Twenty-five years of the Shadows had raced by in a blur of hits. Both in their own right, and as the backing band behind so many of Cliff Richard's greatest recordings, the Shadows had left such an indelible mark on the British rock landscape that kids who weren't even born before "Apache" couldn't help but wish them well on their birthday…

Free as a Bird is the ninth studio album by the English rock band Supertramp, released in 1987. The album was a turn of direction of sorts, with most of the songs stepping back from their progressive rock sound, employing synthesised dance beats and rhythms…

Another great album from The Shadows. They never did disappoint and after fifty years were always underated. This album confirms the great talent throughout the group…

Greatest Hits, Vol. 3 (1979-1987) is a 12-track overview that compiles the bulk of Elton John's biggest hits from the '80s, including such classic tracks as "Little Jeannie," "I Guess That's Why They Call It the Blues," "Empty Garden," "Blue Eyes," "I'm Still Standing," and "Sad Songs (Say So Much)." It also includes the previously unreleased "Heartache All Over the World," a new single that failed to make the Top 40, as well as "Too Low for Zero," which never was a single…

Joe Cocker was an English singer, gravel-voiced vocalist whose animated live shows (especially at Woodstock) made him a legend, perhaps the finest soul singer Britain ever produced. He hit number one in the U.K. in November 1968 with his version of the Beatles' "A Little Help from My Friends." His career really took off after he sang that song at Woodstock in August 1969. A second British hit came with a version of Leon Russell's "Delta Lady" in the fall of 1969 and both of his albums, With a Little Help from My Friends (April 1969) and Joe Cocker! (November 1969), went gold in America. In 1970, his cover of the Box Tops hit "The Letter" became his first U.S. Top Ten.

This is one of the first albums written by Ron Boots, the famous electronic composer from the Netherlands. It was first released in cassette format (in 1987) and in 2000 it was re-issued in CD format by Ron's Groove Unlimited record company. This is a set of ominous sci-fi space music. The music has a experimental feel with sinister synth washes and drones.

Angel Band is yet another fascinating left turn, an acoustic record comprised of country-gospel songs like "We Shall Rise, " "If I Be Lifted Up" and "Someday My Ship Will Sail, " performed with great subtlety and nuance…

The Kinks were one of the most important bands from the "British Revolution" in the sixties. The band, based in Muswell Hill in London, consisted of the brothers Davies, (Ray and Dave), Mick Avory and Pete Quaife. During their existence they have played different styles of rock('n'roll) music. Interesting were their lyrics, usually about the lower class of society. Singer Ray Davies has always had a fascination for the ordinary people. After two flops they had their first big hit in 1964: You Really Got Me. This song had a rough guitar riff, that's why some people even call it the first heavy metal song ever. They kept scoring hits after that, timeless songs like Sunny Afternoon, Waterloo Sunset, Lola and All Day And All Of The Night.

When Aerosmith got wind that their then-former record label, Columbia, was going to release a follow-up to the lifeless Classics Live!, the band wisely decided to get more involved this time around. The result is arguably the band's finest live album, even though it may be a bit short (not even 39 minutes in length)…

As digital technology began to prevail in the recording industry in the early '80s, Elton John's original record producer, Gus Dudgeon, was among the first to actively embrace the seemingly infinite possibilities in the medium. Although the promise of perfect sound may have been a bit of an exaggeration, the notable improvements to the subtleties as well as the expanded frequency response of recordings remastered in the digital domain were most certainly not. Dudgeon's original idea for this 11-track compilation was to not only present some of John's best-known works in this new realm, but also a few of the deeper album cuts that would most aptly demonstrate the awesome dimensions inherent in digital audio reproduction…

Koko's only live album, recorded in front of a wild hometown audience. Grammy nominee. "Outstanding…sung with power, conviction and class. A winner."

In its original form, this double-LP compilation was a very generous repackaging of four years' worth of hits and notable album tracks, plus the Andy Gibb-authored "(Our Love) Don't Throw It All Away." It was a perfect distillation of the sound that had put the Bee Gees on top of the pop music world from 1975 onward. At the time, it did elicit some unspoken resentment from older fans who knew their hits from the 1960s, but as a collection of first-rate '70s dance music it was unimpeachable. It's also a statement of just how successful the Bee Gees were at the time that this was a double LP, representing just those four years, and how generous the group and RSO Records could afford to be – indeed, anything less would have seemed like exploitation of the fans, but extending it out past the obvious hits (including the Saturday Night Fever material) made this collection an event of sorts, and a release that could stand alongside their albums from Mr. Natural (where their '70s sound really begins) through Spirits Having Flown.