Pavlov´s Dog-Pampered Menial (1975)

Considered a cult band, Pavlov's Dog was founded in the early 1970s in St. Louis, USA, and played a pure progressive rock that combined elements of folk and hard rock. Their debut was the impressive "Pampered Menial" in 1975, which is also undoubtedly their best work, showcasing the talent of the band led by guitarist Steve Scorfina. Along with singer David Surkamp, ​​drummer Mike Safron, bassist Rick Stockton, keyboardists David Hamilton and Doug Rayburn, and violinist Siegfried Carver, the band comprised the lineup. On this first album, the band perfectly combined beautiful compositions with the immense talent of all its members. With a powerful start to the track "Julia", where acoustic and symphonic elements blend sublimely, the band showcases its diverse sounds, such as "Late November", where they display a heavier edge with great guitar riffs, or the apotheotic and rhythmic "Song Dance", which leads us to "Fast Gun", "Natchez Trace", and "Theme from Subway Sue", where we can appreciate the group's eclectic sound. The album concludes with the instrumental "Preludin" and the progressive "Of Once and Future Kings", which becomes the grand finale of one of the great progressive albums of the 70s, as worthy and magnificent as the masterpieces of the genre from that era.

Horizont-Summer In Town (1986)

The mere fact that Western influences were the seed from which a Soviet band called Horizont could create a musical tapestry like the one they did is not only admirable but also unbelievable. Let's remember that before the fall of the Berlin Wall, present-day Russia was the Soviet Union, a country of rigid, practically hermetic communism that rejected almost anything coming from outside its borders. Beyond these political and chronological considerations, the first work of this band, founded in the mid-seventies, is one of the most fascinating albums ever produced by a group behind the Iron Curtain. Founded in the ancient city of Gorky (now Nizhny Novgorod), the band consisted of five classically trained musicians, a fact that undoubtedly contributes to the evident classical influences in the compositions included on their first album, released in 1986. They were Andrey Krivilev (vocals and keyboards), Vladimir Lutoshkin (guitars and flute), Sergei Kornilov (keyboards), Alexey Eremenko (bass), and Valentin Sinitsyn (drums). A prime example of this is the grandiose "Snowballs", nearly ten minutes of majestic organ, piano, and string synthesizer sounds, underpinned by a coherent and solid rhythm section. Echoes of British symphonic rock groups like Genesis and ELP are present, making it an excellent composition that, while not entirely original, showcases the band's virtuosity and ingenuity. On the other hand, there is the hypnotic "Chacone" which, enveloped in an aura of melancholy and darkness, emanates great melodic bursts, while the final suite, composed of the epic that gives the album its title, is a much more eclectic cut, where symphonic sections, jazz, and atmospheric passages very close to space rock are given space.

Darryl Way´s Wolf-Night Music (1974)

After Curved Air disbanded, one of its leaders, violinist Darryl Way, formed a new band called Darryl Way's Wolf, which followed the same musical style as its predecessor. For its creation, Way recruited drummer Ian Mosley, singer Colin Hodkinson, guitarist John Etheridge, and bassist Dek Messecar. With this lineup, they released three albums focused on progressive rock with strong classical and jazz influences. "Night Music", released in 1974, was the band's third and final album, in which they achieved a balanced instrumental sound, as demonstrated in the frenetic "The Envoy", the more subdued "Black September", the hard rock track "Flat 2-55", and the progressive jazz number "We're Watching You". In this recording all the musicians showcase their instrumental excellence, but it is nevertheless Etheridge's fiery guitars, Mosley's powerful drumming and Way's immeasurable talent on the violin that stand out in this excellent British progressive jazz rock album.

Astrodome-Astrodome (2015)

Astrodome, along with Vircator and The Black Wizards, is one of the new bands in Portuguese psychedelic progressive rock. Their 2015 debut is a magnificent offering of expansive, spacey sounds, heavy metal, blues, and symphonic rock, driven by a thunderous rhythm section and the duality of heavy, atmospheric guitars. Their initial lineup consisted of José Costa (guitar), Manuel Guimarães (guitar), Michael Oliveira (bass), and Bruno Silva (drums). Their compositions also feature abundant ethnic and Eastern elements, lending them a mystical quality, as evidenced in tracks like the expansive progressive heavy metal song "Arrival", while the heavy and dark "Coronation" is the perfect stylistic synthesis of this magnificent Portuguese band. Other highlights on the album include the thunderous "High Spirits" and the intense psychedelic and space rock of "Through The Black Hole".

Chuck Mangione-Feels So Good (1977)

It took Chuck Mangione 17 years to finally achieve major success and international recognition, thanks to his 1977 album "Feels So Good". Mangione had begun his artistic career in 1960, releasing album after album a total of eight all of which, despite their undeniable quality, seemed stuck at the bottom of the charts with little commercial impact. His career up to that point had been quite prolific, with various collaborations such as the Jazz Brothers, alongside his brother Gaspare, in different jazz orchestras like Art Blakey's Jazz Messenger, and he even recorded an ambitious project with the Rochester Philharmonic Orchestra, where he wanted to express his ideas of fusing jazz and rock. This project included the track "The Hill Where The Lord Hides", which would capture the attention of jazz-rock fans. When "Feels So Good" was released, it sparked a collective frenzy for Mangione's music, even topping the pop and R&B charts a rare feat for a jazz album. But what was most unusual was that it won Grammy Awards in three different categories: pop, jazz, and rhythm and blues. Following "Feels So Good", Mangione released other highly successful albums such as "Fun and Games" and the soundtrack for "The Children of Sanchez", both in the late seventies.

Lucifer´s Friend-Banquet (1974)

The history of the German band Lucifer's Friend has been marked by diverse musical directions. They were never content to remain within a single defined style, but rather always preferred to explore new avenues with each subsequent album. They navigated brilliantly from the heavy prog of their roots to hard rock, passing through jazz rock, though always with a clear progressive perspective. In 1974, the band released their fourth album, "Banquet", where they moved away from the heavy sounds of their first two albums to delve into the realm of jazz rock, but without definitively abandoning their heavy rock roots. The compositions on this album remain powerful but with a different nature, partly replacing the sharp, dark guitar riffs with the sounds of electric piano, synthesizers, string instruments, and elaborate brass arrangements. Here, the guitars are more focused on solos than riffs, and the fact that pure hard rock is almost entirely absent does not mean that the overall tone of the album is any less powerful. Tracks like "Spanish Galleon" or "Sorrow" are a clear example of that orientation towards the realms of jazz rock, while "Thus Spoke Oberon" is closer to classic progressive rock, and in a similar tone appears the energetic and baroque "Dirty Old Town", with which they ended a muscular and forceful album, almost as much as any of the best hard rock albums of the time.

Brian´s Auger Oblivion Express-Second Wind (1972)

On his ninth album with his band Oblivion Express, organist Brian Auger expanded the lineup with a new vocalist, Alex Ligertwood, a guitarist and singer who had previously worked with the Jeff Beck Group. While the foundation of this new work remains an innovative, heavy jazz-rock sound, Auger incorporates other stylistic elements such as rhythm and blues and funk, styles that had appeared sporadically in his earlier work, but which are more prominent here. Songs like the energetic opening track, "Truth", have that characteristic Santana Latin rock feel. Written by Ligertwood, the bass, guitar, and Hammond organ sequences make for a strong start. In contrast to the latter, there is the more contemplative "Don't Look Away", the galloping jazz rock "Somebody Help Us", the dynamic with funk and rhythm and blues arrangements "Freedom Jazz Dance", or the excellent jazz fusion rock "Just Me Just You", while the song that gives the album its title, is an intense jazz rock driven by the interaction of Jim Mullen's guitar, the precise rhythm section composed of bassist Barry Dean and drummer Robbie McIntosh, along with Auger's organ, finally culminating this superb and surprising ninth album by Brian Auger's Oblivion Express.

Brian Auger´s Oblivion Express-Closer To It! (1973)

If with the album "Second Wind" Brian Auger and his band As Oblivion Express veered towards a more jazz-oriented sound, on the following album, "Closer to It!", that direction was even more pronounced, fully embracing jazz-rock with Latin influences. For this recording, vocalist Alex Ligertwood, guitarist Jim Mullen, and drummer Robbie McIntosh were replaced by Jack Mills (guitar) and Godfrey MacLean (drums), while Lennox Laington (congas), Barry Dean (bass), and of course Brian Auger himself (organ and keyboards) returned. The sounds of Latin jazz fusion are present in the opening track, "Whenever You're Ready", which sets the musical tone for the rest of the album. Along a similar path run the irresistible "Happiness is Just Around the Bend" and "Light on the Path", while the more sophisticated and progressive "Compared to What", the more predictable "Voices of Other Times" and the anthological version of Marvin Gaye's "Inner City Blues", make up one of Brain Auger's greatest and best contributions to progressive jazz rock.

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.

Steamhammer-Speech (1972)

The fourth and final album from the legendary Steamhammer, a band that emerged in late 1969 within the fertile British blues-rock movement. While their debut was a clear example of the best blues of that era, their subsequent releases leaned towards a more jazz-oriented sound with elements of progressive rock. In 1972, this lineup, comprised of guitarist and vocalist Martin Pugh, bassist Louis Cennamo, and drummer Mickey Bradley, along with guest appearances from Renaissance members Keith and Jane Relf and vocalist Garth Watt-Roy, recorded Steamhammer's fourth and final album. On this fourth release, titled "Speech", the band embraced a style closer to dark hard rock, as demonstrated in the terrifying suite "Penumbra", a track that puts all the black metal bands of the eighties and nineties to shame. In a similar vein come the frenetic blues-rock of "Telegram" and the extravagant "For Against", which includes a long and somewhat tedious drum solo. Despite the heavy, angry hard rock sound, this album became their most progressive offering, featuring intricate songs and complex, challenging instrumentation.

Iron Maiden-Killers (1981)

Iron Maiden's second album confirmed the band's growing popularity among heavy metal fans worldwide. While more elaborately produced than its predecessor, it sacrificed the spontaneity and freshness of their debut, opting instead for more restrained and accomplished compositions and greater instrumental complexity a trend that would be further reinforced in subsequent releases. This complexity is evident in the frenetic tracks "Purgatory", "Wrathchild", and "Twilight Zone", the reflective "Murders in the Rue Morgue", the intense and emotional "Innocent Exile" and "Genghis Khan", and the melodic "Prodigal Son". "Killers" became a classic for Iron Maiden and heavy metal in general, achieving overwhelming commercial success with numerous gold and platinum records worldwide for its multi-million sales.

Kansas-The Prelude Implicit (2016)

"The Prelude Implicit", released in 2016, was the penultimate album recorded by the American progressive rock masters Kansas. By this point, the band had undergone numerous changes since that legendary lineup that began in the mid-70s, creating some of the genre's masterpieces. Guitarist Kerry Livgren, vocalist Steve Walsh, bassist Dave Hope, and violinist Robbie Steinhardt were no longer in the lineup, but original members Phil Ehart (drums) and Rich Williams (guitar) remained. The rest of the lineup consisted of Ronnie Platt (vocals), Zak Rizvi (guitar), David Manion (keyboards), David Ragsdale (violin), and bassist Billy Greer, who had already played on some albums in the 80s and 90s. Although the strictly progressive spirit of early Kansas is no longer present to some extent, purist fans found in this album a band that focused its efforts on completing a truly worthy record that navigates between AOR and modern progressive rock. Songs like the catchy "With This Heart", the carefree classic rock "Summer", the dramatic "Visibility Zero", the progressive "Rhythm In The Spirit", the epic "The Voyage Of Eight Eighteen", and the vintage "Section 60" are more than enough reasons to consider this an excellent album from this rejuvenated Kansas.

IQ-Are You Sitting Comfortably ? (1989)

Following two of the neo-progressive masterpieces, "Tales from the Lush Attic" (1983) and "The Wake" (1985), the British band IQ explored the more accessible sounds of sophisticated pop with their third album, "Nomzamo" (1989), and the stylistically consistent "Are You Sitting Comfortably" several years later. However, despite its more pop-oriented sound, progressive elements remain present in the album's final musical structure. The album showcases the sensational voice of Paul Menel, whose dark and somber vocal style is immeasurable, in a setlist of dynamic, balanced, and incredibly catchy songs. Likewise, guitarist Mike Holmes's work once again displays his acoustic delicacy with its brilliant arpeggios. On the other hand, Martin Orford's keyboards continue to be the driving force with their futuristic and progressive notes, particularly in the instrumental "Nostalgia", the dark "Falling Apart at the Seams", the hypnotic "Nothing at all", and the sinister "Drive On" and "Sold on You". After this fourth release, singer Paul Menel left the band, leaving behind a brilliant work that was nevertheless highly debated by their more orthodox fans. Four years later, IQ returned to their avant-garde path with the excellent "Ever", which, to the delight of their large fanbase, put them back on track in their discography.

Blackwater Park-Dirt Box (1972)

Another German band that succumbed early in the rock world was Blackwater Park. Despite releasing a remarkable progressive hard rock album, they unfortunately failed to achieve commercial or media success in their time. Founded in Berlin near the end of 1971, their original lineup consisted of guitarists and vocalist Richard Routledge and Michael Fechner, drummer Norbert Kagelmann, and bassist Andreas Scholz. Thanks to the German label BASF, they recorded their only album in 1972, "Dirt Box", which showcases their musical preferences for hard rock. Raw, incisive guitar riffs, the occasional Hammond organ, and a progressive undercurrent with psychedelic touches propel a series of commendable songs within a melodic and catchy framework. That progressive and psychedelic avant-garde is present in "Rock Song", while the heavy "Roundabout", the psychedelic "One's Life", the bluesy "Indian Summer" or the melodic rock "Mental Block", make up a very good work that would go totally unnoticed until many years later, when the Swedish progressive metal band Opeth, would rescue them from oblivion by titling their fifth album in their honor "Blackwater Park" (2001).

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.

Gwendal-Gwendal (1974)

Gwendal is a legendary French band that masterfully fused Celtic and Breton influences with jazz and rock elements. Its founder was saxophonist and flautist Youenn Le Barre, who, along with bassist Roger Schaub and guitarist Jean-Marie Renard, was one of the band's core members for many years. Their self-titled debut album, "Gwendal", was released in 1974, showcasing the rhythms and folk influences of Ireland and medieval music. On this first release, instruments like the violin and flute were the driving force behind a distinctly traditional style. However, by then, other artists such as The Horslips, Alan Stivell, Gryphon, and Clannad had already explored this eclectic fusion of traditional and avant-garde sounds, releasing seminal works that would have a profound impact on the world of modern music. Despite having a musical philosophy still undefined, this debut album showcases interesting creative contributions such as the rhythmic "An Dro-Nevez", the reflective "Planxty-Birke", the intriguing "Patrick's Day", and the minimalist "Deu Tu Ganene". Starting with their third album, "Á Vos Désirs" (1977), they incorporated drummer Arnaud Rogers, an instrument that would broaden Gwendal's musical palette, adding a deeper, more jazz-influenced dimension to their rich and distinctive style.

Magnum-On A Storyteller´s Night (1985)

With cover art that perfectly reflects the music within, Magnum's fifth album, "On A Storyteller's Night", became one of their best works, perfectly capturing their addictive style that brilliantly blends epic, melodic rock, and progressive structures. It's replete with great keyboard passages, courtesy of Mark Stanway, the powerful hard rock guitars of Tony Clarke, and the impressive vocals of singer Bob Catley. From the energetic "Just Like An Arrow" to the melodic "The Last Dance", passing through the infectious "Endless Love", the AOR "Two Hearts", and the epic and glorious "Haw Far Jerusalem", Magnum showcased their great musical diversity, producing everything from semi-progressive albums like "Chase The Dragon" and "Wings Of Heaven" to clear concessions to high-quality melodic rock such as "The Eleventh Hour", "Vigilante", and "Goodnight L.A".

Earth, Wind & Fire-The Best of Earth, Wind & Fire, Vol1 (1978)

Earth, Wind & Fire managed to turn every song they composed into a true anthem for an entire generation, whether it was funk, rock, soul, disco, or R&B. They are also one of the most successful bands of all time, with nearly 100 million records sold and seventeen Grammy nominations, winning six and countless other accolades. In 1978, with only seven albums released, they launched the compilation "The Best of Earth, Wind & Fire, Vol 1", which became a massive success, selling over 6 million copies thanks to an impressive collection of great songs like "Got to Get You Into My Life", "Fantasy", "Love Music", "Getaway", "September", and "Sing a Song". The band continued to release work until 2014, reaping success after success such as the million-selling albums "I Am" (1979), "Faces" (1980), "Raise!" (1981) or "The Essential" (2002).

Steeleye Span-All Around My Hat (1975)

"All Around My Hat" perfectly encapsulated Steeleye Span's nascent style, blending their folk sound with more accessible, commercial rock. It subtly replaced their usual fusion of artful folk and traditional folk from their earlier works, particularly their predecessors "Now We Are Six" (1974) and "Commoners Crown" (1975). For this new album, curiously released months after "Commoners Crown", the band, led by the duo Maddy Prior and Tim Hart (vocals and guitars respectively), expanded their musical horizons into the realm of folk-influenced rock, highlighting Bob Johnson's powerful electric guitar riffs. With a repertoire full of attractive songs such as "All Around My Hat", "Gamble Gold", "Hard Times Of Old England", "Sun Waves" or "Dance With Me", with this album, the eighth chronologically of Steeleye Span, they would achieve their greatest commercial success, achieving a gold record in the British charts and considerable sales outside the United Kingdom.

Boomerang-Boomerang (1971)

From the ashes of the legendary Vanilla Fudge emerged several bands: Cactus and Boomerang. Cactus was led by drummer Carmine Appice and bassist Tim Bogert, while keyboardist Mark Stein would form the core of Boomerang. To form Boomerang, Stein recruited several unknown musicians, starting with guitarist Richard Rameriz, bassist Jo Casmir, and drummer James Galluzi. Their only release was the self-titled "Boomerang," a decent hard rock album that drew from the sonic sources of other contemporary bands such as Vanilla Fudge, Led Zeppelin, and Steppenwolf, but with a clear psychedelic undercurrent. Rameriz's heavy guitar riffs, Stein's dense organ, and the dusty, southern rock-influenced rhythm are the common denominator of an album that, despite containing a commendable repertoire, would fail spectacularly, overshadowed by the success of his former bandmates in Cactus. Powerful hard rock tracks like "Cynthia Fever", "The Peddler" or "Juke", the country rock "Hard Time", the bluesy boogie "Mockinbird", the attractive southern rock "Fisherman" or the melodic ballad "Brother's Comin' Home", have enough merit for this release to have had greater media and commercial recognition.

Fischer-Z-Red Skies Over Paradise (1981)

Fischer-Z were one of the most successful and well-known post-punk and new wave bands of the early 1980s. Formed in 1977 by guitarist and activist John Watts, along with David Graham (bass), Steve Liddle (drums), and Steve Skolnik (keyboards), this quartet built a strong reputation over several years on the London club and pub circuit, thanks to their blend of punk rock and synth-pop with elements of pub rock and ska and reggae rhythms. Signed to United Records, they released their debut album, "World Salad", in mid-1979, which featured biting political themes of the time and a catchy, basic pop-rock style. With their next full-length album, "Going Deaf For A Living", Watts solidified the group's style, firmly establishing their music as a vehicle for conveying political ideas through the short narratives of their songs. On their first two albums, they featured sarcastic songs like "Pretty Paracetamol", "The Worker", "So Long", and "Room Service". With "Red Skies Over Paradise", their third release, they made clear political references to the Cold War between capitalist and communist countries, starting with the ironic cover art. This ironic narrative is present in songs like "Battalions of Strangers" and "Cruise Missiles", which contrast with melancholic love songs like the moving "Marliese". With this last album, Fischer-Z achieved their best creative and commercial work, selling over a million copies and, incidentally, becoming their epitaph. Shortly after, John Watts ended the band, at least for six long years, before reviving them with new members, but showcasing their usual forceful political messages mixed with other, more repetitive songs.

Seventh Key-Seventh Key (2001)

In early 2000, bassist Billy Greer, formerly of Kansas' second incarnation, and guitarist Mike Slamer, formerly of the band led by Steve Walsh Street, founded Seventh Key, a group that navigated between melodic rock and hard rock. At the start of 2001, they released their debut album, which, in addition to keyboardists David Manion and Igor Len and drummer Chet Wynd, also featured some members of Kansas, including Phil Ehart, Steve Walsh, Steve Morse, and Rich Williams. On this first album, the hard rock guitar riffs of Slamer, Morse, and Williams, along with Manion's keyboard flourishes and the irresistible vocal harmonies courtesy of Greer and singers Terry Brock and Steve Walsh, are the common thread running through most of the tracks. From attractive mid-tempo tracks like "Only The Brave", "Missy", "Surrender" or "When Love Is Dying", to catchy AOR tracks like "Everytime It Rains" and "Forsaken", passing through the energetic "The Kid Could Play" or "Prisoner of Love", they all together make up an excellent work highly regarded by fans of adult-oriented rock, which would have a brilliant continuation several years later with "The Raging Fire".

Todd Rundgren-Initiation (1975)

This is probably Todd Rundgren's most progressive solo work, considered by many to be a masterpiece of avant-garde rock, offering everything from energetic tracks to astonishing instrumental exercises on keyboards and guitars. Released in 1975, "Initiation" was his sixth album outside of his band Utopia, and on it the guitarist and producer surrounded himself with a wide range of collaborators, including Edgar Winter, Rick Derringer, David Sanborn, Dan Hartman, Rick Marotta, and Roger Powell, among others. With an unusual runtime of nearly 70 minutes, Rundgren managed to fit a repertoire twice as long as almost any other record released at the time onto just one side of the original vinyl. While the album features several songs with a clear conventional rock feel, it also contains many progressive and experimental moments. The heavy tracks "The Death of Rock and Roll" and "Eastern Intrigue" are perhaps the most peculiar among all the conventional ones, contrasting sharply with the pleasant "Real Man" or the extravagant "Born to Synthesize", an a cappella song sung by Todd himself. However, the expansive "Initiation", "Fair Warning", and especially the hallucinatory instrumental suite "A Treatise on Cosmic Fire" are the high points of this surprising recording by the blond guitarist from Pennsylvania.

Judas Priest-Sin After Sin (1977)

In 1977, Judas Priest was still finding its way, and despite having released the commendable "Rocka Rolla" (1974) and "Sad Wings of Destiny" (1976), these were far from defining the style that would propel them to fame years later. For their next album, "Sin After Sin", they moved away from the dark and melancholic sound of their previous record, raising the tone and adding much more aggression that would lay the foundation for their future work. They distanced themselves from the blues influences that had shaped greats like Black Sabbath, Led Zeppelin, and Deep Purple, and with their incendiary guitar duels perhaps the best in history (with all due respect to other legendary bands like Wishbone Ash and Thin Lizzy) and the accelerated tempos in some tracks, heavy metal began to grow and take shape. Tracks include true anthems like "Sinner" or the amazing version of Joan Baez's "Diamonds And Rust".

Judas Priest-Painkiller (1990)

"Painkiller" is one of the most memorable heavy metal albums ever recorded, a powerful record created by gods of the genre like Judas Priest. With this, their twelfth album, the British group reached the next level within their classic heavy metal style, featuring the blistering and lightning-fast guitar riffs of KK Downing and Glenn Tipton, Rob Halford's anguished and aggressive screams, Ian Hill's heavy and driving bass, and the prodigious, hyperactive double bass drumming of the newly added Scott Travis. Composed of ten tracks, the entire album is incredibly solid, dizzying, powerful, rhythmic, and tremendously catchy. Tracks like "One Shot At Glory", "Night Crawler", "A Touch Of Evil", "Painkiller", "Metal Meltdown", "Hell Patrol", "Battle Hymn" or "Leather Rebel" make up one of the most commercially successful and critically acclaimed albums worldwide, also representing a milestone in heavy metal, mainly due to the wide influence and impact it had on many subsequent bands.

Judas Priest-Turbo (1986)

In 1986, Judas Priest showcased their experimental side with the release of "Turbo", a controversial yet successful album where they first used synthesizers and embraced (albeit quite subtly) heavy pop. At the height of their success, Rob Halford and company dared to flirt with the styles that, at the time, most rivaled hard rock and heavy metal: the glamorous and commercial sound of American glam metal. Much like Iron Maiden did during those years, synthesized guitars are used elegantly, at least in tracks like the monumental "Turbo Lover", which would become an instant heavy metal classic. "Locked In" and "Private Property" follow a similar path, featuring the immense talents of K.K. Downing and Glenn Tipton on guitars and a driving rhythm section comprised of Dave Holland and Ian Hill. However, there are also glimpses of the usual Judas Priest sound with the ironic "Parental Guidance", the carefree "Wild Nights, Hot & Crazy Days", and the heavy rock of "Reckless". Despite being maligned by many of their more orthodox fans, "Turbo" is the album that best balances raw, powerful heavy metal with the rock/pop of the 1980s.

Judas Priest-Killing Machine (1978)

"Killing Machine" is the second album released by the British band Judas Priest in 1978, and the first to feature the same lineup as their previous album, "Stained Class". Interestingly, this album was released in the United States three months later than in the rest of the world, and was also retitled "Hell Bent For Leather". While maintaining a very high level of musicianship, this release adjusts the sound towards more basic parameters to make it more accessible and commercially viable. Even so, it remains a powerful heavy metal album, with thrilling, hard-hitting songs. Tracks like "Hell Bent For Leather", "Running Wild", "Delivering The Goods", "Evil Fantasies", and "Killing Machine" form the solid backbone of the album's heavy metal, while the melodic "Before The Dawn" is the only piece that offers a brief respite from the relentless pace of the rest of the album. "Killing Machine" is considered the perfect transition between the classic hard/heavy rock sound with some progressive tendencies of their previous works and the dark and accelerated tone of conventional heavy metal of their subsequent releases.

Judas Priest-Ram It Down (1988)

In 1988, heavy metal was immersed in the sounds favoring the speed of thrash and glam that dominated MTV, leaving the genre's more traditional bands at a crossroads: whether to stick to their established philosophy or explore these styles that were trending at the time. In this context, Judas Priest had attempted to commercialize their style with "Turbo" (1986), a synthesizer-heavy album that was panned by their most devoted fans but nevertheless gained many new followers. Despite the commercial success of "Turbo", the band didn't want to continue down that path, or at least not so blatantly, and several years later released the challenging "Ram It Down", an album that straddled the line between their classic heavy metal and some of the experimentation they had showcased on their previous work. On "Ram It Down", Judas Priest returned with their fiercest and coldest sound, crafting a precise heavy metal album with the dizzying riffs of Glenn Tipton and K.K. Downing and the thunderous rhythm section of Dave Holland and Ian Hill. Songs like the galloping title track, the accelerated "Heavy Metal" and "Hard As Iron", the conventional heavy metal/hard rock tracks "Come And Get It", "Monster Of Rock", and "Love You Death", the dramatic "Blood Red Skies", and the experimental cover of Chuck Berry's "Johnny B. Goode" (the latter two being the closest to the sound of their previous album), not only demonstrated a profound reflection on the path forward but also showcased the astonishing vocal range of Rob Halford, who was at the peak of his powers during those years.

Judas Priest-Defenders Of The Faith (1984)

Considered by their most die-hard fans as one of Judas Priest's last great albums, "Defenders of the Faith" continued the triumphant path of its predecessors, "British Steel" (1980), "Point of Entry" (1981), and "Screaming for Vengeance" (1982). On this occasion, the band even transformed their visceral style into aggressive heavy metal, with countless instrumental pyrotechnics driven by their two ruthless guitarists, K.K. Downing and Glenn Tipton, and supported by the blistering rhythm section of bassist Ian Hill and drummer Dave Holland. Special mention must be made of the soaring vocals of a sublime Rob Halford in immeasurable form. Thrilling heavy metal tracks like "Freewheel Burning" or "The Sentinel", along with the raw "Jawbreaker", "Rock Hard Ride Free", "Love Bites", "Some Heads Are Gonna Roll" or "Heavy Dute", make up the amazing repertoire of one of the essential albums in the history of heavy metal.

The Herbie Hancock Group-Head Hunters (1973)

Once Herbie Hancock concluded his "Mwandishi" period (essentially a fusion of free jazz, modal jazz, and tribal sounds), he returned to a more conventional, funk-infused jazz style with the release of "The Herbie Hancock Group: Head Hunters". For this album, Hancock reunited his band Sextant, which included Bennie Maupin, Paul Jackson, Harvey Mason, and Bill Summers. Comprising four expansive tracks, from the opening "Chameleon", Hancock makes it clear that the material presented here differs considerably from his previous work. A tour de force in clear jazz-funk style, the jazz-rock influences of "Bitches Brew" are represented in the dynamic "Sly" and the ethereal, atmospheric "Vein Melter", while the jazz-fusion track "Watermelon Man" provides the most accessible moment on the entire album. This "Head Hunters" is, along with works such as "Crossings" (1972), "Sextant" (1973), "Thrust" (1974), "Man-Child" (1975) or "Mr. Hands" (1980), the creative pinnacle of one of the greatest jazz rock pianists in history.

Barclay James Harvest-XII (1978)

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

Barclay James Harvest-Once Again (1971)

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

Barclay James Harvest-Turn Of The Tide (1981)

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

Barclay James Harvest-Baby James Harvest (1972)

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

Electric Light Orchestra-Secret Messages (1983)

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

Barclay James Harvest-Ring Of Changes (1983)

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

Skagarack-Hungry For A Game (1988)

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

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

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

Nova-Blink (1975)

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

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.

Hannibal-Hannibal (1970)

Brass rock wasn't exclusively an American style; bands from other parts of the world also emerged that fused jazz with rock, classical music, blues, and progressive rock, but they had less media and commercial success than the genre's flagship bands, such as the American groups Chicago Transit Authority, Blood, Sweat & Tears, If, A.B. Skhy, and Dreams. Hannibal was one of those bands that emerged in the wake of the aforementioned groups and was formed in Birmingham, England, in the late 1960s. Short-lived, they only released one album in 1970, featuring Alex Boyce (vocals), Adrian Ingram (guitar), Bill Hunt (Hammond organ), Cliff Williams (tenor saxophone and clarinet), Jack Griffiths (bass), and John Parkes (drums). With a style based on elaborate compositions that navigate between blues rock and jazz rock, this band would manage to create an excellent repertoire in which the avant-garde jazz "Winter", the blues rock-jazz "Wet Legs" and "Look Upon Me", the hypnotic and psychedelic "Winds of Change", the experimental jazz-blues "Bend for a Friend" or the dark and progressive "1066" stood out.

UFO-Lights Out (1977)

UFO are legends within the world of hard rock, but they were almost equally unfairly relegated by many fans to mere second-rate acts compared to other great bands of the genre, despite having produced a colossal and brilliant discography. One of those impressive works is their mythical "Lights Out", a true masterpiece of British hard rock, released in 1977 as their sixth album up to that point. The mere presence of guitarist Michael Schenker, demonstrating his enormous talent and virtuosity, is more than enough reason to consider this album a simply masterful work. But in addition to Michael Schenker, Phil Moog showcases his excellent vocal range, delivering a memorable performance, as does the rest of the band, composed of Paul Raymond (guitar and keyboards), Pete Way (bass), and Andy Parker (drums). Power, rhythm, melody and energy are what UFO leaves on record in the grooves of this album, highlighting the vigorous "Too Hot to Handle With", "Just Another Suicide", "Gettin' Ready" and "Electric Phase", in addition to the semi-progressive epic "Love to Love", while the beautiful ballad "Try Me", or the successful version of the Americans Love, "Alone Again Or", put the brakes on such a robust repertoire of magnificent songs of the best hard rock of the late 70s.

Casiopea-Casiopea (1979)

Casiopea symbolizes the best of Japanese jazz, inspired by smooth jazz, funk, and rock—a group that has been one of its leading exponents for decades. This Japanese band has always revolved around its leader and principal composer, Issei Noro (guitar), the only member who has remained with the band since its founding in the mid-seventies, despite countless lineup changes over nearly five decades. Several years after its formation, and after successful participation in various jazz festivals, they released their first full-length album with Minoru Mukaiya (keyboards), Takashi Sasaki (drums), and Tetsuo Sakurai (bass). This debut also featured collaborations with three of the greatest musicians on the North American jazz fusion scene: David Sanborn, Michael Brecker, and Randy Brecker. Although their style was still developing, on this first recording, the Japanese band created a fascinating fusion album blending melodic jazz, vigorous rock, and rhythmic funk. The funk rhythm is present throughout much of the album, especially in the dynamic tracks "Dream Hill" and "Black Joke." Meanwhile, the progressive "Space Road," the smooth jazz of "Tears of the Star," and the addictive jazz fusion of "Swallow" showcase Casiopea's great eclecticism. From this point on, the band would enjoy a prolific career, releasing over fifty albums, both studio and live, making them one of the most prolific labels in the history of jazz-rock.

Howard Leese-Secret Weapon (2009)

The career of American guitarist and composer Howard Leese is as productive as it is successful, from his beginnings in the late 1960s as the leader of the bands The Zoo and Mad Dog, with whom he released the albums "The Zoo Presents Chocolate Moose" (1968) and "Down Of The Seventh Sun" (1969) respectively, to his later participation as a member of the famous band Heart, with whom he achieved a brilliant and successful career, releasing half a dozen of some of the best and best-selling melodic rock and hard rock albums of the seventies and eighties, and his collaborations with other artists such as Randy Meisner of The Eagles, Lita Ford, and Paul Rodgers. In 2008, after regularly collaborating with Rodgers and his reformed Bad Company, he decided to record his first solo album, for which he collaborated with Paul Rodgers himself, as well as Joe Lynn Turner, Keith Emerson, Jimi Jamison, and Keith St. John, among others. With such a lineup of top-notch musicians, Howard recorded "Secret Weapon", a veritable showcase of great rock that blends various styles, from powerful hard rock to lighter folk-rock riffs and forays into progressive rock. From the opening and energetic "Alive Again", Leese makes his songwriting prowess evident, while also offering a clear nod to his glorious past with his beloved Heart, featuring the incomparable Joe Lynn Turner on vocals in a powerful and addictive hard rock track. American roots rock is present in the southern-tinged "Hot to Cold", while the symphonic and instrumental "33 West Street" is the album's most progressive moment, where Keith Emerson shares the instrumental spotlight with Leese's powerful guitar, his imposing keyboards complementing his driving guitar. While "Rada's Theme", another brilliant instrumental track, the melodic and irresistible "The South Summit" and "In These Eyes", or the blues rock "I've Been Leavin' You", demonstrate the enormous quality of an outstanding album of great American rock.

Loverboy-Get Lucky (1981)

Loverboy was one of the most successful and inspired bands of the early 1980s, achieving three multi-platinum albums in just four years, all focused on melodic FM rock. This Canadian band was formed in Calgary in 1979 by guitarist Paul Dean and vocalist Mike Reno, who were later joined by drummer Matt Frenette, keyboardist Doug Johnson, and bassist Scott Smith. With a lucrative contract from Columbia Records, they released their self-titled debut album, "Loverboy", which featured the hits "The Kid Is Hot Tonight" and "Turn Me Loose", two FM radio classics and anthems of adult-oriented rock. This debut propelled them to stardom, earning them half a dozen platinum records. However, it was with their second album, "Get Lucky", that they achieved definitive stardom thanks to their excellent hard rock blended with original synthesizer lines, captivating vocals, and exquisite production. Part of this success was due to the impressive team of engineers and producers, including Bob Rock, Mike Fraser, George Marino, and Bruce Fairbairn. “Get Lucky” contains an irresistible collection of songs, such as the catchy “Working For The Weekend”, engaging mid-tempo tracks like “When It’s Over” and “Gangs In The Street”, pure hard rock anthems like “Emotional” and “Lucky Ones”, and AOR hits like “Jump” and “Take Me To The Top”. “Get Lucky” became an essential AOR classic and one of the most successful albums of the genre, achieving seven platinum records and selling five million copies in the North American market alone.