Rum Sodomy & the Lash is the second studio album by the London-based folk punk band The Pogues, released on 5 August 1985. The album reached number 13 in the UK charts. The track "A Pair of Brown Eyes", based on an older Irish tune, reached number 72 in the UK singles chart. "The Old Main Drag" later appeared on the soundtrack to the film My Own Private Idaho. The album's title is taken from a quotation attributed to Winston Churchill: "Don't talk to me about naval tradition. It's nothing but rum, sodomy, and the lash." The title was suggested by drummer Andrew Ranken, who said "it seemed to sum up life in our band". The cover artwork painted by Peter Mennim is based on The Raft of the Medusa, a Romantic-era painting by Theodore Géricault, with the band members' faces replacing those of the men on the raft.

Brothers in Arms is the fifth studio album by the British rock band Dire Straits, released on 13 May 1985 by Vertigo Records internationally, and by Warner Bros. Records in the United States. Brothers in Arms charted at number one worldwide, spending 10 weeks at number one on the UK Albums Chart, nine weeks at number one on the Billboard 200 in the United States, and 34 weeks at number one on the Australian Album Chart. The album is the eighth-best-selling album in UK chart history, is certified nine-times platinum in the United States, and is one of the world's best-selling albums, having sold over 30 million copies worldwide. The album won two Grammy Awards in 1986, and also won Best British Album at the 1987 Brit Awards. Q magazine placed the album at number 51 in its list of the 100 Greatest British Albums Ever.

The 1st and 9th complement each other perfectly, and this original pairing of the 9th with an equally fine performance of the 1st is a delight. The playing and acoustic of the Philharmonic is not as glorious as that of the Concertgebouw in some of Haitink's other Shostakovich recordings, but they acquit themselves quite well, capturing equally the light and the gloom, playfulness and tragedy, lyricism and satire that run through these both works.

FM BROADCAST RECORDING FROM MADONNA S LIKE A VIRGIN TOUR Beginning in April 1985, Madonna embarked on her first concert tour, in North America, The Virgin Tour , with the Beastie Boys as her opening act. She progressed from playing CBGBs and the Mudd Club to playing large sporting arenas at this juncture in her career. The tour saw the peak of the Madonna wannabe phenomenon, with lots of female attendees dressing like her. While still on the tour, Penthouse and Playboy magazines published nude photos of her, taken in New York in 1978. The publication of the photos caused a media uproar, but Madonna remained unapologetic and defiant. A month or so before Live Aid, Madge played three nights at Universal City in LA, of which the final night - 28th April 85 - was recorded for FM broadcast around California, and synced across America and many other parts of the world. This CD release contains this entire performance, a fine example of Madonna live at the point in her career when she was on the brink of world domination.

Helloween followed up their very popular self-titled mini-LP with 1986's even more accomplished Walls of Jericho, a disc that saw the quartet from Hamburg, Germany, outperforming expectations and quickly defining their sonic identity. The instrumental title track soon gives way to amazingly mature and complex compositions like "Ride the Sky," "Phantoms of Death," and the awesome "How Many Tears" (even more ambitious 13-minute epics would soon follow). And although these were heavily reliant on Iron Maiden for inspiration, it was Helloween's speed metal innovations that clearly helped make the songs so special and influential for future bands. Even the album's lyrically challenged, somewhat one-dimensional moments ("Warrior," "Metal Invaders") usually succeed, thanks to the group's uncontainable energy. On the downside, the album continued to expose Kai Hansen's limitations as a singer, but the band would soon remedy this disadvantage by bringing on teenage phenom Michael Kiske as lead vocalist.[The CD reissue of Walls of Jericho offers a complete recap of Helloween's first incarnation by combining it with their eponymous mini-LP and the Judas EP in chronological order.]

This two-disc deluxe version was produced with the full cooperation of that band. The set contains many bonus tracks, BBC Sessions as well as demos.
China Crisis underwent a complete change in sound for their third album, completely ditching the heavy dub rhythms and challenging arrangements of 1982's Difficult Shapes & Passive Rhythms, Some People Think It's Fun to Entertain and 1983's Working with Fire and Steel (Possible Pop Songs, Vol. 2) with an altogether smoother and less aggressive sound. That doesn't equal a commercial capitulation, however; if anything, the choice of Walter Becker (of the then-unfashionable Steely Dan) as producer was a more commercially daring maneuver than anything the group had previously attempted…

This 17-song compilation would probably rate a little higher based on quality and content, if only it hadn't been supplanted by numerous other reissues in the two decades since its original release. The music is first-rate, covering the highlights of the Beau Brummels' history with Autumn Records prior to the latter's failure and subsequent acquisition by Warner Bros. in late 1966; there's no question that the band was at its best during this period, and along with excellent songs we get very good sound as well. The annotation and accompanying explanation for the purpose of Autumn in San Francisco is a little vague, but the songs are so enjoyable that one isn't likely to dwell on (or even need) a reason for immersing oneself in the material at hand - from the gentle folk-rock strains to the harder garage rock textures that run through "In Good Time," it's all some of the best rock & roll of its time…

Malmsteen's playing on the follow-up to the epochal Rising Force is slightly more raw and aggressive, but the most notable difference is the addition of lyrics on many of the songs. By his own admission, Malmsteen isn't much of a lyricist, and his frequent use of occult and pagan imagery (demons, Vikings, and so on) isn't as effective at producing a dark, gothic mood as his compositions and guitar playing are. Still, those aspects of the album are vital and stimulating, making Marching Out a worthwhile listen.

Blood, Sweat & Tears is the second album by the American band Blood, Sweat & Tears, released on December 11, 1968. It was the most commercially successful album for the group, rising to the top of the U.S. charts for a collective seven weeks and yielding three successive Top 5 singles. It received a Grammy Award for Album of the Year in 1970. The album has been certified quadruple platinum, with sales of more than four million units in the U.S. In Canada, the album enjoyed a total of eight weeks at number 1 on the RPM national album chart.

Super rare compilation one early 70s Italian library jazz/funk and easy listening scores. Very limited pressing, tough to find on vinyl!
One of the erliest italian libraries compilation made. The compiler put together psychedelic beat and bossa tunes from albums that were pressed in very tiny quantities (Bixio diamonds is actually an exeption as it's from a soundtrack…) great photographic cover too from italian Playman magazine collection.

Out of print in the U.S.! Digitally remastered two CD compilation from the '70s Soft Rock hitmakers with different artwork than the long-deleted U.S. version. From the late '60s to the early '80s, nobody created music as lush and beautiful as the Carpenters. They were in a class by themselves with Karen's haunting and lovely voice and Richard's expert arrangements. Unlike most of their compilations, Yesterday Once More creates different moods by featuring the tracks in non-chronological order. Disc One mixes Soft Pop and Soft Rock ('Superstar', 'I Won't Last a Day Without You' and their excellent cover of Klaatu's 'Calling Occupants of Interplanetary Craft') while Disc Two features a more mellow, ballad heavy mixture of audio wonder ('We've Only Just Begun', 'This Masquerade' and the all-time classic '(They Long to Be) Close to You'). a truly fantastic collection by the duo and a perfect selection for those wanting to relive the magic of the Carpenters. 27 tracks. Universal.

Power Windows is the eleventh studio album by Canadian rock band Rush, released on October 14, 1985 by Anthem Records. After touring in support of their previous album, Grace Under Pressure (1984), the band took a break and reconvened in early 1985 to work on a follow-up. The material continued to display the band's exploration of synthesizer-oriented music, this time with the addition of sampling, electronic drums, a string section, and choir, with power being a running lyrical theme. Power Windows was recorded in Montserrat and England with Peter Collins as co-producer and Andy Richards on additional keyboards. The album reached No. 2 in Canada, No. 9 in the United Kingdom, and No. 10 in the United States. In January 1986, the album reached platinum certification for one million copies sold in the United States. Rush released five singles from the album between 1985 and 1986: "The Big Money", "Territories", "Manhattan Project", "Mystic Rhythms", and "Marathon". The band supported the album with their 1985–1986 tour.

Stereotomy is the ninth studio album by The Alan Parsons Project, released in 1985. Although sometimes considered better musically than its predecessor, Vulture Culture, it was not as successful commercially, perhaps due to many fewer vocals from Eric Woolfson (he only appears on a small section of the title track). The album is structured differently from earlier Project albums, containing three lengthy tracks - ""Stereotomy" at well over seven minutes, "Light of the World" at well over six minutes, and the instrumental "Where's the Walrus?" running just over seven and a half minutes (making it the longest instrumental the Project ever made) and two minute-long songs at the end.

New Wave of British Heavy Metal band Demon were known for their shocking and elaborate performances (quite unique, considering the no-fuss, stripped-down philosophy characteristic of the movement), but never sounded as extreme as their name might suggest. Instead, they forged a mainstream hard rock/metal style, which, though it didn't stand out from the pack, has managed to keep them in business for several decades. Singer Dave Hill and guitarist Mal Spooner had already cut their teeth with various amateur acts in their native Staffordshire, England, by the time they decided to join forces and found Demon midway through 1980.

Mr. Corea, a jazz pianist, composer and band leader of enormous repute and success, was commissioned to write his septet by the Chamber Music Society of Lincoln Center, six of whose members joined him in this performance. The composer’s gifts were abundantly evident, both in his manipulation of the instruments and in his own keyboard work, which was characterized by powerfully insistent rhythms and rich embroidery.