This disc by Yes frontman Jon Anderson and Greek keyboard wizard Vangelis is a compilation of songs from various releases they recorded together over the years. It presents a very entertaining collection of material and a great introduction to their progish, electronically oriented musical creations. Of course, the central selling point to many will be the inclusion of the duo's one hit, "Friends of Mr. Cairo." That piece, a tribute to film noir, is a wonderful piece, and truly befitting of being a highlight. However, there are plenty of other strong songs here as well.

One of Basie's final albums, the very appealing title cut seems to sum up his career, a lightly swinging groove with a strong melody. Two small-group performances with guest Joe Pass on guitar and the tenor of Kenny Hing add variety to a particularly strong set.

Love Life is the third album by the American new wave band, Berlin, released in 1984. The album contained the hit "No More Words", which became their first Top 40 single on the Billboard Hot 100 peaking at #23. The group was formed in Los Angeles in 1978 by John Crawford (bass guitar). Bandmembers included Crawford, Terri Nunn (vocals), David Diamond (keyboards), Ric Olsen (guitar), Matt Reid (keyboards) and Rod Learned (drums). The band gained mainstream-commercial success in the early 1980s with singles including "The Metro", "Sex (I'm A…)", "No More Words" and then in the mid 80s with chart-topping single "Take My Breath Away" from the 1986 film Top Gun.

Harris' second hits collection is highlighted by a pair of chart-toppers, "Beneath Still Waters" and "(Lost His Love) On Our Last Date." It also includes the Top Five smashes "Born to Run," "I'm Movin' On" and "Save the Last Dance for Me."…

Following two releases for Poppy Records in the early '70s, as well as a third recording that never saw the light of day, Chris Smither finally returned in 1984 with It Ain't Easy. Armed simply with guitar and voice, Smither delivers a dozen tunes (14 on the CD reissue) that embody the best tradition of blues and folk. Whether it's his originals, a standard like "Glory of Love," or material by the likes of Randy Newman, Chuck Berry, Mississippi John Hurt, and Howlin' Wolf, Smither infuses every track with the same timeless quality. Though he may, on occasion, choose rather standard folk, blues, and rock & roll fare ("Green Rocky Road," "Sittin' on Top of the World," "Maybelline") Smither never treats the songs as if they were museum pieces. In his hands, they're given a life and vitality they probably haven't seen in years. His masterful guitar work and dark, resonant baritone are ideally suited to the songs on It Ain't Easy. Like Mississippi John Hurt or Reverend Gary Davis, his playing is that perfect combination of simplicity and sophistication, discovering and filling harmonic voids without ever overstating or wasting a single note. There's not a false moment on the entire record. Highly recommended. (AMG)

The 1984 two-disc compilation Backtrackin' is an ambitious attempt to offer an overview of Eric Clapton's then 20-year career, divided into four separate themes, two per CD. The first disc is devoted to Singles and History and the second to Classics and Live…

With her expressive soprano voice employing sudden alterations of volume and force, and her lyrical focus on Los Angeles street life, Rickie Lee Jones comes on like the love child of Laura Nyro and Tom Waits on her self-titled debut album…

Security (IV) – which was titled Peter Gabriel everywhere outside of the U.S. – continues where the third Gabriel album left off, sharing some of the same dense production and sense of cohesion, yet lightening the atmosphere and expanding the sonic palette somewhat. The gloom that permeates the third album has been alleviated and while this is still decidedly somber and serious music, it has a brighter feel, partially derived from Gabriel's dabbling in African and Latin rhythms. These are generally used as tonal coloring, enhancing the synthesizers that form the basic musical bed of the record, since much of this is mood music (for want of a better word).

Southern Stars' is the fourth album by Australian hard rock band Rose Tattoo. Southern Stars , with a slick production by Vanda & Young, had the band moving in a more AOR style, but retaining their famous Rock/boogie style. The album was essentially made with Angry Anderson and Geordie Leach on bass guitar, and new members Greg Jordon (slide/lead guitar), John Meyer (guitar) and Scott Johnston (drums)…

Building off of the success of his previous long player Too Low For Zero (1983), Elton John (piano/vocals) retained his 'classic quartet' for the follow-up Breaking Hearts (1984). After an eight year ('75 – '83) hiatus Dee Murray (bass/backing vocals), Davey Johnstone (guitar/backing vocals) and Nigel Olsson (drums/backing vocals) briefly reunited with John and Bernie Taupin (lyrics) to attempt a musical resurrection of their early-to-mid '70s sound…

The second box set of Depeche Mode singles, reissued on CD for the first time, picks up with "Get the Balance Right," the band's third single following the departure of original songwriter Vince Clarke and the considerably edgier Martin L. Gore's elevation to the fore. Necessarily, his earliest efforts (included on the first box) echoed the pure poppiness of Clarke's work; here, the emphasis is on the period of transition that dragged Depeche Mode from an apparently transient teenybop sensation to the darker, harsher, and above all adventurous electro pioneers whose longevity is now a matter of history. Via "Everything Counts," "Love in Itself," "People Are People," "Master and Servant," and "Blasphemous Rumours," by the time you reach the end of the box, Depeche Mode is unrecognizable from the combo who opened it…