Body-The Body Album (1981)

Body was an interesting British progressive rock band formed in the early 1970s. However, it wasn't until 1981 that they released their only album, "The Body Album". This album is now acclaimed as an impressive and essential work within neo-progressive rock, space rock, and late psychedelic sounds. Hailing from Liverpool, the band consisted of brothers Gary and Tony Allison (drums and guitars respectively, as well as vocals), bassist Ronny Nelson, and keyboardist John Bleasdale. In the early 1980s, the group traveled to London to try their luck in search of a record deal, but after some frustrating results, they decided to self-finance their debut album. On this single album, the references to the more psychedelic sounds of Pink Floyd and the long, spacey explorations reminiscent of Hawkwind are more than evident, but framed within a very defined synth-pop sound, making them one of the seminal bands of the so-called Neo-Progressive movement, alongside Twelfth Night. The 15-minute progressive and spacey suite "Andromeda" is the standout track, while the shorter "Cheater", "Lights Out", and "Brave New World" are more commercially oriented, with a musical structure somewhere between Neo-Progressive and Symphonic Rock and electronic elements akin to the synth-pop of the era.

Little River Band-Little River Band (1975)

In late 1975, the Australian band Little River Band released their self-titled debut album, which quickly drew comparisons to bands like The Eagles, Poco, and America, thanks to their vocal harmonies and versatile compositions brimming with addictive country-rock sounds and irresistible rock riffs combined with catchy pop melodies. On this first release, the band consisted of Beeb Birtles on lead vocals and guitar, Ric Formosa on lead guitar, Graham Goble on rhythm guitar and vocals, Roger McLachlan on bass, Derek Pellici on drums, and Glenn Shorrock on vocals and harmonica. Among the tracks on this first album, the mid-tempo song "Emma" and the melodic and commercially successful "It's A Long Way There" and "Curiosity (Killed The Cat)" stand out, the latter becoming their biggest hit in the Australian market. The country rock track “Lady and Me”, the powerful “Statue Of Liberty” and the tender “I Know It” complete an outstanding debut that would allow them to get their first world tour, initially as support for Queen and later for the Average White Band, achieving great recognition in North American lands, a success that would soon be reflected in their next three works “Diamantina Cocktail” (1977), “Sleeper Catcher” (1978) and “First Under The Wire” (1979), achieving with all of them several gold records and three platinum records for their enormous sales in the North American market alone.

Marillion-Seasons End (1989)

Fish vs. Hogarth: this is undoubtedly one of the biggest catalysts for any discussion among Marillion fans, to the point that some online forums about the band categorically forbid even mentioning a comparison between these two singers, for fear of an electronic war that will clog up servers and computers. Beyond this exaggerated claim, it's relevant to the departure of the towering Fish and the arrival of Steve Hogarth as his replacement, and what Hogarth brought to Marillion, which was immense (and still is). Although the band's purists blame Hogarth for the group's musical shift towards a more pop-oriented sound, at the expense of the progressive grandeur of their early albums, the truth is that if there's one thing both sides agree on, it's his powerful voice, with its excellent range, and his talent as a great lyricist who invites reflection. All of this is clearly demonstrated on much of Marillion's first album after Fish and their first with Hogarth in the band, "Seasons End" from 1989. This was the first real testament to what the singer accomplished with Marillion as a band, and having said all that, "Seasons End" sounds brilliant and is undoubtedly an excellent and worthy successor to the superb album that preceded it with Fish in the lineup, "Clutching At Straws", released several years earlier. Right from its opening track, the incredible "King Of Sunset Town", it demonstrates the peak at which Marillion burst onto the scene and rise triumphantly, ready to begin another chapter, thus dispelling the doubts of those who predicted their downfall and eventual demise. The beautiful "Easter" is the singer's first major contribution to the group's repertoire, a track featuring one of Steve Rothery's best solos of his entire career and a rhythm as captivating as it is brilliant. The slow and mysterious “Seasons End” concludes with an epic and hypnotic finale that showcases the band's instrumental prowess. In “The Uninvited Guest”, we can already sense the direction of their new venture, a track that leans towards rock and commercial sounds with powerful guitar and bass lines. The melodic and heartfelt “Holloway Girl” is one of the album's lesser moments, while the nostalgic “Berlin” is a palpable demonstration of Hogarth's vocal excellence, a song as melancholic as it is dark, which, as it progresses, transforms into a powerful track with a stunning ending. After the short, acoustic “After Me”, comes the powerful, commercially oriented rock track “Hooks In You”, before concluding with the exquisite and progressive “The Space”, one of the album's most memorable moments and a fitting finale to Steve Hogarth's first major contribution to the Marillion universe.

Little River Band-Sleeper Catcher (1978)

In the late 1970s, the Australian band Little River Band was at the height of its popularity and commercial success. Their first three albums had garnered commendable sales and were the perfect draw for North American audiences, thanks to their exquisite country-influenced soft rock and brilliant, harmonized vocal harmonies. However, it was with their fourth album that they achieved true glory, delivering a memorable work that followed the stylistic path already established in its predecessor, "Diamantina Cocktail", released the previous year. The Australian group's refined style was further enhanced by brilliant compositions that linked them to their North American contemporaries America, The Eagles, and Poco. Exquisite tracks like "Fall From Paradise", "Lady", "So Many Paths", "Shut Down, Turn Off", and "One For The Road" share the repertoire with more ambitious pieces such as the expansive, progressive-tinged "Light Of Day" and the splendid "Take Me Home". A top 20 on the Billboard charts and three platinum records were the well-deserved recognition of this excellent fourth work by the Australians.

10cc-Sheet Music (1974)

With their second release, 10cc reaffirmed their status as one of the pop-rock sensations of the early 70s, with an album as masterful as it was ingenious and diverse. The musical balance of its four members, all renowned instrumentalists and excellent songwriters, is perfect on this release. With its ironic and intelligent lyrics, Stewart's brilliant and powerful guitar work, and the beautiful vocal and instrumental harmonies of the rest of the band, the result is a captivating album. Each member interchanges instrumental roles, from Eric Stewart on guitars, mellotron, keyboards, and vocals, to Kevin Godley on drums, percussion, and vocals, and including guitars, keyboards, percussion, synthesizers, bass, tubular bells, and countless other instruments, in addition to vocals, performed by Graham Gouldman and Lol Creme. Here, the band showcases their best qualities with wonderful musical lines, as demonstrated by the irresistible songs "The Wall Street Shuffle", "The Worst Band in the World", "Hotel", "Silly Love", "Somewhere in Hollywood", and "The Sacro-Illac". With this recording, 10cc confirmed their status as one of the most innovative and original bands, a position they would solidify in the following years with the release of a series of gems such as "The Original Soundtrack" (1975), "How Dare You!" (1976), "Deceptive Bends" (1977), and "Bloody Tourists" (1978).

Nicholas Greenwood-Cold Cuts (1972)

Nicholas Greenwood was a member of legendary bands such as Crazy World of Arthur Brown, alongside keyboardist Vincent Crane, and Khan, with whom he released the seminal album "Space Shanty" in 1972. Following this latter venture, Greenwood formed a band and recorded the album "Cold Cuts," considered one of the hidden gems of 1970s progressive rock. This band consisted of drummer Eric Peachy, also from Khan; keyboardist Dick Henningham; guitarists Bryn Howarth and Chris Pritchard; and Frank Zappa's former Mother of Invention member Bunk Gardner on wind instruments. Greenwood himself played bass and sang lead vocals. The rest of the lineup included violinists Janet Lakatos, Margaret Immerman, and Margaret Shipman; cellist Nils Oliver; and the vocal group The Teardrops. "Cold Cuts" is composed of a diverse amalgamation of sounds, which, without quite reaching the level of strict progressive rock, incorporates elements of psychedelic rock with passages of progressive jazz and blues rock. The album begins brilliantly with "A Sea Of Holy Pleasure Parts I, II, III", a three-part composition with superb arrangements that showcase the excellence of its talented musicians: a heavy Hammond organ, a delightful flute, effective bass lines, and exquisite drumming, all bathed in addictive vocals. The overall sound is further enhanced by subtle string and brass arrangements, which amplify the dynamism and diversity of the track and add progressive depth to its three segments. Other highlights include the bluesy "Big Machine" and "Melancholy", or the psychedelic "Hope / Ambitions" which coexist with more accessible and catchy pieces like "Lead Me On", and "Close The Doors", or the dark "Promised Land", which contrast totally with the deep and introspective "Corruption", the ambient jazz rock "Images" and the dramatic "Realisation And Death".