The third and final album of what could be called Journey's cocoon phase (Escape would give birth to a fully formed butterfly and put the band through the stratosphere), 1980's Departure would also be the quintet's last with keyboardist/vocalist Gregg Rolie. Produced by Geoff Workman and Kevin Elson (essentially both engineers turned producers), the album continued to build on the band's previous two recordings, but offered an added edge, arrangement-wise. This was likely due to the fact that the band had walked into Automatt Studios with 19 new tunes and proceeded to record most of them live, eventually trimming down to 11 songs. Catapulted all the way up to number eight on the Billboard Top 200, Departure was the band's highest charting album to date and got off to an explosive start with the driving riffs and chorused vocals of "Anyway You Want It"…

With the platinum triumph of Infinity still ringing in their ears like coins in a slot machine, Journey was now committed to completing their transformation from jazz fusion/prog rock mavens into arena rock superstars with their fifth album, 1979's Evolution. This transition (also clearly illustrated by the futuristic insect gracing each album cover henceforth) would not come without its growing pains, however, and while producer Roy Thomas Baker was back for a second go-round, original drummer Aynsley Dunbar would be the first casualty of the band's new direction. Thankfully, former Ronnie Montrose skin-beater Steve Smith soon brought his college-trained jazz fusion background to the table, and the band was ready to get back to work…

By 1977 Journey had reached a creative crossroads, with three underwhelming studio albums under their belt and little to show in the way of commercial success. At the prodding of manager Herbie Herbert, who felt a major shakeup was needed in order to reignite their spark, the band was convinced to audition and eventually recruit the services of former Alien Project vocalist Steve Perry. Sure enough, adding him to the band just prior to the sessions for Infinity proved to be a stroke of genius, and a move that undeniably altered the course of history for the fledging Bay Area act. Released in January of 1978, Infinity easily proved to be the band's most cohesive work to date. Dead and buried were the jazz fusion overtones of previous offerings, and with the new songwriting combo of Perry/Neal Schon leading the march, the band set out to completely redefine their sound…

As its album title suggests, Starship's compilation Greatest Hits (Ten Years and Change 1979-1991) covers not only the group's popular heyday, 1985-1991, but also the earlier era, 1979-1984, which was actually the latter days of Jefferson Starship, after the departures of co-lead singers Marty Balin and Grace Slick, with former Elvin Bishop Group singer Mickey Thomas replacing Balin, and Slick, eventually, returning. The history that is described by the collection is largely one of attrition, effectively traced by the performer credits listed in the booklet. In 1979, the group is a sextet consisting of Thomas, lead guitarist Craig Chaquico, rhythm guitarist Paul Kantner (the last remaining holdout from the original Jefferson Airplane lineup), keyboardist Pete Sears, bassist David Freiberg, and drummer Aynsley Dunbar.

Foreigner - Foreigner (1977). Blissful feelings arise at the mere mention of 70s arena rock. It gives listeners the permission to have fun, sing along to aircraft-hangar-size choruses, play air guitar solos, forget about any troubles, recall the experience of a first kiss, and quite simply, rock out. Few albums better instill these pleasures than Foreigner’s 1977 self-titled debut album, a five-times platinum blockbuster chock full of salacious riffs, soaring vocals, edgy beats, and lyrics that practically demand to be shouted.
Spearheaded by guitar hero Mick Jones, fresh off success with Spooky Tooth, Foreigner rallied around a talented collective pulled from the U.S. and U.K…

ART NATION is a melodic hard rock/AOR band from Sweden and it could easily be the next big thing from this country!! After the solid debut "Revolution" in 2015, Art Nation comes back with a new opus which is entitled "Liberation". "Liberation" includes all the things that we loved from the debut plus a catchier and more in-your-face sound that will make a big impact to this scene.

BIG SHOT was formed in the early 1990’s under the name of the Deryle Hughes Band. The original members were Deryle Hughes on vocals, David Mikeal on keyboards and guitar, Paul Drennan on bass, Angelo Janotti on guitar and Tommy Scott on drums. The group immediately started performing higher profile live dates. Unfortunately, Tommy left the group early on and Sean Shannon took over on the drums.

MelodicRock Classics deliver another forgotten classic from Canada – GNP’s 1989 album ‘Safety Zone’. The band featured former Saga members Jim Gilmour (Keyboards) and Steve Negus (Drums), looking for a more straightforward AOR direction on this, the only album GNP recorded. Saga are of course one of Canada’s most loved prog-rock groups. GNP was formed together with vocalist Robert Bevan in 1986, but it wasn’t until 3 years later the album was released.

Foreigner's most lucrative years came during their first four albums, with their guitar-driven arena rock flair settling in nicely with the rest of the late-'70s music scene. Twelve of Foreigner's 16 Top 40 singles are from a six year span, between 1977 and 1982, which is why Records makes for such an entertaining collection of the band's early work. With cuts stemming from Foreigner, Double Vision, Head Games, and 4, Records lines up ten of their first 11 hit singles, somehow leaving out 1979's "Blue Morning, Blue Day." But even with this minor deletion, the album is agreeably brief, and it's the most opportune route in exploring Foreigner's best material. Both "Cold As Ice" and "Double Vision" are stellar examples of Lou Gramm's vocal gusto and Mick Jones' bang-on guitar playing, while favorites like "Urgent" (with Junior Walker on sax ), "Head Games," and "Feels Like the First Time," with its shiny keyboard segments, are unblemished radio-rock standards.