Various Artists-No Nukes (1979)

In 1979 a series of North American artists under the Muse foundation (Musicians United for Safe Energy) organized a series of concerts to raise funds for that foundation which denounced the ills of nuclear energy and encouraged alternative energies.
Promoted by Jackson Browne and Bonnie Raitt, between September 19 and 23 of that year they were held at Madison Square Garden in New York.
In addition to Browne and Raitt, Bruce Springsteen, The Doobie Brothers, James Taylor, Tom Petty, Crosby Stills and Nash, Carly Simon, Nicolette Larson, Poco and Ry Cooder, among other great artists, participated.
Separately, as a duo or in a group, they performed their best-known songs to the amazement of an audience to see before themselves, such a collection of stars together.
No Nukes is the album that collected the best of said series of performances and was released under the triple album format in November 1979.
This massive triple album had a great commercial reception with nearly 500,000 copies sold shortly after its release.

Elton John-Goodbye Yellow Brick Road (1973)

Elton John was one of the most glittering stars in 1973, acclaimed in his native England, despite fierce criticism from the British press, who accused him of sounding too American, while in the United States he was idolized by both critics as by the general public.
So things Elton John entered the studio to record his next album, "Goodbye Yellow Brick Road", which would be his seventh album and thus continue his military journey with the overwhelming success on both sides of the Atlantic.
Together with Bernie Taupin, his lyricist and regular collaborator and a fundamental part of the keyboard player's career, they composed material to publish a double album.
However, at first Elton John himself did not have all of them when considering the possible reaction of his fans when having to pay double for listening to his music.
Finally the album was released in December 1973 and became the third album in their overwhelming series of six consecutive ones that reached number one in America, started in 1972 with the album "Honky Chateau".
The album contains instant hits; "Candle In The Wind" (Bernie Taupin dedication to Marilyn Monroe), the rocker "Saturday Night's Alright", the progressive and epic "Funeral For a Friend", or the superb pop song "Goodbye Yellow Brick Road".
This was the album that most successful singles would grab him at the same time, it was also his most varied and eclectic album of all his record label, which reached amazing sales with more than 30 million copies sold worldwide.

Meat Loaf-Bat Out Of Hell (1977)

"Bat Out Of Hell" is one of the greatest landmarks of modern music, on the one hand one of the best-selling debuts in the history of all time, on the other hand one of the most perfect works ever made in rock.
Originally created by Jim Steinman, this album is a conceptual work that revolves around the history of Peter Pan, reaching the status of opera rock with a Baroque epic Wagnerian that makes it an absolute masterpiece.
With a superb and bombastic production, the magnificent voice of Meat Loaf is what gives credibility to this fantastic work, in which the production of Todd Rundgren plays an essential role, providing the ideal setting for the bombastic ideas of the genius Steinman and the dramatic interpretation of Meat Loaf.
Songs of more than eight minutes in length, with rhythmic, melodic, complex and versatile schemes, are mixed with other more direct and easily assimilated ones, which achieve the perfect balance.
The rhythm changes are abundant as we can hear in the ten minutes of the song that gives the album its title or in "Paradise By The Dashboard", or leave us mired in ballads like the beautiful "Two Out Of Three Ain´t Bad".
The album would reach the chilling figure of over 14 million copies sold, remaining on the charts for no less than 471 consecutive weeks.

Fleetwood Mac-Fleetwood Mac (1975)

Fleetwood Mac has two distinct eras, a first one where blues was its main competitive genre and a second one where the most commercial sounds focused on sophisticated pop predominated while continuing to look towards the roots of North American music.
"Fleetwood Mac" is the band's first album from this second and tenth chronological period, released in 1975 and had two new members, on one hand the guitarist Lindsey Buckingham and on the other the singer Stevie Nicks.
With these new additions the band would undergo a substantial change in their musical style, abandoning the path of the blues to move to pop-rock terrain with folk brushstrokes, styles that for the other members of the group, drummer Mick Fleetwood, keyboard player Christine McVie and bassist John McVie were totally unknown.
These new members, and ultimately the subsequent change they brought with them, made the effort of the creative twist qualitatively worthwhile.
And although in terms of sales the best was yet to come, this album provided the group with their first number one in the United States in addition to high positions in the United Kingdom.
Both Nicks and Buckingham gave their personal touch to the band's music, songs like Stevie Nicks' "Rhiannon" brought an ethereal grace, while Buckingham's guitar talent created a more rock sound in the opening song "Monday Morning" and in the epic "I'm So Afraid".
All this set of songs brought a balance with great skill to the usual love songs of the main songwriter of the group Christine McVie, and in fact it is the songs of this one, which bring the necessary warmth to the album as "Warm Ways" or " Over my Head. "
With the passage of time the album has become one of the best sellers of the group, reaching millionaire figures and five platinum records everywhere in the United States alone.

Rare Earth-Get Ready (1969)

Rare Earth was a strange, different and rare band within the Motown record label, this label recruited black artists who made soul preferably, however Rare Earth were white and made rock.
In 1969, thanks to their guitarist Dennis Coffey, they signed for Motown but under a subsidiary seal.
The legendary soul company did not regret this decision, between 1970 and 1980 Rare Earth would achieve six great successes in the North American charts.
The style of the band was a muscular soul-rock and especially impetuous in the instrumental passages.
Their first album "Get Ready" would reach number twelve on the sales charts, with material composed mostly by the band itself and producer Norman Whitfield.
Although the star song was a volcanic version of the "Get Ready" song of the Temptations, quite different from the original with a duration of 21 minutes where with a devastating introduction, a hypnotic central part and a long instrumental part, it left the listeners breathless with such a musical orgy.

Rod Stewart-Blondes Have More Fun (1978)

At the end of the 70s, rock lived uncertain moments, with the arrival of punk, new wave and the fever of disco music, it made react very differently to the established artists, many of them were molded to the needs of the time, others continued stubborn not to evolve and there were many others who lost their way permanently.
Rod Stewart who had even competed with the Sex Pistols to place a number one with the single "First Cut is the Deepest" would bet on equipping his songs with the necessary elements to sound more current, more optimistic and even sexier.
Already in 1977 he had tried it with "Foot Loose and Fancy Free", and a year later he published "Blondes Have More Fun".
The blonde singer set out to demonstrate that he could compete with all the new sounds that prevailed at that time and in part he would achieve it with this album, songs like "Da ya Think i'm Sexy", they would reach number one immediately and move to Being one of their most celebrated songs, while the album managed to sell almost five million copies around the world.
The rest of the album was an exercise in great commercial rock songs that flirted with the quality pop-disco sound, with a very careful production and exquisite instrumentation.

Electric Light Orchestra-Discovery (1979)

At the height of the disco fever of the late seventies, the Electric Light Orchestra left behind the pompous orchestral arrangements and progressive rock of its previous works to derive the group's sound to a sophisticated pop rock influenced by the Beatles' melodies, with a sound bombastic and some arrangements that betrayed its origin.
From this last period belongs the album "Discovery", the formation of eight components had grown to four, regardless of their string trio that such a characteristic sound would reach in albums such as "Eldorado" (1974), "A New World Record" (1976 ) or "Out Of The Blue" (1977).
Discovery contained a series of songs of great quality and class like the forceful "Shine a Little Love", "Don´t Bring me Down", the melodic "Confusion", the addictive "Last Train to London" or the hypnotic "The Diary of Horace Wimp".
This would be the first album of the band in arriving at number one in England, honor that would share with the following work "Time" published in 1983.

The Eagles-The Long Run (1979)

Two years after the release of billionaire "Hotel California", The Eagles released the album "The Long Run".
And is that the overwhelming success of "Hotel California" required a thoughtful pause and a great reflection.
This new album would not achieve the success of that one, but nevertheless it reached the fantastic number of more than five million copies sold worldwide.
During the break between "Hotel California" and "The Long Run", the band had undergone a significant change, Randy Meisner had left the formation and had been replaced by the former Poco component; Timothy B. Schmit, who in addition to the role as bassist towards the main voice in some of the songs.
By then all the components were capable of singing as soloists, but it was Don Henley and Glenn Frey who most commonly did so.
As the single from this new album, "Heartache Tonight" would be chosen, sung by Frey, which would reach number one on the charts, other hits were "I Can't Tell You Why", sung by Schmit and "The Long Run" by Don Henley.
At this point The Eagles showed a group of interchangeable solo voices and instrumentalists, which gave them great musical wealth but at the same time very little stability.
An example of this was the exceptional sales figures and that the band suddenly disappeared, dissolving shortly after.

The Doors-L.A.Woman (1971)

By the time The Doors' album "L.A. Woman" was released, its leader and charismatic singer Jim Morrison had just said goodbye to his peers to pursue his role as a poet in Paris.
The rest of the band had stayed in Los Angeles hoping that Morrison would soon get bored of writing poems along the Seine and return to start rehearsing and recording a new album.
However, he didn't even have time to get bored, Morrison was found dead on July 3, a victim of a heart attack.
Some time later the rest of the group decided to continue their career with an album significantly titled "Other Voices" (1971), for a time after finishing it in full failure and without the voice of their leader with another mediocre album titled "Full Circle" (1972) .
"L.A. Woman" was released just a month before the tragedy and like the previous studio work "Morrison Hotel" (1970) the quartet forgot the elaborate productions of their first albums to drift towards sounds closer to the rough and rhythmic Blues and rudimentary.
In addition to the fantastic song that gave the album its title, the splendid "Riders of the Storm" stands out, which would become a posthumous success of the ill-fated vocalist, becoming one of the most representative songs of this fantastic North American band.

Don McLean-American Pie (1971)

"American Pie" was Don Mclean's second album, almost no one had heard of the existence of the first one, except for the 34 record companies that rejected it.
With the publication of this album, McLean would take center stage as an international pop-rock figure and was even the inspirer of the work "Killing Me Softly With his Song", which the authors wrote with their music in mind.
This album is famous above all for containing the song of the same title that was written in tribute to Buddy Holly, the mythical rocker who died on February 3, 1959, in it McLean narrates that tragic date and in the words of the song itself "the day that the music died. "
This album was for seven weeks at number one and almost a year on the best-seller lists.
McLean came from the world of folk before recording his own albums and had collaborated with Pete Seeger among others, in addition to being a very active member in ecological and environmental awareness campaigns.
In addition to the mythical song on this album, other very remarkable ones appeared such as "Vincent", dedicated to Van Gogh or "Babylon", inspired by his old folk years.
After this work McLean would not have more relevant successes, but nevertheless an album as perfect as this was enough to go on to the annals of rock history.

Dire Straits-Love Over Gold (1982)

After three splendid albums which put Dire Straits on the world rock map, the group began to become the band to show off their guitarist Mark Knopfler.
In 1982 Knopfler himself had been commissioned to compose the soundtrack for the movie "Local Hero", while he was already preparing the group's new work, something that contributed to increasing his popularity.
The rest of the band saw that their specific weight when composing was less and less and even Knopfler himself would include new components in the new album tailored to their needs.
Only this "Love Over Gold" is understood, songs like "Telegraph Road", are a marathon exercise of 14 minutes to clearly show off the six strings of its leader.
The album itself is excellent in quality, with a calm and atmospheric tone, with an approach to progressive rock, without fully entering this subgenre, it has passages that bring it closer to notoriety.
Apart from the progressive "Telegraph Road", here we have the melancholic "Private Investigations", the soft "Love Over Gold", the quiet "It never Rains" or the rock and more animated of the "Industrial Disease" album.

Bob Seger & The Silver Bullet Band-Live Bullet (1976)

Bob Seger in 1975 would undertake his first great tour of the United States and for this he formed his first accompanying group; The Silver Bullet Band.
The result of that strenuous tour is the album "Live Bullet", recorded entirely during one of the concerts at Cobo Hall in Detroit and would be the first of his works signed with the Silver Bullet.
Live Bullet is a live stunt double that collects his greatest hits from his career up to that point and would end up becoming one of the classic live albums of the seventies.
This mythical double album contains legendary themes such as the initial and rabid "Nutbush City Limits", the precious "Turn The Page" or the powerful and successful "Ramblin Gamblin Man".
There is also room for powerful rock like Heavy Music or the rock and roll "Get Out Of Denver" or "Let It Rock" by Chuck Berry or "Bo Diddley" from the mythical guitarist of Rhythm and Blues.
A mythical live where the content makes an audience excited with a Seger and his band in a state of grace enjoy in the four grooves.

Christopher Cross-Christopher Cross (1979)

Tanned during the 70s in many roadside bars and gambling dens in the San Antonio area of ​​Texas, Christopher Cross was the archetype of the standards of American soft rock, his music was always pretentious and complicated and perhaps for this reason he became One of the best artisans of success for radio and ballads, among which is the one made for the movie "Arthur the Bachelor of Gold", which won him the Oscar in 1981.
In 1978 he got a contract with Warner Bros and published his first album, to brighten his compositions Warner himself surrounded him with some of the most brilliant stars of the moment such as Michael McDonald, Larry Carlton, Eric Johnson or Don Henley among others Many.
This debut contained songs like the emotional "Say You'll be mine", the ballad "Sailing" or his most remembered song the wonderful "Ride like the wind".
This album rose to the top of the charts and would get 6 Grammy Awards (surprisingly, it beat the most acclaimed album of that year as it was "The Wall" by Pink Floyd) with more than 7 million copies sold and had a sequel providing the same musical arguments in the following album "Another Page" (1983), which however would not reach the sales quantities of his splendid debut album.

Men At Work-Business As Usual (1981)

During the year 1981 a song covered many of the radio stations in the world incessantly, it was titled "Who can it be now?" and it belonged to the Australian group Men At Work and the truth is that this easy theme was the perfect counterpoint to the current prevailing at that time; punk rock and the synthesized sounds of the new ave.
"Business As Usual" was the debut album with music inherited from the purest style of The Police, but much more commercial and with more humorous self-confidence in its songs, which would be most surprising in the early eighties.
But not only did this album live on this great song, to keep the level high there were others of no less commercial hook and undoubted quality such as the humorous "Down Under", the relaxed "People Just Love to Play" with words, the hectic "Helpless Automaton" or the pop rock "Touching the Untouchables".
The album was a resounding success worldwide, reaching truly amazing levels with over fifteen million copies sold and by the way being considered one of the masterpieces of pop rock of the eighties.

Bruce Springsteen-Born In The U.S.A. (1984)

"Born In The U.S.A." It is the most successful album and remembered by the great public of Bruce Springsteen and the one that discovers a new sound aspect in its musical aspect, which brought it closer to the more commercial pop rock.
It is also the most optimistic work of those that he had published until then, his texts are hopeful and with messages full of rage for continuing to fight until the end.
Here are two of his most successful songs such as "Dancing in The Dark" and "Cover Me" that despite its commerciality, monopolizes much of the protagonism of the album, making Springsteen a solid mass rock star and selling a whopping more than ten million copies of it.

The Rolling Stones-Beggars Banquet (1968)

The Rolling Stones are together with The Beatles and Led Zeppelin the greatest rock bands of all time, they took a chair as blues evolved into rock.
With some of the most memorable moments in rock history, they have been characterized as one of the symbols of the genre for almost six decades.
One of those memorable moments was when they released their album "Beggars Banquet" in 1968, one of rock's masterpieces, where they began to forget about the experimentation and psychedelia of previous albums to return to their blues roots, composing an essential album to understand and enjoy the evolution of an authentic rock band with blues roots.
An album with a superb collection of great songs like the eternal "Sympathy For The Devil" and "Street Fighting Man", two already historical and jewels of music, which are only part of a great album as creative as it is overwhelming.

Santana-Inner Secrets (1978)

This album marks the beginning of a stage in which Carlos Santana begins to disassociate himself a little from the influences of Jazz, Blues and Latin elements to start creating something more oriented towards classic Rock. However, this album was disappointing for many fans.
Nonetheless, this album held up very well on the charts due to some of its singles like "Open Invitation" or the fantastic "One Chain (Don’t make no prison)", longer than any other Santana album since 1971.
But in addition to these two relevant and magnificent themes, Santana dared to cover several sixties classics such as the inaugural "Dealer", by the mythical Traffic and the eternal "Well all right" by the Blind Faith, thus reviving the spirit of Steve Winwood, much forgotten by that times.
In the rest of the album Santana's guitar recovers the edge for "Open invitation", or the instrumental "Life is a lady" where it delves into those long and gimmicky notes of the house (maybe Camel had it in mind for six more years late writing "Stationary traveler") plus great "The facts of love" like "Wham!" soft keyboards border to recover the tropical and Afro-Cuban pulse. And in the end it turns out that the disc buried in personal and collective memory resists, from that evocative gregarious black and white cover, over the years.
Perhaps this was one of his last great albums since during the following decade Carlos Santana continually skirted the disaster with albums that never came to stand out in a special way, despite their undeniable quality.
There is something intriguing, really, the career of this musician, capable of starting with four fabulous albums (not only "Abraxas", the most famous; or the conceptual spirituality of "Caravanserai", so often undervalued), and then lose himself in infinite meanders.

Dave Meniketti-On The Blue Side (1999)

Dave Meniketti is a formidable guitarist who began his career in the hard rock band Y&T in the mid-1970s, with which he will record a dozen albums, some of them of notable success, culminated by worldwide hits such as "Don´t Wanna Lose", "Mean Streak" or "Summertime Girls", belonging to albums of an enormous quality like "Earthshaker", "Black tiger" or "In rock we Trust", thus forging an extensive and successful career with this band.
In 1999 he released his first solo album titled "On the blue side", where he demonstrated his passion for blues.
In that album there are three versions, very different from each other but with a common denominator: the blues.
Starting with one of the best songs composed by James Brown in his entire career, "Man's World" followed by the Mose Allison classic, "Parchman Farm", and the extensive "guitar walk" of "Loan me a dime "by Boz Scaggs.
In Man´s World Meniketti he manages not only to overcome the original version, but also to demonstrate the supernatural talent of this musician with the six strings.

Blackfoot-Marauder (1981)

Blackfoot was one of the greatest southern rock bands of the 70s and 80s, although they differed from their peers by practicing what they themselves called southern metal.
Composed of several native Indians, they would record some of the most memorable works of the genre that had a great impact on North American and European.
In 1981 they would publish their definitive work which leads them to participate in Donington legendary Monster Of Rock and Reading together with bands like Iron Maiden or Def Leppard.
"Marauder" would be the band's fifth album, which had started their career six years earlier with their debut album "No Reservations" (1975).
However, it would be their third album "Strikes" that would catapult them, achieving a platinum record for their sales during 1979.
"Marauder" is considered his highest quality work, bringing together nine tracks all of them with great appeal such as the powerful "Good Morning", the southern "Paying´For It", the melodic "Diary Of A Workingman" and "Searchin´" and the rock "Rattlesnake Rock´n´Roller" or "Dry County".

Eric Clapton-Just One Night (1980)

At the end of the 70's Eric Clapton was living an artistic moment with some stability, both personal, commercial and popularity, he had published in recent years several successful works such as "Slowhand" (1977) and "Backless" (1978).
At the beginning of the eighties, the double live album entitled "Just One Night" was published, recorded entirely at the Budokan in Tokyo, a year earlier during the Backless tour, and with the particularity of using as a support band a different line-up than the one that would record the mentioned album.
For this tour, he would have Albert Lee as second guitar, Henry Spinetti as drums, Dave Markee on bass and Chris Stainton as keyboard player.
The repertoire contained their own songs and versions such as the traditional blues "Early In The Morning" or "Rambling On My Mind", some of their most recent hits such as "Cocaine", "Tulsa Time", "Wonderful Tonight" or "Lay Down Sally", and rock and blues classics such as "Further On Up The Road" or "Blues Power".
It was found that Clapton did not want to continue living on the legacy of his former bands from the past such as Cream, Blind Faith or Derek And The Dominos by not including any of their legendary songs in this live.
An album where the magic of Clapton's guitar continues to amaze, but which nevertheless suffers from the incendiary and passionate spark that it once transmitted.
Even so the album reaped enormous success in the British and North American charts reaching the top positions during 1980.

Van Halen-1984 (1984)

In 1978 Van Halen's debut would be explosive, thanks to the amazing qualities of his guitarist Eddie Van Halen, a wild singer on stage and with a sex symbol plant, together with a rhythmic base as forceful as effective by drummer Alex Van Halen and bassist Michael Anthony.
This first brilliant album of presentation was considered a rock landmark, reaching sales of over 10 million copies.
From here they will continue on the same path with albums such as "Van Halen II", "Women and Children" first, "Fair Warning" or "Diver down", reaching very high levels of popularity.
For his next album titled 1984 Eddie Van Halen aims to expand the horizons by endowing his style with rich nuances of synthesizers, however David Lee Roth never agreed with the use of keyboards that Eddie liked so much, for his part the guitarist began to Being fed up with the doth attitude of Roth, such a crossing of egos would bring about the following year one of the saddest separations in the history of rock, at the same time as one of the most expectant relays such as that of Sammy Hagar
Despite so many disputes, the four musicians took out a sensational album that will go down in hard rock history, ultimately the best-selling album in the history of the American group (surpassing fifteen million copies) but also the one that more elaboration problems generated.
The importance of this album lies not only in the million-dollar sales, but also in that this is definitely the top album by Eddie Van Halen, the guitarist does everything: he experiments with keyboards, he takes one of the most solos out of his portentous hands. famous in history in "Jump" and hard as ever in cuts like; "Panama", "Hot For Teacher", "House of Pain" or "Girl gone Bad".

Peter Frampton-Comes Alive (1976)

In 1971 Frampton left the Humble Pie to start his own solo career publishing a series of good works such as "Wind of Change" (72), "Frampton's Camel" (73) and "Somethin's Happening" (74).
Just a year before releasing his amazing "Comes Alive", he had shyly entered the charts thanks to his album "Frampton" (75).
"Comes Alive" was recorded at the San Francisco Winterland Ballroom and collected a summary of his five previous albums, and was the culmination of a grueling tour that kept him throughout the United States for almost a year.
A spectacular sound, in which the Frampton technique stood out with avant-garde effects such as the famous Talk Box, the true hallmark of this album, very well chosen songs, from “Baby I Love Your Way”, “Do You Feel Like We Do ”, His version of“ Jumpin´Jack Flash ”by the Rolling Stones or especially the famous“ Show Me The Way ”as well as a luxury production decisively influenced the unexpected and spectacular success that this album had
The double album would establish a record by selling 16 million copies and staying 10 weeks at number 1 and 55 weeks on the list, being the first double live album in history to achieve such a sales success.

Love-Forever Changes (1967)

Love is considered one of the most important bands in the history of contemporary music, an icon of hippie culture and a symbol of the young generations of the sixties.
Founded by Arthur Lee and Johnny Echols in the first half of the 1960s, they started out as American Four, but soon changed their names to "Grass Roots". The band was formed, in addition to Lee and Echols, by drummer Don Conka and bassist John Fleckenstein. At that time the sounds of the British invasion, along with the Byrds' Folk Rock made Lee change direction away from the R&B sound of his early days.
After gaining a reputation for playing in bars and clubs in Los Angeles, they became the first rock group to sign on Elektra Records. In that same year (1966) they recorded "Love", their first album.
For his second album, "Da Capo" (1967), his style already moves between folk and rock, between psychedelia and jazz, between pop and Latin rhythms, as if leaving a glimpse of what was to come. year with his third album.
Almost at the end of that same year "Forever Changes" was published, an album with masterful songs of trembling acoustic folk-rock / jangle pop and psychedelic textures with stretches of electric acid rock, songs like "A House Is Not A Motel", " The Red Telephone "or" Andmoreagain "or the eternal" Alone Again Or ", make up a masterful album with ample and evocative orchestral arrangements and a notable presence of acoustic guitars, in this fascinating work they manage to create a colorful, calm and intense atmosphere.
However, due to the poor commercial planning of the Elektra label, more focused on the career of The Doors (band that was presented to them by Lee himself) the album went quite unnoticed by the public and critics at the time, but with the passing of the Over the years it has become a classic piece of modern music.
After recording the album, they gave up performing at the legendary Monterey Festival, due to the heroin addiction of most of the members of the band and due to tensions and drug use, ending with the disintegration of the group.

Leonard Cohen-I'm Your Man (1988)

The Leonard Cohen of the 70s was a very particular singer and different from what was politically established, his style stands out from the pop and rock trends of the time with unique and original proposals.
With the arrival of the new decade of the 80's, Leonard Cohen was renewed and revealed an artist with a will for modernity, who knew how to face and dominate a decade in which many others were hopelessly shipwrecked. After a slight transition with his album 1984 "Various positions", in which synthesizers and new technologies already appear as a fundamental part of his songs, it is in 1988 when Cohen would reach its maximum splendor and ultimately his greatest success with the album "I'm your man", a job that led many to discover a new Leonard Cohen who, anyway, did not give up his old worries. The disc contained some songs that became hits of tremendous commercial impact. The songs immediately went on to be among the best of Cohen.
In a Rolling Stone poll of the Canadian singer's top ten songs in his entire career, three songs from this album, "I'm your man", "Tower of song" and "Everybody knows", are on that list.

Blind Faith-Blind Faith (1969)

On June 7, 1969, while Cream was still in the news for his disappearance in London's Hyde Park, thousands of young people witnessed the first concert and at the same time the birth of an incredible superband, with part of the greatest myths of the time, Eric Clapton, Ginger Baker, Steve Winwood, and Rick Grech, this is Blind Faith.
But a supergroup like Blind Faith couldn't last long, as it would. With a prodigious album, delusional performances and also the incompatible character of four monsters, all of them absolute leaders, previously in their respective groups.
That was too amazing to be true, but it would be for a few months, as Cream faded, while Traffic cracked for the first time from the rift between Winwood and Mason and as Family lost one of their key men Rick Grech, who after Five years left them, Blind Faith takes over without question.
Undoubtedly, while Blind Faith were united, they were numbers 1, the fusion of the four musicians with a fabulous sound kept them at the top with tremendous concerts by the United States and Europe.
But it was evident that there was no acclimatization or stylist fusion, each one tried to make their ideas prevail in the only album they recorded, where three songs are signed by Winwood by just one by Clapton, another by Baker and a foreign version as a complement, perhaps, this was one of the causes of the short duration of the invention, all this confirmed a considerable mix of trends, which would remain in history as what was a giant of the 1960s, the album itself is a A true wonder that earned a place in the history of Rock on its own merits, and not only because of the stars that appeared in the credits, nor only because of its controversial and also historical cover.

Gerry Rafferty-City To City (1978)

Gerry Rafferty has been one of the most effective songwriters to emerge in Scotland, although he had to wait a few years before being able to record his own solo albums.
His beginnings were in the band Humblebums and then later with Stealers Wheel along with another great one like Joe Egan, with the latter he would publish three great albums in the early seventies.
Rafferty would later be retired from music for several years, until 1978 when he would return to record "City to City", his first solo album, which was released not without some serious contractual problems, such as negotiating the termination of his contract with his previous record company.
Criticism would not be very benevolent with this album, in fact it was quite beaten, quite the opposite of the public and fans who welcomed it with great enthusiasm, reaching a number one position in the United States, taking that place from the band, soundtrack Saturday Night Fever that had been in the post of honor for six months, thanks to the singles "Baker Street", the ballad "Whatever's" written in your heart and the half time "Right Down the line".

Sammy Hagar-Loud & Clear (1980)

By the time Sammy Hagar became part of the hard rock band Van Halen, replacing David Lee Roth, he already had a long career behind him that had begun 12 years earlier as a member of the American band Montrose along with Ronnie Montrose with the which recorded two excellent works such as "Montrose" (73) and "Paper Money "(74).
From there a meteoric solo career begins, publishing worthy works of good hard rock and American rock; "Nine on a ten scale" (76) "Street Machine" (79), "Danger Zone" (80), "Three lock box" (82) or "Cosmid Universal Fashion" (2008) among others.
In 1980 the direct "Loud & Clear" was published, a reissue of the direct "All Night Long", published a few years before, which included part of some superb and tremendous performances by the guitarist in San Antonio, San Bernardino, Santa Cruz and Santa Monica ( San Francisco) during the year 1978.
Among the tracks on this live album is an impressive electrified version of Donovan's legendary "Young Gilrs Blues".
But it also contained incendiary songs like the fast-paced "Red", the melodic "I've Done Everything For You" or the frantic "Bad Motor Scooter".

Humble Pie-Performance Rockin´ The Fillmore (1971)

Another of the great live shows recorded is the Humble Pie "Performance Rockin 'The Fillmore", an incredible exercise in mastering blues rock and soulful strokes by a band that was already legendary and had the great Steve Marriott in front of him. He was joined by the innate talent of Peter Frampton's fantastic guitar and the formidable rhythm section of Greg Ridley and Jerry Shirley.
The double album consists almost exclusively of versions of classic blues and rocks, all of them performed with the band's personal touch, even surpassing the originals in some of them.
A direct incendiary that began with the powerful "Four Day Creep" to continue with the versions of Willie Dixon; "I'm Ready" with a superb work by Marriott on guitar.
Another example of the majesty on stage of this band is "I Walk on Gilded Splinters" with its 23 minutes of uncontrolled energy. With those same forms of interaction with the public we find Muddy Waters "'Rollin' Stone", with Marriott's voice as the backbone.
To close this explosive recital we have the bestial "I Don't Need No Doctor", one of the most legendary songs by this glorious band.
Rockin 'The Fillmore Performance, is one of the best recorded live shows in the history of Rock & Roll, comparable to At Fillmore East by The Allman Brothers Band, Double Live Gonzo by Ted Nugent, Made in Japan by Deep Purple or Live at Leeds from The Who to name just a few examples.

Tears For Fears-The Seeds Of Love (1989)

Tears For Fears has been one of the most rewarding bands in pop rock music in music history.
From the solid album "Songs From The Big Chair" published in 1985 and which contained two great songs of great commercial success such as "Shout" and "Everybody Wants To Rule The World", to "Everybody Loves to Happy Ending", their last album that came out in 2004 .
However, they had already harvested the honey of relative success with their first work titled "The Hurting" (1983) and several of their songs; "Mad World" and "Change".
Both works were a pop exercise with a solid base on synthesizers, with a great taste for very elaborate and high-quality compositions.
In 1989 they would edit their third job and ultimately their absolute success; "The Seeds Of Love", a much more mature and brilliant work, with sophisticated pop and a certain soulful aftertaste, with jazzy touches and beatle airs and there are even moments for the blues.
The entire album is spectacular from the initial "Woman In Chains", a delicate melody with the baton of two great protagonists as the main axis, the percussionists Manu Katche and Phil Collins and the voice of the renowned Oleta Adams, with great instrumental spaces and culminating trusses with the voices of Orzabal and Adams.
The vintage flavor to The Beatles "Sowing The Seeds Of Love", the excellent "Advice For The Young At Heart", the poetic "Swords And Knives" or the rhythmic "The Year of the Knife" is also outstanding.
The album would become a massive success selling millions of copies around the world and taking the top positions on the charts in many countries such as the United Kingdom where it would reach number one.

Alice Cooper-Billion Dollar Babies (1973)

Alice Cooper is one of the greatest talents given by hard rock and glam, one of the most fundamental artists in the evolution of different genres that he knew how to wisely combine with a powerful and bewitching personality.
"Billion Dollar Babies" is undoubtedly his most successful album and at the same time the highest quality.
It is a wise mix of those previously made on his previous albums such as "Love It To Death" (1971) or "School's Out" (1972).
A very homogeneous, seamless work with a polished and brilliant sound for a series of songs full of energy, feeling and creativity.
"No More Mr Nice Guy" was the successful single from this album, but it did not detract from the rest of the songs, all of them with a great journey, such as the sordid "I Love The Dead", the powerful "Billion Dollar Babies" or the energetic "Elected", the latter, authentic satire of the politics and like other great subjects of Cooper, clear exponent of the influence of The Who in his music and his vital importance in the later punk rock.
Undoubtedly an essential rock album with an exquisite production by Bob Ezrin and a musical quality available to few.

Blue Oyster Cult-Agents Of Fortune (1976)

When the Blue Oyster Cult released "Agents Of Fortune", they already had behind them three high-quality albums and many fascinating songs, even so, they still needed to sign all this in the form of a great song that would definitely catapult them and be remembered forever.
And it would be precisely with this album that the Blue Oyster Cult would remain installed as a renowned band and not only for specialized critics but also for a good part of the public.
This included the famous song "Don´t Fear The Reaper", with those soft vocal melodies, fused with melodic guitars that was soon acclaimed worldwide.
However, this theme does not overshadow the rest of the album, where titles such as "This Ain't The Summer Love",  "ETI (Extra Terrestrial Intelligence)" or "The Revenge Of Vera Gemini" have more than necessary arguments to raise the final result of the album to outstanding category .

Barclay James Harvest-Eyes Of The Universe (1979)

After publishing eleven great albums, Barclay James Harvest had its first great setback, the departure of its little keyboard and one of its founders Wooly Wolstenholme, this made it seem that the group's career would decline, mainly due to the importance and contribution of this group. to your music.
However, with the keyboard player's departure, the results did not decline but even improved in general surprise.
The first album without Wolstenholme is "Eyes Of The Universe", published in 1979, which would ultimately be the last great album of the band, at the same time as the most commercial, but without this adjective carrying the connotations of lack of quality.
The synthesizers are updated and become authentic protagonists of the melody.
The guitars sound more direct and spectacular than in previous records, developing solo sensations as well as addictive riffs.
Such melodies reach their creative peak and flow magically through a series of songs, among which the intense "Love On The Line" or "Alright Down Get Boogie", the powerful "Sperratus" and "Capricorn" and the wonderful and old "Rock & Roll Lady" with that great classic flavor that soon makes it one of the classics of the band, undoubtedly an album with a name: masterpiece.

Genesis-And Then There Were Three (1978)

"And Then There Were Three" ... is an album that the most purists of Genesis tend to despise for distancing themselves in a way from the progressivism of yesteryear but at the same time little valued by fans of the commercial era for labeling it as progressive ... and This is how we could really say that it is in no man's land. When Peter Gabriel left the band in 1975, many at the time predicted the end of the group as few or almost no one trusted Phil Collins as the group's new frontman and soon realized they were wrong. The same was true when Steve Hackett took his own course in 1976, his work within the group was somewhat supplanted by bassist Mike Rutherford perhaps not as good on this instrument as Hackett, but more than complying, the result was an album. of beauty only possible due to the capacity of the remaining members, undoubtedly virtuous musicians. And it is that curiously and ironically the title of the album "And then there were only three" made clear the intentions of Collins, Banks and Rutherford to continue with the group despite the loss of their two best pillars. "And Then There Were Three" alternates moments inherited from the previous era, with more importance of the instrumental factor and a more complex structure (especially "Down and Out" or the dense "Burning Rope", along with themes of simpler structure such as "Many too Many "or especially" Follow You, Follow Me ", one of his great hits and first symptoms of the subsequent commerciality (after the expectations of" I Know What I Like "in 1973 and later" Your Own Special Way "in 1976 Themes such as the dynamic and complex "Down and Out", the deeply melancholic "Undertown", the progressive "Burning Rope", the rhythmic and at times atmospheric "Deep in the Motherlode", the beautiful and melancholic "Many too Many", or the ambitious "The Lady Lies" leave us a really excellent album made against all odds and with some of the criticism and old fans against it ... without a doubt a jewel undervalued.

Genesis-Wind & Wuthering (1976)

Almost at the end of 1976 Genesis would release the perhaps last great album of its progressive era, an album loaded with melancholic, nostalgic and autumnal atmospheres, a hypnotic solemn journey through that sad season of the year.
And it is in Wind & Wuthering where the post-Gabriel Genesis really begins to be born. Here you can already intuit the new musical trends of the group, and even as a Steve Hackett in full compositional and instrumental maturity, he has a greater participation, in fact almost half of the themes of this work are his authorship, but curiously it is the album where the guitars have less prominence, undoubtedly due to the final arrangements that their own colleagues imposed, precipitating that this was the last of the guitarist in the band.
Even the album cover, designed by the cartoonist of the Hipgnosis factory Colin Elgie is one of the most beautiful that has been created, it gives us a slight idea of ​​the music contained with that illusory aspect, with a gray autumn stage with a tree whose foliage turns out to be scores of birds, leaving the tree bare and alone.
This album also represented the last lyrical work with a "narrative" base that the group composed, while, with the exception of the songs Afterglow and Your Own Special Way, the songs are based on a character, or are based on a story, more than in experience.
Illusion and disappointment are the basic themes of the album. The album begins with Eleventh Earl of Mar, a song based on the Jacobi rebellion of 1715, which introduces the idea of ​​innocence (the voice of the story alternately is entirely in the third person, and is that of the protagonist's son); and of failure, in the final campaign. Musically Eleventh Earl is a powerful song that fuses electric rock and acoustic ballads very well. The song ends with the imprecation to wait, until everyone forgets, and do it again - "some things never end".
The next piece guides us perfectly to One For The Vine. This deals again with disappointment, fatalism and failure, and reinforces certain ideas related in the previous topic. The culmination, as in Eleventh Earl, presents the cyclical concept, as a final touch for this theme. The "hero" is trapped within the cycle of events described by the song - and is therefore doomed to repeat them.
Next in line comes Your Own Special Way, a song that begins with what we could now almost call the archetype of acoustic Genesis - a virtuous 12-string guitar that completely fills the song. A wonderfully moving piece brings us to Blood On The Rooftops, Hackett's first lyrical and musical entry to Wind & Wuthering. The album ends with Afterglow, a song of redemption and rebirth, in the midst of lost love. Lyrically, the simplicity of the images and the caustic intensity of the words make it one of the finest songs of Genesis.
Without a doubt this would be the last great work of Genesis and he last of his brilliant guitarist Steve Hackett, essential for any self-respecting prog collection, a masterpiece in every field, from narrative, through lyrics and music. Simply spectacular.

Steve Winwood-Refugees Of The Heart (1990)

Perhaps this is not the best work by Steve Winwood, but he has been unfairly underrated generally and all because when it was published part of the criticism and his fans would reproach him for repeating the same formula as his successful predecessor Roll With Me, and in certain measure is true, but undoubtedly this album continues to have a great quality with great compositions and great instrumental arrangements and everything must be said blessed formula, songs of the caliber of You´ll Keep on Searching, One and Only Man or In the Light of Day undoubtedly deserves a post dedicated to this underrated work of one of the great geniuses that rock has given throughout its history.

Mike Oldfield-Crises (1983)

Almost reaching the mid-eighties, Mike Oldfield puts the fifth gear of his extraordinary talent back to the service of the new sounds that prevailed at that time.
So in the same month that its millionaire and acclaimed Tubular Bells celebrated its tenth anniversary, Crises comes to light, an album that occupied part of the year 1982 and 1983 in the composition and subsequent recording, in the Oldfield is surrounded by a Pleiades of great musicians such as Simon Phillips, Phil Spalding, Jon Anderson of Yes, Roger Chapman of Family, Pierre Moerlen or Maggie Reilly among others.
The album was one of his biggest hits, and with which he installed his sophisticated rock pop music in the 80s and with only five songs, the album established itself among the top positions on both sides of the Atlantic.
Crises, the instrumental song that opened the album, presents 21 minutes in which Mike plays with synthesizers, keyboards and mysterious atmospheres, without forgetting again great percussions and guitars, delighting us again with his peculiar progressive rock
Moments like "Crises, you can't get away", or "The watcher and the tower" are extraordinary and show that Oldfield still had a lot of talent left. Slightly inferior to the Taurus II, from its predecessor Five Miles Out, but absolutely masterful full of great music, great moments, beautiful melodies, enigmatic sounds ... Next, the great success of 83, Moonlight Shadow, well-known song by Oldfield along with the introduction of Tubular Bells: a conventional song, but pleasant, entertaining, and a true classic. Later, In High Places, perhaps the best song on the album, an original theme, almost melancholic, playful and mysterious, a very space theme, where Jon Anderson's voice takes on special importance. Foreign Affair becomes the anecdotal theme for its rhythmic pace as well as great. Taurus III, another instrumental theme with an almost Flemish influence is the least curious. Finally, Shadow on the Wall, the hardest track on the album, became another contemporary classic of pop rock.

Free-Free Live (1971)

Free Live! It is another of those immortal pieces of contemporary rock and considered a classic of the live shows published in the 70s.
After having revealed themselves as one of the most interesting and most promising groups in British blues rock in their fantastic concert at the Isle of Wight Festival in 1970, Free separated temporarily in the fall of '71, and for this reason (and of step take advantage of the conjuncture) Island Records hastened to publish a direct of the group as a temporary farewell. Andy Johns, among the recordings of various concerts ranging from January 1970 to March 1971 - not one of the recordings of the mythical Wight concert was played, (although erroneous information has circulated for years that 'Free Live! 'Was recorded at that concert), managed to give homogeneous form to a live album in which the live versions of songs such as "Be My Friend", "Fire And Water", "I´m A Mover", " Mr.Big "as well as, of course, the song that opened the album and which had become in its own right its anthem," All Right Now ", took on that harder, stronger, cruder dimension that Free gave at their concerts. The album cover, which simulated a classic mailing envelope, with the faces of each group member on the postage stamps, while not particularly attractive, would be one of the most imitated by other designers for many albums over the years. from other artists.
The reissue on CD of 'Free Live' in the 90s would incorporate more themes, among others  "Woman", "Trouble on Double Time", "Walk in My Shadow" and "Moonshine", the latter reaching 9 minutes in length. The extras also contained alternate live versions of "All Right Now" and "Mr. Big". The great success that 'Free Live!' Had in sales at the end of 1971 he made the group reconsider their position and they met again in January 1972 to record 'Free At Last', but Paul Kossoff's drug problems (reason that precipitated the breakup in '71) and the beginning of A new career by Paul Rodgers at the helm of Bad Company ended forever one of the most brilliant and exquisite groups in British Hard Rock, whose influence has been permanent in all the new musicians who have come to rock drinking from its most classic sources.

Al Stewart-Time Passages (1978)

In 1978 Al Stewart came from making an album as mythical as the famous "Year Of The Cat" was released two years before.
Its continuation would be "Time Passages", published in September 1978, which was chronologically the eighth work of the Scotsman and like "Year Of The Cat" was produced by Alan Parsons and obtained great success in the United States and a good worldwide acceptance, although without reaching the levels of quality of its prime work.
However the album manages to be his biggest commercial success and the zenith of his career, from here he will continue publishing good albums without reaching the popularity of these last two works.
"Time Passages" shows a different musical vision regarding "Year Of The Cat", here soft rock takes over almost the entire album, undoubtedly a product of the influence of Alan Parsons, with approaches to pop rock that he had already been doing on his albums with The Alan Parsons Project, translated into an album full of instrumental richness (guitars, keyboards, synthesizers, pedal steel guitar, sax, percussions) at the service of a melodic folk-rock in which elements from pop and jazz and where great songs stand out like the addictive "Time Passages", the space "Life In Dark Water", the progressive "The Palace of Versailles" or the melodic "Song On The Radio".

Jeff Beck-Wired (1976)

One of the great samples of the genre that fused rock with jazz is in Jeff Beck's incredible album Wired, published in 1976.
For the first time Beck leaves the composition tasks to other musicians such as Jan Hammer, Max Middleton and Narada Michael Walden, thus achieving greater spectacularity and a perfect jazz balance to his rock guitar technique.
We only have to listen to the initial "Led Boots" to hear Beck's powerful, intense and energetic guitar, while Middleton on keyboards responds to solo sensations in the same way with superb synthesizer interventions.
"Blue Wind", composed and played by Jan Hammer, explores the jazz-rock terrain from an agile and virtuous perspective, repeating the duets between guitar and keyboard.
There are also moments for tranquility such as "Love Is Green" where Beck shows us his most intimate and delicate facet.
To cap off this sensational album we have the version by Charles Mingus; "Goodbye Pork Pie Hat" masterfully performed by the entire band.

Jimi Hendrix-Band Of Gypsys (1970)

Recorded on the first day of January 1970, in Fillmore East, New York, this masterful direct of Jimi Hendrix does not have his usual band, the Experience, but is accompanied by Billy Cox on bass and Buddy Miles on drums.
Hendrix wanted to experience new sensations and expand his creativity, so he decided to try his luck with different musicians and published one of his most incendiary live records in the entire history of rock.
Considered by many to be the beginning of the funk movement, Hendrix effectively experiments with this type of music mixing it with blues, rhythm and blues and rock, in a repertoire of new songs that find on stage the best place to be expressed.
For posterity, "Machine Gun's" epic and anthological guitar solo remains, considered the best Hendrix ever did and one of the greatest played on the six-string instrument.
The subsequent posthumous editions in which some of the songs performed here appear show that they always sounded much better live than the originals in studio.

The Doors-Absolutely Live (1970)

"Absolutely Live" was The Doors' only live album while they were active, a fascinating and unique double album.
What is most striking about this recording is that it does not include any of its successful singles, which shows its groundbreaking character, also the powerful versions of songs by Bob Diddley and Willie Dixon, thereby demonstrating where their roots were, and it is equally Remarkable the fantastic medleys that are included here.
It begins with Bob Diddley's classic "Who Do You Love", which they take to their field, and continues with the first medley with 4 songs, culminating in one of the epic moments from the album "When The Music Over".
Then comes the turn to the fantastic "Break On Through" and then surprise with "The Celebration Of The Lizard", epic poem music 14 minutes long and say goodbye with a long version of "Soul Kitchen".
The Doors were unique even to record live albums, absolute masterpiece.

The Band-The Last Waltz (1978)

"The Last Waltz" is one of the jewels of American music, published two years after its recording and soundtrack for the movie of the same title, directed by Martin Scorsese.
This triple live album collects the last concert that the original formation of The Band gave, accompanied by other renowned musicians such as Eric Clapton, Neil Diamond, Van Morrison, Muddy Waters, Ronnie Hawkins, Joni Mitchell, Bob Dylan, Paul Butterfield, Neil Young , Dr John, Emmylou Harris or Michael McClure among others.
With this amazing cast of superstars the concert was held at the San Francisco Winterland Arena on Thanksgiving Day 1976.
Throughout more than two hours we have all the classics of the band, "The Night They Drove Old Dixie Down", "Up On Cripple Creek" or "The Weight", in addition some songs belonging to the guests were also performed such as Neil Young's "Helpless", "Caravan" by Van Morrison or the fast-paced "Who Do You Love" by Bo Diddley at the hands of Ronnie Hawkins.
But it is the song "I Shall Be Released" that closes the album and where all the guests, including Ringo Starr and Ronnie Wood, collaborate that takes the cake for their sublime interpretation.
An American rock masterpiece.

Atlanta Rhythm Section-A Rock ´N´ Alternative (1976)

"A Rock´N´Roll Alternative", was the first great album of the Atlanta Rhythm Section, after having published five great albums, the first in 1972, with little media coverage, which passed without penalty or glory, however all of them They were of a great invoice and of remarkable quality.
Framed within the genre of southern rock, it would be this sixth album which would catapult their career definitely becoming one of the best exponents of the genre.
This work included one of his greatest hits, such as "So Into You", as well as a series of great songs such as the powerful "Sky High", the halftime "Hitchhiker's Hero", the wonderful retrospective ballad "Georgia Rhythm", and the country "Neon Nites".
The album would climb the charts of successes in the United States with great sales and very good reviews.
The tremendous success of this album was the beginning of the golden age of the group, which was later translated into several very high quality albums such as "Champagne Jam" and "Underdog".

Styx-Cornerstone (1979)

Styx is another of the fundamental bands of the AOR, despite the fact that in the beginning they were more focused on practicing a very particular progressive rock.
Between 1977 and 1981 the band would release four great records of excellent quality and enormous success, beginning with "The Grand Illusion", which was followed by "Pieces Of Eight", "Cornerstone" and "Paradise Theater", all of them memorable records and essential works in the world of AOR.
But it is undoubtedly Cornerstone, the one that comes closest to the deepest sounds of North American music, at least in its most country and folk aspect, although always from afar, in nuances such as the songs "Boat On The River" or "Love In The Midnight".
The rest is absolutely captivating, within Styx's unmistakable style. with perfect melodies, ranging from the versatile "Lights", to the powerful and commercial "Never Say Never", passing through the eternal ballad "Babe", which would reach number one on the singles list, in addition to being one of the most beautiful ballads they made .
The influence of Tommy Shaw is especially noticeable in this album, where he sacrifices the characteristic complexity of previous albums, for a more rhythmic, melodic line and a more commercial tone.

Reo Speedwagon-Hi-Infidelity (1980)

Reo Speedwagon are one of the most important bands in the AOR, they provided the connection to North American music on albums like You Can Tune A Piano, But You Can't Tuna Fish, released in 1978.
A band that would set trends and resumed school from 1980 when their Hi-Infidelity album was supposed to sell a whopping almost 10 million copies around the world.
A record with a simply perfect repertoire, of how to make music with the utmost elegance, great taste and quantity of intense emotions and great beauty.
In this multi platinum work, the group had changed its sound dramatically, especially with regard to keyboards, which updated them to the current times, with a stunning production Hi-Infidelity achieves a stunning clarity with a spectacular result, with those sounds of the energetic guitars and the reverb effects that give them a sound base on which to develop songs.
However, above all, one of the best ballads in history stands out; Keep On Loving You, perfect example of what would be called power-ballad, beautiful, intense and powerful, in addition the beautiful Take It On The Run also stands out, the rest maintains a very high quality, with the final result of a prodigious album.

Talk Talk-The Colour Of Spring (1985)

The Color Of Spring is the third album by the British Talk Talk, considered by many to be their best production as well as one of the highest quality works of the 1980s.
Away from the initial sound of the band where synth-pop and new wave were the basis of their style, here the group opts for more avant-garde and experimental sounds, with a certain melancholy, but retaining that powerful and solemn pop.
Especially notable is Steve Winwood's involvement with the Hammond organ, providing them with a sonic environment that rides between progressive and space rock at times.
In this album the band is surrounded by more than fifteen invited musicians, among which are among others David Rhodes, David Roach, Robbie McIntosh or Steve Winwood himself, all of which contributes significantly to the sound enrichment of a production as solemn as it is rich in musical nuances.
That huge sound passage resulting from the large number of instruments used, we have it in the dense I Don´t Believe In You, which becomes a Talk Talk classic.
Also memorable are the rhythm Living In Another World, where they remind us of their previous stage, the intimate Chamaleon Day, with that pessimistic aura, the exciting Give it up, where they come close enough to the style of Winwood in their records from the 80s , and the hypnotic Time it´s Time as the culmination of this impressive album with its 8 minute duration.

Supertramp-Even In The Quietest Moments (1977)

In 1977 Supertramp had already invoiced four albums, the first two of clear progressive cut; "Supertramp" (70) and "Indelibly Stamped" (71), and two others with a more pop and commercial orientation but of undoubted quality, such as the fantastic "Crime of the Century" (74) and the continuationist "Crisis? What Crisis?" (75).
Two years after the latter, they would publish "Even In The Quietest Moments", which would become their most successful album to date.
It is also the work of Supertramp calmer and more rested, which includes great compositions such as the sophisticated "From On Now", the pastoral "Even In The Quietest Moments", the rock "Loverboy", the commercial "Babaji", the wonderful melody of "Give A Little Bit" and the spectacular and progressive "Fool's Overture".
In this album Roger Hodgson definitely becomes the authentic leader of the group, billing the best and most successful compositions.
Also it was already intuited what was to come, the definitive ascent of the band until its creative and commercial zenith as it would be two years later the billionaire "Breakfast In America".

Paul McCartney-Band On The Run (1973)

A genius and figure, Paul McCartney is the most successful ex-Beatle solo, one of the great fundamental geniuses of music, creator of many albums considered masterpieces and a legendary composer.
In 1973, after publishing several high-quality albums such as McCartney, Ram or Red Rose Speedway, he released his absolute masterpiece; Band On The Run, album that would catapult him to the highest point of his career.
An album that breathes an extraordinary aura, from production to compositions, which strike the perfect balance between melodies, creativity and the musician's perfectionist ambition.
The title song is an immortal classic of rock music, with its different musical settings and rhythmic changes.
However, not only this mythical song is the only one that stands out in this fantastic album since the entire repertoire is absolutely out of the ordinary, such as the surreal Jet, the rock Helen Wheels, the acoustic Bluebird, or the fantastic Picasso's Last Words.
In the years and decades that followed, other Paul McCartney albums were very similar in success, but none can compete with this sensational masterpiece.

Queen-A Night At The Opera (1975)

Queen were always as revered as ridiculed by a certain part of both society and specialized criticism, even so they knew how to overcome all this and get a wide legion of followers around the world.
And all because of its ambiguous and deliberately bisexual image, which brought them both harm and benefit, however, what has remained above all else has been their music, a great argument on which this mythical band established its great media power. .
A Night At the Opera released in 1975, it would be the band's fourth album and ultimately their best work, and just for that wonder that a song like Bohemian Rhapsody supposes is already worth this great album.
In this work the band shows its full maturity, that of confirmation to its baroque sound, the balance between its most rock facet and its most convoluted image.
In addition to the star theme, Death On Two Legs stands out, an electrifying composition with portentous rhythm and melodic changes, Mercury's musical hall with Seaside Rendezvous or Lazing On A Sunday Afternoon, approaches to the progressive with The Prophet's Song and its commerciality with 39 or You´re My Best Friend, not to mention this eternal ballad titled Love Of My Life.
An album as outstanding as it is unique, where the Queen are pompous, spectacular, energetic and unique.