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.