After the freakish hard rock of The Man Who Sold the World, David Bowie returned to singer/songwriter territory on Hunky Dory. Not only did the album boast more folky songs ("Song for Bob Dylan," "The Bewlay Brothers"), but he again flirted with Anthony Newley-esque dancehall music ("Kooks," "Fill Your Heart"), seemingly leaving heavy metal behind. As a result, Hunky Dory is a kaleidoscopic array of pop styles, tied together only by Bowie's sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class. Mick Ronson's guitar is pushed to the back, leaving Rick Wakeman's cabaret piano to dominate the sound of the album.

David Bowie is the second studio album by the English musician David Bowie, released under that title by Philips in the UK, and as Man of Words/Man of Music by Mercury in the US, on 14 November 1969. It was reissued in 1972 by RCA Records as Space Oddity (the title of the opening track, which had reached No. 5 in the UK Singles Chart). Space Oddity was the name used for CD releases of the album in 1984, 1990 and 1999, but it reverted to the original, eponymous title for 2009 and 2015 reissues. The album came about after Bowie had made the transition from a cabaret/avant-garde-inspired musician to a hippie/folk-based sound and as such the album is a major turning point from his 1967 debut.

"Of all David Bowie's many distinctive personae, none have done more to lodge this most ingenious of British artists in the world's consciousness than his 1972 amalgam of the alien visitor and Christ-like rock star: Ziggy Stardust. Cheap glamour, spacemen and ambiguous sexuality surface throughout the loosely conceptualised collection that is The Rise and Fall of Ziggy Stardust and the Spiders from Mars. If its premise sounds faintly ludicrous, then inspired and dramatic songs such as "Starman" and "Five Years" dispel all doubts about Bowie's genius, and the theatrically tragic "Rock 'n' Roll Suicide" brings the album and it's fictional protagonist to a close. As a cultural and musical signpost, Ziggy Stardust points simultaneously backwards to early rock & roll and forward to the simpler, tougher inclinations of late-1970s punk and New Wave rock. As one of the defining rock albums of the 20th century, its influence is immeasurable."

Frehley's Comet was an American rock band formed and led by ex-KISS lead guitarist Ace Frehley. The group released two studio albums and one live EP before Frehley left the band to release his 1989 solo album, Trouble Walkin'. Second Sighting is a studio album by American hard rock band Frehley's Comet. This is the second out of three LPs put out by Frehley in the 1980s, but the last under the band name Frehley's Comet. Second Sighting was recorded with new drummer Jamie Oldaker, who had previously worked with Bob Seger and Eric Clapton. He replaced Anton Fig, who would return for 1989's Trouble Walkin'. This makes Second Sighting the only Frehley solo album or project (excluding compilations) to not feature Fig.

Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam.

"American Amadeus" is the second album by JOHN DIVA & THE ROCKETS OF LOVE. Be prepared for some serious Glam Rock / Rock 'N' Roll madness!

Taking the detached plastic soul of Young Americans to an elegant, robotic extreme, Station to Station is a transitional album that creates its own distinctive style. Abandoning any pretense of being a soulman, yet keeping rhythmic elements of soul, David Bowie positions himself as a cold, clinical crooner and explores a variety of styles. Everything from epic ballads and disco to synthesized avant pop is present on Station to Station, but what ties it together is Bowie's cocaine-induced paranoia and detached musical persona. At its heart, Station to Station is an avant-garde art-rock album, most explicitly on "TVC 15" and the epic sprawl of the title track, but also on the cool crooning of "Wild Is the Wind" and "Word on a Wing," as well as the disco stylings of "Golden Years." It's not an easy album to warm to, but its epic structure and clinical sound were an impressive, individualistic achievement, as well as a style that would prove enormously influential on post-punk.

While Slade's early to mid-'70s hit repertoire represents one of the most perfect runs in British rock history and has been amply anthologized accordingly, it is often easy to forget that their career did not end when the number ones did. Slade kept going until the early '90s, enjoying a roller coaster of highs and lows as they did so, and this package delves into most of them. Picking up in 1979, as the band came off a short-lived stint with manager Chas Chandler's Barn label, and fading out with the band's last proper LP, 1987's You Boys Make Big Noize, the package runs through 17 songs, but eschews, peculiarly, the hits for which the period is best remembered. They, of course, have been highlighted on other collections; this set concentrates on the ones that got away, and there's a surprising number of them.

Diamond Dogs is the eighth studio album by the English musician David Bowie, released on 24 May 1974 by RCA Records. Thematically, it was a marriage of the novel Nineteen Eighty-Four by George Orwell and Bowie's own glam-tinged vision of a post-apocalyptic world. Bowie had wanted to make a theatrical production of Orwell's book and began writing material after completing sessions for his 1973 album Pin Ups, but the author's estate denied the rights. The songs wound up on the second half of Diamond Dogs instead where, as the titles indicated, the Nineteen Eighty-Four theme was prominent. The album is ranked number 995 in All-Time Top 1000 Albums (3rd. edition, 2000) and number 447 in NME's The 500 Greatest Albums of All Time.

Recollections of Britain's arch-glam gods generally inspire two theories of their producers, Mike Chapman and his partner, Nicky Chinn. Either they knew just what they were doing and calculated accordingly, or blindly hit pay dirt, following toothless early singles like "Funny Funny" (none of which grace this disc). By this reckoning, Sweet was a '70s-era pinup band or a closeted hard rock quartet who only got their due after breaking the Chapman/Chinn combination…

57-track, 5-CD set of albums from the legendary singer/guitarist and founding member of the Velvet Underground. Includes NEW YORK, SONGS FOR DRELLA, MAGIC & LOSS, SET THE TWILIGHT REELING and ECSTASY, each housed in a mini LP-style card picture sleeve.

We'll Bring the House Down marks the beginning of a four-album resurgence for Slade. Released on the heels of their most triumphant moment as a band, the 1980 Reading Festival (see Slade Alive at Reading '80 EP for more on that), Slade made a powerful statement with We'll Bring the House Down: "We're back." What the band did was to take the best five songs from the previous platter, Return to Base (no one had heard that album anyway, they correctly figured), and mix them in with great new material for a killer album that wouldn't take forever to make. Simple logic will tell you that when you get rid of the worst songs and replace them with great songs, the album's gonna be a lot better.

Collects five of his original albums, in card LP replica sleeves! Features The Move's "Message From The Country" (1971), ELO's "Electric Light Orchestra" (1971) and Wizzard's "Wizzard Brew" (1973), plus his solo releases "Boulders" (1973) and "On The Road Again" (1979). Roy Wood is an English singer-songwriter and multi-instrumentalist. He was particularly successful in the 1960s and 1970s as member and co-founder of the Move, Electric Light Orchestra and Wizzard. As a songwriter, he contributed a number of hits to the repertoire of these bands. The BBC has described Wood as being "responsible for some of the most memorable sounds of the Seventies" and "credited as playing a major role in the Glam Rock, Psychedelic and Prog Rock movements".

Loaded Deck is a greatest hits compilation of Ace Frehley's solo career released in 1997, after the widespread Kiss reunion tour. It includes some of Frehley's greatest hits such as "New York Groove", "Rock Soldiers", and a cover of The Move's "Do Ya". Combining six previously released songs with two unreleased songs and four live tracks, Loaded Deck is actually more consistent than some of the official studio albums Ace recorded during the '80s. Re-converted Kiss fans curious about Frehley's solo career may want to check this out, since it's as good a place as any to catch the highlights.