BBC Sessions 1982-1984 features three BBC sessions which have never been available physically before. Two of the sessions were with admired radio broadcaster John Peel. Includes early versions of the singles “Walk Away” and “No Time To Cry” that would end up on their debut First And Last And Always. Includes covers of The Stooges’ “1969”, Dolly Parton’s “Jolene” & Hot Chocolate’s “Emma”. This title charts their earliest days as an indie band in 1982 to the time they signed to Warner Records in 1984.

Art Pepper's final recording sessions were comprised of duets with pianist George Cables. Pepper, who splits his time almost evenly here between alto and clarinet, is in surprisingly strong form considering that he only had a month left to live. He is heard at his best on "Goin' Home," "Don't Let the Sun Catch You Crying," "Isn't She Lovely," and "Lover Man," really pouring out his emotions into the ballads.

Gaucho is the seventh studio album by the American jazz rock band Steely Dan, released on November 21, 1980 by MCA Records. The sessions for Gaucho represent the band's typical penchant for studio perfectionism and obsessive recording technique. To record the album, the band used at least 42 different musicians, spent over a year in the studio, and far exceeded the original monetary advance given by the record label. Gaucho marked a significant stylistic change for Steely Dan, introducing a more minimal, groove and atmosphere-based format. The harmonically complex chord changes that were a distinctive mark of earlier Steely Dan songs are less prominent on Gaucho, with the record's songs tending to revolve around a single rhythm or mood, although complex chord progressions were still present particularly in "Babylon Sisters" and "Glamour Profession". Gaucho proved to be Steely Dan's final studio album before a 20-year hiatus from the recording industry.

…Famous Last Words… was the last album that Roger Hodgson made with Supertramp before seeking a solo career, and he made sure that radio would take kindly to his last hurrah with the band. Sporting an airy and overly bright pop sheen, …Famous Last Words… put two singles on the charts, with the poignant "My Kind of Lady" peaking at number 31 and the effervescent smile of "It's Raining Again" going to number 11…

Eve is the fourth studio album by progressive rock band The Alan Parsons Project. It was released in 1979. Eve's focus is on the strengths and characteristics of women, and the problems they face in the world of men. The album had originally been intended to focus on "great women in history", but evolved into a wider concept. Eve is The Alan Parsons Project's first album with singer Chris Rainbow. The album's opening instrumental "Lucifer" was a major hit in Europe, and "Damned If I Do" reached the US Top 30. "Lucifer" also is used as title track for the German political TV show Monitor.

Mardi Gras is the seventh and final studio album by American band Creedence Clearwater Revival, released on April 11, 1972. Unlike previous albums, Mardi Gras had Stu Cook and Doug Clifford sharing songwriting and production with John Fogerty, as well as their own lead vocal contributions for the first time. Following the album's release, the group was officially dissolved on October 16, 1972 in a statement released by the group and its record label Fantasy Records. Mardi Gras is the only album by the band that was not remastered and reissued until the 40th anniversary of their formation, in 2008.

This is one of the most intriguing albums of Emmylou Harris' career, and that is saying a lot. It marked the first album where she wrote or co-wrote all the songs, and the strength of the songwriting makes one wonder why she had never attempted it before…

Recorded in the wake of the global success of Breakfast in America, Paris is a competent live album from Supertramp.

Mathias Rüegg's Vienna Art Orchestra had always been an eclectic bunch, working in the odd jazz or classical cover into its repertoire with some regularity, but for this release, the ensemble went whole hog, leaping into the oeuvre of that grandfather of minimalism, Erik Satie. Originally issued as a two-LP set, every track (save one evocative Gil Evans-y piece by Rüegg) is a Satie composition rearranged, often brilliantly, and generally highlighting two or three individual VAO members. This reductionist technique serves the band well, as it has often had a tendency toward weighty ponderousness. Here, the arrangements are light and linear, affording a supple but transparent platform for the soloists, who are clearly encouraged to venture out into jazzy territory.

Closer to Home, the trio's third album, was the record that really broke them through to the commercially successful level of metal masters such as Led Zeppelin and Black Sabbath. Rather than rushing headlong into their typical hard, heavy, and overamplified approach, Grand Funk Railroad began expanding their production values. Most evident is the inclusion of strings, the acoustic opening on the disc's leadoff cut, "Sins a Good Man's Brother," as well as the comparatively mellow "Mean Mistreater." But the boys had far from gone soft. The majority of Closer to Home is filled with the same straight-ahead rock & roll that had composed their previous efforts.

Greatest Hits, Vol. 2 rounds up the handful of singles that weren't included on Elton John's first Greatest Hits collection ("Levon," "Tiny Dancer") and adds the highlights from Caribou, Captain Fantastic and the Brown Dirt Cowboy, and Rock of the Westies ("The Bitch Is Back," "Someone Saved My Life Tonight," "Island Girl," "Grow Some Funk of Your Own," "I Feel Like a Bullet [In the Gun of Robert Ford]"), plus two non-LP hit singles ("Lucy in the Sky with Diamonds," "Philadelphia Freedom") and John's version of "Pinball Wizard," taken from the soundtrack to Tommy…