2CD 2015 remaster + bonus disc of outtakes. Brilliant solo debut from 1983 by the ex-Teardrop Explodes vocalist contains the singles "Sunshine Playroom" and "Greatness And Perfection"
This is the acclaimed debut by Julian Cope his first solo effort after leaving the Teardrop Explodes and was originally released on Mercury records in 1984. It was written and recorded in 1983 at Julian retreat in the village of Drayton Bassett, 2 of the songs featured were meant for the next Teardrop Explodes album (the original versions can be found on the aborted 3rd album Everybody Wants to Shag The Teardrop Explodes). This version contains a bonus disc of B-sides and sessions as well a new note by long time cope publicist Mick Houghton all contained in a 24 page booklet with rare photos and memorabilia

Out of print in the U.S.! Digitally remastered and expanded edition to the groundbreaking 1968 motion picture. 2001: A Space Odyssey was directed by Stanley Kubrick and written by Kubrick and Arthur C. Clarke. The film deals with thematic elements of human evolution, technology, artificial intelligence, and extraterrestrial life, and is notable for it's scientific realism, pioneering special effects, ambiguous imagery that is open-ended to a point approaching surrealism, sound in place of traditional narrative techniques, and minimal use of dialogue. The soundtrack consists Classical favorites that add to the overall atmosphere of the legendary film. This edition includes the original music from the film plus edits of tracks that were on the initial soundtrack release added as bonus cuts. Sony.

Having been cleared earlier in the year in another lawsuit concerning the supposedly suicide-inducing subject matter of his music, Ozzy Osbourne reinvigorated his sound and expanded his following with his sixth studio album, No More Tears, in the fall of 1991. Finding more sympathetic producers in Duane Baron and John Purdell to replace Roy Thomas Baker (who had helmed his last effort, 1988's No Rest for the Wicked), collaborating with Lemmy Kilmister of Motörhead on four songs, and retaining the services of guitarist Zakk Wylde, Osbourne brought his music into the '90s. Songs like "Desire" and "S.I.N." had an energetic, contemporary metal sound, and Osbourne effectively changed gears to turn out gentle ballads like "Mama, I'm Coming Home," which gave him his first U.S. Top 40 hit on his own. Not cowed by his court cases, he wrote songs about child abuse ("Mr. Tinkertrain") and serial murder ("No More Tears") from the point of view of the criminals. But he also considered his own place in the general scheme of things in the tribute to the rock & roll lifestyle "Hellraiser" and the reflective "Road to Nowhere." It all made for an unusually broad range of material, and the album returned him to the Top Ten and multi-platinum status.

Maurice Starr's vision peaked with this second album by New Edition. They were now thoroughly Jackson 5 clones and were reaping similar commercial dividends thanks to the teen angst cuts "Cool It Now" and "Mr. Telephone Man." They earned their first platinum album, one Top Ten hit and another Top 20 pop single (both songs topped the R&B charts) and were among the hottest acts in either pop or R&B during this stretch.

It has been six years since the debut disc by the Other Two (The Other Two & You), an off-shoot band from New Order featuring Gillian Gilbert and Steven Morris. Their first album has a very strong pop music feel; while pleasant enough, it is not a brilliant record. Six years and many struggles later this album appeared. It seems that this was a difficult album to release…

To hear some disco haters tell it, disco died with the 1970s. But that's hardly true, disco was alive and well throughout the 1980s and 1990s, only it was being called dance music and dance-pop instead of disco. Released in 1983, Back to the Front demonstrated that there was still a market for the type of disco-funk that put Peter Brown on the map in 1977 with the dancefloor classic "Do You Wanna Get Funky With Me?" This vinyl LP, which contains the dance hits "Overnight Sensation" and "Baby Gets High," isn't much different from Brown's late-'70s recordings; he was still providing plenty of disco-funk in 1983, although the term disco was no longer in vogue.

For Foxton, following up the Jam's incredible success must have been a nerve-wracking situation, especially since he was not the main songwriter in the band (only a handful of Foxton tracks exist in the Jam's catalog). If the pressure was on, why on earth did he release the awful funk-rock "Freak" as his first single? Strangely enough, this slab of unmelodic garbage actually did pretty well in the U.K. charts, a promising sign for all involved (except the listener). When the album finally appeared, there were, thankfully, no "Freak" soundalikes in the bunch.

Five Thirty's Bed won't go down in history as a multi-platinum blockbuster, but those who were aware of the album found a lot to admire about it. Tough, gritty, and rockin', yet highly melodic, Five Thirty favored a punky, edgy Brit-pop/power pop approach that often inspired comparisons to the Jam and owed something to the Beatles and the Kinks as well. Indeed, infectious tracks like "Strange Kind of Urgency," "Junk Male," and "Mistress Daydream" do have a strong Jam influence like the Jam (or the Beatles and the Kinks), Five Thirty have a way with a hook.

As an original member of heavy metal forefathers Judas Priest, Tipton has engaged audiences for nearly a quarter of a century with his aggressive yet melodic guitar playing. His solo album recorded in the interim between Priest frontmen displays a wide range of styles. Blues, classical, thrash, and traditional British metal all coalesce in this hard-rockin' album, and Tipton (who also sings) gets to work in formats not common to Priest, such as the thrashing punk rendition of "Paint It Black" and the majestic instrumental title track. He even ends the album playing a banjo.

This one-season television program featured Dionne Warwick doing the title track, and spawned this album. Neither the song nor the LP were much better than the show. "You Made Me Want to Love Again" wasn't bad, nor were "It's Love" or "Love Doesn't Live Here Anymore," but weren't strong enough to salvage the album.

Coming to the close of his tenure with Epic records, Duke's great work seemed to be overshadowed by bunk. At the same time, he was becoming an in-demand producer with assignments from Jeffrey Osborne, Phillip Bailey, and Deniece Williams filling his schedule. Guardian of the Light reflects that strain. Released in 1983, Guardian of the Light also had the added baggage of a hard-to-follow concept of a fictional character's mystical exploits. This being George Duke, although the idea is odd, he was sure to get some good songs done here.

With a better selection of songs and tighter production than its predecessor, Centipede, Jackson's sophomore set was the strongest of her '80s output. The breezy midtempo number "Always Wanting Something," the groovy dance cut "Ticket to Love" and "You Send the Rain Away," a sunny duet with Robin Zander of Cheap Trick, are all fine moments. The title track, an annoying rhetoric of synthesizer and vocal effects, and the dry "If You Don't Call (You Don't Care)" are wastes of time. But otherwise, this is an enjoyable effort.

Johnny Kemp got a lot of mileage out of a song written for him by Kashif, "Just Another Lover." The single was a huge hit in the mid-'80s and gave Kemp's debut album for Columbia a great start. Kemp, a session vocalist and composer who had worked with Millie Jackson, Glenn Jones, and Change while penning songs for the B.B. & Q. Band, put plenty of effort and energy into these tracks, but too often expended his resources on routine material. But it was well-produced, and he did well enough with the single to get a second album for the label.

John Hall left Orleans in 1977, a year after "Still the One" reached number five on the Billboard Top 40. He'd later turn his attention to politics, serving in the House of Representatives in the 2000s, but in the wake of departing the band he founded, he decided to keep his concentration on music. Power was the second album he released after leaving Orleans but in many ways, it's his definitive solo recording, capturing the exquisitely supple Southern California soft rock of 1979 while also touching upon his political beliefs.