Burning Candle-Burning Candle (1981)

An interesting German band with a distinctly progressive style, founded in the mid-70s by Hans Neuber (keyboards), Rolf Vitzthum (drums), and Klaus Schmidt (guitars and bass). For a time, they became one of the sensations of German rock. Their sound was clearly related to their British contemporaries Emerson, Lake & Palmer, undoubtedly thanks to keyboardist Neuber, a classically trained musician. Consequently, there are also many elements of jazz and classical music throughout their work. Their only album became a collector's item due to the limited number of copies released and the enormous musical potential it offered. Released in 1981, the compositions on this album date back many years. The band had broken up in 1978 and reunited to record this brilliant album, at a time when progressive rock wasn't at its peak. It's curious to note how music composed during the height of the progressive rock craze was released just as the genre had lost some of its appeal. Highlights include tracks like "Stranger", a clear example of the German school of symphonic prog, featuring elements reminiscent of ELP. The rest of the album leans more towards the sounds of other German bands from the previous decade, such as Eloy, Ramses, and Novalis. The organ is present in most of the tracks, with movements reminiscent of Keith Emerson, as demonstrated in the superb "Eternal Faith". In "The Appearance of the Ghosts", they showcase their powerful symphonic rock with vibrant guitars and synthesizers featuring continuous rhythmic shifts, culminating in the acoustic "Mosella", a clear nod to Yes's "Mood for a Day", and the progressive epic "Expedition to the Sun", a clear example of the fusion of all their influenced styles and genres. Burning Candle is another example of a band that, for some strange reason, never had the chance to cross borders and reach the powerful and influential British market, achieving the well-deserved success that this magnificent and forgotten group rightfully deserved.

Alameda-Alameda (1979)

Alameda were another of the key bands that formed part of the Andalusian rock movement of the 1970s in Spain. Hailing from Seville, they were led by the Marinelli brothers, keyboardists Rafael and Manuel, along with guitarist and singer José Roca, bassist Manuel Rosa, and drummer Luis Moreno. In 1978, with a demo in hand, they sought a record deal, finally signing with CBS and releasing their self-titled debut in 1979 on their subsidiary label, Epic Records. Their sound was more akin to Andalusian romantic rock with jazz fusion influences, based on pleasing vocal harmonies and the Marinelli brothers' dual keyboard work, than to the progressive rock of Triana. The songs are characterized by catchy, flamenco-tinged melodies, featuring pianos and Rosa's guitars, partially blended with powerful Moog synthesizers and supported by a tight rhythm section. There's a very calm and positive atmosphere throughout the album; however, it lacks the intensity of their contemporary Triana, although at times their sound is quite comparable. Tracks imbued with clear jazz-rock influences (“Aires de la Alameda”, “A la vera del Jueves”), melancholic and intense Andalusian rock cuts (“La Pila del Patio”, “Ojos de Triste Llanto”, and “Amanecer en el Puerto”), and nods to progressive jazz (“Hacia el Alba” and “Matices”), make up an energetic and thrilling album of Andalusian rock fusion, instrumentally performed with enviable skill by one of the best Spanish rock bands of all time.

Badfinger-No Dice (1970)

Mentored by The Beatles themselves, Badfinger's career was anything but successful. From mismanagement and fraud by their manager to the bankruptcy of Apple Records, owned by The Beatles, and the suicides of two of its members, their story is as tragic as it is terrifying. However, musically, this band stood out for its powerful pop-rock compositions, with undeniable melodic sensitivity. Due to the aforementioned circumstances, luck always eluded them. "No Dice" was their second album, following a commendable debut that already contained gems like "Come and Get It", a song written by Paul McCartney, and where the band began to have complete freedom to compose their own material. Here you'll find gems like the rock and roll anthems "I Can't Take It" and "Love Me Do", emotive melodic ballads such as "Believe Me", "We're For The Dark", and "Without You", and energetic tracks like "Better Days" and "No Matter What". Some time later, singer Harry Nilsson covered "Without You", making it a worldwide hit and sparking controversy, as the band wasn't receiving the royalties they were legally entitled to as the song's official authors. Despite the album's undeniable quality, and due to a twist of fate, "No Dice" didn't achieve the success it deserved, peaking at number twenty-eight on the charts.

Genesis-A Trick Of The Tail (1976)

"A Trick of the Tail" was Genesis' first major test after Peter Gabriel's departure, and it proved not only a step forward in the band's career but also their most successful album to date. Far from the rumors of the band's breakup following the departure of their charismatic vocalist, the band opted not to recruit a new singer to fit their needs, but rather to have Phil Collins, the band's drummer at the time, take on the role, leveraging his vocal talent already showcased on tracks like "More Fool Me" and "For Absent Friends" from the albums "Selling England by the Pound" and "Nursery Cryme". Furthermore, Collins was ideally suited to be a live frontman, thanks to his experience as a stage actor, which he had pursued for several years before dedicating himself to music. However, it should also be noted that, in a way, Peter Gabriel's departure brought a kind of relief to the rest of the band, due to the already strained personal relationships the singer had with his bandmates. "A Trick of the Tail" was recorded during the last months of 1975 at Trident Studios in London, and the final result was a magnificent progressive rock album heavily influenced by British folk sounds, while maintaining their skills as a top-tier band. Phil Collins would demonstrate that he could not only fill Gabriel's shoes but also assume the role of leader, albeit still in a very subtle way. Compositionally, the band also benefited from a stronger presence of all its members and greater instrumental prominence for each of them, starting with Tony Banks' keyboards and Steve Hackett's guitar. Musically, the album itself is a minor masterpiece. Without comparing it to their previous work, it showcases a band that maintains an exceptionally high level of quality, both instrumentally and in their songwriting. This is evident in the opening and majestic "Dance on a Volcano", a superb track that clearly demonstrates the band's intentions, implying that they were far from finished. The rest is an amalgamation of outstanding pieces, such as the enchanting ballad "Entrangled", the rock anthem "Squonk", the intimate "Mad Man Moon", the theatrical and dynamic "Robbery, Assault and Battery", and the emotive "Ripples", concluding with the refined and commercially viable "A Trick of the Tail" and the progressive "Los Endos". Against all odds (especially from the perspective of purists and orthodox fans), this album garnered high praise from the specialized press and enormous commercial success, achieving several gold records on both sides of the Atlantic.

The Lords Of The New Church-The Method To Our Madness (1984)

Formed in the early 1980s, The Lords of the New Church was a sort of Anglo-American punk rock supergroup. Their lineup consisted of Dead Boys singer Stiv Bators, The Damned guitarist Brian James, Sham 69 bassist Dave Tregunna, and The Barracudas drummer Nick Turner. They showcased a style influenced by their punk/hardcore roots, blending punk energy with garage, gothic rock, and hard rock sounds. Their melodic songs and catchy choruses set them apart from the mainstream punk rock of the time. The Lords released only three albums during their eight years of activity, not counting live albums and compilations. These three albums were "The Lords of the New Church" (1982), "Is Nothing Sacred?" (1983) and "The Method To Our Madness" (1984), are fundamental works to understand the evolution of punk and gothic rock in the 80s.

Alice Cooper-Killer (1971)

With his fourth album, "Killer", Alice Cooper began his trilogy, which, along with "School Out" (1972) and "Billion Dollar Babies" (1973) (both reviewed in previous blog posts), formed what the Detroit-born American musician considered his finest works, now regarded as classics within his extensive and varied discography. Recorded at RCA Studios in Chicago, Cooper once again enlisted the production of Bob Ezrin and the backing of his extraordinary band, comprised of guitarist Glen Buxton, keyboardist Michael Bruce, bassist Dennis Dunaway, and drummer Neal Smith, while guest guitarist Rick Derringer lent his immense talent to several tracks on the album. Following the success of "Love It To Death" (1971), this new release solidified Alice Cooper's position, creating one of his most ambitious works, abandoning the raw, gritty rock of his early days for a more versatile and complex style. All of this is reflected in tracks like “Halo of Flies”, “Be My Lover”, and “Under My Wheels”. However, it maintains a certain parallel with his recent past, showcasing his more impetuous style in the raw “You Drive Me Nervous” and “Yeah, Yeah, Yeah”. With “Killer”, Alice Cooper would once again equal his best commercial performance to date, achieving platinum status for one million copies sold in the North American market.

Deep Purple-Burn (1974)

Deep Purple's eighth album and their fifth masterpiece, joining the masterful "In Rock", "Fireball", "Machine Head" and the double live album "Made In Japan". This album marked the debut of the "Mark III" lineup with the arrival of David Coverdale and Glenn Hughes, who had replaced Ian Gillan and Roger Glover respectively. This lineup also added a new dimension, introducing subtle touches of funk and soul alongside the powerful hard rock sound. The album opens with the superb and outstanding "Burn", one of Deep Purple's masterpieces. The aforementioned shift is already evident in the second track, the bluesy, funk-tinged "Might Just Take Your Life", undoubtedly a product of the contributions of new members Coverdale and Hughes. The energetic "Lay Down, Stay Down" showcases the irresistible duet vocals of the Coverdale-Hughes duo. "Sail Away" takes us back to classic Purple with an unforgettable guitar riff from Blackmore. The frenetic "You Fool No One" features sounds reminiscent of funk, fused with powerful hard rock. The hard blues "What's "Going On Here" showcases Lord's honky-tonk piano and Blackmore's outstanding guitar work. At this point, the band delivers a truly majestic track, a gem of hard rock: nearly eight minutes of enigmatic riffs and Coverdale's powerful vocals, combined with the driving rhythm section of Paice and Hughes, elevate this album to the pantheon of rock's greatest works. To conclude, the band indulges in the extravagant and experimental "A 200", an instrumental piece reminiscent of progressive rock, where Jon Lord and his atmospheric, ethereal keyboards take center stage.

Alice Cooper-Welcome To My Nightmare (1975)

After seven albums with his band, in 1975 Alice Cooper decided to release his first solo album, "Welcome to My Nightmare", a concept album based on theatrical performance. While this album lacks the raw energy of his earlier work with his band, it also boasts more polished and elaborate compositions. Bob Ezrin's excellent production was crucial in softening the streetwise hard rock of albums like "Killer" and "School's Out". For the recording, Cooper recruited a band of expert musicians, including guitarists Dick Wagner and Steve Hunter, bassist Prakash John, and drummer Pentti "Whitey" Glan, while Vincent Price contributed vocals alongside Cooper himself. Composed of a selection of songs ranging from the commercial rock of "Welcome To My Nightmare", the classic rock of "Cold Ethyl" and "The Black Widow", the heavy rock of "Devil's Food", the sordid orchestrations of "Steven", and the sentimental ballads of "Only Women Bleed", the album would go on to achieve five platinum records and sales that far exceeded one million copies.

Alice Cooper-Trash (1989)

For much of the 1980s, Alice Cooper struggled with severe alcohol addiction and a severe creative block. After several stints in rehab, he returned in the latter half of the decade, releasing albums like "Constrictor" (1986), "Raise Your Fist and Yell" (1987), and "Trash" (1989), works that propelled the Detroit native back to the height of his popularity. In this resurgence, Cooper showcased a style that blended heavy metal with melodic rock, a departure from the glam rock and baroque rock of his early 1970s albums. Produced by renowned producer and musician Desmond Child, "Trash" marked the culmination of Cooper's comeback, an album brimming with melodic and irresistible passages, all delivered with the raw and sharp style so characteristic of the singer. Songs like "Poison", "House Of Fire", "Only My Heart Talkin'" or "Bed Of Nails", propelled the album to the top of the charts on both sides of the Atlantic and, in doing so, did commercial justice to one of the most fundamental and influential musicians in the history of rock and roll.

Clear Blue Sky-Clear Blue Sky (1970)

Clear Blue Sky was a short-lived British power trio who released only one album in the 1970s, but who nevertheless became a sensation on the British blues-rock circuit for a time. Formed by guitarist John Sims, drummer Ken White, and bassist Mark Shealther, they had their first major success in a talent competition held in London. From there, they opened for renowned artists such as Irishman Rory Gallagher and British band Free. Their excellent instrumental skills did not go unnoticed by bassist Ashley Kozak, who at the time, in addition to her role as a musician, also managed various artists for Brian Epstein's NEMS label. She eventually managed to sign them to Vertigo Records and financed their self-titled debut album, released in 1970. Produced by the then-experienced Patrick Campbell-Lyons and featuring cover art by the then-unknown Roger Dean, the band showcased an interesting style of psychedelic hard rock with highly elaborate passages where the guitar always takes center stage with its incendiary riffs. The album kicks off with a bang with the saturated "Journey To The Inside", which, divided into several parts, is the longest track on the record with constant tempo changes. It continues with tracks like the psychedelic "You Mystify" and the more melodic and relaxed "Tool Of My Trade" and "My Heaven", before closing with the hard rock anthem "Birdcatcher". However, despite the band's high quality and this impressive debut, poor sales and a lack of public interest led these three young musicians to abandon the project, and they disbanded shortly thereafter. Many years later, in the nineties, they would release new material again in a series of albums that had no media impact.

Universe-Universe (1971)

The story of this band is quite intriguing. Relegated to the sidelines in their native England, they dedicated themselves to playing concerts throughout Northern Europe. During a tour of Norway, they met a strange character who offered to record an album for them in his home studio. This album was released in a very limited edition of just a few hundred copies, and today it is highly sought after by discerning vinyl collectors and fans of blues and rock music. Hailing from Cardiff, this band had formed in late 1968 as a blues group called Spoonful. Several years later, they changed their name to the definitive Universe, and it was in 1971, while touring Norway, that they recorded and released their only album, which was self-titled. Universe consisted of guitarist, vocalist, and harmonica player Steve Finn, guitarist Mike Lloyd, bassist John Healan, drummer Rob Reynolds, and organist Mike Blanche. Universe was made up of guitarist, vocalist, and harmonica player Steve Finn, guitarist Mike Lloyd, bassist John Healan, drummer Rob Reynolds, and organist Mike Blanche. They played progressive heavy rock, as evidenced by their only album, which features standout tracks like the psychedelic blues "Twilight Winter", the heavy blues "Universe", the progressive blues "Spanish Feeling" with its Andalusian flavor imparted by the interplay of Spanish guitar and Creole rhythm and the lilting blues "The Annexe". Back in the UK with the album in hand, they toured with leading bands such as Fleetwood Mac, Rory Gallagher, Jethro Tull, Yes, and Black Sabbath, among many others. The original edition of this record became one of the strangest progressive blues albums in history, firstly due to its limited run and secondly because of the unusual label on which it was released (Experience Records), which was never heard from again. In fact, this was the only album they ever released, and the label offered virtually no information about the musicians or other details of interest on its brief and minimalist cover. Later, in 1972, this band would finally dissolve without leaving any trace of the subsequent fate of all its members.

Carlos Santana-Santana Brothers (1994)

Although not part of Carlos Santana's official solo discography, but rather a side project, "Santana Brothers" is a collaboration between Carlos, his brother Jorge, and his nephew Jorge Hernández. Accompanied by keyboardist Chester Thompson, bassist Myron Dove, and drummers Billy Johnson, Karl Perazzo, and Walfredo de los Reyes, the three guitarists showcased their six-string talent in a work brimming with melodic atmospheres and a diverse range of styles and influences. From the opening psychedelic rock track "Transmutation Industrial" to the magnificent reinterpretation of Joaquín Rodrigo's Concierto de Aranjuez, passing through the exhilarating jazz-rock "Thoughs", the Latin-infused rock tracks "Luz Amor y Vida", "La Danza", "Smooth", and "Contigo", the bluesy melody of "Blues Latino", the energetic "Trip", and the exquisite "I Love You Much Too Much". Although all three guitarists demonstrate their tremendous skills, it is relatively easy to identify Carlos Santana's riffs and solos, even though their styles are very similar, thus demonstrating that talent with the six strings is a family trait.

Vangelis-El Greco (1998)

For many, "El Greco" is the culmination of the vast discography of the Greek composer Vangelis. Conceived as a concept album, it was officially released in 1998, following an expanded reissue of a work titled "Foros Timis Ston Greco", which had been released in limited quantities by a Greek museum in 1995. On this occasion, the Greek musician delves into the life of the Hellenic religious painter, Doménikos Theotokópoulos, known as El Greco, who lived in Spain during the 16th and 17th centuries. In this work, Vangelis continues to demonstrate that he is a true artist who pays no attention to commercialism, presenting a sober and ethereal album, emotionally profound and spiritual music for the eyes of the mind. Composed of ten extraordinary movements, it portrays the suffering of the painter and his works, almost oppressive in nature, representing life as a concept and the mortality of the physical sense. During its nearly 73-minute duration, the keyboardist attempts to convey a profound emotional charge and a pleasing, sophisticated musical aesthetic, where medieval and Byzantine music are extraordinarily intertwined, at times resembling a powerful film soundtrack. The music also possesses a delicate sphere of mysticism and melancholy, making this thirty-fourth album by the Greek musician one of his great masterpieces.

Nutz-Hard Nutz (1977)

Founded in 1970, Nutz were a hard rock band who enjoyed their moment of glory when they were chosen to support UFO, Black Sabbath, and Budgie in the mid-70s, and gave a memorable performance at Reading in 1976. Hailing from Liverpool, the band was formed by guitarist Mick Davenport, who, along with drummer Jon Maylett and bassist Keith Mulholland, cultivated a large following by playing regularly at the legendary Cavern Club. Around the same time, thanks to a television advertisement, they discovered singer Dave Lloyd, who then became the lead vocalist. For a while, the band was based at the Cavern Club itself, recording during the day and performing at night. Their performances led to a deal with A&M Records, with whom they released their first album, which failed to meet expectations. Their next album, "Nuz Too". released in 1975, achieved better results thanks in part to improved production and the outstanding tracks "Changes Coming" and "The Love That You Lost", the latter featuring former Free member John "Rabbit". From this point, the band embarked on a long tour of the United States, despite neither of their albums having been released in the North American market. Back in England, they were chosen to support Black Sabbath on their British tour in support of the album "Technical Ecstasy". This tour earned them a spot at the Reading Festival that same year. By then, the band had expanded with the addition of keyboardist Kenny Newton, with whom they recorded their third album, and ultimately their best work, "Hard Nutz". This third release showcased a much more mature band, with compositions brimming with high quality and powerful hard rock. Besides the powerful guitar riffs, addictive vocals, and driving rhythm section, it's the keyboards that give an irresistible cohesion to this memorable album. Frenetic tracks like "Seeing Is Believing" and "Wallbanger" contrast with the melodic hard rock of "Down On My Knee", "Beast Of The Field". "Loser", and "I Know The Feeling", while on "From Here To Anywhere" the band ventures into more complex and progressive sounds. A subsequent tour with Budgie, the recording of "Bootligers" for the legendary NWOBHM compilation "Metal For Mutts" and the release of several live albums were the last recorded contributions of this magnificent and now-forgotten British band.

Morningstar-Morningstar (1978)

Morningstar was a short-lived American band that, with their only two albums, achieved cult status in the United States in the late 1970s. Hailing from Kansas, they amassed a considerable following over a few years, a fact that did not go unnoticed by CBS Records, who, capitalizing on the group's fame, offered them a multi-album recording contract. Morningstar consisted of drummer Greg Harris, bassist Greg Lech, and guitarists Jerry Chambers, Michael Edmunds, and Rick Bacus, the latter also handling keyboards, and virtually all of them were vocalists. In 1978, they released their self-titled debut album, showcasing a style akin to the pom-rock bands of the era such as Styx, Angel, and Shooting Star, but with a much more rock-oriented approach, featuring prominent guitars, melodic vocals, and bombastic keyboards. Tracks like the AOR anthems "Premeditated Rendezvous" and "Too Much To Lose" contrast with the more complex "Through The Night" and "Sady Lady", while the harder rock side is represented by songs like "Turn Out All The Lights" and "Sweet Georgia Peach". A year later came "Venus", an album showcasing a much more sophisticated and polished sound, and better production. However, the music recorded on this second release was not without commercial appeal, as demonstrated by the outstanding tracks "Angel", "Never Meant To Be", "Rosie", and "Let Me Dream". Despite both albums enjoying a good commercial reception, with quite respectable sales, CBS, more focused on other, more successful bands on its label such as Journey and REO Speedwagon, among others, stopped supporting them. This ultimately led to their disbandment in the early 1980s, leaving behind two great examples of the best American pop rock of the 1970s.

Paul Rodgers-The Royal Sessions (2014)

In 2014, Paul Rodgers returned with a covers album after his blues tribute albums, the tremendous "Muddy Water Blues" and "The Hendrix Set", both released in 1993. This time, however, in addition to some blues tracks, there are also versions of soul classics, all personally selected by Rodgers himself. For this recording, the former vocalist of Free, Bad Company, and The Firm surrounded himself with a legion of musicians who had originally recorded the versions featured here, such as bassist Leroy Hodges, keyboardist Charles Hodges, and drummer Steve Potts, among many others. Recorded live at Royal Studios in Memphis, Rodgers achieves a powerful and fiery sound, which elevates this phenomenal covers album. Songs like Booker T. Jones' "Born Under A Bad Sign", Albert King's "Down Don't Bother Me", Ann Pebbles' "I Can't Stand The Rain" or Otis Redding's "I've Been Loving You Too Long" are performed by the excellent voice of a Paul Rodgers in his prime, demonstrating that the years have not taken their toll on one of the great legends of rock music.

The Brecker Brothers-The Brecker Brothers (1975)

By the time the Brecker brothers released their first album, they already had extensive experience as backing musicians for other artists. Randy and Michael Brecker had built a strong reputation in the New York jazz-rock and jazz-fusion scene, so it was no surprise that a major label like Arista quickly took notice and signed them in the mid-70s, releasing their debut album in 1975. On this first release, the Brecker brothers featured a stellar lineup of guest musicians, including David Sanborn, Ralph McDonald, Harvey Mason, Bob Mann, and Chris Parker, among others. Produced by Steve Backer and recorded at Secret Sound Studios in New York, this debut album showcases the duo's perfect synthesis of the best contemporary jazz fusion, replete with complex horn arrangements that nonetheless remain accessible to a wide audience. An album where the funk/jazz rhythms "Some Skink Funk", "Sponge" or "Rocks", coexist with smooth jazz passages "DBB", "Levitate" or "Oh My Stars" and pieces closer to contemporary soul jazz with the addictive "Sneakin' Up Behind You", forming with all of them one of the most attractive jazz fusion albums of the 70s, which had its deserved recognition at the Grammy Awards with three nominations, for best performance, best new artist and best instrumental arrangements.

Chris Youlden-Citychild (1974)

Chris Youlden was better known as the lead vocalist for the blues-rock band Savoy Brown during their heyday than for his own solo career. This singer was characterized by his superb voice and his accomplished songwriting, as demonstrated during his years with the aforementioned British band. With them, he produced high-caliber albums such as "Getting To The Point" (1968), "Blue Matter" (1969), "A Step Further" (1969), and "Raw Sienna" (1970), undoubtedly Savoy Brown's best works. However, after this last album, and due to his dissatisfaction with the musical direction the band was taking and the continuous and exhausting tours, he decided to leave the music world for several years. In 1973, he unexpectedly reappeared, debuting with his first solo album, "Nowhere Road", released by London Records (ironically, the same label as his former band). The most striking aspect of this album was his complete departure from the blues-rock sound of his previous band, focusing his compositions on a more funk-infused blues style, as heard in tracks like "Chink of Sanity" and "Mama Don't Talk So Loud", the standout "One October Day", and the radiant "Cryin' in the Road". However, this remarkable album failed to garner the desired response from the public and went largely unnoticed. A year later he would return with “Citychild”, a self-produced album, which received a similar reception to his first album, and which has a much more eclectic repertoire with songs with a clear blues rock accent very close to the style of Savoy Brown such as “Little Cog In A Big Wheel”, “Love And Pain” and “It Ain’t For Real” or close to funk blues such as the surprising “Born and Raised In The City” or “Keep You Lamp It”, while the unsettling “Spare Change” puts the rock note on this great album.

Jean-Michel Jarre-Rendez-Vous (1986)

After an experimental album like "Zoolook" (1984), French composer Jean-Michel Jarre partially returned to his classic 1970s sound with his fifth album, "Rendez-Vous". In this release, he dispensed with the heavy, multi-layered synthesizers in favor of a simpler array of instruments. This move allowed him to place much greater emphasis on composition rather than creating sounds and special effects as before. On the other hand, Jarre displays undeniable similarities to the work of Vangelis, who had already explored this territory in "Heaven and Hell" (1975) and "Albedo 0.39" (1976), not to mention the album he would release years later titled "Mythodea". A track like "Second Rendez-Vous" is one of Jarre's finest compositions, evoking a post-Beethovenian movement. Originally composed as a link to the Challenger shuttle mission, this album is a historical piece that takes on added dramatic weight due to the disaster that claimed the lives of all the astronauts on that mission. The music on this album is itself quite prosaic and predictable than the events surrounding it and was, in a way, designed to be part of the famous light and laser show that would later take place in Houston, considered the largest outdoor concert in history with over 1.5 million spectators. By 1986, events were overwhelming even Jarre himself; "Rendez-Vous" was intended to be the centerpiece of the celebrations for NASA's 25th anniversary and the 150th anniversary of the founding of Houston.

Blackfoot-Strikes (1979)

Blackfoot are one of those bands that have had a long and winding road to success and the recognition they deserve. After two commendable works, their debut album "No Reservations" (1975) and the subsequent "Flyin' High" (1976), they failed to achieve the desired notoriety due to poor marketing by the record labels Island and Epic. After another change of record company, this time with ATCO, they released their third full-length album, "Strikes", which brought them the sweet taste of success thanks in part to the album's effective promotion by the new label and an irresistible collection of great Southern rock tracks like "Highway Song" and "Train Train", which propelled it into the US Top 40, selling a million copies in the following two years. However, this album didn't just rely on the success of those two excellent tracks; it also featured addictive covers like Free's "Whising Well", Blues Image's "Pay My Dudes", and Spirit's "I Got A Line On You". With these, the band employed their tried-and-true strategy of revisiting well-known hits, but imbuing them with their own unique and unmistakable style. The album's warm reception paved the way for commercial success and widespread popularity, and for the next two years, the band toured triumphantly across the United States alongside established acts like Foreigner, Journey, AC/DC, and Blue Öyster Cult.

Blackfoot-Medicine Man (1990)

In 1990, singer and guitarist Rick Medlocke wanted to completely revamp Blackfoot, reinforcing the Southern rock that had been the band's original hallmark in the 1970s, after releasing the albums "Vertical Smile" (1984) and "Rick Medlocke and Blackfoot" (1987), which leaned more towards melodic rock. With a completely revamped lineup, except for Medlocke, featuring drummer Gunner Ross, guitarist Neal Casal, and bassist Rikki Mayr, along with contributions from keyboardist Doug Bare and guitarist Mark Woerpel, they recorded "Medicine Man", a powerful Southern rock album in the truest sense, where the guitar riffs have a distinctly hard rock edge. On “Medicine Man”, they returned to their roots with powerful, high-caliber tracks like “Doin’ My Job”, “Sleazy World”, “Soldier Blue”, “Runnin’ Runnin’ ”, and “Chilled to D’Bone”, in addition to epic songs such as “Guitar Slingers Song and Dance”. The group also included a vibrant cover of Free’s original “The Stealer”. With this ninth studio album, the Jacksonville band firmly established themselves as one of the cornerstones of American southern rock.

Blackfoot-Tomcattin´ (1980)

Blackfoot, along with Molly Hatchet, are the most hard-rocking band in Southern rock. They produced a series of highly acclaimed and commercially successful albums, especially the trilogy comprised of "Strikes" (1979), "Tomcattin'" (1980), and "Marauder" (1981). Focusing on the second of these, "Tomcattin' " is their rawest and most aggressive work, where the band, led by vocalist and guitarist Rickey Medlocke and bassist Greg Walker, delivers powerful songs like "Warped" and "Gimme, Gimme Gimme", as well as typical Southern rock anthems like "Fox Chase", "On the Run", "Dream On", and "In the Night". With this album, their fourth chronologically, Blackfoot remained true to their Southern rock roots, achieving one of their greatest successes with their devoted fans in the United States and Europe.

Wishbone Ash-No Smoke Without Fire (1978)

In 1978, the British band Wishbone Ash released their ninth album, "No Smoke Without Fire", once again working with Derek Lawrence, the producer of their early releases. This time, the quartet of guitarists Andy Powell and Laurie Wisefield, bassist and vocalist Martin Turner, and drummer Steve Upton delivered a more energetic and musically diverse sound, a stark contrast to the more relaxed "Front Page News". Here, their signature twin guitars once again took center stage, underpinned by the dynamic and powerful rhythm section of Turner and Upton. Genuinely rocking tracks like "You See Red", "Anger In Harmony", "Stand And Deliver", "Like A Child", and "Baby The Angels Are Here" showcased Wishbone Ash's talent and high level of musicianship. While not quite surpassing their early, iconic work, they maintained a high standard as one of the most important bands of the 1970s.

Ozric Tentacles-Jurassic Shift (1993)

Ozric Tentacles boast an extensive discography brimming with monumental and brilliant works, all of which showcase superb displays of progressive rock, jazz fusion, hard and heavy rock, hints of electronic music, and even sounds bordering on new age. “Jurassic Shift”, released in 1993, was the British band's fourth studio album, infused with atmospheric keyboards, sharp guitars, and dynamic instrumental passages, a powerful and precise rhythm section, and astonishingly spatial and complex soundscapes. However, there's also room for Eastern and exotic sounds, further enhancing Ozric Tentacles' already unmistakable style. This is an album where there isn't a single weak point; everything fits together perfectly, taking the listener on one of the most breathtaking and exciting musical journeys imaginable. And while it's true that we can find many other bands that are perhaps more creative and influential than them, none offer this elaborate blend of sounds and inspiration, as demonstrated in the progressive ambient electronica of "Sunhair", the space rock of "Stretchy", the esoteric "Feng Shui", the oriental "Half Light In Thillai", or the atmospheric "Jurassic Shift". Ozric Tentacles are often criticized by progressive purists for always making and sounding very similar, and while they have a point, it's also true that they never repeat the same musical structures in each track of each of their albums, combining a wide range of styles and a perfect instrumental execution that makes them unique.

Emerson, Lake & Palmer-Works Volume 2 (1977)

Like its predecessor, "Works Volume 1", Emerson Lake and Palmer's sixth studio album, "Works Volume 2", is a compilation of tracks composed individually by the three musicians, along with others created collaboratively. It again comes across as somewhat pretentious, though it must be said that this new release features a significantly more interesting and creative repertoire. Some songs feel more organic, like the instrumental "When The Apple Blossoms Bloom In The Windmills Of Your Mind I'll Be Your Valentine", a track originally intended for the album "Brain Salad Surgery" but never included. The title track from that album is another standout, a dynamic and daring piece. The jazzy "Bullfrog" is essentially a showcase of Carl Palmer's drumming prowess, while the boogie-woogie "Barrelhouse Shake-Down", the acoustic "Watching Over You", the big band jazz tracks "So Far To Fall" and "Close But Not Touching", the ragtime "Maple Leaf Rag" and the honky-tonk "Honky Tonk Train Blues", complete an album that, despite lacking a certain final cohesion, contains a repertoire of good songs, although certainly far removed from the grandiosity of his earlier studio works.

Ritchie Blackmore's Rainbow-Stranger In Us All (1995)

In 1995, Ritchie Blackmore revived the Rainbow brand to release a new album after a twelve-year hiatus. For this new album, the former Deep Purple guitarist assembled a new lineup with relatively unknown musicians at the time, including vocalist Doogie White, bassist Greg Smith, keyboardist Paul Morris, and drummer John O'Reilly. "Stranger In Us All" showcases the return of Rainbow's classic sound, harking back to their 1970s roots with hard rock brimming with heavy guitar riffs and a powerful yet melodic rhythm. Songs like "Wolf to the Moon" and "Cold Hearted Woman" evoke the beloved Deep Purple sound, with Doogie White's impressive vocals contributing significantly. On the other hand, Blackmore experiments in the semi-progressive "Hunting Humans (Insatiable)", while other pieces like the superb "Ariel", a successful attempt to revisit the symphonic sound of the classic "Stargazer", or others like "Stand and Fight", and "Too Late for Tears", focus on heavy blues rock with powerful hooks and raw, punchy rhythms. Despite being completely traditional to the typical Purple sound, they are very well designed and masterfully executed with a more modernized sound.

Robin Trower-Twice Removed From Yesterday (1973)

In the early 1970s, Robin Trower left Procol Harum and founded the band Jude, which had little media impact. After its dissolution, he decided to pursue a solo career, surrounding himself with drummer Reg Isidore and singer/bassist James Dewar to record his first and impressive album, "Twice Removed From Yesterday", released in 1973 on the British label Chrysalis. Replete with energetic blues-rock tracks showcasing Trower's powerful guitar work he was considered the "white Hendrix" at the time this album is a succession of masterful compositions, including the rock anthem "I Can't Stand It", the refined and tranquil "Daydream", the hypnotic and powerful "I Can't Wait Much Longer", the psychedelic blues "Hannah", the boogie-rock "Rock Me Baby", and the tender "Ballerina".

Jefferson Starship-Freedom At Point Zero (1979)

Jefferson Starship's fifth album, "Freedom At Point Zero", was released with numerous changes compared to its predecessor, "Earth". Singers Grace Slick and Marty Balin had left the band, the former temporarily, along with drummer John Barbata, and were replaced by singer Mickey Thomas and former Journey drummer Aynsley Dunbar. Furthermore, the band entrusted studio production to an outside producer, foregoing their usual collaborator Larry Cox and hiring the prestigious Ron Nevison, who had already worked with major artists such as Kiss, Thin Lizzy, Meat Loaf, Grand Funk, and Led Zeppelin, among many others. All these changes were clearly reflected in this new album. To begin with, their sound shifted towards a blatantly AOR style, where Thomas's prodigious vocals and Paul Kantner's addictive vocals were reinforced by doubling the backing vocals, resulting in an outstanding album. In addition, the prominence of guitarists Kantner and Chaquico becomes much more relevant, as demonstrated in exuberant songs such as the opening track "Jane", the epic and spectacular "Awakening", the AOR "Things To Come", or the powerful "Girl With The Hungry Eyes", while the irresistible "Rock Music" and "Freedom At Point Zero", or the delicate and superb "Fading Lady Light", showed that the band could continue to produce great albums apart from its mainstays, Slick and Balin.

Vangelis-Spiral (1977)

Following the magnificent albums "Heaven and Hell" (1975) and "Albedo 0.39" (1976), not forgetting lesser-known works like "Earth" (1973) and "L'Apocalypse Des Animaux" (1973), Vangelis created one of his masterpieces with his fifth album, "Spiral". With this album, Vangelis began one of his most fruitful periods, both in his use of electronic instruments synthesizers, sequencers, and all kinds of electronic and acoustic keyboards and in the melodic composition of his music. On this new record, he gradually moved away from the progressive and experimental sounds of his earlier work and its complex and intricate compositions, becoming more romantic and grandiose, gaining in simplicity and thereby attracting a wider audience with his accessible electronic music. All of this is demonstrated in tracks like the commercially successful "Dervish D", the addictive epic "To The Unknown Man", and the meticulously crafted "Ballad", "Spiral", and "3+3". Over the next four years, the Greek musician would release a mix of major works and others with less media impact, including the experimental "Beaubourg" (1978), the exotic and brilliant "China" (1979), and the stunning "Chariots of Fire" (1981), among half a dozen other albums.

Badge & Company-Badge & Company (1977)

Badge & Company is another of those hundreds of one-album bands with little media or commercial impact that flooded the rock scene in the 1970s. Hailing from Augusta, Badge & Company moved within the realm of American roots rock, drawing on Southern sounds like country, Southern rock, and blues. The band consisted of bassist and singer Randy E. Coven, guitarist Terry Williams, and drummer Eugene Martin. In 1977, they released their only album, featuring standout tracks such as the powerful Southern rock anthems "It's A Crying' Shame" and "What A Day The Drive", the country rock anthem "Ship On The Frisco", the rock and roll number "Rockin' n Rollin' ", the psychedelic "Why", the blues rock anthem "Slow Me Down", and the captivating "For You".

The Beatles-Magical Mystery Tour (1967)

With "Magical Mystery Tour", The Beatles' ninth album, the group returned to a slightly more accessible sound, though elements of psychedelia and avant-garde remained. With a repertoire composed primarily by Paul McCartney and John Lennon, McCartney contributed the more conventional melodies, while Lennon provided the experimental moments, balancing McCartney's commercial appeal with his signature addictive pop. The duo created an album brimming with intelligent compositions and brilliant arrangements, in which George Harrison's guitar and Ringo Starr's drums are partially overshadowed by the keyboards and wind instruments that take center stage. Songs like the melancholic "Fool on the Hill", the exotic "Blue Jay Way", the pop hit "Your Mother Should Know", the brilliant "I Am the Walrus", the iconic "Strawberry Fields Forever", and the melodic "Penny Lane" are among the highlights of another memorable album from the Fab Four.

Grand Funk Railroad-Grand Funk (1969)

“Grand Funk” is the second album from the visceral and powerful Grand Funk Railroad, released six months after their debut, “On Time”. This second release contains an anthology of energetic hard rock tracks featuring an exuberant and confident Mark Farner on guitar, as well as his excellent songwriting skills. It also showcases the solid and vigorous rhythm section of the powerful drummer Don Brewer and the crushing bass sound of Mel Schacher, which perfectly complement Farner's powerful guitar and vocals. Tracks like the furious “Got This Thing On The Movie”, a hard rock song with psychedelic undertones, the psychedelic heavy metal “Paranoid”, the powerful instrumental “In Need”, the acid blues “Winter And My Soul”, the addictive “Looking Out” or the rhythmic and heavy “High Falootin’ Woman”, make up an essential album, which would soon be hailed as a classic of hard rock, and which, with this or their subsequent works, would place them on par with their contemporaries Led Zeppelin, Cream, Jimi Hendrix Experience or Black Sabbath.

Patto-Patto (1970)

Patto were a magnificent hard rock band that rose from the ashes of Timebox, another interesting British group that was active between 1967 and 1969. Patto's lineup consisted of Mike Patto (vocals), Ollie Halsall (guitar), John Halsey (drums) and Clive Griffiths (bass). With a style that drew from jazz rock, hard rock, and progressive rock, Patton released three albums, beginning with their self-titled debut, "Patto", released in 1970 on the Vertigo label, which specialized in avant-garde sounds. A year later came "Hold Your Fire", and in 1972 they released their final album, "Roll 'Em, Smoke 'Em, Put Another Line Out". Despite the exceptional quality of these three albums, they received very little promotional exposure, leading the band to call it quits after the last release. Songs like "Hold Me Back", "Red Glow", "Magic Door", "Give It All Away", "Flat Footed Woman", and "Singing the Blues and Reds" are steeped in blues, funk, jazz, and rock, featuring excellent performances with striking guitar riffs and Mike Patto's soaring vocals. Over the years, Patton became one of Britain's quintessential cult bands.

Glencoe-Glencoe (1972)

Glencoe was a band that rose from the ashes of Forever More, a Scottish progressive rock band that had released two albums in 1971. Those musicians were drummer Stuart Francis and guitarist Mick Strode. In 1972, they were joined by Graham Maitland (keyboards) and Norman Watt-Roy (bass). With the lineup complete, they toured the UK and caught the attention of Grand Western Gramaphone, a subsidiary of Epic Records. That same year, they entered the studio and recorded their first album, which no longer featured Mick Strode, who was replaced by guitarist John Turnbull. This debut album consisted of a series of tracks with a very varied style, ranging from progressive sounds with elements of country rock and pop, highlighting gentle melodies such as "Airport", "Look Me In The Eye", and "Lifeline", all of which featured extensive arrangements and progressive organ and guitar elements. In "Sinking (Down A Well)", the band showcases its bluesy side, while "It's" is the most commercial track, closer to the pop melodies of that era. "Hay Fever" demonstrates the group's vocal and instrumental prowess with an addictive rock sound tinged with progressive elements. Incredibly, despite the album's immense quality, it went largely unnoticed. As we've mentioned before, with so many talented bands dominating the market at the time, they were perhaps too conventional and polished for hard rock fans, too complex for country music fans, and too commercial for progressive rock enthusiasts. To promote this release, the band toured the UK with Deep Purple and the US with Steve Miller and Roxy Music. A year later they released their second album "The Spirit Of Glencoe", where they followed a very similar line to the previous one but with more predominance of orchestral sounds and a more commercial musical style as demonstrated in "Strange Circumstance" or in the irresistible "Two On An Island", but also showing their most forceful side with the powerful rock "Roll On Bliss".

John Mayall-Blues From Laurel Canyon (1968)

After leaving the Bluesbreakers project, John Mayall traveled to the United States, specifically to Laurel Canyon in California. Initially, Mayall went there as a guest of Bob Hite, singer of Canned Heat, but soon after, captivated by the place, he decided to settle permanently in those remote and inhospitable lands. After living alone for a while in that environment, Mayall found inspiration and composed a series of songs that would become his first album without the Bluesbreakers, the seventh in his extensive discography, titled "Blues From Laurel Canyon". To record it, he went to Decca Studios in London, where, along with producer Mike Vernon and a small group of musicians including a very young Mick Taylor on guitar, drummer Colin Allen, guitarist Peter Green, and bassist Steve Thompson, they recorded a collection of great songs that would go down in history as one of the fundamental works of blues rock. Vibrant blues rock tracks like “Vacation”, “Ready To Ride” or “2401”, the lilting ballad “Laurel Canyon Home”, the experimental “Medicine Man” or the superb “The Bear” in memory of his friend Bob Hite, make up an extraordinary and passionate album of the best blues, from the one considered the most important and fundamental musician of the British rhythm & blues scene.

Frank Zappa-You Are What You Is (1981)

With "You Are What You Is", Frank Zappa manages to satirize a segment of American society with his biting lyrics and sarcastic humor. However, while in his previous album, "Sheik Yerbouti", the guitarist offered a burlesque and social critique, this release showcases greater musical and lyrical refinement. Televangelists, groupies, the draft, disco music, and drug-addicted teenagers all become targets of his humor and biting satire. Musically, on this double album, Zappa explores a wide variety of styles, ranging from the doo-wop soul of "Doreen" to the hard rock exercises of "Charlie's Enormous Mouth" and the guitar-pyrotechnics of "The From the 3rd Movement of Sinister Footwear", passing through the reggae of "Goblin Girl", the catchy tunes of "Teenage Wind", the country of "Harder Than Your Husband", the funk of "Society Pages", the gospel of "The Meek Shall Inherit Nothing", and virulent pieces like "Dumb All Over". In all of them, Zappa manages to capture the music's intelligent integration with the lyrics, achieving a satirical and edgy style that is nonetheless highly appealing. Despite this great variety of styles and sounds, the music becomes very accessible, far from the demands of many of his previous works, which makes this (his twenty-fourth album) one of the most accessible to the general public and another masterpiece from one of the greatest geniuses that rock music has ever produced.

Paul McCartney & Wings-Venus And Mars (1975)

In 1975, Paul McCartney continued to unleash his immense creativity, releasing his fourth album with his band Wings. The former Beatle even allowed himself the luxury of giving more prominence in the songwriting to some of his bandmates, such as Jimmy McCulloch and arranger Tony Hatch. In addition to the usual Wings members Denny Laine, his wife Linda McCartney, Jimmy McCulloch, and Geoff Britton (the latter replaced mid-session by Joe English) Allen Toussaint, Dave Mason, and Tom Scott also contributed to these recordings. "Venus and Mars" is one of their most energetic works, clearly focused on rock, as demonstrated by the powerful "Medicine Jar", the energetic "Magneto and Titanium Man" and "Rock Show" and the bluesy "Spirits of Ancient Egypt", However, the melodic side remains very present in m,any moments of the album, such as the beautiful title track, the tender "Love In Song", the rhythmic "Letting Go", the exquisite "Listen To What The Man Said", and the melancholic "Treat Her Gently". As with their previous releases, this album once again reached number one on the charts on both sides of the Atlantic, achieving triple platinum status.

Museo Rosenbach-Zarathustra (1973)

“Zarathustra”, the only album by the Italian band Museo Rosenbach, is a gem of progressive rock. This band rightfully earned their fame thanks to this excellent record based on the Übermensch theory of the German philosopher, poet, and composer Friedrich Nietzsche. Founded in the early 1970s in the town of Bordighera, in northwestern Italy, by keyboardist Pit Corradi, drummer Giancarlo Golzi, guitarist Enzo Merogno, bassist Alberto Moreno, and singer Stefano Galifi, this unique album, despite containing the harmony and lyricism typical of Italian progressive rock, possesses a highly original symphonic quality thanks to the dynamic keyboards. All of this, combined with the interludes, the original and expressive Italian vocals, and the guitar passages, makes this album a true contemporary classic. The epic title track is a breathtaking saga divided into five parts, each with its own distinct atmosphere and musicality, crowned by bombastic mellotron sounds, a tight rhythm section, and masterful instrumentation. The remaining tracks, while not quite reaching the same heights, are nonetheless agile and energetic, with organ sounds and subtle guitars bringing this legendary album to a close.

Hot Tuna-Hot Tuna (1970)

In the late 1960s, several members of Jefferson Airplane decided to found a side project called Hot Tuna, which moved away from the psychedelic sound of the main band and focused on classic country blues/folk. These members were Jorma Kaukonen and Jack Casady, who recruited harmonica player Will Scarlett and recorded their first album in September 1969. Released in 1970, this debut album showcases an unpretentious trio, free of any stardom, simply giving free rein to their musical passions. With great humility, they created an incredible, high-octane blues record. Using only bass, acoustic guitar, and harmonica, they gave birth to a true marvel of white blues, a classic of the genre. From blues classics to original compositions, the album displays flashes of Delta blues. Magical, hypnotic and cathartic blues flood a repertoire in which "Hesitation Blues", "How Long Blues", "Uncle Sam Blues", "Don't You Leave Me Here", "Death Don't Have No Mercy", "Know You Rider" or "Winin' Boy Blues" stand out.

Rainbow-Ritchie Blackmore´s Rainbow (1975)

We've discussed before the reasons that led Deep Purple guitarist Ritchie Blackmore to leave the legendary band and found his own, where he did as he pleased, but also created monumental works like the enormous "Long Live Rock 'n' Roll" and "Rising", not to mention the magnificent double live album "On Stage". However, his first serious work, "Ritchie Blackmore's Rainbow", still showed a certain creative disarray compared to the aforementioned albums. For this first release, the ill-tempered guitarist had assembled a band that included himself, Ronnie James Dio, with whom he had forged a close friendship since the early 1970s when the diminutive singer was in the band Elf; bassist Craig Gruber; drummer Gary Driscoll; and keyboardist Mickey Lee Soule. All of them, except Dio, would be dismissed shortly after the album's recording, demonstrating the guitarist's volatile temper and Solomon-like decision-making. Recorded during the first months of 1975 in Munich, it was co-produced by Martin Birch, Ritchie Blackmore, and Ronnie James Dio, and released by Polydor Records in the middle of that year. This debut album, with its clear medieval and epic fantasy themes, clearly demonstrated the direction Rainbow's sound was taking. It features three of the most emblematic tracks of the band's entire career: the colossal "Man On The Silver Mountain" with its mythical riff backed by Dio's splendid vocals, the nostalgic and epic ballad "Catch The Rainbow", and the classic "Sixteenth Century Greenslaves". While the remaining tracks, though not achieving widespread recognition or significant impact, are still worth mentioning, such as the epic "The Temple Of The King", the hard rock anthem "Snake Charmer", and the instrumental version of The Yardbirds' "Stills I'm Said". This debut has always been overshadowed by its subsequent, superb successors, and has therefore consistently been considered a transitional and minor album in Blackmore and his band's career. However, it possesses enough merit to be considered a fundamental work in 1970s hard rock.

May Blitz-May Blitz (1970)

May Blitz were, for a brief and impactful time, a fundamental part of the British underground psychedelic hard rock scene. Formed in 1969 by Canadians James Black (guitar and vocals) and Reid Hudson (bass and vocals), they were joined by former Jeff Beck Group drummer Tony Newman. Power trios in the style of Cream, Jimi Hendrix Experience, and Groundhogs were proliferating at the time, so it was common for many bands to take this lineup as a model. Their first and brilliant album was released by Vertigo Records in 1970, featuring arguably one of the most horrendous album covers ever seen. Despite containing excellent music with great sound and production, it had little commercial impact. On it we find tracks like the opening, heavy hard rock song “Sleeping The Day Away”, the bluesy “I Don’t Know”, the laid-back “Dreaming”, the boogie jam “Skeet”, the exhilarating “Fire Queen”, and the brilliant “Virgin Waters”. After a second and commendable album, “The 2nd Of May” (1971), the band dissolved like so many others, with Hudson and Black returning to Canada, while Newman was recruited by the Gurvitz brothers to join the band Three Man Army.

Europe-Europe (1983)

Three years before they rose to global fame with their acclaimed pop-metal-oriented album "The Final Countdown", the Swedish band Europe began their powerful awakening with their self-titled debut album released in 1983. Fueled by the jovial enthusiasm of singer Joey Tempest, the metallic riffs of guitarist John Norum, and the driving rhythm section comprised of John Leven and Tony Reno, on this first record, the group showcased a heavier side with a powerful repertoire of conventional heavy metal songs with neoclassical influences. Although still showing some compositional immaturity, this album already features some of their best tracks, such as the heavy metal anthems "In The Future To Come", "Farewell", "Children of This Time", and "Seven Doors Hotel". The latter brought them their first major success outside of Europe, becoming a massive hit in countries like Japan, while the hard blues track "The King Will Return", the exhilarating "Boyazont", and the powerful ballad "Words of Wisdom" completed one of the best European heavy metal debuts of the 1980s.

Dokken-Under Look And Key (1985)

Dokken were one of the pioneering glam metal bands, a genre that became one of the most successful and mainstream in the world during the 1980s. Formed in Los Angeles in 1976, the band was founded by vocalist Don Dokken, guitarist George Lynch, bassist Johan Croucier, and drummer Mick Brown. While their first album was a commercial failure, it was with their second release that the band began a meteoric rise, accumulating numerous hits worldwide and selling millions of records. However, while that second album, "Tooth and Nail", had paved the way for their success in Europe, they still had to break through in their own country, at a time when the glam metal movement was all the rage. And it was with "Under Lock and Key" that they finally achieved massive success and worldwide recognition, thanks to a spectacular album packed with pop-metal and hard-rock hooks like "The Hunter" and "In My Dreams", tear-jerking ballads like "Jaded Heart" and "Slippin' Away", and powerful heavy-metal tracks like "Lightnin' Strikes Again", "It's Not Love", and "Till the Livin' End". With this third album, Dokken's well-oiled machine continued to produce a steady stream of gems that would pave the way for their absolute success throughout the rest of the 1980s.