Supertramp-Some Things Never Change (1997)

With "Some Things Never Change", Supertramp's tenth album, Rick Davies boldly embraced jazz and blues sounds, almost entirely abandoning the progressive forays and sophisticated pop tracks of their two previous releases, "Brother Where You Bound" and "Free As A Bird". On this new recording, Davies reunited with two of his bandmates from the group's golden era: saxophonist John Helliwell and drummer Bob Siebenberg. The lineup was further enhanced by guitarist Carl Verheyen, bassist Cliff Hugo, and singer, guitarist, and keyboardist Mark Hart, among other musicians. "Some Things Never Change" features exquisitely produced tracks with superb arrangements, most of them rooted in jazz and blues, but where progressive sounds still subtly coexist, as demonstrated in "It's a Hard World", a track with that typical Supertramp organic sound. Other tracks like "Live To Love You" and "Get Your Act Together" maintain that old spirit, but in a very subtle way. Following the stylistic pattern of the hit "Cannonball" comes "Some Things Never Change", a track that provides just the right amount of commercial appeal to give the album a lively and fresh feel. The vintage "You Win, I Lose" and "C'est What?", the jazz fusion "Sooner Or Later", the bluesy "Help Me Down That Road", and the melodic "Give Me A Change" all combine to form a very respectable effort that, while not reaching the heights of their excellent work from the 70s, left intact the enormous credibility of one of the greatest bands of all time.

Kiss-Love Gun (1977)

With his sixth album "Love Gun" published in 1977, Kiss closed his stage of best creativity and for many of his fans, the best of his entire career.
This superb album contains part of the history of the band with songs like "I Stole Your Love", "Shock Me" or "Love Gun" demonstrating the enormous amount of songs they composed in only three years in which they released five fantastic albums.
From here the bad addictions of its members, in particular Ace Frehley and Peter Criss and the egos of the rest of the band would take their toll on them, turning their environment into their own creative tomb.

Marillion-Marbles (2004)

During the latter half of the 1990s, Marillion seemed to be preaching in the wilderness, releasing a series of rather predictable albums that would mark the lowest point creatively in their extensive discography. Albums like the unenthusiastic "Radiation" (1998), the predictable pop-rock "Marillion.com" (1999), and the more innovative "Anoraknophobia" (2001) left a certain unease among their more purist fans and a low commercial return, leading them to seriously reconsider their immediate future, convinced that this path was leading them nowhere. Thus, three years later they released "Marbles", a sprawling double album where they stepped outside their comfort zone to create one of their most consistent and progressive albums, meticulously delving into their musical origins with an intense and memorable neo-progressive sound. From epic progressive anthems like "Ocean Cloud" to the intense "Neverland", and from the melancholic "The Invisible Man" to the poignant "You're Gone" and "Fantastic Place", they demonstrated that they hadn't yet lost the essential original sound that had begun two decades earlier. However, there was also room for melodic and commercial soft rock, as exemplified by the catchy "Don't Hurt Yourself" and "Angelina". With this superb album (their thirteenth), Marillion entered a phase of great creativity, producing excellent works such as the subsequent "Happiness Is The Road" (2008), "Sounds That Can't Be Made" (2012), and "Fear" (2016).

Eloy-Eloy (1971)

The German band Eloy's career has always been characterized by their grandiose, spacey progressive rock style, replete with allusions to science fiction and mysticism. However, their debut album bears little resemblance to that musical orientation; in this first release, they focus on the more energetic and heavy sounds of conventional hard rock. Of the lineup that recorded this first album, only three members would continue after its release: Frank Bonermann (guitar), Manfred Wieczorke (guitar and vocals), and Wolfgang Stöcker (bass), while the rest consisted of drummer Helmuth Draht and organist and singer Erich Schriever. Although initially categorized as krautrock, their style was actually closer to the British hard rock of bands like Uriah Heep, Atomic Rooster, or Warhorse than to the German movement full of improvisation, psychedelic sounds, and experimentation. Plausible pieces such as the powerful "Today", the psychedelic "Something Yellow", the dark and heavy "Song Of A Paranoid Soldier", the relaxing "Isle Of Sun" or the hard rock groove "Voice Of Revolution", were part of the worthy debut of one of the most emblematic and famous bands that emerged from Germany during the 1970s.