1985 Japanese CD release on the Teichiku Records label. One of the earliest releases of the Beatles on CD, this album features tracks from the Beatles failed audition for Decca records on January 1, 1962. The drummer on these tracks is Pete Best (not Ringo Starr).

This stellar mid-1980s studio recording from the Scott Hamilton Quintet stands as a pristine showcase of traditional swing craftsmanship and mainstream jazz execution. Released on the prestigious Concord Jazz label, the session features the acclaimed tenor saxophonist leading his exceptionally tight working ensemble through a beautifully balanced repertoire of timeless American standards, rediscovered gems, and swinging originals. Hamilton shines brilliantly with his characteristically robust, breathy tone and elegant phrasing, drawing deep inspiration from masters like Ben Webster and Zoot Sims. Supported by the sophisticated harmonic foundations of pianist John Bunch and the tasteful, blues-inflected chording of guitarist Chris Flory, the rhythm section locks into an effortless, fluid pocket. From upbeat, hard-driving swing pieces to delicate, emotionally resonant ballads, this album captures a seasoned jazz collective operating at the absolute peak of their cooperative musical powers.

This is the album that solidified Uriah Heep's reputation as a master of gothic-inflected heavy metal. From short, sharp rock songs to lengthy, musically dense epics, Demons and Wizards finds Uriah Heep covering all the bases with style and power. The album's approach is set with its lead-off track, "The Wizard": it starts as a simple acoustic tune but soon builds into a stately rocker that surges forth on a Wall of Sound built from thick guitar riffs, churchy organ, and operatic vocal harmonies. Other highlights include "Traveller in Time," a fantasy-themed rocker built on thick wah-wah guitar riffs, and "Circle of Hands," a stately power ballad with a gospel-meets-heavy metal feel to it.

Tomato Kiss is a spectacularly vibrant, historically monumental, and masterfully synchronized jazz fusion studio masterpiece by the elite German avant-electronic jazz collective Tomato Kiss, released in 1986 by the premier European independent jazz preservation imprint Nabel Records. Spanning over 40 minutes of intricate, high-energy instrumental chemistry across 8 dense tracks, this high-fidelity restoration serves as an absolute pinnacle monument in mid-1980s Euro-fusion and progressive jazz-rock archaeology. Spearheaded by acclaimed trumpet virtuoso Uli Beckerhoff and synthesizer wizard Rainer Schnelle, the group utilizes this brilliant self-titled ledger to execute a fierce, forward-thinking sonic blueprint that seamlessly marries complex acoustic horn expressions with the cutting-edge digital synthesizer matrices, sequencers, and crisp rhythmic pockets typical of the decade's fusion avant-garde.

Downtown is a spectacularly elegant, deeply swingin', and masterfully synchronized acoustic jazz studio masterpiece by the renowned Italian jazz pianist and composer Guido Manusardi, released in 1986 by the premier independent international jazz imprint Soul Note Records. Spanning nearly 38 minutes of sophisticated trio interaction across 6 brilliant tracks, this high-fidelity document serves as an absolute pinnacle monument in mid-1980s European post-bop archaeology. Celebrated for his robust touch, deep blues vocabulary, and rich harmonic sophistication, Manusardi uses this stellar archival document to execute a fierce sonic blueprint that seamlessly fuses the driving energy of the American hard bop tradition with the fluid lyricism of the continental European school.

The Bridge is the tenth studio album by American singer-songwriter Billy Joel, released on July 28, 1986. It was the last studio album produced by Phil Ramone as well as the last to feature Joel's long-time bassist Doug Stegmeyer and rhythm guitarist Russell Javors. The album yielded several successful singles, including "A Matter of Trust" (peaking at No. 10), "Modern Woman" (which also appeared on the Ruthless People soundtrack, peaking at No. 10), and "This Is the Time" (peaking at No. 18).

Even though Master of Puppets didn't take as gigantic a leap forward as Ride the Lightning, it was the band's greatest achievement, hailed as a masterpiece by critics far outside heavy metal's core audience. It was also a substantial hit, reaching the Top 30 and selling three million copies despite absolutely nonexistent airplay. Instead of a radical reinvention, Master of Puppets is a refinement of past innovations. In fact, it's possible to compare Ride the Lightning and Master of Puppets song for song and note striking similarities between corresponding track positions on each record (although Lightning's closing instrumental has been bumped up to next-to-last in Master's running order). That hint of conservatism is really the only conceivable flaw here. Though it isn't as startling as Ride the Lightning, Master of Puppets feels more unified, both thematically and musically…

The Magicians is a dazzling, vibrant, and deeply rhythmic milestone collaboration by the legendary Brazilian jazz power couple Flora Purim and Airto Moreira, released in 1986 as a flagship title for Crossover Records. Spanning nearly 38 minutes across nine brilliantly crafted tracks, this high-fidelity release captures the historic Return to Forever alumni at the absolute peak of their mid-1980s studio output, masterfully fusing traditional, syncopated Brazilian sambas with slick, cutting-edge American jazz-rock fusion production. Driven by Flora's soaring, unmistakable multi-octave vocal phrasing and Airto's ferocious, boundary-pushing mastery of world percussion and drums, the album acts as a playground for an elite roster of legendary session heavyweights. Towering keyboard icons George Duke and Kei Akagi lay down deep, glossy synthesizer landscapes, while legendary pop-rock vocal icon Kenny Loggins makes a stellar guest appearance. From the tropical, driving groove of Garimpo and the intricate, synth-drenched fusion patterns of the title track to the poignant, atmospheric closer Love Reborn, the album effortlessly bridges organic South American warmth with sophisticated electronic instrumentation. Exceptionally archived in pristine lossless quality, this comprehensive audio archive stands as an absolute cornerstone and a prized collector's treasure for global purists of vintage Latin jazz, classic fusion history, and Brazilian MPB culture.

Directing his finely honed ensemble of period-instrument performers from the harpsichord, Pinnock brought us music that makes its points through subtlety, charm and skillful manipulation of modest instrumental means.

Recorded live at Tokyo's prestigious concert hall on December 11, 1986, The Oracle captures an extraordinary, deeply intuitive acoustic summit between Bulgarian piano master Milcho Leviev and legendary British bassist Dave Holland. This exceptional duet release documents a flawless, conversational meeting of musical minds, seamlessly blending rigorous European classical architecture, intricate Balkan odd-meter time signatures, and deep American post-bop sensibilities. Operating with immense technical mastery and telepathic listening skills, the duo constructs a remarkably rich and fluid sonic universe. Leviev's brilliant, rhythmically complex keyboard configurations spark beautifully against Holland's characteristically robust, woody acoustic tone and propulsive, driving counterpoint. From the sweeping, dramatic terrain of the title track and the rich folk-fusion textures of Thracian Flamenco to Kenny Wheeler's beloved Everybody's Song But My Own and a gorgeous reading of Duke Ellington's Warm Valley, this pristine live recording stands as a timeless, deeply lyrical masterpiece of the jazz duet art form.

Martha Reeves and The Vandellas' Compact Command Performances-24 Greatest Hits, released by Motown Records in 1986, serves as a definitive chronological retrospective of one of the most vital and energetic vocal groups of the golden 1960s soul era. Backed by Motown's legendary in-house session musicians, The Funk Brothers, and directed by elite songwriting teams like Holland-Dozier-Holland, the trio delivered a string of aggressive, brassy, and danceable masterpieces that defined the historic Detroit sound. This comprehensive 24-track collection spans from their early breakthrough successes like Come and Get These Memories and the fiery (Love is Like a) Heatwave, through to globally recognizable, generational anthems including Nowhere to Run, Jimmy Mack, and the transcendent Dancing in the Street. Throughout the anthology, Martha Reeves' powerful, gospel-trained lead vocals cut sharply through driving drum patterns, soaring horn lines, and tambourine rhythms, expertly balanced by the tight, soulful harmonies of Rosalind Ashford and Betty Kelly. This compilation captures the raw emotional power and infectious pop-soul perfection that cemented the group's legendary legacy.

The Crusaders' 1986 studio album, The Good and Bad Times, stands as a brilliant showcase of sophisticated mid-1980s jazz-funk, contemporary R&B, and crossover fusion. Led by core founding members Wilton Felder on expressive saxophone and Joe Sample on his signature lyrical keyboards, the album masterfully bridges instrumental virtuosity with the polished, electronic-leaning production values of its era. This release is particularly notable for its stellar guest vocal appearances, featuring soul music icons Bill Withers on the poignant, hit-bound track Soul Shadows and Nancy Wilson, who delivers a deeply moving performance. Throughout the six expansive tracks, the ensemble captures a perfect balance of upbeat, rhythmic syncopation and smooth, late-night atmospheric ballads. Backed by elite session players, the compositions maintain the undeniable, gritty groove that defined the group's historic legacy while effortlessly adapting to the sleek urban adult contemporary soundscapes of the decade.

In 2017 Metallica released a massive expanded edition of the album with a variety of physical package options, the most ambitious of which was an exhaustive box set that included a hardcover book, outtakes and previously unreleased interviews, three LPs, ten CDs, a cassette, two DVDs, a lithograph, a folder with handwritten lyrics, and a set of six buttons.
Even though Master of Puppets didn't take as gigantic a leap forward as Ride the Lightning, it was the band's greatest achievement, hailed as a masterpiece by critics far outside heavy metal's core audience. It was also a substantial hit, reaching the Top 30 and selling three million copies despite absolutely nonexistent airplay. Instead of a radical reinvention, Master of Puppets is a refinement of past innovations…

Slippery When Wet wasn't just a breakthrough album for Bon Jovi; it was a breakthrough for hair metal in general, marking the point where the genre officially entered the mainstream. Released in 1986, it presented a streamlined combination of pop, hard rock, and metal that appealed to everyone – especially girls, whom traditional heavy metal often ignored. Slippery When Wet was more indebted to pop than metal, though, and the band made no attempt to hide its commercial ambition, even hiring an outside songwriter to co-write two of the album's biggest singles. The trick paid off as Slippery When Wet became the best-selling album of 1987, beating out contenders like Appetite for Destruction, The Joshua Tree, and Michael Jackson's Bad.