Santana's Greatest Hits is a 1974 compilation album by Santana. It offers highlights from the group's first three albums. It is the band's best-selling compilation album, selling over 7 million copies in the U.S. alone while selling more than 8 million records worldwide.

Given all the overt literary references of Selling England by the Pound, along with their taste for epic suites such as "Supper's Ready," it was only a matter of time before Genesis attempted a full-fledged concept album, and 1974's The Lamb Lies Down on Broadway was a massive rock opera: the winding, wielding story of a Puerto Rican hustler name Rael making his way in New York City. Peter Gabriel made some tentative moves toward developing this story into a movie with William Friedkin but it never took off, perhaps it's just as well; even with the lengthy libretto included with the album, the story never makes sense. But just because the story is rather impenetrable doesn't mean that the album is as well, because it is a forceful, imaginative piece of work that showcases the original Genesis lineup at a peak…

This is the album where Jeff Lynne finally found the sound he'd wanted since co-founding Electric Light Orchestra three years earlier. Up to this point, most of the group's music had been self-contained – Lynne, Richard Tandy, et al., providing whatever was needed, vocally or instrumentally, even if it meant overdubbing their work layer upon layer. Lynne saw the limitations of this process, however, and opted for the presence of an orchestra – it was only 30 pieces, but the result was a much richer musical palette than the group had ever had to work with, and their most ambitious and successful record up to that time.

The Doobies team up with the Memphis Horns for an even more Southern-flavored album than usual, although also a more uneven one. By this time, Tom Johnston, Patrick Simmons, and company had pretty well inherited the mantle and the core (and then some) of the audience left behind by Creedence Clearwater Revival and John Fogerty, with Johnston songs like "Pursuit on 53rd Street," "Down in the Track," and "Road Angel" recalling pieces like "Travelin' Band," while Simmons' "Black Water" (their first number one hit) evoked the softer side of the "swamp rock" popularized by CCR. Actually, in some respects, given the range of instruments employed here, including an autoharp (courtesy of Arlo Guthrie) and viola, the songs on the original LP's first side suffer somewhat from a sameness that makes What Were Once Vices Are Now Habits a little less interesting than the albums that preceded it.

After gaining some recognition from the success of the band's previous album, Bachman-Turner Overdrive got around to recording Not Fragile. Not only had one of the three Bachman brothers (Tim, the rhythm guitarist) left the band to BTO's advantage, but Randy Bachman and C.F. Turner had clearly grown musically. To the album's benefit, most of the material on Not Fragile are the band's much-liked rock anthems, ranging from the hyper-distorted title track, through the famous but far more timid song "You Ain't Seen Nothing Yet." Indeed, for hard rock fanatics, it doesn't come much better than on Not Fragile.

This CD could almost have been subtitled "The Lost Years," defining the period in which Donovan's records barely even made it into stores so that they could be ignored by the public - that had been the fate of Essence to Essence (which actually made it into stores), and 7-Tease and Slow Down World - each died an absolute commercial death in its wake. More's the pity, because there's a lot of beautiful (even gorgeous) and clever music here, a big chunk of it about as good as anything that Donovan ever put out. The zeitgeist behind the songs on these two albums may throw people who are accustomed to his '60s material, when Donovan had a wide listenership and was in sync with the times; here he's singing against his times (and mostly against indifference and self-involvement), and he is so beguiling musically and lyrically, that one feels a real sense of tragedy that these albums weren't more widely heard…

The group's first album for Polydor is several steps above their EMI work. Most of the psychedelic-era influences are softened here and broadened, and transmuted into something heavier and more serious, even as the Beatlesque harmonies remain intact. The guitars sound real heavy, almost larger than life here, while the swelling Mellotron and synthesizer sounds give the music the feel of an orchestra. By this time, the group had also mastered the Pink Floyd technique of playing pretty tunes really slowly, which made them sound incredibly profound (it's actually a technique that goes back, in different forms, to Gustav Mahler and Anton Bruckner). John Lees gives superb, virtuoso performances on lead guitar on "Paper Wings" and "For No One."

This CD consists of the recordings of big-band standards that Duke Ellington originally did for Reprise in the early '60s. One suspects there was a quid pro quo here - he would cut these '30s and '40s standards, which were certain to make money, for Reprise, and that same label, in turn, would record his symphonic music. The material is done in a smooth, swinging style, more laid-back than what the Count Basie orchestra of the same period would have done with this same stuff ("One O'Clock Jump" is included here as one of ten bonus tracks), but with enough fire and boundless elegance to make it more than worthwhile. Highlights include "Minnie the Moocher," "Cherokee," "Ciribiribin," "Contrasts," "Smoke Rings," "Woodchopper's Ball," "Rhapsody in Blue," and "Tuxedo Junction"…

Grand Funk Railroad continued to move further into the pop/rock mainstream with this hit album. They are aided considerably in this aim by the ultra-slick production of Jimmy Ienner, a producer best known for his work with the Raspberries: songs like "Runnin'" and "Memories" boast rich yet punchy horn and string arrangements that beef up the group's sound without softening its energetic edge. The album's combination of high-gloss production and the band's energy resulted in some impressive hits: "Some Kind of Wonderful" is an exuberant, organ-drenched soul song that highlight's the group's strong harmonies while "Bad Time" mixes a delicate, string-laden melody with a pulsing beat from the rhythm section to create a one-of-a-kind power ballad.