Electronic-Universe Part I is a landmark electronic ambient album by Software, the German duo associated with the Innovative Communication label and the influential late-era Berlin School movement. Released in 1985, the album blends atmospheric synthesizer textures, sequenced rhythms, cosmic soundscapes, and meditative melodies into a deeply immersive listening experience. Drawing inspiration from space themes and futuristic imagery, the music flows through expansive electronic compositions filled with layered keyboards, digital percussion, and hypnotic melodic structures. Unlike more aggressive synth-driven releases of the era, the album emphasizes relaxation, introspection, and cinematic mood-building while maintaining a sophisticated rhythmic pulse. Tracks such as “Fluting Electronic Universe” and “Surfing Saturn” showcase the duo’s ability to merge ambient electronics with melodic accessibility and progressive structure. The production reflects the evolution of European electronic music during the mid-1980s and remains a respected release among fans of ambient, new age, and classic synthesizer-based compositions.

The Romantic Guitar Of Liona Boyd is a beautifully arranged instrumental collection showcasing the elegant fingerstyle guitar work of acclaimed Canadian guitarist Liona Boyd. Released in 1985, the album presents a refined blend of classical influences, contemporary easy listening, romantic film themes, and soft jazz-inspired arrangements. Boyd interprets a selection of beloved standards, cinematic melodies, and traditional favorites with remarkable delicacy and emotional sensitivity. Her smooth nylon-string guitar tone gives familiar compositions a calm and intimate atmosphere, transforming well-known themes into graceful instrumental pieces suited for relaxation and reflective listening. The album moves effortlessly between classical repertoire, pop culture themes, and romantic ballads, highlighting Boyd’s technical precision and expressive phrasing. With its warm production and timeless melodic selections, The Romantic Guitar Of Liona Boyd remains a notable example of crossover instrumental music from the mid-1980s and an accessible introduction to her elegant guitar artistry.

This recording gathers together the five concertos listed by Ryom as being for the recorder: the three for 'flautino' (generally accepted to be the sopranino) RV443-5, RV441 and the one (RV442) which Vivaldi reworked for the traverse flute (RV434 = Op. 10 No. 5), then displacing the recorder in popular favour. Michala Petri turned the tables by recording all six flute concertos of Op. 10 on the recorder (also Philips—LP only). Collectively these works plumb no great depths, either emotionally or intellectually, but, given the character of the solo instrument, one would not expect them to. The slow movements depend on simple charm, the outer ones on lightness and cheerful sparkle.

I must applaud Nikolai Petrov's imaginative approach to programme-planning. After the remarkable CD of Paganini-inspired piano works containing his stupendous account of the 1838 version of the Liszt Paganini Etudes ( OCD144 12/87), we now have two more discs that also follow a thematic format. The contents of each have been chosen so as to give a historical survey of a particular aspect of piano music, thus continuing the tradition set by Anton Rubinstein in his historical concerts of the mid-1880s.

Motherland Pulse is the debut leader recording by Steve Coleman, originally recorded in 1985 and later reissued in 2001, marking the beginning of his groundbreaking M-Base musical concept. The album presents an early exploration of Coleman's complex rhythmic language, combining jazz improvisation with funk-influenced grooves and post-bop harmonic structures. Featuring a highly accomplished ensemble including Geri Allen on piano, Lonnie Plaxico on bass, and Marvin “Smitty” Smith on drums, the record showcases tight interplay and forward-thinking compositions. Guest appearances by Cassandra Wilson and Graham Haynes further enrich the sonic palette, adding vocal and brass textures to the ensemble’s intricate framework. Unlike more densely layered later works, this recording maintains a relatively open arrangement style, allowing each instrument space to interact dynamically. Motherland Pulse stands as an important early statement in modern jazz evolution, highlighting Coleman’s innovative approach to rhythm, structure, and collective improvisation.

Altoist Bud Shank recorded frequently as a leader during 1954-1969 for Richard Bock's Pacific Jazz and World Pacific labels, but very few of those diverse records (other than his collaborations with guitarist Laurindo Almeida) are currently available. An exception is this CD reissue of a live set by his 1956 group for the obscure Concept label. Recorded in early stereo by Gerry MacDonald, the Shank Quartet (with pianist Claude Williamson, bassist Don Prell and drummer Chuck Flores) was caught during a seven-month period when they worked regularly at the Haig in Los Angeles. They stretch out on Williamson's "Ambassador Blues" and a variety of standards, playing cool-toned bop and pushing themselves. Easily recommended to straight-ahead jazz fans.

The Band Of Gold Album is a mid-1980s soul, funk, and disco release that reflects the transition period between classic disco and more modern European dance productions. The album is built around extended groove-based arrangements, combining romantic vocal lines with steady rhythmic foundations designed for both radio and club environments. Its production style is smooth and polished, typical of mid-80s disco-funk records, with emphasis on melody, repetition, and danceable structure. Tracks such as “This Is Our Time” and the extended “Love Songs Are Back Again” highlight the group’s focus on long-form arrangements that allow instrumental sections and vocal hooks to develop gradually. The album maintains a consistent romantic and uplifting mood throughout, blending soulful expressions of love with energetic disco rhythms. Overall, it represents a nostalgic snapshot of 1980s dance music culture, balancing funk-driven basslines, disco orchestration, and accessible pop-soul songwriting.

For a recording fervently hyped as a special occasion - B.B. King's 50th album and all that - this one is surprisingly patchy in concept and erratic in execution. Five of the tracks are Miami sessions prosaically produced by longtime King cohort Dave Crawford, who also co-wrote most of them with Luther Dixon. The routine pop/rock backing tracks produce an often apathetic response from King; even Dixon's "Big Boss Man" is depressingly routine. Oddly enough, the only numbers that have any grit are the three co-produced by filmmaker John Landis (of the Blues Brothers notoriety) and Ira Newborn from the soundtrack to the former's film Into the Night. Indeed, Newborn's "My Lucille," the ultimate apotheosis to King's beloved guitar, is an underrated signature classic - even Lucille herself gets a lot of space to sing out - and "In the Midnight Hour" also strikes fire…

“High Priority” is the second studio album by American singer Cherrelle, released in 1985 and produced primarily by the legendary duo Jimmy Jam & Terry Lewis. The album became a major success, reaching the Top 10 on the R&B charts and crossing over to the Billboard 200. Known for its polished production and signature Minneapolis sound, the record blends electronic funk grooves with smooth R&B melodies and catchy pop hooks. The standout hit “Saturday Love,” a duet with Alexander O'Neal, became Cherrelle’s biggest crossover success and remains a defining track of the era. With a mix of upbeat dance tracks, soulful ballads, and extended remix versions, this expanded edition highlights both the original album’s impact and its club-oriented appeal.

Although it could be argued that, for the most part, Johnny Winter has gotten better and better as a guitarist over the years, his career has had its ups and downs for personal and professional reasons. Especially after involving himself in the latter stages of Muddy Waters' career and helping the veteran bluesman achieve a comeback with 1977's Hard Again, Winter made superior music of his own on the blues-oriented Nothin' But the Blues and White, Hot & Blue. But those albums didn't sell as well as some of his earlier rock-oriented ones, and after his 1980 album Raisin' Cain moved back toward rock, but didn't even make the charts, he left his major label and spent a few years without a record company. Signing to the Chicago-based independent blues label Alligator Records, he staged his own comeback with 1984's Guitar Slinger, and its follow-up, Serious Business, is in the same vein…

It Takes Two is the second album by Juicy, the duo of Jerry and Katreese Barnes, originally released in 1985 and reissued in 2012. The album is a strong example of mid-1980s R&B, where electronic production and funk-inspired songwriting merged into a polished, radio-friendly sound. Guided by producer Eumir Deodato, the record features bright synth textures, programmed drum machines, and glossy studio effects that define the era’s sonic identity. While the single “Sugar Free” achieved the most commercial success, the album maintains a consistent quality across all tracks, balancing smooth vocal harmonies with dance-oriented grooves. Katreese Barnes’ vocal performance often takes center stage, supported by tight arrangements and rhythmic basslines. The bonus remixes included in the reissue add a more club-oriented dimension to the original material, enhancing its appeal for collectors and fans of 80s funk and soul crossover productions.

Krush Groove (Music From The Original Motion Picture Soundtrack) is a landmark release that captures the energy and cultural impact of the mid-1980s hip-hop explosion. Originally tied to the 1985 film, this soundtrack serves as a defining document of early rap and urban music as it transitioned into the mainstream. Featuring a diverse lineup including LL Cool J, Beastie Boys, Kurtis Blow, and Chaka Khan, the album blends hip-hop, funk, soul, and pop influences into a vibrant and influential collection. Tracks like “I Can’t Live Without My Radio” and “She’s On It” helped introduce rap music to wider audiences, while smoother cuts such as “Tender Love” added emotional depth. The production reflects the raw yet evolving sound of the era, combining drum machines, synths, and classic funk grooves. This expanded edition also includes bonus remixes, making it a valuable release for collectors and fans of early hip-hop history.