John Martyn-Sapphire (1984)

When the legendary British singer-songwriter John Martyn released his thirteenth album, "Sapphire", his style was very different from what he had produced in his earlier works. Here, his music, full of electronics and synthesizers, was the complete opposite of his early, avant-garde folk that had established him as one of the most experimental and creative British artists of the early 1970s. However, this crucial change was already evident in releases like "One World" (1977), "Grace and Danger" (1980), and "Glorious Fool" (1981), works in which the musician from Surrey was already showing his more mainstream inclinations, moving closer to sophisticated pop-rock. On "Sapphire", Martyn showcases his approachable side with sounds reminiscent of the 1980s in a series of memorable songs such as the beautiful "Fisherman's Dream", a true classic among the most sensual ballads of the decade, the magnificent "Mad Dog Days", the empowering "Acid Rain", the elegant funk-pop "Well Kept Secret", and the irresistible "Watching Her Eyes". While this album didn't surpass his iconic works, it nonetheless solidified his status as one of Britain's most beloved and respected musicians, renowned for his professionalism and musical integrity.

The Beatles-Help! (1965)

The Beatles were the most innovative band in the history of popular music. They revolutionized saccharine pop and softened the vibrant, carefree rock and roll in equal measure, while also exploring every musical genre that emerged throughout their active career. They delved into pop, psychedelic music, folk, rock, and avant-garde music, and in all these styles, they were immensely creative and successful. Furthermore, they researched new techniques in recording studios, inventing new chords, perfecting vocal harmonies, and becoming a direct influence on almost everything that followed. At the same time, they boasted three of the greatest songwriters and musicians popular music has ever produced: John Lennon and Paul McCartney, and to a lesser extent, George Harrison. In 1965, The Beatles released their fifth album, "Help!", which was also their second soundtrack album, following "A Hard Day's Night", released a year earlier. An album that showcases the Fab Four's most pop-oriented side, a facet where the Liverpool group navigated with overwhelming authority and foresight. "Help!" is composed of a series of brilliant songs such as the timeless ballad "Yesterday", the addictive "Help!", "Ticket To Ride" and "I Need You", and the exquisite "You're Going To Lose That Girl" and "You've Got To Hide Your Love Away", all of them contemporary classics, making "Help!" one of the undisputed masterpieces of the 20th century.

Jim Diamond-Double Crossed (1984)

Jim Diamond became a dazzling star thanks to several of his songs that achieved great commercial and media success in the 1980s. This Scottish singer-songwriter began his career at a young age, leading several local bands in the Glasgow area, such as The Method and Jade, in the 1960s. Jade gained attention after performing in London in 1969. It was then that the legendary bluesman Alexis Korner saw him perform and was pleasantly surprised by his talented voice with its soulful and bluesy undertones. Shortly after, Diamond joined Korner's band, providing backing vocals and recording the album "The Lost Album." After his time with Korner, he formed the group Bandit, which also included future AC/DC bassist Cliff Williams. After releasing the album "Bandit," Diamond disbanded the group and became the vocalist for BACCO, a short-lived Japanese band. The lack of success and limited media attention led him to move to Los Angeles and form a new band called Slick Diamond with guitarist Earl Slick, though they never officially released any material. Finally, in 1981, he achieved success with the trio PhD, comprised of Diamond, drummer Simon Phillips, and keyboardist Tony Hymas, two seasoned musicians with extensive experience playing alongside Jeff Beck, Jack Bruce, Gary Moore, Judas Priest, and Duncan Browne. Diamond's composition "I Won't Let You Down" became one of his most iconic songs and a top-selling single of 1982. However, the band's run was short-lived; shortly after disbanding, Diamond decided to launch his solo career and signed with A&M Records. In 1984, he achieved worldwide success with the acclaimed "I Should Have Known Better," an intense ballad from his debut album, "Double Crossed," which also featured other notable tracks such as "Remember I Love You" and "I Sleep Alone at Night." Several minor hits, like "Hi Ho Silver," and collaborations with musicians such as Tony Banks and Steve Hackett of Genesis, became his most significant contributions. In the following years, Jim Diamond remained largely outside the mainstream charts, despite sporadically releasing a series of albums that went largely unnoticed by the public.

City Boy-The Day the Earth Caught Fire (1979)

City Boy are one of the emblematic bands of the so-called art rock movement. Formed in 1974 in the British city of Birmingham by keyboardist Max Thomas, who, along with Steve Broughton (guitar and vocals), Chris Dunn (bass and acoustic guitar), Roger Kent (drums), Lol Mason (vocals), and Mike Slammer (guitar), left behind seven excellent albums between 1976 and 1981. "The Day the Earth Caught Fire", their fifth release, is one of their best, showcasing their great elegance and musical refinement by blending different styles ranging from pop to rock, including the complexity of progressive sounds, all replete with great melodies, powerful riffs, soaring keyboards, and rich vocal harmonies. Linking all the songs together as if they were a concept album about human folly, this release reflects a heavier and more organic sound than their previous works. The title track is a magnificent piece of energetic, heavy rock with progressive undertones, followed by other excellent songs such as the energetic "The Day The Earth Caught Fire" and "Interrupted Melody", where, in addition to their brilliant instrumentation, the irresistible vocal melodies stand out. The fast pace slows with the mid-tempo "New York Time", a beautiful song with AOR influences, while the catchy "Up in the Eights" provides a commercial moment with an accessible pop-rock melody. This outstanding work concludes with the complex and progressive mini-suite "Ambition".

Roxy Music-Country Life (1974)

"Country Life" was Roxy Music's most energetic and rock-oriented album, taking the experimental sounds of their earlier work a step further. In this new release, the addition of violinist and keyboardist Eddie Jobson brings a new level of originality and eclecticism to the group's music. The album features a repertoire brimming with memorable compositions that elevate their already high-quality musicianship to brilliant art rock heights. Besides Jobson, the rest of the band is at its peak, starting with the charismatic voice of frontman Bryan Ferry, and continuing with the talented Phil Manzanera and Andy McCay on guitar and saxophone respectively, and the driving drummer Paul Thompson, backed by bassist John Gustafson. The album features the compelling rock track "The Thrill of It All", the perfect introduction to Jobson's immeasurable electric violin. The exhilarating rock tracks "All I Wants Is You", "Casanova", and "Prairie Rose" are the album's most energetic and galloping numbers, contrasting sharply with the more subdued and delightful pop-rock numbers "Bitter Sweet", "Out of the Blue", and "Triptych". While not as complex as their earlier work, "Country Life" is a challenging album, enough to be considered one of Roxy Music's best releases. The original album cover featured two famous models of the time: Constanze Karoli (sister of Michael Karoli, guitarist and frontman of the krautrock band Can) and the charismatic Eveline Grunwald. Although the cover image was highly controversial in some countries, leading to its censorship and replacement with a rather lackluster cover.

Oasis-(What´s The Story) Morning Glory? (1995)

Oasis's arrival on the music scene meant a return to the sounds inherited from The Beatles and 60s British pop, all done with pride and defiance, becoming the core of the new Britpop movement. From their debut album, "Definitely Maybe" (1994), Oasis made no secret of the Fab Four's influence, attracting thousands of fans eager to hear catchy and evocative pop-rock. With their second release, "(What's The Story) Morning Glory?", the band further expanded their fanbase thanks to an album that, while not offering anything particularly new or unprecedented, contained a repertoire of unforgettable tracks. From the presumptuous opening track “Hello” to the anthem “Don’t Look Back in Anger” and including the original “Wonderwall”, “Some Might Say”, and “Cast No Shadow”, the band led by brothers Liam and Noel Gallagher seduces and fascinates with addictive and catchy melodies. The album would soon become one of the best-selling British records of the 1990s.

The Smiths-The Queen Is Dead (1986)

Experts at producing pop songs that combined the energy of classic rock with poignant and poetic lyrics, The Smiths were one of the leading bands of British pop-rock in the mid-eighties. The face of this band was vocalist Morrissey, who, along with his right-hand man, guitarist Johnny Marr, bassist Andy Rourke, and drummer Mike Joyce, managed to reclaim the importance of simple songs, moving away from the modern keyboards and elaborate technological arrangements so prevalent in pop music during the eighties.After releasing prominent and biting songs like "What Difference Does It Make", from their self-titled debut album, "The Smiths" (1984), came their third album, "Meat Is Murder" (1985), preceded by the singles compilation "Hatful of Hollow" (1985), which showcased a continuation of their earlier style with tracks of clear guitar-driven pop. A year later, they released their definitive work, "The Queen Is Dead", showcasing a cleaner, more refined sound of exquisite pop with tracks like "The Boy With The Thorn In His Side", "Bigmouth Strikes Again", and "There Is a Light That Never Goes Out". A number two spot on the British charts earned them their first platinum record and also their first gold record in the notoriously difficult North American market.

Elton John-Madman Across the Water (1971)

Elton John's fourth album marked his first foray into the realm of avant-garde and progressive rock, which, unlike his first three albums, showcased a repertoire of longer, darker, and more complex songs. Recorded between February and August 1971 at Trident Studios in London, Elton John enlisted a vast array of collaborating musicians for the album's creation, including Rick Wakeman, Chris Spedding, Herbie Flowers, Ray Cooper, Terry Cox, B.J. Cole, and Caleb Quaye. Under the production of engineer Gus Dudgeon, Elton John and Bernie Taupin composed a reflective and far more sophisticated repertoire than most of the upbeat and carefree compositions of his previous albums. The melancholic "Tiny Dancer" opens this album, while the orchestral "Levon", the arranged "Razor Face", and the baroque "Madman Across the Water" provide the aforementioned progressive touch. On the other hand, the melodic country "Holiday Inn", the exquisite mid-tempo "All The Nasties", and the epic "Goodbye" complete an appealing work that would once again achieve great success worldwide, earning several platinum records and sales that far exceeded two million copies.

INXS-Kick (1987)

Until the release of their sixth album, the Australian band INXS, despite not always receiving critical acclaim, had a large and devoted fanbase that propelled them to stardom in the late 1980s. The core lineup consisted of brothers Andrew, Jon, and Tim Farriss keyboardist, drummer, and guitarist, respectively who, along with Kirk Pengilly (guitar), Garry Gray Beers (bass), and Michael Hutchence (vocals), had formed INXS in the late 1970s. In their early days, the band played a new wave style with pop-rock influences, which evolved over time towards arena rock. With their fifth album, "Listen Like Thieves" (1985), they achieved mainstream and commercial recognition thanks to tracks like "What You Need", but it was with their next album, "Kick", that they cemented their global success. This was due to their mature songwriting, showcasing a blend of hard-hitting rock with hints of commercial pop and new wave. After impeccable production, clear musical intentions, and powerful, expertly executed songs, the Australian group delivered a work that would soon achieve massive commercial success, selling over 25 million copies worldwide. Songs like the catchy "New Sensation", the brilliant "Never Tear Us Apart", the Stones-esque "Devil Inside", the powerful rock anthem "Mystify", and the captivating "Need You Tonight" made INXS a band that resonated with mainstream audiences. Following this album came others of similar success such as "X" (1990), "Welcome To Wherever You Are" (1992), and "Full Moon, Dirty Hearts" (1993), all of which maintained a high standard. However, the suicide of their singer, Michael Hutchence, at the end of 1997, resulted in the group losing its identity and, at the same time, a decline in public fervor.

Tom Jones-Spirit In The Room (2012)

Tom Jones needs no introduction; the so-called "Tiger of Wales" is one of the longest-serving singers of rhythm and blues, soul, and pop rock, who began his long career in the mid-1960s. Established as one of the greatest British singers of all time, he is also one of the most successful, with over 100 million records sold worldwide. Some of his hit songs, such as "Delilah" and "Help Yourself", have become classics of British and international pop-rock. In 2006, he was knighted by Queen Elizabeth II for his services to music. In 2012, this Welshman showcased his impeccable voice and musical charisma with the release of his 39th studio album, "Spirit In The Room", composed entirely of covers. In a calm and measured tone, Jones effortlessly and personally delivers each of the songs, ranging from Leonard Cohen's understated "Tower of Song" to Odetta Gordon's carefree "Hit & Miss", passing through Ethan Johns' bluesy "Traveling Shoes", Blind Willie Johnson's brilliant "Soul of a Man", Joe Henry's melancholic "All Blues Hail Mary", and The Low Anthem's emotional "Charlie Darwin". "Room" is ultimately a dense and intimate album that brought back the best Tom Jones, the one who caused a great sensation throughout the world for four consecutive decades.

Fischer-Z-Going Deaf for a Living (1980)

Fischer-Z were at the forefront of addressing the pressing issues of their time, from political and social matters to the passive warmongering of the Cold War. Their incisive lyrics were adorned with a rich fusion of styles such as ska, reggae, pop, new wave, and rock. With their second release, this quartet comprised of John Watts, Steve Skolnik, Steve Liddle, and David Graham achieved a more cohesive work, composed of a series of songs that combined quality and commercial appeal. Tracks like the carefree "Room Service" introduced them to a wider audience with their commercial hook and infectious rhythm. In addition to this phenomenal debut, other standouts include the catchy "So Long", one of their best-known songs, the danceable "Crazy Girl", the angry "No Right" and "Pick Up/Slip Up", and the rocking "Four Minutes in Durham".

Be-Bop Deluxe-Sunburst Finish (1976)

Be-Bop Deluxe was one of those unclassifiable bands that navigated between the sounds of glam rock, art rock, new wave, and the avant-garde of the seventies, with sarcastic and ironic messages in their lyrics. Their core revolved around guitarist Bill Nelson, the only permanent member of the band. Their first two albums leaned towards the glam rock style of "Axe Victim" (1974) and the art rock of the following one, "Futurama" (1975). On both albums, Nelson's outstanding lead guitar work stands out, along with the complex instrumental performances, featuring melodic and accessible rhythms. In 1976 came their third album, "Sunburst Finish", which represented the creative peak for both Be-Bop Deluxe and Nelson, resulting in a more pop-rock-oriented album of excellent quality. Tracks related to the new wave sounds of the time, such as "Fair Exchange", the carefree "Ships in the Night", the addictive mid-tempo "Crying to the Sky", the dynamic "Sleep That Burns", the somber "Life in the Air Age" or the rock "Blazing Apostles", make up the best work of this iconic British band.

Smokie-Greatest Hits (1977)

Smokie is a commercially successful British pop and rock band formed in the mid-1960s in Yorkshire, England, and still active today, although without its original members. Their most successful lineup consisted of Chris Norman (vocals and guitar), Alan Silson (guitar and vocals), Terry Uttley (bass and vocals), and Pete Spencer (drums). It wasn't until almost ten years after their formation that they released their first album. “Pass It Around” (1975) launched a string of chart successes with a simple yet highly effective pop-rock style, thanks to tracks like “If You Think You Know How to Love Me”, “Don’t Play Your Rock ‘n’ Roll to Me”, “Something’s Been Making Me Blue”, “I’ll Meet You at Midnight”, “Living Next Door to Alice”, “Lady Back in the Arms of Someone”, “It’s Your Life”, and “Oh Carol”. All of these songs reached the UK Top 20, making the group one of the biggest pop-rock sensations of the 1970s. All these hits are from the albums; “Changing All the Time” (1975), “Midnight Café” (1976), “Bright Lights & Back Alleys” (1977), “The Montreux Album” (1978), “The Other Side of the Road” (1979), “Solid Ground” (1981), “Strangers in Paradise” (1982), and “Midnight Delight” (1982). In 1977, their “Greatest Hits” album achieved tremendous success, earning several platinum and gold records in various European countries. However, starting with “Midnight Delight”, the band began a period of frequent lineup changes, which diminished the group's creativity. While they released albums regularly, these were far removed from the commercial impact and quality of their earlier work. In 1995 they had another huge chart success with a new version of the song “Living Next Door to Alice” (Who the fuck is Alice)” recorded with the collaboration of British comedian Roy 'Chubby' Brown.

Midnight Oil-Diesel And Dust (1987)

With strong social and political messages, Midnight Oil was one of the best-known and most controversial Australian bands of the 1980s and 90s. Their origins date back to the early 1970s in Sydney, when several musicians, including Jim Moginie (guitar), Rob Hirst (drums), and Andrew James (bass), formed a group initially called The Farm. In the following years, the band expanded to become Midnight Oil, a name taken from a Jimi Hendrix song. Under their own record label, Powderworks/Sprint, they released their debut album, "Powderworks", in 1977, which went largely unnoticed. With a more rock-oriented sound, they released "Head Injuries" several years later, which finally caught the attention of the Australian public thanks to songs like "Cold Cold Change", "Back on the Borderline", and "No Reaction". "Place Without a Postcard," released in 1981, confirmed this successful trend in countries like England, but it was completely ignored in their home country due to the limited promotional coverage the album received. Its controversial political and social lyrics were not always well-received by the public or the press. With their next album, "10,9,8,7,6,5,4,3,2,1,", the group managed to break into the American charts. However, it was their subsequent releases that garnered significant media and commercial impact in various countries around the world. Albums like "Diesel and Dust" (1987) and "Blue Sky Mining" (1990) showcased a more rock-oriented side, always underpinned by social and political themes. "Diesel and Dust" represented their greatest creative and commercial achievement, cleverly blending electronic sounds with rock. The addictive melody of "Beds Are Burning", the dynamism of the synth pop "Put Down The Weapon", the rich vocal harmonies of the surf pop "Dreamworld", the pop-infused rockers "Sell My Soul" and "Warakurna" or the hypnotic "Whoah", are undoubtedly the creative pinnacle of this Australian group.

The Box Tops-The Best Of (1976)

Hailing from Memphis, The Box Tops were one of the biggest acts of the 1960s with worldwide hits like "The Letter" and "Cry Like a Baby". Formed in the first half of the 1960s by Alex Chilton, Gary Talley, John Evans, Bill Cunningham, and Danny Smythe, their debut single, "The Letter" (1967), was a massive hit in both the US and the UK. It topped the charts, remaining there for four weeks and selling over four million copies, earning them two Grammy nominations. Following this monumental success, the producer began using studio musicians to back Chilton, the band's most talented member. This decision led the other guitarists to leave the group. They were replaced by two new guitarists, and after recording the tracks "Neon Rainbow" and "Everything I Am", the album was largely unsuccessful. A year later, in 1968, they returned to the charts with "Cry Like a Baby" and "The Door You Closed to Me", which reached number two on the pop charts and sold over a million copies. After a couple of less successful tracks like "Choo Choo Train", "Fields of Clover", "I Met Her in Church", and "People Gonna Talk", Chilton was dissatisfied with the results and decided to record his own compositions. Some time later, after a fourth LP and several other unremarkable tracks, the group disbanded in 1970. However, in 1971, the record company released songs that had been recorded but never officially released. After the band's breakup, Alex Chilton joined Big Star, one of the most prominent bands in the 1970s underground power-pop rock scene.

The Parlour Band-Is a Friend? (1972)

The Parlour Band was an obscure and forgotten British band from the island of Jersey, off the coast of Normandy. In 1972, they made their recording debut on the progressive rock label Deram, a subsidiary of Decca Records. While not strictly within the progressive rock genre, they did share certain similarities with contemporary Canterbury bands. Their original lineup consisted of vocalist Peter Filleul, who also played keyboards and acoustic guitars; drummer Jerry Robins; bassist and vocalist Mark Ashley; guitarist Craig Anders; and singer and second guitarist Pix. Their style was characterized by colorful arrangements and a wide variety of sounds, all wrapped in a soft, melodic pop-rock sound with prominent harmonies. Their only album was titled "Is A Friend?" It began with the energetic "Forgotten Dreams", featuring a shimmering Hammond organ and powerful guitar riffs. The following track, "Pretty Haired Girl", is a memorable and brilliant pop piece, while the sleepy, bluesy "Springs Sweet Comfort" showcases The Parlour Band's psychedelic side. Other highlights on the album include the cheerful "Follow Me", the heavenly and bucolic "Evening", the folk-pop "Don't Be Sad", and the progressive-tinged mini-suite "Home", which concludes a magnificent and somewhat forgotten work by a band that, after this release, changed its name to The O Band. Their style shifted towards melodic rock, and they released a series of interesting albums until their final breakup in 1977.

Moon Martin-The Very Best of Moon Martin (1999)

John David Martin (better known as Moon Martin) is one of the most intriguing artists of the new wave movement. He began playing in several local Oklahoma bands in the late 1960s before moving to Los Angeles and forming a band called Southwind, with whom he released three albums that had little impact. However, his work as a songwriter and session musician for artists such as Linda Ronstadt and Gram Parsons, among others, paved the way for his solo career. In 1978, he released his first album, "Shots from Cold Nightmare", which featured several standout tracks, including "Nights Thoughts", "Victims of Romance", "Cadillac Walk" (which became famous after being recorded by Willie DeVille), and especially "Bad Case of Loving You" (released by Robert Palmer a year later, which became a major commercial success). From then on, some of his songs were included on the albums of various artists, and Moon Martin established himself as a solo artist. The new album "Escape from Domination" (1979) and the singles "Rolene" and "No Chance" are key pieces, ushering in the 1980s with the LP "Street Fever", which cemented his status as one of the best artists of the following decade. In 1979, Moon formed his own group, The Ravens, with Jude Cole (guitar), Dennis Croy (bass), and Rick Croy. In 1982, he released his fourth album for Capitol Records, "Mystery Ticket", followed in 1984 by "Mixed Emotions". From this point on, Martin distanced himself from his solo career and dedicated himself to songwriting for other musicians, although he released a few albums in the following decades with little commercial success. Tracks like "Bad Case of Loving You" more than justify why this man went down in pop-rock history. It has all the ingredients of a great song: warmth, rhythm, desperation, a catchy chorus, and unforgettable guitar riffs.

10cc-...Meanwhile (1992)

One of the most refined progressive pop bands of the 1970s was the British formation 10CC. The ability of this band was to fuse addictive and catchy songs with an extraordinary sound universe of eclectic origin, great arrangements and productions of enormous class, turning them into the most snobbish and carefree of art rock.
His line-up was made up of four great musicians, all of them great composers and experienced instrumentalists, such as Lol Creme, Graham Gouldman, Kevin Godley and Eric Stewart. They separately, before forming 10 CC, had dedicated themselves to composing hits for artists in the sixties such as The Hollies, The Yardbirds, Herman's Hermits or Jeff Beck among others.
Already in 1970 Eric Stewart built the Strawberry Studios and hired Creme and Godley and from their first collaborations came the song “Neanderthal Man”, which achieved immediate success under the name of Hotlegs. This success leads them to open for The Moody Blues on the tour they gave during that year for which Gouldman would join him. The good feelings that the quartet offered resulted in the creation of 10CC, also motivated by the success of several songs such as the boogie rock "Rubber Bullets", which managed to reach the top of the British charts in 1973. At the end of that The same year their first album “10 CC” would arrive, where they demonstrated the group's songwriting skills with very original songs of great class. From here the group's career would skyrocket with a series of high-quality albums such as "Sheet Music" (1974), "The Original Soundtrack" (1975) and "How Dare You" (1976), all of them impeccable works studio with very sophisticated arrangements, enveloping and effective melodies, and certain qualities of romanticism, thus creating a unique and unmistakable style.
But after three years in which they had achieved international fame, they still had to conquer the North American market, which resisted their sophisticated mix of pop and rock, which was not conceived for tours and the great North American stadiums. All this was reason for the critics to begin to accuse them of cold technicality and part of the public would also begin to turn their backs on them, something that would lead the group to its first great crisis that would lead to the abandonment of Godley and Creme, who decided to continue. on their own, forming the duo Godley and Creme.
However, this abandonment would not limit the trajectory of the other 10CC, and thus Stewart and Gouldman resumed the group's career by publishing the album "Deceptive Bends" (1977) which was followed by the direct "Live And Let Live" (1977), and the interesting “Bloody Tourists” (1978).
The eighties were marked by works with disparate results such as “Ten Out of 10” (1981) and “Windows In The Jungle” (1983), after which the band disintegrated until new years later.
In 1993, the original line-up returned, thereby creating great expectations in the world of pop and rock, which were endorsed with the publication of the excellent album "...Meanwhile", a work in which they returned to their unmistakable style, with a series of songs refined rock and pop songs starting with the hit "Woman in Love" an addictive rock song that recovers the best 10CC, to which are added other outstanding cuts such as the melodic and catchy "Wonderland", the rock "Fill Her Up" , the reggae “Welcome To Paradise”, or the neo-progressive “Don´t Break The Promises”, while the rest keep intact the enormous songwriting quality of the group with sophisticated songs of refined quality.

10cc-Deceptive Bends (1977)

In 1976, the British band 10cc suffered the loss of two of its key songwriters, Kevin Godley and Lol Creme, who decided to leave to pursue solo careers. For many, this marked the end of the band's creative era. However, 10cc had enough going for them to move forward successfully with the other pair of great songwriters, Eric Stewart and Graham Gouldman, as they demonstrated on their first album after Godley & Creme's departure. Released in mid-1977, the band's new album was titled "Deceptive Bands", an ironic title taken from a road sign on the A24 motorway between the British towns of Leatherhead and Dorking in Surrey, warning of the dangerous curves ahead. “Deceptive Bends” was undoubtedly the best demonstration of the Stewart-Gouldman duo's great talent for continuing to create great works. While it's true that they lost the charm of the eccentricities and experimentation that the departing members Godley and Creme had brought to the group's style, we also discovered Stewart and Gouldman's greatness as songwriters, who at that time were in top creative and instrumental form. Majestic compositions like the bluesy “Modern Man Blues”, the playful rock and roll “Good Morning Judge”, the Beatles-influenced “The Things We Do For Love”, the melodic “Don't Squeeze Me Like Toothpaste” and “People In Love”, and the progressive and dynamic “Feel The Benefit”, confirmed, despite the loss of the aforementioned and brilliant Godley and Creme, that the band could perfectly well pull through, producing a superb and seminal work like this, which would achieve well-deserved commercial success on the charts in numerous countries around the world.

Sad Cafe-Facades (1979)

Sad Cafe were another of those unclassifiable bands that navigated between melodic pop-rock and art rock. Formed in the mid-70s in Manchester, they had several high-impact hits such as "Every Day Hurts", "Strange Little Girl", "My Oh My", and "I'm in Love Again", reaching high positions on the UK charts. Their lineup consisted of Paul Young (vocals), Ian Wilson (guitar), Vic Emerson (keyboards), Ashley Mulford (guitar), John Stimpson (bass), and Tony Cresswell (drums). In 1977, under the RCA label, they released their debut album, "Fanx Ta-Ra", in which their refined style of harmonious pop-rock caught the attention of critics and audiences in Britain and Europe. With their next album, "Misplaced Ideals" (1978), they maintained their status as a promising band, creating another magnificent album of great melodies with irresistible vocals, complemented by excellent and sophisticated instrumentation. "Facades", released a year later, was produced by the renowned 10cc member Eric Stewart, resulting in their most eclectic work, ranging from the melodic hard rock sounds of "Take Me To The Future" to complex compositions like "The World", passing through the catchy pop-rock of "Little Girl", the grandiose melodies of "Nothing Left Toulouse", and the sublime mid-tempo of "Get Me Outta Here".