Jeff Beck-Jeff (2003)

In 2003, Jeff Beck delivered another testament to his boundless genius with the release of his fifteenth album, simply titled "Jeff". On this release, the guitarist is joined by some of his regular collaborators, such as keyboardist Tony Hymas, as well as renowned musicians like singer Eric Martin and drummer Paul Kodish. Focusing on a style closer to cyberpunk and industrial rhythms than his characteristic jazz-rock and blues-rock, Beck showcases his heavier side, breaking molds and vehemently embracing the energy of the emerging 21st century. In this work, Beck experiments with programmed keyboards and electronic percussion, creating brilliant sounds and creative melodies. This versatility is clearly demonstrated in tracks like the sweeping "So What", the atmospheric "Plan B", the intense, hip-hop-tinged "Seasons", the dazzling "Trouble Man", and the powerful "Grease Monkey". With this album, Beck ensured that his music would stand the test of time, and this fact makes it an unclassifiable masterpiece and equally essential within his rich and varied discography.

The Pretty Things-Silk Torpedo (1974)

In 1974, after being signed to Swan Song, Led Zeppelin's record label, The Pretty Things released their seventh album, "Silk Torpedo", which many of their fans believed would be their most successful and definitive album. Produced by Norman Smith, the album surprised longtime fans of The Pretty Things, who, accustomed to their R&B roots and the British pop-rock of their early albums "The Pretty Things" and "Get The Picture" (1965), their avant-garde forays into the rock opera "S.F. Sorrow" (1968), or the psychedelic rock of "Parachute" (1970), soon observed a radical change in their style. Musically, "Torpedo Silk" contains a varied repertoire, including forays into commercial melodies ("Is It Only Love"), catchy glam rock ("Dream/Joey"), politically charged pop-rock protest songs ("Belfast Cowboys"), infectious rock standards ("Come Home Momma" and "Bridge of God"), tearful ballads ("Is It Only Love"), and experimental meanderings with the instrumental "L.a.n.T.a.". All of this made "Silk Torpedo" one of their most conventional and commercial releases. However, it soon became the target of criticism from fans and the ever-conservative British press, who accused it of being overly commercial, a departure from the bolder creations of their previous releases. After the album's release, the band embarked on an extensive tour of the United States as the opening act for Led Zeppelin, but this tour was unfortunately cut short by a serious car accident involving Led Zeppelin's singer, Robert Plant.

Greg Lake-Greg Lake (1981)

After his first stint with the legendary Emerson, Lake & Palmer, Greg Lake quickly assembled a band to record his first solo album. For this debut, the bassist and singer opted for mainstream, pure rock sounds, moving away from the progressive pomposity of his former band. Among the musicians Greg Lake recruited for this recording were some of the great instrumentalists of the era, such as guitarists Gary Moore, Steve Lukather, and WG Walden; drummers Ted McKenna and Jeff Porcaro; and keyboardists Tommy Eyre and Bill Cuomo, among other prominent figures in the British and American rock scene. It is undoubtedly the opening track, "Nuclear Attack", that showcases the perfect synergy between Gary Moore and Greg Lake, presenting an energetic song with a solid commercial hook and a style very close to that of the Irish guitarist. However, despite the instrumental talent of all the musicians involved and their brilliant compositions, the rest of the album ultimately lacks the power and musical magnitude of this first track. In most of them, the typical mainstream rock clichés of the era carry too much weight and hinder greater creativity. Nevertheless, there are still interesting songs like the heavy AOR tracks "Love You Too Much", "Retribution Drive", and "Long Goodbye", while the predictable but substantial mid-tempo tracks "For Those Who Dare", "The Lie", and "Back and Blue" made it a good starting point for Greg Lake's subsequent solo career.

The Rolling Stones-Undercover (1983)

For much of the 1980s, The Rolling Stones attempted to absorb the prevailing sounds of the time, a fact clearly demonstrated on their seventeenth album, "Undercover", released in 1983. Considered one of their most diverse albums, the band, led by Mick Jagger and Keith Richards, delved into a multitude of experiments, including new wave, funk, reggae, and soul, without entirely losing their own identity. Given this disparity of sounds and styles, it was harshly criticized by the music press and a large segment of their most devoted fans, making it one of their most controversial albums. Among this collection of songs stripped of their usual carefree rock and roll, the energetic and addictive tracks "Undercover of the Night", "She Was Hot", "Tie You Up (The Pain of Love)", and "All the Way Down" stand out. The general discontent of the fans only earned it a fourth place in the North American charts, but nevertheless it achieved sales that far exceeded one million copies around the world.

Queen-Live At Wembley ´86 (1986)

After the massive 1985 concert, "Live Aid," the British band Queen, immersed in a deep creative and internal crisis and facing doubts about their future, persevered, rising from the ashes with their next album, "A Kind of Magic." On the tour following this album, the band performed around thirty concerts throughout Europe, though not in the United States, where they were banned due to their provocative and (in the eyes of the American authorities) obscene promotional video, "I Want to Break Free." On July 11 and 12, 1986, they performed at the legendary Wembley Stadium, and the material from those performances was released later that year as the double live album "Live at Wembley '86." Before more than 150,000 people who filled the stadium during those two days, Queen, with Freddie Mercury at the helm, presented a wide repertoire of their greatest hits such as "Under Pressure", "Another One Bites The Dust", "I Want To Break Free", "Crazy Little Thing Called Love" or "Bohemian Rhapsody", in addition to several songs from the album that motivated the tour such as the eponymous "A Kind of Magic", or other emblematic songs such as "Seven Seas of Rhye" or the infectious "In the Lap of the Gods"; the hard rock "Tie Your Mother Down", "Now I'm Here" and "Hammer to Fall"; or a moving tribute to late 1950s rock and roll with "(You're So Square) Baby I Don't Care," "Hello Mary Lou Goodbye Heart," and "Tutti Frutti," culminating in a thrilling finale with the energetic "Radio Ga Ga" and the unbeatable duet of the iconic "We Will Rock" and "We Are the Champions.". To close, the British anthem "God Save the Queen," with Freddie Mercury dressed in a cape and crown emulating the Queen of England, perhaps the most legendary and memorable image of one of the greatest singers in rock history.

Wishbone Ash-Illuminations (1996)

After more than five years away from releasing new music, Wishbone Ash returned in 1996 with "Illuminations", their seventeenth studio album. By this point, the British band had undergone numerous lineup changes, with guitarist and singer Andy Powell being the only remaining member of the original and most iconic lineup. The rest of the band consisted of Roger Filgate (guitars, bass, and keyboards), Tony Kishman (vocals), and Mike Sturgis (drums), in addition to guest keyboardists Mark Templeton, Paul Avgerinos, and Mike Mindel. While the absence of some classic members like Ted and Martin Turner caused some doubts among fans about the future of this new work, the truth is that despite this, the revamped group presents a series of songs that could almost perfectly fit on some of their best recordings from the 70s. Tracks like "Mountainside" with its whirlwind rhythm of harmonic guitars, the vibrant "Top of the World", the vintage and incisive "No Joke", the sarcastic "Mystery Man" or the tour de force "Tales of the Wise", capture the substantial essence of the early and legendary Wishbone Ash.

Peter Frampton-Frampton Comes Alive! II (1995)

Nineteen years after the multi-platinum "Frampton Comes Alive!" (1976), Peter Frampton released his second live album, a clear sequel to that historic event, and, fittingly, titled "Frampton Comes Alive II". In those nearly 20 years, Peter Frampton had released seven albums, from the successful "I'm In You" to his latest release, "Peter Frampton", which came out a year before this live album. Recorded almost entirely at the Fillmore in San Francisco, Frampton was joined by his longtime collaborator Bob Mayo on keyboards and vocals, as well as John Regan on bass and J.R. Robinson on drums. For the setlist, the blond guitarist opted to steer clear of the original album's greatest hits, including only material from his later albums. However, a subsequent reissue did include several tracks such as "Show Me The Way", "Lines On My Face", and "Do You Feel Like We Do". While it's true that his music has shifted towards a melodic rock and soft rock style, losing the raw power of the 70s sound, the spirit of that era remains very much alive thanks to his obvious skill with the six strings and his muscular, melodic style. Tracks as captivating as "Day in the Sun", "Most of All", "Hang On To a Dream", and "Can't Take That Away", clearly demonstrate that "Frampton Comes Alive II" is a sequel almost as entertaining as its original work, showcasing the great abilities of this legendary guitarist upon which he built a solid and successful career.

Mariah-Mariah (1975)

A short-lived band originally from Chicago, formed in the late 1960s, which enjoyed considerable popularity in the Michigan club and concert hall scene for a few years. During the early 1970s, under the name The Jamestown Massacre, they recorded a series of singles released by Warner Bros., which received some airplay on local Chicago radio stations. After several lineup changes, in 1974 the band, now definitively renamed Mariah, reformed with keyboardist Mark Ayers, bassist Ed Burek, singer Comforte, drummer Wayne DiVarko, and guitarists Len Fogerty and Frankie Sullivan. After signing with United Artists, they moved to Los Angeles where they recorded their self-titled debut and only album, "Mariah." On this debut album, the band drew influences from a wide range of groups, from the vocal melodies of The Doobie Brothers to the progressive style of Styx, and the heavy sounds of American hard rock from Mountain. "Mariah" consists of nine uniformly enjoyable tracks such as "Reunion," "Broadway," "Rock and Roll Band," "I Was Born," and "Hey Mama," all brimming with catchy melodies aimed at North American FM radio. Despite the album's high quality, it went largely unnoticed, which led to the band's breakup some time later. Frankie Sullivan would later found the band Survivor, with whom he achieved massive success throughout much of the 1980s.

Rock Rose-Rock Rose (1979)

Another interesting and now largely forgotten band was the American group Rock Rose, who offered a compelling and engaging blend of melodic AOR and American rock from the late 1970s. The band was originally formed by bassist and vocalist Frank Demme, guitarist and keyboardist Chris Barr, and guitarist Carl Johnson, who attended high school together in a Los Angeles suburb. This trio was one of the most popular among a variety of California garage bands before recruiting drummer Jack Damore. Once the band lineup was solidified, they hit the ground running, playing a wide circuit of clubs in Southern California and touring other states along the West Coast. The immense popularity Rock Rose gained through their concerts did not go unnoticed by Columbia Records, who offered them a contract and produced an album in early 1979. This single album is well-crafted, featuring polished, harmonious arrangements courtesy of the top-notch production team that worked with Santana: Dennis Lambert and Brian Potter. Among its tracks are the addictive and catchy rock songs "Diary of Fools," "Daddy's Car," "Sad Thing," and "Slippin'," as well as the melodic "Bittersweet Love," "You've Gone Beyond," "Phantom Lover," and "Sad Thing." The album achieved more than acceptable sales in the North American, Canadian, and Australian markets, but this was not enough for Columbia, and some time later their recording contract was terminated. The band then returned to performing concerts in the Los Angeles area.

Wishbone Ash-There´s The Rub (1974)

In 1974, the British band Wishbone Ash recorded their fifth studio album, "There's The Rub", a title taken from a literary quote by Shakesphere and referencing the Hipgnosis-designed cover of a cricket player about to throw a ball. This release marked the band's first lineup change, with guitarist Ted Turner leaving and being replaced by former Home guitarist Laurie Wisefield. Wisefield provided the necessary solidification after the previous, somewhat uninspired "Wishbone Four". Comprising six lengthy tracks, the album, featuring Andy Powell (guitars and vocals), Martin Turner (bass and vocals), Steve Upton (drums), and the aforementioned Laurie Wisefield, along with keyboardist Albhy Galuten, crafted a work brimming with the band's signature twin guitar interplay (undoubtedly their strongest feature), with a more conventional classic rock style and less conceptual depth compared to albums like "Argus". High-caliber tracks like the folk blues rock "Silver Shoes" demonstrate the potential of this album, while the epic mid-tempo "Persephone", the semi-folk ballad "Lady Jay", the consistent rock "Hometown" or the sparkling instrumental "F.U.B.B.", highlighted the quality of these veteran rockers and at the same time was the work that restored their great credibility after the predictable previous album.

The Rolling Stones-Tattoo You (1981)

In 1981, the band led by Mick Jagger and Keith Richards released their sixteenth album, "Tattoo You" (their eighteenth in the American market). It was composed of unfinished tracks discarded from previous albums, given a precise reinterpretation for this release. Besides Mick Jagger and Keith Richards, the rest of the lineup remained the same as in recent years: Ron Wood, Mick Taylor, Bill Wyman, and Charlie Watts, along with guest appearances from Billy Preston, Nicky Hopkins, Ian Stewart, Pete Townshend, and Wayne Perkins, among others. The repertoire included here departs from the eclectic styles of their latest albums, maintaining a musical foundation rooted in the most organic and robust sounds of rock and roll, beginning with one of the band's anthems, the infectious "Start Me Up". The rest of the album showcases an effective collection of catchy, rhythmic songs like "Hang Fire", "Little T&A", and "Neighbours", nods to 80s sounds in "Heaven" and "Worried About You", vintage blues in "Black Limousine", and dusty, nostalgic tunes like "Waiting on a Friend". Despite being composed of songs that would have been considered dispensable in previous years, "Tattoo You" would go on to sell over eight million copies worldwide.

Sunday Funnies-Benediction (1972)

Sunday Funnies, along with Rare Earth, were among the first all-white bands to sign with the predominantly Black Detroit-based Motown label. Formed in the 1960s, they gained some recognition after being taken under the wing of Andrew Loog Oldham, the Rolling Stones' producer and manager at the time. Their psychedelic style, influenced by soul and gospel, is clearly reflected in their two releases. The lineup consisted of Richard Mitchell (drums), Richard Fidge (vocals), Ron Aiken (guitar, bass, and vocals), and Richard Kosinski (keyboards and vocals). For a time, under Motown's wing, Sunday Funnies toured extensively, opening for Deep Purple, Fleetwood Mac, Savoy Brown, and the James Gang, earning a solid reputation as a live act. Following in the footsteps of the muscular soul rock, with its rich harmonies and funky rhythms, of their first album, in 1972 they released their second album, "Benediction", in which they achieved even better arrangements and more psychedelic musical atmospheres. The raspy voice of their lead singer, the distorted guitar, a thunderous bass, and a sharp keyboard drive the album's content, as heard in the funk track "Get Funk", the energetic "Double Grace", the reflective ballad "Two Halves of a Whole", the bluesy "Keep on Trucking", the gospel-infused "Power & The Glory", the poignant "The Pillow", and the reworked version of the Motown classic "Reach Out I'll Be There". By the time the album was released, Motown had already lost what little interest it had in the band, to the point of not even bothering to promote them properly. This fact, along with other issues, would lead the band to end its days some time later, lost in the immense darkness of the tunnel of time.

Faces-Long Player (1971)

Towards the end of 1968, Steve Marriott decided to pursue his own solo career, later forming the enduring Humble Pie with Peter Frampton. This left Small Faces without their lead guitarist and one of their most prolific songwriters. However, the remaining members Ronnie Lane (bass and vocals), Kenny Jones (drums), and Ian McLagan (keyboards), decided to reform the band, adding a new guitarist, Ron Wood, and expanding the lineup with vocalist Rod Stewart. This new incarnation shortened the name to simply Faces, and they enjoyed a short but triumphant career, releasing four superb albums focused on uninhibited and straightforward rock and roll. After their self-titled debut album in 1970, which already hinted at their powerful rock style with touches of psychedelia, they released what would be their definitive breakthrough: the splendid album "Long Player", released a year later. Following in the footsteps of their predecessor's energetic rock and roll, Faces crafted one of the most compelling albums of the early 70s, as demonstrated by the raw rock and roll tracks "Bad 'n' Ruin", "Maybe I'm Amazed", and "Had Me a Real Good Time". On the other hand, the bluesy "Tell Everyone", the southern country "Sweet Lady Mary", and the extended version of Big Bill Broonzy's classic blues, "I Feel So Good", showcased the wide-ranging versatility of a group that, at the end of that same year, would release one of rock music's masterpieces with the seminal album "A Nod Is As Good As A Wink...To A Blind Horse". 

Joe Cocker-Joe Cocker Live (1990)

In 1990, Joe Cocker was at the height of his popularity, having released a dozen high-energy albums that captured his raw and passionate rock and soul style. That year saw the release of the double live album "Joe Cocker Live", undoubtedly a masterful sonic document of his concerts during those years, brimming with intensity and contained energy. Accompanied by an excellent backing band featuring Chris Station, Steve Holley, Jeff Levine, Phil Grande, and The Memphis Horn, Cocker delivers one of the most memorable live performances with his raspy voice, intense stage presence, and deeply emotional songs. Recorded at the Memorial Auditorium in Massachusetts in October 1989, this is an excellent retrospective of some of his musical highlights. From the passionate “Unchain My Heart” to the powerful “With a Little Help From My Friends” and the emotive “You Are So Beautiful”, and including the energetic rock tracks “Feelin’ Alright”, “You Can Leave Your Hat On”, “The Letter”, and “High Time We Went”, “Joe Cocker Live” is a retrospective album that undoubtedly cements the status of one of the greatest and most authentic performers that rock and soul have ever known.

Hard Stuff-Bolex Dementia (1973)

Two years after releasing their debut album, Hard Stuff, the band formed by several former members of Atomic Rooster embarked on a new recording, embracing the riskier sounds of experimentation with funk and avant-garde influences. Featuring the same lineup as their previous album, this one included guitarist John Cann, drummer Paul Hammond, bassist and guitarist John Gustafson, and vocalist Henry Shaw. However, due to the drastic shift from the hard rock style of their earlier work, it faced some resistance from their more traditional fans. The album itself is a diverse amalgamation of sounds, ranging from catchy tunes like "Ragman" to energetic rock and roll tracks such as "Roll a Rocket", "Spider's Web", "Sick N' Tired", and "Dazzle Dizzy", and even including outlandish experimental pieces like "Bolex Dementia". Undoubtedly a very good album that deserved far more attention than it received upon its release.

Santana-Zebop (1981)

Featuring almost the same lineup as their previous album, "Marathon", Carlos Santana continued his journey through the musical wilderness of the 1980s, releasing the band's eleventh album, "Zebop". Following the AOR path of "Marathon", in this new release the Mexican guitarist delves even deeper into the sounds that flooded radio stations at the time. Bands like Boston, Styx, Toto, Journey, REO Speedwagon, and Foreigner dominated the charts worldwide with their high-quality melodic rock. In that context, Santana offered an engaging album where, as usual, their enormous skill with the six-string guitar shone through, along with highly meritorious AOR compositions such as the addictive "Changes", "Searchin' ", "Winning", "Over and Over", and "I Love You Much Too Much", while their vintage style is present in "Primera Invasion", "Tales of Kilimanjaro", "American Gypsy", "É Papa Ré", "Sensitive Kind", "Brightest Star", and "Hannibal". "Zepob" is one of Santana's works where they best managed to combine the modern sounds of melodic rock with the jazz-rock of their albums from the previous decade.

Tommy Bolin-Private Eyes (1976)

It's no secret that Tommy Bolin was unfairly undervalued by Deep Purple fans when he replaced Ritchie Blackmore in the band in the mid-70s. In fact, many dismissed his only recording with that legendary group, not even giving it a second listen to appreciate his mastery of the electric guitar. This public rejection was a severe blow to the ego of such an emotionally sensitive musician. Recorded the same year as his sole release with Purple, Bolin launched his second solo album, "Private Eyes", where he distanced himself from the jazz-rock of Alphonse Mouzon's "Mind Transplant", the furious hard rock and funk of Deep Purple's "Come Taste the Band", and even the vigorous rock of "Teaser", his first solo album. In "Private Eyes", Bolin displays a more eclectic and relaxed style, offering a work brimming with soothing rhythmic allusions and soft, laid-back sounds. From exotic delights like the samba "Gypsy Soul", to forays into melodic rock with "Someday We'll Bring Our Love Home", to concessions to swing-tinged blues with "You Told Me That You Loved Me", returns to the vigorous jazz-rock of "Shake the Devil", and a more conventional side with the ballad "Sweet Burgundy". Although he never abandoned drugs, likely fueled by his artistic failures a fact that would ultimately lead to his death his youth and audacity helped him find a style open to the many influences he would showcase in the short time he lived to tell the tale. Tommy would die on December 4, 1976 in Miami, just 6 months after this launch and at only 26 years of age, due to an overdose of heroin and other substances such as cocaine and alcohol.

Lou Reed-Live: Take No Prisoners (1978)

This double live album by Lou Reed, released in late 1978, is one of his most infamous records, and it's so because, more than a conventional live album, it's a long monologue in which he insults, rants, and laughs at everything under the sun, all while smoking and telling sordid jokes brimming with malice and madness. Preceded by the equally twisted "Street Hassle", this concert, recorded at The Bottom Line in New York in May 1978, features Lou Reed revisiting some of his most emblematic songs, which sound unrecognizable here, yet retain their charm thanks to the brilliant musical treatment applied. Songs like "Sweet Jane" contain hurtful interludes, such as insulting the audience. Others, like "I Wanna Be Black", "Satellite of Love", "Pale Blue Eyes", and "Berlin", showcase an excellent backing band that navigates between funk and rock, embellishing the well-oiled rhythm section with electric guitars, piano, saxophone, and backing vocals. In "I'm Waiting for My Man", Reed returns to the attack after warning the audience, "I'll speak when you shut up". Not content with slightly altering the title and presenting the song as a blues track three times longer than the original, it ultimately becomes the prelude to one of his biting songs, "Temporary Thing". However, Reed's harshest and most scathing criticisms are reserved for the nearly seventeen minutes of an unalterable "Walk On The Wild Side", whose riff perpetuates itself as a cold chant over which Lou Reed hurls insults left and right, insulting music critic Robert Christgau, talking about how idiotic Joe Dallesandro was, imitating and ridiculing Barbra Streisand, praising Bruce Springsteen, or improvising on any outlandish idea that crossed his mind during the concert, turning this song into a kind of ceremony of bewilderment and provocation. Without a doubt, we are dealing with a punk album, performed in a way that few, if any, punks would ever dream of.

Peter Frampton-Frampton Forgets The Words (2021)

With his eighteenth album, the legendary Peter Frampton paid tribute to some of his favorite artists by releasing a completely instrumental covers album. Ten tracks in which the multifaceted guitarist even ventures into contemporary artists like Alison Krauss and Lenny Kravitz, as well as soul and funk classics such as Sly Stone, Marvin Gaye, and Stevie Wonder, and rock icons like Roxy Music, David Bowie, and George Harrison. Alongside bassist Glenn Worf, rhythm guitarist Adam Lester, percussionist Dan Wojciechowski, and keyboardist Rob Arthur, Peter Frampton explores unexpected sonic territories, shining in each one and contributing his unique and personal touch on the six strings. From refined versions like "Avalon", to the atmospheric sounds of "Loving The Alien", the jazzy fusion tone of "If You Want Me To Stay", the intense melody of "Reckoner", charming ballads like "Maybe" or the furious rock of "Are You Gonna Go My Way", Peter Frampton makes clear his wit and talent with the guitar.

Spooky Tooth-The Mirror (1974)

The origins of this important British blues-rock band with progressive influences date back to late 1964, when a band called The V.I.P.'s released several singles with little success. These singles paved the way for Spooky Tooth, specifically for a group called Art, who released the album "Supernatural Fairy Tales" (1967). Just a year later, singer Mike Harrison, keyboardist and vocalist Gary Wright, guitarist Luther Grosvenor, bassist Greg Ridley, and drummer Mike Kellie officially formed Spooky Tooth, releasing their first album, "It's All About a Roundabout" (1968), on the Island label. On this first album, the psychedelic influences of their predecessor, Art, are quite evident, but the blues-rock sound that would later become the band's hallmark is also timidly emerging. The album alternated between covers and original songs, but it ultimately met with little fanfare. The same could not be said for their second album, the magnificent "Spooky Two" (1969), which managed to carve out a place for itself on the British and American charts, thanks in part to tracks like "Evil Woman" and "Waitin' For The Wind". After the album, Greg Ridley left the group to join Humble Pie. With a new bassist, Andy Leigh, they released "Ceremony" (1970), which, due to the shift towards a more electronic sound, suffered a monumental failure and precipitated the general exodus of almost all the band members. From this point on, Luther Grosvenor joined Stealers Wheels and Gary Wright founded Wonderwheel. In the middle of that same year, the group reformed with the addition of some members of Joe Cocker's Grease Band, such as Chris Stantion, Henry McCulloch, and Alan Spenner, but they were unable to revive the group's career with the recording of the album "The Last Puff" (1970). This latest failure led to the band's disbandment in late 1970. But three years later, Spooky Tooth resurfaced with a harder rock sound. The return of keyboardist Gary Wright and Mike Harrison, along with new members like singer Mike Patto, guitarist Mick Jones, drummer Bryson Graham, and bassist Ian Herbert, seemed to breathe new life into the group. With this lineup, they released the albums "You Broke My Heart So I Busted Your Jaw" (1973) and "Witness" (1973), achieving respectable sales and even better reviews, marking the band's peak period. On "The Mirror" (1974), the group recruited new members, including former Van Der Graaf Generator bassist Keith Ellis. However, despite containing strong tracks like "Kyle", "Fantasy Satisfier", "The Mirror", and "The Hoofer", it failed to achieve the desired success. In 1974 the band officially broke up, although this didn't prevent the occasional reunions with some of the original members. A year later, Island Records released the compilation album "The Best Of" (1976). Subsequently, some of the members went on to join bands such as Foreigner (Mick Jones) and The Alvin Lee Band (Bryson Graham).