Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence – will it overtake man, what does it mean to be man, what responsibilities do mechanical beings have to their creators, and so on and so forth – with enough knotty intelligence to make it a seminal text of late-'70s geeks, and while it is also true that appreciating I Robot does require a love of either sci-fi or art rock, it is also true that sci-fi art rock never came any better than this.

No Secrets is the third studio album by American singer and songwriter Carly Simon. The album was Simon's commercial breakthrough. 25 years after its initial release, the album was officially certified Platinum by the Recording Industry Association of America. The album is ranked number 997 in All-Time Top 1000 Albums (3rd. edition, 2000).

Hotcakes is singer-songwriter Carly Simon's fourth studio album. Released in 1974, it became one of her biggest selling albums. The album featured the major hits "Mockingbird", a duet with her then-husband James Taylor (a cover of a 1963 hit for Inez and Charlie Foxx), and "Haven't Got Time for the Pain". Recorded during her pregnancy with her first child, many of the album's songs reflected Simon's upbeat mood during this period. The album's cover photo, taken by Ed Caraeff, shows the pregnant Simon sitting in a gleamingly white kitchen, smiling brightly and wearing a bohemian white linen dress.

Anticipation is singer-songwriter Carly Simon's second studio album, released in 1971. It is best known for its title track, "Anticipation", which was a top-twenty chart hit in the U.S.; it was later used as the soundtrack for several television commercials for Heinz ketchup starting in 1973. The song relates Simon's state of mind as she waits to go on a date with Cat Stevens. The album cover artwork is a photo of Simon taken at the gates of Queen Mary's Garden in London's Regent's Park.

Carly Simon is the debut studio album by American singer-songwriter Carly Simon, released in February 1971. The album was produced by Eddie Kramer, who had previously worked with Joe Cocker and Jimi Hendrix. The album included Simon's first Top 10 hit, "That's the Way I've Always Heard It Should Be", a somber ballad centered on a woman pondering marriage with a sense of both inevitability and entrapment; the song was written by Simon and collaborator Jacob Brackman. The album features material written by Simon, with additional writing by Brackman, Kramer, and Freddy Gardner. The album also features covers of songs by Mark Klingman and Buzzy Linhart.

Porgy and Bess is a studio album by jazz musician Miles Davis, originally released on Columbia Records. The album features arrangements by Davis and collaborator Gil Evans from George Gershwin's 1935 opera of the same name. It is the second collaboration between Davis and Evans and has garnered much critical acclaim since its release, being acknowledged by music critics as the best of their collaborations. Jazz critics have regarded the album as historic.

Originally released in June 1972, the Eagles' self-titled debut played a significant role in changing the face of mainstream music while setting up a dominant run that's continued for nearly five decades. Produced by Glyn Johns, and home to three massive hits, Eagles established a cleverly restrained, Los Angeles-bred style that would sweep the country and position the group as superstars. Mastered from the original analog master tapes, Mobile Fidelity's numbered-edition hybrid SACD pays tribute to the record's merit and enhances the intimate program for generations to come. Playing with reference sonics that elevate an effort forever prized by audiophiles, this spectacular version provides a clear, clean, transparent, balanced, and intimate view of an album that permanently made California-style rock a style of its own.

Patricia Barber's Modern Cool was the recording that made Barber an international jazz star. On the initial tour for this album, Barber played a four night stand at The Jazz Standard in New York where she was heard by Bruce Lundvall of Blue Note Records. This led to a string of Barber recordings for both Premonition and Blue Note, worldwide touring and unapologetic critical acclaim from which Barber never looked back. Audiophiles were well aware of Barber from her 1994 Premonition recording Café Blue. Sonically, modern cool copied the café blue playbook: same recording studio, engineer, and recording approach. Musically, Barber added trumpeter Dave Douglas to her stellar working band and showcased her original compositions more than on any previous recording.

Mastered on Mobile Fidelity's world-renowned mastering system, this hybrid SACD presents Heart Like a Wheel with astounding clarity, depth, and naturalism. Still the most difficult instrument to accurately capture, the female voice is here conveyed with transfixing realism, warmth, and feeling. The inner beauty of Ronstadt's flawless phrasing and passionate inflections bears out with obvious candor, her tonality and emotiveness pouring through every lyric and wordless expression.

Milestones is a studio album by American jazz trumpeter and composer Miles Davis, recorded with his "first great quintet" augmented as a sextet. It was released in 1958 by Columbia Records. Tenor saxophonist John Coltrane's return to Davis' group in 1958 coincided with the "modal phase" albums: Milestones and Kind of Blue (1959) are both considered essential examples of 1950s modern jazz. Davis at this point was experimenting with modes – scale patterns other than major and minor.

Nefertiti is a studio album by American jazz musician Miles Davis, released in March 1968. Recorded on June 7, June 22–23 and July 19, 1967, at Columbia's 30th Street Studio, the album was Davis' last fully acoustic album. Davis himself did not contribute any compositions, which were mostly written by Herbie Hancock and Wayne Shorter.

Rickie Lee Jones' Pirates arrives like a cloudburst in the desert of Eighties formula pop music and recycled heavy-metal rock”. So wrote Stephen Holden in Rolling Stone in his five-star review of the eclectic artist's sophomore record, a 1981 set that continues to defy eras and styles.

My Funny Valentine: Miles Davis in Concert is a 1965 live album by Miles Davis. It was recorded at a concert at the Philharmonic Hall of Lincoln Center, New York City, NY, on February 12, 1964. Miles also recorded a studio version of the title song, muted, with piano trio backing in 1956. Two albums were assembled from the concert recording. The up-tempo pieces were issued as Four & More, while My Funny Valentine consists of the slow and medium-tempo numbers.

Filles de Kilimanjaro (French for "Girls of Kilimanjaro") is a studio album by American jazz trumpeter Miles Davis. It was recorded in June and September 1968. The album is a transitional work for Davis, who was shifting stylistically from acoustic recordings with his second "great" quintet to his "electric" period. Filles de Kilimanjaro was well received by contemporary music critics, who viewed it as a significant release in modern jazz.

Mr. Tambourine Man is the debut album by the American folk rock band the Byrds. The album, along with the single of the same name, established the band as an internationally successful rock act and was also influential in originating the musical style known as Folk Rock. The term "folk rock" was, in fact, first coined by the U.S. music press to describe the band's sound in mid-1965, at around the same time that the "Mr. Tambourine Man" single reached the top of the Billboard chart. The single and album also represented the first effective American challenge to the dominance of The Beatles and the British Invasion during the mid-1960s.