Barclay James Harvest-XII (1978)

Barclay James Harvest's ninth album was the last to feature their main keyboardist and one of the band's founders, Wolly Wolstenholme, who left due to musical differences with the rest of the lineup. It was also the last album on which they used the Mellotron, replacing it thereafter with more cutting-edge synthesizers. While "XII" is a more harmonious and balanced album than its predecessor, "Gone To Earth", it lacks tracks as popular and catchy as "Hymn", "Love Is Like A Violin", "Poor Man's Moody Blues", and "Sea Of Tranquility", which appeared on the previous release. The most emotional moment is undoubtedly the song "Berlin", a clear ode to the German city divided at that time by the Berlin Wall, a tremendous success in Germany and the rest of Europe. On the other hand, the solid rock of "Fantasy: Loving Is Easy" becomes the only counterpoint to an album full of beautiful soft rock melodies such as "Classics: A Tale of Two Sixties", "Turning In Circles" or "Sip Of Wine", while the progressive vein appears in the majestic "Science Fiction: Nova Lepidoptera" and "In Search Of England", to end with the pleasant "Fiction: The Streets Of San Francisco", inspired by the famous American police series of the 70s. As in all the previous records, this would once again flood the charts in Germany and central and northern Europe, places where the band gathered a very large legion of fans.

Barclay James Harvest-Once Again (1971)

"Once Again" is one of the classic symphonic rock albums of the 70s, possessing the unique appeal and fascination of that era. Unfairly condemned by the British press as mere Moody Blues clones, this unfortunate and arbitrary assertion would weigh them down during their early years. However, it must be acknowledged that in certain musical structures they vaguely recall the aforementioned Moody Blues, primarily due to the extensive use of the Mellotron in these early years by their keyboardist, Stuart "Wooly" Wolstenholme. Surrounded by progressive pieces with melancholic and poignant traits like "Galadriel" and "Mockinbird", there are others with a clear character of emotive British folk, such as "Vanessa Simmons," or vigorous rock songs like the opening track "She Said" and "Ball and Chain". Meanwhile, the thematic "Happy Old World" and the orchestrated "Lady Loves" undoubtedly hint at certain influences of the aforementioned Moody Blues. Ultimately, with this second album, Barclay James Harvest succeeded in creating a progressive album of simple compositions, adorned with brilliant arrangements, definitively establishing their peculiar and essential sound, which would become the hallmark of the British group in the following years.

Barclay James Harvest-Turn Of The Tide (1981)

Despite the refinement of a pleasant and melodic rock/pop sound with progressive tendencies, Barclay James Harvest's ninth album is far removed from the symphonic/progressive path they had forged in their previous releases. "Turn of the Tide" became their second album without original keyboardist Woolly Wolstenholme, who had left the band precisely because of its more mainstream direction, something that would become particularly evident in the works he didn't participate in. To replace him, the rest of the lineup (John Lees, Les Holroyd, and Mel Pritchard) had hired keyboardists Kevin McAlea and Colin Browne, two musicians who, despite not possessing Wolstenholme's instrumental prowess, fulfilled their roles professionally. "Turn of the Tide" unfolds through a series of welcoming and warm soft rock compositions that are easy to listen to, where the bright treble, so typical of early digital recordings, is more than evident. Tracks like the rock songs "Highway for Fools" and "Death of a City", despite their quality, lack the enthusiasm of yesteryear. Others, like the emotive "How Do You Feel Now?" and "In Memory of the Martyrs", or the pleasant soft-rock tracks "Back to the Wall", "Echoes and Shadows", or "I'm Like a Train", show, despite everything mentioned above, a quality musicality full of melancholic vocal performances and sophisticated, tasteful instrumentation.

Barclay James Harvest-Baby James Harvest (1972)

Underestimated by many of their more orthodox fans for veering towards predictable influences and abandoning their own sound, the fourth album by the British band Barclay James Harvest was the last released under the progressive Harvest label. Comprising six tracks, it is undoubtedly the most accessible of the four released up to that point, showcasing the influences that the British press would regularly criticize. The songs inspired by the ingenious melodies of The Moody Blues, such as "Delph Town Morn" and "One Hundred Thousand Smiles Out", somewhat overshadow the rest of a repertoire that includes commendable pieces like the rocking "Thank You", the epic progressive "Summer Soldier", and the orchestrated "Moonwater". With this album, Barclay James Harvest marked the end of their first era, putting an end to their orchestral and symphonic experiments to focus on more conventional and musically accessible productions for a wider audience, achieving considerable commercial success.

Electric Light Orchestra-Secret Messages (1983)

The successor to the futuristic and seminal "Time" was Electric Light Orchestra's tenth album, "Secret Messages", which became another splendid work brimming with the sophistication and class characteristic of leader Jeff Lynne's compositions. Recorded with the same lineup as their previous albums (Jeff Lynne, Richard Tandy, Bev Bevan, and Kelly Groucutt), plus the addition of Louis Clark, Dave Morgan, and Mik Kaminski, Lynne chose recording studios in the Netherlands, specifically in the city of Hilversum, in the north of the country. Unlike the previous album, which was saturated with synthesizer sounds that underpinned its conceptual story, this release features guitar-driven pop-rock melodies under excellent production, where the elegantly executed music becomes captivating and evocative. There they are to corroborate it, from beautiful ballads like "Take Me On and On", "Stranger" or "Letter From Spain", to galloping rock pieces like "Danger Ahead", "Four Little Diamonds" or "Rock 'n' Roll is King", passing through captivating songs like "Train Of God" or "Loser Gone Wild".

Barclay James Harvest-Ring Of Changes (1983)

Released amidst the synth-pop and new wave craze, Barclay James Harvest gave us their twelfth studio album, "Ring of Changes". Now a trio after Stuart "Woolly" Wolstenholme's departure several years prior, John Lees, Les Holroyd, and Mel Pritchard, with valuable contributions from Kevin McAlea and Bias Boshell on keyboards, continue the stylistic vein of their previous album, "Turn of the Tide", released in 1981. This album features a subtle shift towards folk and acoustic sounds, including a symphonic orchestra on some tracks. Despite being considered a minor album in the British group's discography, "Ring of Changes" still boasts moments of brilliance such as "Looking from the Outside", "High Wire", and "Paraíso dos Cavalos", where BJH's melodic approach, their main strength, remains intact, and a solid, albeit somewhat understated, instrumental and symphonic foundation is still present. Other tracks, like "Fifties Child", perhaps suffer from being a watered-down copy of the iconic "Hymn". On the other hand, "Midnight Drug" retains a freshness and dynamism that at times dangerously approaches the new wave sounds of the era. However, although this album doesn't reach the creativity of the group's previous work, it still has enough merit to be considered one of their magnificent albums of the 80s.

Skagarack-Hungry For A Game (1988)

Heirs to the best melodic rock created in Northern Europe, the Danish band Skagarack established themselves as the perfect alternative to other Scandinavian bands of the genre such as Europe, Alien, and Treat. Formed in the mid-eighties, their core consisted of Alvin Otto (drums), Torben Schmidt (vocals), Jan Petersen (guitar), Tommy Rasmussen (keyboards), and Morten Munch (bass). Their debut album was a clear statement of intent, in which harmonious vocals, captivating melodies, and powerful guitar riffs opened the doors to the pantheon of Scandinavian melodic metal. Two years later, they released their second album, "Hungry For A Game", which, under the Polydor label, once again delivered an excellent work of great melodies, powerful hard rock tracks, and emotive songs with unforgettable choruses. From the brilliant title track, an irresistible song with great vocal choruses, to the infectious "Joanna", the Danish band shows their incredible ability to create potential melodic rock hits, as also shown by the overwhelming "Somewhere In France", "Boys" or "Always In a Line", not forgetting the precious ballad "This World".

The Don Harrison Band-The Don Harrison Band (1976)

The Don Harrison Band was a short-lived group popularly known in North America for featuring two of Creedence Clearwater Revival's most famous members: bassist Stu Cook and drummer Doug Clifford. Along with guitarist Don Harrison and fellow guitarist Russell DaShiell, they formed The Don Harrison Band in 1975, releasing the albums "The Don Harrison Band" in 1976 and "Red Hot" the following year, both on Atlantic Records. Their self-titled debut is undoubtedly their best recording, an album that subtly evokes the country rock, swamp rock, and rhythm and blues influences of Creedence Clearwater Revival. On this first album, standout tracks include the swamp rock anthem "Sixteen Tons," undoubtedly the most tangible example of the Creedence sound, along with the fun "Romance," the southern-tinged "Who I Really Am," the rock and roll "Rock and Roll Records," the folky "Fame and Fortune," the blues rock "Sometimes Loving You," and the melodic "Living Another Day." The album's strong commercial reception led to them opening for The Rolling Stones at the 1976 Knebworth Festival. After the second album, the band definitively broke up, with Cook and Clifford joining Southern Pacific, before later reforming their old band as Creedence Clearwater Revisited, but without brothers John and Tom Fogerty.

Nova-Blink (1975)

Fondly remembered by European fans of 1970s progressive jazz-rock, Nova was an Italian band formed by members of other Italian groups such as Osanna and Cervello. These included guitarists Corrado and Danilo Rustici, who, along with saxophonist Elio D'Anna, formed the band in London in the mid-seventies. Between 1975 and 1978, they released four superb albums focused on expansive, jazz-oriented progressive improvisations. Given the instrumental prowess of its members and their growing reputation, they soon secured a deal with Arista Records to finance their debut album, released in 1975 under the title "Blink". This first release featured, in addition to Rustici and D'Anna, bassist Luciano Milanese, drummer Franco Lo Previte, and Morris Pert, percussionist for Brand X. Composed of an eclectic fusion of styles ranging from jazz rock to sumptuous funk rhythms and intense blues rock, all underpinned by grand instrumental passages. From the powerful jazz rock with a blues undercurrent of "Tailor Made", to solid exercises in classic and heavy rock such as "Something Inside Keeps You Down", spirited jazz fusion with funky rhythms like "Nova" and "Toy", and dizzying blues rock like "Stroll On", this album, while lacking the consistency of their later releases, showcases the diverse guitar styles of its two leaders and the driving force of the rhythm section. These elements, combined with creative musical lines, make Nova's debut album a truly remarkable listening experience of high-level progressive jazz rock.