, the highlight of Borboletta is undoubtedly the closing track, "Here and Now/Flor de Canela/Promise of a Fisherman", where we hear 13 splendid minutes of Santana at his absolute best. Even so, it's the first part of the album, with the sublime "Spring Manifestations", the brilliant "Life Is Anew", the jazz-rock "Give and Take", and the melodic "Aspirations", that most closely resembles the sound of "Caravanserai". One of the main differences here is the aforementioned new vocalist, León Patillo, who presents a more accessible sound. In addition, there's the occasional appearance of the saxophone, which adds an even more jazzy feel. With “Borboletta” the first stage of Santana came to a close, a stage (1969-1974) in which his most classic works appeared, from here on his sound would evolve towards a more accessible and commercial style, without diminishing the quality of his music.

Edgar Broughton Band-Wasa Wasa (1969)

The Edgar Broughton Band was one of the most original and, at the same time, underrated British bands of the late 1960s. Formed in the British town of Warwick, south of Coventry, they began as a blues band, starting out playing in small local clubs. After settling in London, they secured a contract with Blackhill Enterprise, who put them in touch with Harvest Records, the progressive rock division of EMI Records. After recording a promising single, they released their first album, "Wasa Wasa", which, released in 1969, would be one of the many records that year that raised the bar for progressive rock to new heights. On this debut album, the band consisted of the Broughton brothers: Edgar on guitar and vocals, Steve on drums, and Arthur Grant on bass and vocals. On "Wasa Wasa", the band showcased a very dark progressive style, as demonstrated in the brooding "Death of an Electric Citizen" and the iconic "American Boy Soldier", one of the most powerful anti-war songs against the Vietnam War ever recorded by a British band. The relentless and depressing tone continues with the desolate "Why Can't Somebody Love Me", "Evil", "Crying", and the tremendously complex and challenging "Dawn Crept Away". The final result of this album is one of the most challenging ever composed in England, while simultaneously being one of the most impressive debuts, brimming with powerful vocals and musically ingenious and memorable. After a continuation of their previous sound, "Sing Brother Sing", with a more climate-focused theme, which includes the politically incorrect "Aphrodite", came their third album, and undoubtedly their magnum opus, "The Meat Album" (1971). In this third installment, the band displays a progressive tour de force from beginning to end, from the initial, pulsating and apocalyptic “Evening Over Rooftops”, followed by a repertoire full of songs ranging from blues rock to country rock or approaches to progressive folk, all of them superimposed by Edgar's rough and powerful voice, with an ironic and penetrating wit throughout all his sharp lyrics.

Curtis Mayfield-Curtis (1970)

Curtis Mayfield is one of the great soul singers, almost on par with his contemporaries Isaac Hayes, Stevie Wonder, and Marvin Gaye, to name just a few artists from a vast pyramid of essential musicians in this quintessential Black genre, alongside funk, blues, and jazz. His career took shape during the 1950s and 60s with the band The Impressions, with whom he achieved great success thanks to hits like "It's All Right", "Keep On Pushing", and "Amen", all released in the early 1960s. By 1970, tired of the pop-soul he was playing with his band, Mayfield decided to launch his own solo career, creating his own record label, Curtom, and steering his style toward psychedelic territory, with a funk and soul sound that, to some extent, resembled what Isaac Hayes was doing at the time. "Curtis", released near the end of 1970, was his first album showcasing a restrained funk infused with psychedelia and avant-garde elements, as demonstrated in tracks like "Move On Up" and "We People Who Are Darker Than Blue". These frenetic songs feature fuzz guitars, imposing string and wind arrangements, and powerful percussion. However, he didn't completely abandon his soulful side, revealing this facet in more classic tracks like "Miss Black America" ​​and "Give It Up". Lyrically, Mayfield incorporates social and political themes, focusing on issues such as racism and the recurring police violence of the era. "Curtis" is considered one of the greatest albums of all time, a fusion of elegance, lyricism, and musical aesthetics from one of the most important Black artists in the history of popular music.

Rush-Exit...Stage Left (1981)

Rush likes to play live. His first steps recorded on CD (in those years, on vinyl) were captured in the album All The World Is A Stage [1976]. It was not his best show, but they proved to be excellent musicians, who can play a modest setlist to expect more of them.
The idea of ​​"Exit" was to create an additional live disc to disk which had been launched, Permanent Waves [1980]. But until then his manager, Cliff Burnstein, virtually forcing them to enter the studio to record their best album, Moving Pictures [1981], which add more songs to the large repertoire of "Exit" (note that the DVD of the concert has other songs not on the CD).
Let's talk show. It was a tour across the United States, where huge stadiums were needed to accommodate so many people. Nearly 50 thousand people and a euphoric atmosphere gives way to one of the best concerts of the band. 3 musicians: Geddy Lee, Neil Peart and Alex Lifeson, 4 instruments: Drums, Bass, Guitar and Synthesizer. The perfect combination to display a live round from beginning to end, where what matters is the sound, not appearance (in the case of other bands of sand, is just the opposite. Example, Kiss).
Now the CD. What is special about this concert that did not possess any other show? First of all, excellent musicians. Playing 2 instruments at once is complicated, but Geddy Lee was on fire, and he did. Neil Peart was inspired by the batteries, playing solos extensive and complicated, in addition to spice up each song with Microsol as complicated as extended solos. And Alex Lifeson playing as in the study, the guitar solos are great, they sound exactly like his entire discography.
"The Spirit Of The Radio" is an excellent introduction to the concert (on CD in the DVD start with Limelight). Geddy's voice plays with the falsetto as he has been doing in all your disks, in tune. The guitar looks sharp in his ear, while Neil applies its expertise in batteries. Then comes "Red Barchetta" and the audience's emotions begin to feel. "YYZ" is the demonstration of why Neil Peart was considered the best drummer of his time. One almost 3 minutes epic that emulated the late John Bonham, the audience exploded in silence when he finished his demonstration of skills. Have been there to witness this gesture is something that is priceless.
After "Passage to Bangkok" is a classic. "Closer To The Heart", and the public Geddy Korea with the beautiful lyrics of this song, while the musicians play the game. Alex Lifeson's entrance and a short one was required to continue with the environment, and give way immediately to "Beneath, Between and Behind". Again, the audience explodes.
"Jacob's Ladder" is the song that has touched more solid so far (if you are playing as you read the review). All the musicians demonstrating their skills in an intricately epic song, which talks about a battle between two great armies.
"Baron's Bane / Trees" sounds great in this version. Aventuresca, a large section with guitar, energetic musicians playing, the audience crazy. Neil fed to the battery Microsol song, giving way to a small synthesizer solo. We ended up extending a note and live experience. Something hard to do if they have the necessary supplies. "Xanadu" starts with a E issued by the synthesizer, guitar playing very softly, while Neil plays the elements of the battery that had been used in other songs, like bells, Chrimes and congos. The song takes shape when the battery goes strong to break the peace of experimentation. Now after almost 6 minutes of the song, you can hear the first words of Geddy, going to something like Led Zeppelin. The perfect falsetto singing "Xanadu!, Xanadu!" and a great performance make it the gem of the disc.
"Freewill", arguably their best song, was played inspirationally, and almost identically to the version of the LP, taking with appropriate applause. "Tom Sawyer" is known worldwide for the brilliant Neil Peart solo in batteries, and emulating the album version, which played perfectly without miss any percussion.
The album ends with the magnificent performance of "La Villa Strangiato", where it looks like Alex Lifeson want. Only after the guitar solo, not tune anywhere, earnest people to the beat of this song instrumental for almost 10 minutes long end applauding with all his might to Rush, who had presented one of the best concerts of his career.

Supertramp-Free As A Bird (1987)

Following the groundbreaking "Brother Where You Bound", Supertramp returned to recording with the controversial "Free As A Bird", an album that, despite being a far cry from their work of the 70s and the last two released in the 80s, still contains some stellar moments. While the group's usual progressive rock/pop style is almost entirely gone, the music here remains highly addictive and accessible, leaning towards sophisticated pop and jazz, with sparkling bluesy elements. Rick Davies's work, as usual, is impeccable, and his distinctive vocal style remains intact. Meanwhile, the agile and catchy rhythms of bassist Dougie Thompson, and the stellar appearances of John Helliwell's saxophone, along with Bob Siebenberg's powerful rhythm section, are the essence of classic Supertramp. Songs like "Free as a Bird", "It's Alright", "Not the Moment", "An Awful Thing to Waste" or "I'm Beggin' You" could almost belong to any of their great albums because of their tremendous accessibility due to their addictive and refined melodies.

Supertramp-Breakfast in America (1979)

A criticism that has always been attributed to this record of being overly commercial and away from the line-progressive symphonic works Great as Crime of the Century (74) or Crisis, What Crisis? (75).
Sometimes when a band does nothing but create masterpieces as rosquilletas, some critics, intolerant of any attempt at renewal, wait lurking to curb the continued good form.
Breakfast in America was a good excuse: some catchy songs (in a good way) and more digestible rhythms could be a perfect target for it. Nevertheless, if we analyze the job would not hurt to ask whether it is usual to make a studio album that can be drawn, at least six singles (sixty percent, in this case).
With bombs caliber "The Logical Song" (clever use of proparoxytone) and the eponymous "Breakfast in America" ​​(great trombone) warns that this is a work that has much to offer. But if we continue to discover great tunes and "Goodbye Stranger", beautiful ballads as "Lord is it mine" (Hodgson) and "Casual Conversations" (Davies).
One of the best songs of Supertramp, in my opinion, is the stunning "Take the long way home", with a moving harmonic inlet and a hypnotic rhythm of the keyboard. A true genius of Roger Hodgson.
But that's not all, if we examine the four remaining songs (which could be defined as less "seductive" before a first hearing), we find the sweetness of 'Oh Darling ", the desperation of" Just another nervous wreck. " Then, too, the emotional expressiveness of his preface "Gone Hollywood" and its fantastic epilogue "Child of vision," make it clear where his progressive side is fully intact because of the improvisation and the extension of the piece.
Beautiful melodies, sounding keyboards and vocal harmonies and lyrical. Commercial and sweetened to some. Others, to enjoy.

Supertramp-Slow Motion (2002)

In 2002, Supertramp released their eleventh album, "Slow Motion", in which their style shifted towards a smoother, more jazzy rhythm, and to some extent, they also recovered their characteristic sound after the commercial success of "Free As A Bird" and the commendable "Some Things Never Change". Rick Davies once again enlisted singer Mark Hart in an attempt to achieve greater musical variety in their style, along with guitarist Carl Verheyen. The rest of the band included original members John Helliwell and Bob Siebenberg, plus bassist Cliff Hugo, who had replaced Dougie Thompson a few years prior. Switching to a more relaxed and mellow sound was a substantial improvement, and that's precisely what happened with "Slow Motion". The title track opens the album with an addictive and catchy rhythm, while "Over You" showcases the band's experimental side with a doo-wop-like sound and a strong, infectious rhythm not unlike that of "My Kind of Lady" from the album "Famous Last Words". The lively "Tenth Avenue Breakdown" is the most progressive moment, with its spirited rhythm reminiscent of the superb "Child of Vision" from "Breakfast in America", featuring a final instrumental interlude where Verheyen's guitar takes center stage with a spectacular solo. Meanwhile, the haunting harmonica and horns return in the bluesy "A Sting in the Tail". The jazzy "Bee In Your Bonnet", along with the darker and more complex "Dead Man's Blues", are among the highlights of this album, which, interestingly, includes a track originally composed for their third album, "Crime of the Century", in 1974, but never officially released on any other album, titled "Goldrush". This would ultimately be Supertramp's last studio album, and although the band has reunited several times since its release with Davies at the helm, it has always been for sporadic tours around the world.

Supertramp-Supertramp (1970)

Despite their immense commercial success in the late 1970s, Supertramp were always rejected by a segment of the progressive rock community for being considered too pop, and by more conventional sectors for being too progressive. Even so, in their early days, this multi-million-selling band offered an interesting brand of progressive rock with psychedelic undertones, which nevertheless resulted in a tremendous commercial failure. Today, their first two albums, "Supertramp" (1970) and "Indelibly Stamped" (1971), are considered contemporary classics, primarily due to the stark contrast with the sound that would make them world-famous years later. However, their debut album contains more than enough evidence to consider them a true progressive rock band. Originally a quartet, the band consisted of Rick Davis on keyboards and vocals, Roger Hodgson on bass, acoustic guitars, cello, flageolet, and vocals, Robert Miller on drums and percussion, and Richard Palmer on electric guitar and vocals. On this debut album, they showcased their eclectic progressive sound with standout tracks such as the epic "Maybe I'm a Beggar" and "Try Again", the progressive blues "It's a Long Road", the mellow and ethereal "Aubade and I Am Not Like the Other Birds of Prey" and "Words Unspoken", and the powerful progressive rock anthem "Nothing to Show". Despite its commercial setback, this debut is an excellent example of progressive rock that holds its own against many other albums released around the same time that achieved far greater media and commercial success.

Supertramp-Crisis? What Crisis? (1975)

Crime of the century set the bar very high in the career of this great group symphonic in the 70's was his decade-but the only-more demanding. Yet the pressure that they could have taken its toll because of the success and quality of his previous work, not the least affection. The band led by Davies & Hodgson made a continuation with a handful of superb songs. 
Conceived in the midst of global crisis due to sharp increases in oil Supertramp would make a great work he undertook his journey to the peaceful entry "Easy does it" which links to the guitar dynamics "Sister Moonshine", two songs with an evocative sound. The rock-blues "Is not nobody but me" is a big issue that touches the hard instrument, "A Soapbox Opera", a beautiful symphony that displays the compositional qualities of Roger Hodgson, leaves the listener in a sort of hypnotic state. In Ecuador we find disc masterpiece "Another woman's man" with a totally inspired Rick in his piano playing and a great instrumental part and highlight the issue. "Lady" and "Poor Boy", based on rates of coronary keyboard and credited its characteristic stamp. One of my favorites is "Just a normal day", especially the sensitivity that follows the melody and vocal play between the tandem of composers. "The meaning", its more risky song, has great quality with hints of jazz (the always persistent Helliwell fundamental contribution of the wind instruments). The legendary "Two of us", which closes every concert is an admirable epilogue to this recommended album. 
By the end, witty and poignant highlight your home where we can see her resting peacefully saxophonist in a deckchair, umbrella and cocktail included, along with a totally desolate landscape (never a staging will be as everlasting as this one).

Trettioåriga Kriget-Krigssång (1976)

Trettioåriga Kriget is one of the legendary Swedish rock bands, founded in the early 1970s near Stockholm. They have become very popular in their country and throughout Central Europe thanks to a dozen noteworthy albums, some of which are considered among the most interesting in the Swedish progressive rock scene. The band was formed when its members were still teenagers: Christer Åkerberg (guitars), Stefan Fredin (bass), Dag Lundqvist (drums and Mellotron), and Robert Zima (guitar and vocals). With sufficient musical maturity, they released their debut album in 1974, showcasing their heavy prog sound characterized by heavy, chaotic guitars, all infused with dramatic and psychedelic elements resulting from the Mellotron's nuanced sound. Two years later came "Krigssång", their second release, considered their masterpiece. This album perfectly balances their energetic and visceral progressive rock approach with less explicit sonic explorations. The entire album is a prime example of the vigorous, psychedelic progressive rock typical of that era, but the highlight is undoubtedly the side suite "Krigssång II", an epic with certain similarities to the most grandiose Yes, showcasing a powerful, driving rhythm section, brilliant guitars, and superbly executed synthesizers and Mellotron. Throughout these years, the band maintained a steady output, releasing albums sporadically until 2021, when they released their latest work, "Till Horisonten".

Elvis Presley-Elvis Presley (1956)

It was the first great album of Elvis, and the first work for RCA, he never edit lps with Sun Records, although five of the songs included here belong to the Memphis label, the disc is essential to place the rock'n'roll as a future basis of the so-called music of the twentieth century, besides himself confirmed as a legend Elvis world, that white sang like a black.
The album is a perfect balance of music between the two styles, the technique of whites and blacks in the spirit of the Blue Suede shoes rockabilly, rock-gospel of Tutti Frutti, rhythm blues I got a woman or ballads I'm counting on country as you make him unquestionably the king of rock in the following decades.

Blood Sweat and Tears-Blood Sweat and Tears (1969)

If Child is father was the man to his first album a work of genius, that before us was the confirmation of the band, their sound closer to jazz-rock to other styles, will find this album a commercial formula that puts you in weeks as number one in the charts and even voted best album of the year for this album and did not have Al Kooper, but had recruited the mighty David Clayton-Thomas, and other members including Steve Katz and Jim detacan Felder had made ​​an album with legendary subjects and others such as You've made ​​me so very happy (a Motown classic version), Spinning Wheel, and When I Die ... the truth is that the experienced rock fused with blues and arrangements jazz supergroup made ​​of this key in the seventies with sales topping 35 million albums in total.

Crosby, Stills, Nash and Young-Deja Vu (1970)

Perhaps the greatest folk-rock supergroup that has ever existed, were never aware of the impact would form even 30 years later, David Crosby proceeded from one of the pioneering groups of country folk-rock flavored with the Byrds, Stephen Stills came from another influential groups of the Buffalo Springfield folk rock by Graham Nash was part English and the Hollies came from a group beat with touches of British rhythm & blues, and Neil Young also came from the Buffalo Springfield, but this was Canadian, his music was a solid style with four guitars playing at once and any of the four solo voices to be followed by three others, the album itself contained themes composed caliber Woodstock Joni Mitchell, Almost Cut My Hair matter content anti-police, Our House or the fantastic Teach Your Children, the band became a perfect machine to make live music where these or other topics of their first album (this even without Young) were really impressive with themes that stretched in suites due to the endless guitar solos of the four components, special mention to their double live album Four Way Street considered a classic.