Falling halfway between musical primitivism and art rock ambition, Roxy Music's eponymous debut remains a startling redefinition of rock's boundaries. Simultaneously embracing kitschy glamour and avant-pop, Roxy Music shimmers with seductive style and pulsates with disturbing synthetic textures. Although no musician demonstrates much technical skill at this point, they are driven by boundless imagination – Brian Eno's synthesized "treatments" exploit electronic instruments as electronics, instead of trying to shoehorn them into conventional acoustic patterns. Similarly, Bryan Ferry finds that his vampiric croon is at its most effective when it twists conventional melodies, Phil Manzanera's guitar is terse and unpredictable, while Andy Mackay's saxophone subverts rock & roll clichés by alternating R&B honking with atonal flourishes.

The Final Countdown: The Best of Europe is a compilation album by Europe, released in 2009 by Sony Music and Camden Deluxe. This album contains some songs from their debut album and albums through 1999. This album contains 36 songs with 18 on each CD. Europe is a Swedish rock band formed in Upplands Väsby in 1979, by vocalist Joey Tempest, guitarist John Norum, bassist Peter Olsson, and drummer Tony Reno. They got a major breakthrough in Sweden in 1982 by winning the televised competition "Rock-SM" (Swedish Rock Championships): it was the first time this competition was held, and Europe became a larger success than the competition itself.

Japanese only remix album, compiled from tracks previously available on Children Of The Revolution (Tony Visconti '87 Remix) and Get It On (Tony Visconti 87 Remix). Erratum: "Cadilac" is incorrectly titled "Cadillac" - Bolan always spelt it with one 'l'.

The Cosmos Rocks is the only studio album by Queen + Paul Rodgers, released on 15 September 2008. It contains 14 new tracks written by Brian May, Roger Taylor, and Paul Rodgers. This is the first studio album of new material from the two remaining members of Queen since 1995′s Made in Heaven. The album's release came 17 years after the death in 1991 of former Queen singer Freddie Mercury. "It had some great stuff on it," Taylor recalled. "I just think that Paul's more blues and soul – one of our favourite singers, ever, but, when it boils down to it, he wasn't the perfect frontman for us. I felt the album was badly promoted by EMI, who were falling to bits at the time. We were on tour in Europe, and I went into record stores and we weren't in them. And I remember being furious, thinking, 'Why did we make this fucking record?'"

The soundtrack to the 2018 Queen biopic Bohemian Rhapsody offers a fittingly cinematic portrait of the iconic rock band, built around a handful of the group's most well-known songs, including live versions and several tracks reworked specifically for the film. As a souvenir of the movie, the soundtrack works especially well. Opening with guitarist Brian May's arrangement of the "20th Century Fox Fanfare," and showcasing his distinctive searing guitar leads, it perfectly sets the tone for telling Queen and Freddie Mercury's story on the big screen. Here we get such beloved classics as "Somebody to Love," "Killer Queen," "Another One Bites the Dust," and "Under Pressure."

Although several other hard rock acts have seen their hits repackaged more times than Kiss (namely the Who, Motörhead, Black Sabbath, etc.), the masked quartet certainly isn't far behind, as 2002 saw the group's latest in a long line of collections, The Very Best of Kiss. Despite recycling many of the same selections over and over on these sets (1978's Double Platinum, 1988's Smashes, Thrashes & Hits, 1997's Greatest Kiss, etc.), fans will flock to the stores to buy any piece of Kiss merchandise to complete their collections, hence the arrival of another of hits.

Rod Stewart's sixth album was called Atlantic Crossing because the singer was literally crossing the Atlantic, making America his new home for reasons of the heart (he was fully enamored with actress Britt Ekland at the time) and the wallet (he was eager to escape Britain's restrictive tax rates). As it happens, 1975 was a perfect time for a new beginning for Stewart: the Faces were falling apart, his last LP, Smiler, wasn't roundly loved, and he had wrapped up his contract with Mercury and signed with Warner, so he completely rebooted, hiring legendary producer Tom Dowd to steer him through a slick, streamlined revamping of his signature sound.