Recorded on December 15, 1988, during the tour for Talk Is Cheap, Live at the Hollywood Palladium is a loose, groove-laden affair, featuring the best from Keith Richards' first solo album as well as some Stones classics – mostly tunes he took lead vocals on. Opening with "Take It So Hard," the first thing that hits the listener is the lack of the gloss that was probably the only drawback to Talk Is Cheap, which is a very good thing, because while the album was still leaps and bounds more real than, say, Dirty Work, this live collection is loose without ever getting away from the band, and has an organic feel not present in the Stones' work since the early '70s. Rockers like "Whip It Up" and "Struggle" swagger, while Sarah Dash shines on "Make No Mistake" and "Time Is On My Side."

The Future Now is the seventh studio album by Peter Hammill, released on Charisma Records in 1978. It was the first solo album Hammill released following the 1978 breakup of his band Van der Graaf Generator, although he had released numerous solo albums while VdGG were active. The album contains twelve short songs, several in the new wave style of VdGG's last studio album, The Quiet Zone/The Pleasure Dome. The album cover shows a set of photographs by Brian Griffin, portraying Peter Hammill with half of his moustache and beard shaven. "If I Could" was re-worked for Hammill's 1984 album The Love Songs.

This 2013 anthology of the British synth pop group Visage is essentially an expanded edition of 1983's Fade to Grey: The Singles Collection. In 1993, it was rebranded under its current title Fade to Grey: The Best of Visage with the addition of two more tracks ("Love Glove" and "Fade to Grey [Bassheads 7" edit]"), both of which have been jettisoned from the 2013 version, along with the fantastic new romantic album cover and a handful of other tracks. So what makes the updated set noteworthy? Well, there are a couple of BBC versions of "The Anvil" and "Can You Hear Me?" and dance mixes of the sleek "Mind of a Toy," the guitar-heavy "We Move," and their early post-disco single "Frequency 7."

2016 two CD collection of recordings by the former Rolling Stones bassist, both solo and with his Rhythm Kings. With all the tracks chosen by Bill Wyman himself, these two CDs present the perfect introduction to his recordings. Disc One contains songs from Bill's solo albums, kicking off with '(Si Si) Je Suis Un Rock Star', his big hit from 1981, as well as the follow-up hits. Disc Two features songs from Bill's Rhythm Kings, the ten-piece band with revolving guest stars that he put together in the 90s after leaving the Rolling Stones, as well as tracks from Willie And The Poor Boys, Bill's 1985 all-star side-project. The guest stars include Eric Clapton, George Harrison, Jimmy Page, Paul Rodgers, Georgie Fame, Peter Frampton, Chris Rea, Gary Brooker, Andy Fairweather Low, Charlie Watts, Dr John, Joe Walsh, Van Morrison and many more. The booklet lists who plays what on every track, along with annotation by Tony Rounce.

Twenty-five tracks round up an extremely haphazard but nevertheless intriguing "best of" Marc Bolan's last five years, drawing equally from the regular albums and familiar boogies, and the wealth of archival material excavated by the Unchained and Alternate series. Certainly not compiled with the hit hunter in mind (only "The Groover" and "Dreamy Lady" truly fall into that category), Very Best of, Vol. 2 is instead devoted to illustrating as many facets of Bolan's career as it could, from the pensive introspection of "Spaceball Ricochet," to the grinding self-aggrandizement of "The Groover," and onto the sharp autobiography of "Over the Flats" and "Funky London Childhood." As such, and especially when viewed in tandem with Very Best of, Vol. 1, it serves up a delightful portrait of Bolan's '70s, at a price that is difficult to squabble with.

Glenn Hughes is a true original. Vocalist, bass guitarist, and songwriter, Hughes has spent decades crafting a sound that uniquely blends hard rock, soul, and funk — all powered by his astonishing vocal range and style. After a nine-year hiatus as a solo artist, Glenn Hughes returns with Chosen — a hard-hitting new studio album that presents him at his most explosive and inspired. Produced by Glenn Hughes together with his longtime collaborator Soren Andersen, Chosen is a masterclass in powerful songwriting and production. It’s Glenn Hughes at the peak of his craft: bold, loud, and unforgettable.

Marc Bolan died in September 1977, exactly two weeks before his thirtieth birthday. His achievements in the last seven years of his life included over 20 UK hit singles, 11 of which made the top 10 in less than three years. This compilation features 14 of those singles, along with some celebrated b-sides and album tracks.

Like so many Willie Nelson albums of the 2010s, Ride Me Back Home bears a title that appears to be a vague nod to Nelson's mortality. Unlike, say, God's Problem Child or Last Man Standing, the cloud doesn't appear to hang so heavy on Ride Me Back Home, but maybe that's because the album is amiably unkempt in a way its immediate predecessors were not. Some of that is due to how Nelson and his longtime producer Buddy Cannon don't rely heavily on original material this time around.

2010 album from the best-selling singer/songwriter. The album was produced by John Shanks, whose first producer credit was Etheridge's Breakdown, her four-time Grammy-nominated album of 1999. Fearless Love expands on the multiple strengths that have made Etheridge one of the most beloved figures in Rock. It follows The Awakening, her revealing album of 2007, with a rousing tone at once tough and tender, as only she can be. It is that force of presence which has earned her, among other accolades, the 2007 Academy Award for Best Original Song, and two Grammy Awards.

Cœur de Pirate is the solo project of award-winning singer-songwriter and pianist Béatrice Martin. Since the age of 3, Martin has been playing the piano and expressing herself through songs and music. After spending several years singing and playing keyboards in Montreal indie bands, Martin decided to go solo and released her eponymously titled debut album in September 2008, to immediate national and international acclaim. Her popularity on YouTube and MySpace helped her garner millions of new fans. Cœur de Pirate has now sold more than one million albums worldwide and counting. Martin toured the album extensively throughout Europe and North America, while building an impressive list of collaborations (Jay Malinowski, Kardinal Offishal, David Usher) and awards (Felix awards in 2009 and 2010, and the 2010 Victoire de la Musique Award for Original Song of the Year, Juno and Polaris Prize nominations, etc.). Martin then returned in November 2011 with her sophomore album, Blonde, which she co-produced with Montrealer Howard Bilerman (Arcade Fire, Godspeed You! Black Emperor, The Dears).

Under Wraps is the 15th studio album by the band Jethro Tull, released in 1984. The songs' subject matter is heavily influenced by bandleader Ian Anderson's love of espionage fiction. It was controversial among fans of the band due to its electronic/synthesizer-based sound, particularly the use of electronic drums. Dave Pegg has been quoted as saying that the tracks cut from the sessions for Broadsword and the Beast would have made a better album, while Martin Barre has referred to it as one of his personal favourite Tull albums. The album reached No. 76 on the Billboard 200 and No. 18 on the UK charts. The single "Lap of Luxury" reached No. 30.

The Greatest Hits compilation, originally released as Styx - Classics, Volume 15, in 1987 by A&M Records as part of A&M's classics series of greatest hits albums for artists on it's label. Japanese version includes two bonus tracks.

At last the long awaited official CD anthology containing a unique audio history of Smokie's blistering career spanning the last 40 years. This box is a fitting tribute to a group who have defied all odds to earn their rightful place amongst those few artists who have helped to shape and define an era. CD package 'GOLD' has entered the German album charts at number 36.

Tattoo is the fifth album released by Rory Gallagher. It demonstrated Gallagher's eclectic range of musical influences starting with the blues and adding elements from jazz, folk, and country. Tattoo showcased the skill of Gallagher and his band across a number of genres from Delta and Chicago blues, the jazz-influenced "They Don't Make Them Like You Anymore" and blues-rock tracks such as "Tattoo'd Lady". According to his brother, Gallagher was in a "prolific and confident mood" when he recorded it. The album showcased Gallagher's writing ability resulting in several songs that would go on to become staples of his live act.

Your Mamma Won't Like Me is the third studio album by Suzi Quatro. Released in 1975, the album marked a change in the hard rock sound from the singer's previous albums Suzi Quatro and Quatro, instead displaying a more funk oriented rock sound. The title track reached No. 31 on the UK singles chart in February 1975. The album's second single, "I Bit off More Than I Could Chew", also reached the charts, peaking at 54 in the UK charts. "Michael" also had limited promotion, being released as a single in some territories, including Australia where the song reached the top 100.