Busted is the eleventh studio album released by Cheap Trick, which was released in 1990 and peaked at number 44 on the US album charts. After the success of "The Flame" from the previous album Lap of Luxury, the band recorded Busted with a similar format, especially on the single "Can't Stop Fallin' Into Love." The single peaked at number 12 on the US charts. Guest musicians on the album include Mick Jones of the band Foreigner (guitar on "If You Need Me"), Chrissie Hynde from Pretenders (vocals on "Walk Away"), and Russell Mael of Sparks (vocals on "You Drive, I'll Steer"). Session musician (and former member of Poco) Kim Bullard played keyboards on the album. The album was certified Gold in Canada in November 1990.

Protest Songs is the fourth studio album by English pop band Prefab Sprout. Recorded quickly and self-produced, the album features a minimal production style at odds with most of the band's work. Originally planned to be released in December 1985 as a quickfire follow-up to the band's critically acclaimed second album Steve McQueen, it was put on hold for commercial reasons and the band moved on to record 1988's From Langley Park to Memphis. The album was finally released by Kitchenware Records and CBS on 19 June 1989. Despite the band undertaking no promotional activities, the album peaked at number 18 on the UK Albums Chart.

Gilberto with Turrentine is an album by Brazilian samba and bossa nova singer Astrud Gilberto and American saxophonist Stanley Turrentine featuring performances recorded in 1971 released on the CTI label.

Fourth is the fourth studio album by the rock band Soft Machine, released in 1971. The album is also titled Four or 4 in the USA. This was the group's first all-instrumental album, although their previous album Third had almost completed the band's move in this direction toward instrumental jazz, and a complete abandonment of their original self-presentation as a psychedelic and progressive rock group. It was also the last of their albums to include drummer and founding member Robert Wyatt who afterwards left. Like the previous Soft Machine album, some tracks have the band augmented by additional musicians. These include Mark Charig and Nick Evans, who had been in the septet lineup of late 1969, and Roy Babbington, who would join the band in 1973.

Elephant Mountain (1969) is the Youngbloods' third long-player and marks their debut as a trio – featuring Jesse Colin Young (bass/guitar/vocals), Joe Bauer (drums), and Lowell "Banana" Levinger (keyboards) – after the departure of co-founder Jerry Corbitt (guitar/vocals). Although the band initially formed out of the early '60s Northeast folk scene, by the time this set was issued they had relocated to the pastoral Northern California county of Marin. Blending affective pop/rock melodies and lyrics with their good time jug band roots, the Youngbloods were instantly embraced by the already blossoming Bay Area music community.

Khatia Buniatishvili's debut album is devoted to Franz Liszt in whose music she seeks and finds her idea of musical completeness and pianistic perfection. The repertoire places a focus on the Faust theme: Liszt's third Liebestraum was inspired by Goethe's Faust and the Mephisto Waltz was inspired by Nikolaus Lenau's Faust poem. The centerpiece of the recording, the Sonata in B Minor, is technically one of the most demanding works ever written for piano and is followed by Liszt's first Mephisto Waltz (The Dance in the Village Inn). La lugubre gondola ends with a whole-tone scale and the note G sharp, leading into the key of the last piece on the recording, Liszt's arrangement of Bach's transfiguring Prelude and Fugue in A Minor.

Secret Messages is the tenth studio album by Electric Light Orchestra (ELO), released in 1983 on Jet Records. It was the last ELO album with bass guitarist Kelly Groucutt, conductor Louis Clark and real stringed instruments, and the last ELO album to be released on the Jet label. It was also the final ELO studio album to become a worldwide top 40 hit upon release. Secret Messages, as its title suggests, is littered with hidden messages in the form of backmasking, some obvious and others less so. This was Jeff Lynne's second tongue-in-cheek response to allegations of hidden Satanic messages in earlier Electric Light Orchestra LPs by Christian fundamentalists, which led up to American congressional hearings in the early 1980s (a similar response had been made by Lynne on the Face the Music album, during the intro to the "Fire on High" track).

The Youngbloods' second long-player built on the strength of their self-titled debut by once again creating a blend of captivating songwriting with an infectiously fun delivery. Although the album failed to produce a definitive single – as "Get Together" had done on their previous effort – there are a handful of equally definitive sides scattered throughout Earth Music (1967). Featuring Jesse Colin Young (guitar/bass/vocals), Jerry Corbitt (lead guitar), Joe Bauer (drums), and Lowell "Banana" Levinger III (piano/guitar), the Youngbloods recall the uptempo good-time sound of their East Coast contemporaries, the Lovin' Spoonful, on the opening cover of the Holy Modal Rounders' "Euphoria."

The Youngbloods is the debut self-titled studio album by the American rock band the Youngbloods, released in 1967. It was also reissued in 1971 under the title Get Together after the popular single from the album. The album peaked at number 131 on the Billboard 200 although two years later the single "Get Together" reached number five and sold more than a million copies. The Youngbloods was an American rock band consisting of Jesse Colin Young (vocals, bass, guitar), Jerry Corbitt (vocals, guitar, keyboards, harmonica), Lowell "Banana" Levinger (guitar and electric piano), and Joe Bauer (drums). Despite receiving critical acclaim, they never achieved widespread popularity. Their only U.S. Top 40 entry was Chet Powers' "Get Together".

Third is a live and studio album by the English rock band Soft Machine, released as their third overall in June 1970 by CBS Records. It is a double album with a single composition on each of the four sides, and was the first of two albums recorded with a four-piece line-up of keyboardist Mike Ratledge, drummer and vocalist Robert Wyatt, saxophonist Elton Dean, and bass guitarist Hugh Hopper. Third marks a shift in the group's sound from their psychedelic origins towards jazz rock and electronic music. "Facelift" is a live recording by the previous line-up of the band, a five-piece with Lyn Dobson on saxophone and flute alongside Ratledge, Wyatt, Hopper and Dean. The remaining tracks are studio recordings by the four-piece line-up, augmented by a few session musicians. Jimmy Hastings (brother of Pye Hastings from Caravan) makes substantial contributions on flute and clarinet on "Slightly All the Time", free-jazz violinist Rab Spall (then a bandmate of Wyatt's in the part-time ensemble Amazing Band) is heard on the coda to "Moon in June", and Nick Evans (who had been a member of Soft Machine during late 1969 when they spent a short time as a seven-piece band) makes brief appearances on trombone in "Slightly All the Time" and "Out-Bloody-Rageous".

Red, Hot and Heavy is the first studio album by the Danish hard rock/heavy metal band Pretty Maids. The album was released in 1984 by CBS Records. The song "Night Danger" was used in the soundtrack for the horror film Demons (1985) by Lamberto Bava. In 2005, Red, Hot and Heavy was ranked number 437 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time.

Instead of being a one-off comeback, 2002's Heathen turned out to be where David Bowie settled into a nice groove for his latter-day career, if 2003's Reality is any indication. Working once again with producer Tony Visconti, Bowie again returns to a sound from the past, yet tweaks it enough to make it seem modern, not retro. Last time around, he concentrated on his early-'70s sound, creating an amalgam of Hunky Dory through Heroes. With Reality, he picks up where he left off, choosing to revise the sound of Heroes through Scary Monsters, with the latter functioning as a sonic blueprint for the album. Basically, Reality is a well-adjusted Scary Monsters, minus the paranoia and despair – and if those two ingredients were key to the feeling and effect of that album, it's a credit to Bowie that he's found a way to retain the sound and approach of that record, but turn it bright and cheerful and keep it interesting.

Heathen is the twenty-third studio album by the English musician David Bowie, originally released in Europe on 10 June 2002, and the following day in America. His first release through his own ISO label, it reunited Bowie with the producer Tony Visconti for the two's first full-album collaboration since 1980. Recording took place at New York studios from August 2001 to January 2002 and featured guest musicians including Dave Grohl and Pete Townshend. Musically, Heathen displays an art rock and art pop sound reminiscent of Bowie's 1970s works. The spiritual lyrics, reflected in the artwork and packaging, were based on his accumulated feelings of dread, thoughts on ageing and hopes for a better future for his newborn daughter.

TOTO singer Joseph Williams teams up with former Chicago singer Bill Champlin and Swedish guitarist/producer Peter Friestedt for a new remarkable AOR release following the success with the Live In Concert DVD that made it all the way to the top on the Swedish Chart. In 2012 Champlin/Willams/Friestedt played a sold out Scandinavian tour and during this time the first recordings of the "CWF" album took place. The new album also includes contributions from Steve Porcaro of TOTO, Randy Goodrum (TOTO, Chicago), Will Champlin and Tamara Champlin. Champlin says: 'I've been involved with a project that includes me, Peter Friestedt a great guitarist and producer from Sweden, and Joseph Williams, the singer of TOTO! I was pretty knocked out by the stuff. I'd almost forgotten how good it was when we did it. There are great songs and even better performances on this album, and I know you'll love it It's rare for me to be involved with a project and be surprised by how good it is. This one will knock you out.'

Since David Bowie spent the '90s jumping from style to style, it comes as a shock that Hours, his final album of the decade, is a relatively straightforward affair. Not only that, but it feels unlike anything else in his catalog. Bowie's music has always been a product of artifice, intelligence, and synthesis. Hours is a relaxed, natural departure from this method. Arriving after two labored albums, the shift in tone is quite refreshing. "Thursday's Child," the album's engaging mid-tempo opener, is a good indication of what lays ahead. It feels like classic Bowie, yet recalls no specific era of his career. For the first time, Bowie has absorbed all the disparate strands of his music, from Hunky Dory through Earthling. That doesn't mean Hours is on par with his earlier masterworks; it never attempts to be that bold.