Delivered in the wake of Phil Collins' massive success as a solo star, Invisible Touch was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album, and it's not hard to see why. Invisible Touch is, without a doubt, Genesis' poppiest album, a sleek, streamlined affair built on electronic percussion and dressed in synths that somehow seem to be programmed, not played by Tony Banks. In that sense, it does seem a bit like No Jacket Required, and the heavy emphasis on pop tunes does serve the singer, not the band, but it's not quite fair to call this a Collins album, and not just because there are two arty tunes that could have fit on its predecessor, Genesis.

Live in Boston (a.k.a. Boston Live and Jumping at Shadows) is a live album by British blues-rock band Fleetwood Mac that was first released in 1985. The songs on the album were recorded over three nights at the Boston Tea Party venue in Boston, between 5 and 7 February 1970. The recordings were made for a proposed live album which was to have been released during 1970. The project was shelved and the tapes remained unreleased, until Shanghai Records issued seven songs from the performances as Live in Boston in February 1985. The album was reissued a few months later as Jumping at Shadows by Varrick Records.

Ritchie Blackmore is an British guitarist and songwriter, began his professional career as a session musician as a member of the instrumental band The Outlaws and as a backing musician of pop singers Glenda Collins, Heinz, Screaming Lord Sutch, Neil Christian, etc.. Blackmore was also one of the original members of Deep Purple, playing jam-style rock music which mixed simple guitar riffs and organ sounds During his solo career, he established neo-classical metal band called Rainbow which fused baroque music influences elements with hard rock…

Fleetwood Mac retreated from the insular strangeness of Tusk and returned to straightforward pop songcraft for Mirage. Boasting a glossy, friendly production that makes even the lesser numbers pleasant and ingratiating, Mirage nonetheless suffers from a lack of substance. Rumours had raw emotion to give it a core, and Tusk had Lindsey Buckingham's runaway ambition. For its part, Mirage sounds as if its sole goal is to sustain Fleetwood Mac's popularity, and while there may be a handful of terrific songs – notably the hit singles "Gypsy," "Love in Store," and "Hold Me" – it simply isn't as compelling as the group's previous three albums.

With Rain Dances, Camel began exploring shorter, more concise songs, but it wasn't until its follow-up, Breathless, that they truly made a stab at writing pop songs. Although they didn't completely abandon improvisational prog rock – there are several fine, jazzy interludes – most of the record is comprised of shorter songs designed for radio play. While the group didn't quite achieve that goal, Breathless is nevertheless a more accessible record than Camel's other albums, which tend to focus on instrumentals. Here, they try to be a straightforward prog rock band, and while the results are occasionally a little muddled, it is on the whole surprisingly successful.

Art of Recording vol. 2 released in 2014 on stockfisch records. Album of popular singers such as Allan Taylor, Sara K, David Munyon, Paul O’Brien, Brooke Miller, Ewen Carruthers, Duo Balance, McKinley Black, Bass Swing Trio & Barbara Burkle.

Yngwie Malmsteen's second best album after Rising Force, Trilogy finds him delving wholeheartedly into fantastic, medieval themes and lyrical imagery. Yngwie's compositional skills are at their peak, and of all his albums, the lyrics here contribute the most to the overall feel of the music. The guitar solos, as always, are jaw-droppingly fast and technically demanding, but Malmsteen is still capable of playing them with force and fire behind them. Highlights include "Dark Ages," "You Don't Remember, I'll Never Forget," and the epic "Trilogy Suite Op:5."

Rumours is the kind of album that transcends its origins and reputation, entering the realm of legend – it's an album that simply exists outside of criticism and outside of its time, even if it thoroughly captures its era. Prior to this LP, Fleetwood Mac were moderately successful, but here they turned into a full-fledged phenomenon, with Rumours becoming the biggest-selling pop album to date. While its chart success was historic, much of the legend surrounding the record is born from the group's internal turmoil. Unlike most bands, Fleetwood Mac in the mid-'70s were professionally and romantically intertwined, with no less than two couples in the band, but as their professional career took off, the personal side unraveled.

Considered to be one of England's best drummers, Cozy Powell was almost legendary for a heavy-hitting style that could be made to work with many styles of music, He is best remembered for his work with Rainbow, Michael Schenker Group, Whitesnake and Black Sabbath as well as Emerson, Lake & Powell. The final solo album by Cozy Powell "Especially For You" was released in 1998 after his death, and featured American vocalist John West, Neil Murray, Lonnie Park, Michael Casswell and others. This album was only released in Japan.