Produced by Dave Stewart, Southern Accents is an ambitious album, attempting to incorporate touches of psychedelia, soul, and country into a loose concept about the modern South…

Marching Out is the second studio album by guitarist Yngwie Malmsteen, released on 30 September 1985 through Polydor Records. Yngwie's second album, and his first to feature lyrics in most of his songs. This album, for its time, was very unique and helped mold neo-classical and power metal.

Solti finds all the detail in the score not only in the very grand passages but brings tenderness to the more reflective sections which is a joy to listen too. The CSO are magnificent, the strings have that bloom that makes you think of the Vienna Philharmonic at their peak, the rest of the ensemble are no less perfect either. The Decca recording, which just predates digital sound, is full and opulent and puts you in the best seat in the concert hall and is as just as good, if not better, then many later recordings of these works.

After decades of recording for RCA Victor, Atkins switched labels; this 1985 effort is a summit meeting of sorts with young guitar hotshots like Larry Carlton, George Benson, Mark Knopfler, Steve Lukather, and Earl Klugh, plus session A-teamers like Boots Randolph, Larrie Londin, David Hungate, Mark O'Connor and others. Atkins' tone is, as usual, faultless, and his playing superb. If the "meetings" don't always come off, it's usually due to the overzealousness of the other guitar players (Lukather's over-the-top style screams '80s big hair, for instance), not Chet, whose playing always exercises the utmost in restraint in every situation. All in all, a good modern-day Chet Atkins album, but not the place to start a collection.

Haze was formed in 1978 by brothers Chris and Paul McMahon and were one of a handful of groups in the late 70's/early 80's who embraced progressive rock and formed the neo-prog movement in the UK.
Despite the release of their first ever LP and the relatively good success many UK Neo Prog bands were tasting in mid-80's, Haze still struggled to come on the surface regarding their promotion, remaining a pretty underground band yet with a solid fan base. However they toured the whole UK, gigging endlessly and in 1985 another one of the many cassette releases of Haze entitled "The Cellar Replay" sees the light…

Goodbye Yellow Brick Road was where Elton John's personality began to gather more attention than his music, as it topped the American charts for eight straight weeks. In many ways, the double album was a recap of all the styles and sounds that made John a star. Goodbye Yellow Brick Road is all over the map, beginning with the prog rock epic "Funeral for a Friend (Love Lies Bleeding)" and immediately careening into the balladry of "Candle in the Wind." For the rest of the album, John leaps between popcraft ("Bennie and the Jets"), ballads ("Goodbye Yellow Brick Road"), hard rock ("Saturday Night's Alright for Fighting"), novelties ("Jamaica Jerk-Off"), Bernie Taupin's literary pretensions ("The Ballad of Danny Bailey"), and everything in between. Though its diversity is impressive, the album doesn't hold together very well. Even so, its individual moments are spectacular and the glitzy, crowd-pleasing showmanship that fuels the album pretty much defines what made Elton John a superstar in the early '70s.

After the one-two punch of Phil Collins' first two solo albums, Face Value and Hello, I Must Be Going!, plus the hits he was concurrently having with Genesis, it might seem like he was primed for an artistic and commercial drop-off. Instead, he responded with the biggest album of his career. No Jacket Required topped the charts in the U.S. and U.K., won a Grammy for Album of the Year, and spawned four Top Ten singles, including two number ones in "Sussudio" and "One More Night." It was such a monster success that it made Collins one of the biggest stars on the planet, something that a few years before seemed unlikely if not impossible…

The Power Station is the debut album by the supergroup The Power Station, released in 1985 on Capitol Records. The album peaked at no. 6 on the US Billboard 200 and no. 12 on the UK Albums Chart. All three singles released from the album were Top 40 hits in the United States. An anniversary edition was released 21 February 2005, featuring 7 bonus tracks, as well as a 35-minute DVD. The Power Station was a supergroup formed by Robert Palmer, Tony Thompson (of Chic) and Andy and John Taylor from Duran Duran. They came together in 1984 to record a one-off album, as a respite from the relentless global touring and promotion of Duran Duran. The original plan for this one-album project was for the three musicians (Taylor, Taylor and Thompson) to provide musical continuity to an album full of material, with a different singer performing on each track.

Recorded in 1985, The Spirit of Christmas finds Ray Charles performing a variety of holiday favorites with vocal assistance from the Raelettes and an appearance by jazz trumpeter Freddie Hubbard. The ten tracks mix standards and originals, including "Santa Claus Is Coming to Town," "Rudolph the Red-Nosed Reindeer," and the ballad "That Spirit of Christmas," which was featured in the movie National Lampoon's Christmas Vacation. The Spirit of Christmas is perfect background music for any holiday celebration.

Back to the Future: Music from the Motion Picture Soundtrack is the soundtrack album to the film of the same name. It was released on July 8, 1985 by MCA Records. The album included two tracks culled from Alan Silvestri's compositions for the film, two tracks from Huey Lewis and the News, two songs played by the fictional band Marvin Berry and The Starlighters, one played by Marty McFly and The Starlighters, and two pop songs that are only very briefly heard in the background of the film…

The Day of Wrath is the major-label debut album of the Italian thrash/black metal band Bulldozer, released on 13 March 1985. BULLDOZER‘s first album is a total classic of blackened evil Metal taking the rawest school of VENOM and MOTÖRHEAD to an unbelievably powerful and wicked sonic impact, bearing the malevolent flame of “Black Metal” and “Welcome to Hell” and injecting it with a renewed intensity. For anyone into old school Black Metal to not own this is a crime! This is for anyone that worships the early releases from Venom, Bathory and Sodom.. WELCOME DEATH!