Like most British pop, Lily Allen's debut album, Alright, Still, overflows with impeccably shiny, creative productions. However, Allen attempts to set herself apart from the likes of Rachel Stevens, Natasha Bedingfield, and Girls Aloud with a cheeky, (mostly) amusing vindictive streak in her lyrics that belies the sugarcoated sounds around them. You know exactly what she means when she says her ex is "not big whatsoever" on "Not Big"; later, she revels in being the one that got away on "Shame for You." However, this nice-then-naughty approach is at its best on Alright, Still's singles, which open the album in a one-two-three punch.

Helter Skelter was glam rock band with melodic-rock kooky originally from Germany. Born on the ruins of Vamp, Helter Skelter released in 1988 his only drive «Welcome To The World Of Helter Skelter», the output of which was reinforced by the success of hit singles «Dr. Jekyll & Mr. Hyde », eventually became their most famous song. Even in the best of times to Helter Skelter no one took seriously, at best, considering them clowns with huge bouffant, Maiko centimeters and bright clothes. With all this, their music was even a sense of the original - it was a real party glam with lyrics about a night of fun, circuses, endless party with beautiful girls, drinking and teenage adventures. And were not understood even by fans of style - and their music really sounds at times like the soundtrack to some street fair, - Helter Skelter safely disintegrated, leaving a single CD, reissued 20 years later, with a few bonuses.

Halestorm is aptly named, as vowel-averse frontwoman Lzzy Hale has an F5 tornado for a voice, which she uses to great effect on her band's fourth studio long-player. The follow-up to 2015's Into the Wild Life, which was the group's highest-charting outing to date, Vicious doesn't deviate too much from the stock hedonism of its predecessor – the holy hard rock trinity of sex, drugs, and rock & roll is alive and well – but it connects on such a visceral and familiar level that listeners will likely be unable to resist the urge to turn things up to 11. In lesser hands, big-box hard rock songs like "Skulls," "Uncomfortable," and "Black Vultures" would blow in one ear and out the other, but Hale and company are as adept with hooks as they are with decibels, which makes the material sticky enough to leave some residue on its way out of your head.

Johnny Gioeli and Deen Castronovo first played together on the debut Hardline album, Double Eclipse, which was released in 1992. 25 years later, the two were reunited in Italy to commence work on the debut Gioeli-Castronovo album, Set The World On Fire . Both men have continued on their musical paths since they last saw one another, with Gioeli continuing to lead Hardline, while Castronovo spent time with Ozzy Osbourne and had an extended tour of duty with the legendary Journey. Castronovo is currently active with The Dead Daisies and Revolution Saints in addition to Gioeli-Castronovo. Gioeli s vocal talents combined with Deen s superb drumming abilities (and whom is also a fine vocalist in his own right) has made for a stunning album that is driving a driving hard rock record, while also chock full of uplifting melodies and poignant lyrical messages. For fans of: Hardline, Revolution Saints, Journey, Bad English.

By the release of their third album, 1975's Dressed to Kill, Kiss were fast becoming America's top rock concert attraction, yet their record sales up to this point did not reflect their ticket sales. Casablanca label head Neil Bogart decided to take matters into his own hands, and produced the new record along with the band. The result is more vibrant sounding than its predecessor, 1974's sludgefest Hotter Than Hell, and the songs have more of an obvious pop edge to them. The best-known song on the album by far is the party anthem "Rock and Roll All Nite," but it was the track "C'Mon and Love Me" that became a regional hit in the Detroit area, giving the band their first taste of radio success.

Cruel Summer is a 1998 album by Swedish pop group Ace of Base, released as the band's third album in North America on 14 July 1998 and in Japan on 25 August 1998 by Arista Records. Flowers was the group's third album worldwide, but Arista Records decided to release a different version of the album in North America, Japan, and Latin America, retitled Cruel Summer. This version of the album featured the new track "Everytime It Rains" and many new versions of songs that were first featured on Flowers. As executive producer, Clive Davis enlisted collaborators including production team Cutfather & Joe and songwriter Billy Steinberg. While primarily a pop album, Cruel Summer explores the genres of euro disco, Motown, and dance. Cruel Summer received generally favorable reviews from music critics, who complimented its production and viewed it as a superior version of Flowers.

Mean Machine is the eighth album by Lucifer's Friend. On this album the band returns to its heavy metal roots, albeit with less of the Hammond organ found on the first album. However, by this time the band had lost its core following years ago and it was too late to recover. Lucifer's Friend lasted a year after the album's release and then finally broke up. John Lawton would join the hard rock bands Rebel and ZAR. Lucifer's Friend would reunite in 1993 and would release Sumo Grip in 1994 and would break up for the final time in 1996.

Sneak Me In is the seventh album by Lucifer's Friend, an album in which Mike Starrs, formerly of Colosseum II, replaced John Lawton on vocals for a second time. This album and the previous Good Time Warrior (1978) were an attempt at a more commercial, accessible style which met with limited success. Starrs was replaced by the returning Lawton, for 1981's Mean Machine.

Aerosmith prove that a band can be inspired by the blues and play the blues without ever feeling like a blues band. Then again, the nature of the blues is that every musician who plays it stamps his or her own identity on a set of familiar chord changes and songs. While it might not feel like the blues, Aerosmith do indeed stamp their identity on each track on their long-promised blues album, the atrociously named Honkin' on Bobo. Other rockers who have cut full-length blues albums have always played the music with a kind of scholarly reverence, taking care to pay tribute to their influences. Not Aerosmith.

Trash is the eighteenth studio album released by Alice Cooper in 1989. The album features the single "Poison", Cooper's first top ten hit since his single "You And Me" in 1977 and marked a great success in Cooper's musical career, reaching the Top 20 of various album charts and selling more than two million copies of a studio album. After Alice's return to the music industry with the successful "The Nightmare Returns" tour, Cooper had sought assistance from Desmond Child to create a comeback album. Trash became one of Cooper's biggest albums, accompanied by music videos for "Poison", "Bed of Nails", "House of Fire", and "Only My Heart Talkin'". A successful year-long worldwide concert tour in support of the album was documented in the home video release Alice Cooper Trashes The World.

With the future of the original Alice Cooper band in doubt by mid-1974 (they would soon break up for good with Alice going solo), Warner Bros. decided to issue a best-of compilation entitled Greatest Hits. If you're a newcomer to Alice, this 12-track compilation is a must-hear – all the selections are exceptional. While many have chosen to focus primarily on Cooper's theatrics over the years, the original bandmembers were indeed supreme rock songwriters; such anthems as "I'm Eighteen," "Under My Wheels," "School's Out," and "No More Mr. Nice Guy" are unquestionably among the finest hard rock tracks of all time. And the other selections prove to be just as strong – "Is It My Body," "Desperado," "Be My Lover," "Elected," "Billion Dollar Babies," and "Muscle of Love" are all outstanding as well. The only criticism of the original release is that the collection overlooked the band's key album tracks never issued as singles.

This ambitious video and musical project was co-ordinated by Tom Galley (brother of former Whitesnake guitarist Mel Galley) - the albums are concept affairs, centred on the theme of supernatural phenomena. However, utilizing an impressive list of guest musicians has not always guaranteed a good result, and Phenomena went some way towards proving this truism. With Neil Murray (bass), Cozy Powell (drums), Mel Galley (guitar) and Glenn Hughes (vocals) among the initial line-up, great things were evidently expected for Phenomena. However, the songs were often overtly complex and lacked a central melody line. Dream Runner, released two years later, suffered from similar problems, but the music was less of a disappointment. It featured an impeccable array of guests once more, with Ray Gillen, Max Bacon, Scott Gorham, Kyoji Yamamoto and John Wetton contributing in one form or another. The album received good reviews in the music media, but sold poorly. As a result, plans to make the Phenomena projects into films were aborted.

The debut album by the heavy metal band Killers, led by Iron Maiden's ex-vocalist - Paul Di'Anno. Coming together in 1991, Killers was one of the first metal super groups to exist. Featuring members from bands including Iron Maiden, Tank, Raven and Battlezone, they were hailed by the press as the 'Natural successor to Judas Priest'. With their album "Menace to Society" awarded Metal Hammer's best new album of 1994 and a world tour which included headlining the famous Wacken Festival in Germany, Killers represent all that is British Metal at it's very best. "Murder One", recorded in USA in the line-up: Paul Di'Anno - vocal, Steve Hopgood - drums, Cliff Evans - guitar, Gavin Cooper - bass guitar, Nick Burr - guitar, was officially released in 1992. Acclaimed by the press worldwide, the album became a classic for lovers of British metal. The album includes two cover tracks: "Children of the Revolution" ( T. Rex) and "Remember Tomorrow" (Iron Maiden).

Wonderworld continues in the vein of Sweet Freedom, trying to bring Uriah Heep's appeal to a wider level while still retaining the grandiose trademark elements (the organ-guitar attack, David Byron's operatic shriek) that got them noticed. The result is an album that is solid but not as inspired as Look at Yourself or Demons and Wizards. The hard rock quotient is a little stronger on this album than it was on Sweet Freedom: "Something or Nothing" is a galloping stomp-rocker in the vein of past classics like "Love Machine" and "Suicidal Man" is an organ-fortified speed-rocker that is one of the band's finest hard rock tunes.