Burning Candle-Burning Candle (1981)

An interesting German band with a distinctly progressive style, founded in the mid-70s by Hans Neuber (keyboards), Rolf Vitzthum (drums), and Klaus Schmidt (guitars and bass). For a time, they became one of the sensations of German rock. Their sound was clearly related to their British contemporaries Emerson, Lake & Palmer, undoubtedly thanks to keyboardist Neuber, a classically trained musician. Consequently, there are also many elements of jazz and classical music throughout their work. Their only album became a collector's item due to the limited number of copies released and the enormous musical potential it offered. Released in 1981, the compositions on this album date back many years. The band had broken up in 1978 and reunited to record this brilliant album, at a time when progressive rock wasn't at its peak. It's curious to note how music composed during the height of the progressive rock craze was released just as the genre had lost some of its appeal. Highlights include tracks like "Stranger", a clear example of the German school of symphonic prog, featuring elements reminiscent of ELP. The rest of the album leans more towards the sounds of other German bands from the previous decade, such as Eloy, Ramses, and Novalis. The organ is present in most of the tracks, with movements reminiscent of Keith Emerson, as demonstrated in the superb "Eternal Faith". In "The Appearance of the Ghosts", they showcase their powerful symphonic rock with vibrant guitars and synthesizers featuring continuous rhythmic shifts, culminating in the acoustic "Mosella", a clear nod to Yes's "Mood for a Day", and the progressive epic "Expedition to the Sun", a clear example of the fusion of all their influenced styles and genres. Burning Candle is another example of a band that, for some strange reason, never had the chance to cross borders and reach the powerful and influential British market, achieving the well-deserved success that this magnificent and forgotten group rightfully deserved.

Badfinger-No Dice (1970)

Mentored by The Beatles themselves, Badfinger's career was anything but successful. From mismanagement and fraud by their manager to the bankruptcy of Apple Records, owned by The Beatles, and the suicides of two of its members, their story is as tragic as it is terrifying. However, musically, this band stood out for its powerful pop-rock compositions, with undeniable melodic sensitivity. Due to the aforementioned circumstances, luck always eluded them. "No Dice" was their second album, following a commendable debut that already contained gems like "Come and Get It", a song written by Paul McCartney, and where the band began to have complete freedom to compose their own material. Here you'll find gems like the rock and roll anthems "I Can't Take It" and "Love Me Do", emotive melodic ballads such as "Believe Me", "We're For The Dark", and "Without You", and energetic tracks like "Better Days" and "No Matter What". Some time later, singer Harry Nilsson covered "Without You", making it a worldwide hit and sparking controversy, as the band wasn't receiving the royalties they were legally entitled to as the song's official authors. Despite the album's undeniable quality, and due to a twist of fate, "No Dice" didn't achieve the success it deserved, peaking at number twenty-eight on the charts.

Genesis-A Trick Of The Tail (1976)

"A Trick of the Tail" was Genesis' first major test after Peter Gabriel's departure, and it proved not only a step forward in the band's career but also their most successful album to date. Far from the rumors of the band's breakup following the departure of their charismatic vocalist, the band opted not to recruit a new singer to fit their needs, but rather to have Phil Collins, the band's drummer at the time, take on the role, leveraging his vocal talent already showcased on tracks like "More Fool Me" and "For Absent Friends" from the albums "Selling England by the Pound" and "Nursery Cryme". Furthermore, Collins was ideally suited to be a live frontman, thanks to his experience as a stage actor, which he had pursued for several years before dedicating himself to music. However, it should also be noted that, in a way, Peter Gabriel's departure brought a kind of relief to the rest of the band, due to the already strained personal relationships the singer had with his bandmates. "A Trick of the Tail" was recorded during the last months of 1975 at Trident Studios in London, and the final result was a magnificent progressive rock album heavily influenced by British folk sounds, while maintaining their skills as a top-tier band. Phil Collins would demonstrate that he could not only fill Gabriel's shoes but also assume the role of leader, albeit still in a very subtle way. Compositionally, the band also benefited from a stronger presence of all its members and greater instrumental prominence for each of them, starting with Tony Banks' keyboards and Steve Hackett's guitar. Musically, the album itself is a minor masterpiece. Without comparing it to their previous work, it showcases a band that maintains an exceptionally high level of quality, both instrumentally and in their songwriting. This is evident in the opening and majestic "Dance on a Volcano", a superb track that clearly demonstrates the band's intentions, implying that they were far from finished. The rest is an amalgamation of outstanding pieces, such as the enchanting ballad "Entrangled", the rock anthem "Squonk", the intimate "Mad Man Moon", the theatrical and dynamic "Robbery, Assault and Battery", and the emotive "Ripples", concluding with the refined and commercially viable "A Trick of the Tail" and the progressive "Los Endos". Against all odds (especially from the perspective of purists and orthodox fans), this album garnered high praise from the specialized press and enormous commercial success, achieving several gold records on both sides of the Atlantic.

Alice Cooper-Killer (1971)

With his fourth album, "Killer", Alice Cooper began his trilogy, which, along with "School Out" (1972) and "Billion Dollar Babies" (1973) (both reviewed in previous blog posts), formed what the Detroit-born American musician considered his finest works, now regarded as classics within his extensive and varied discography. Recorded at RCA Studios in Chicago, Cooper once again enlisted the production of Bob Ezrin and the backing of his extraordinary band, comprised of guitarist Glen Buxton, keyboardist Michael Bruce, bassist Dennis Dunaway, and drummer Neal Smith, while guest guitarist Rick Derringer lent his immense talent to several tracks on the album. Following the success of "Love It To Death" (1971), this new release solidified Alice Cooper's position, creating one of his most ambitious works, abandoning the raw, gritty rock of his early days for a more versatile and complex style. All of this is reflected in tracks like “Halo of Flies”, “Be My Lover”, and “Under My Wheels”. However, it maintains a certain parallel with his recent past, showcasing his more impetuous style in the raw “You Drive Me Nervous” and “Yeah, Yeah, Yeah”. With “Killer”, Alice Cooper would once again equal his best commercial performance to date, achieving platinum status for one million copies sold in the North American market.

Deep Purple-Burn (1974)

Deep Purple's eighth album and their fifth masterpiece, joining the masterful "In Rock", "Fireball", "Machine Head" and the double live album "Made In Japan". This album marked the debut of the "Mark III" lineup with the arrival of David Coverdale and Glenn Hughes, who had replaced Ian Gillan and Roger Glover respectively. This lineup also added a new dimension, introducing subtle touches of funk and soul alongside the powerful hard rock sound. The album opens with the superb and outstanding "Burn", one of Deep Purple's masterpieces. The aforementioned shift is already evident in the second track, the bluesy, funk-tinged "Might Just Take Your Life", undoubtedly a product of the contributions of new members Coverdale and Hughes. The energetic "Lay Down, Stay Down" showcases the irresistible duet vocals of the Coverdale-Hughes duo. "Sail Away" takes us back to classic Purple with an unforgettable guitar riff from Blackmore. The frenetic "You Fool No One" features sounds reminiscent of funk, fused with powerful hard rock. The hard blues "What's "Going On Here" showcases Lord's honky-tonk piano and Blackmore's outstanding guitar work. At this point, the band delivers a truly majestic track, a gem of hard rock: nearly eight minutes of enigmatic riffs and Coverdale's powerful vocals, combined with the driving rhythm section of Paice and Hughes, elevate this album to the pantheon of rock's greatest works. To conclude, the band indulges in the extravagant and experimental "A 200", an instrumental piece reminiscent of progressive rock, where Jon Lord and his atmospheric, ethereal keyboards take center stage.

Alice Cooper-Welcome To My Nightmare (1975)

After seven albums with his band, in 1975 Alice Cooper decided to release his first solo album, "Welcome to My Nightmare", a concept album based on theatrical performance. While this album lacks the raw energy of his earlier work with his band, it also boasts more polished and elaborate compositions. Bob Ezrin's excellent production was crucial in softening the streetwise hard rock of albums like "Killer" and "School's Out". For the recording, Cooper recruited a band of expert musicians, including guitarists Dick Wagner and Steve Hunter, bassist Prakash John, and drummer Pentti "Whitey" Glan, while Vincent Price contributed vocals alongside Cooper himself. Composed of a selection of songs ranging from the commercial rock of "Welcome To My Nightmare", the classic rock of "Cold Ethyl" and "The Black Widow", the heavy rock of "Devil's Food", the sordid orchestrations of "Steven", and the sentimental ballads of "Only Women Bleed", the album would go on to achieve five platinum records and sales that far exceeded one million copies.

Alice Cooper-Trash (1989)

For much of the 1980s, Alice Cooper struggled with severe alcohol addiction and a severe creative block. After several stints in rehab, he returned in the latter half of the decade, releasing albums like "Constrictor" (1986), "Raise Your Fist and Yell" (1987), and "Trash" (1989), works that propelled the Detroit native back to the height of his popularity. In this resurgence, Cooper showcased a style that blended heavy metal with melodic rock, a departure from the glam rock and baroque rock of his early 1970s albums. Produced by renowned producer and musician Desmond Child, "Trash" marked the culmination of Cooper's comeback, an album brimming with melodic and irresistible passages, all delivered with the raw and sharp style so characteristic of the singer. Songs like "Poison", "House Of Fire", "Only My Heart Talkin'" or "Bed Of Nails", propelled the album to the top of the charts on both sides of the Atlantic and, in doing so, did commercial justice to one of the most fundamental and influential musicians in the history of rock and roll.

Clear Blue Sky-Clear Blue Sky (1970)

Clear Blue Sky was a short-lived British power trio who released only one album in the 1970s, but who nevertheless became a sensation on the British blues-rock circuit for a time. Formed by guitarist John Sims, drummer Ken White, and bassist Mark Shealther, they had their first major success in a talent competition held in London. From there, they opened for renowned artists such as Irishman Rory Gallagher and British band Free. Their excellent instrumental skills did not go unnoticed by bassist Ashley Kozak, who at the time, in addition to her role as a musician, also managed various artists for Brian Epstein's NEMS label. She eventually managed to sign them to Vertigo Records and financed their self-titled debut album, released in 1970. Produced by the then-experienced Patrick Campbell-Lyons and featuring cover art by the then-unknown Roger Dean, the band showcased an interesting style of psychedelic hard rock with highly elaborate passages where the guitar always takes center stage with its incendiary riffs. The album kicks off with a bang with the saturated "Journey To The Inside", which, divided into several parts, is the longest track on the record with constant tempo changes. It continues with tracks like the psychedelic "You Mystify" and the more melodic and relaxed "Tool Of My Trade" and "My Heaven", before closing with the hard rock anthem "Birdcatcher". However, despite the band's high quality and this impressive debut, poor sales and a lack of public interest led these three young musicians to abandon the project, and they disbanded shortly thereafter. Many years later, in the nineties, they would release new material again in a series of albums that had no media impact.