Islands is the seventh studio album by the Canadian-American rock group the Band. Released in 1977 to mixed reviews, it is the final studio album from the group's original lineup. Primarily composed of previously unreleased songs from the Band's career (including their 1976 cover of "Georgia on My Mind", which was recorded to aid Jimmy Carter in his presidential bid), Islands was released to fulfill the group's contract with Capitol Records, so that the soundtrack to their film The Last Waltz could be released on Warner Bros. Records. In the CD liner notes, Robbie Robertson compares the album to the Who's Odds & Sods.

There is no string quartet that has ever been written that can compare length and diversity with Terry Riley's Salome Dances for Peace. Morton Feldman has written a longer one, but it is confined to his brilliant field of notational relationships and open tonal spaces. Riley's magnum opus, which dwarfs Beethoven's longest quartet by three, is a collection of so many different kinds of music, many of which had never been in string quartet form before and even more of which would – or should – never be rubbing up against one another in the same construct. Riley is a musical polymath, interested in music from all periods and cultures: there are trace elements of jazz and blues up against Indian classical music, North African Berber folk melodies, Native American ceremonial music, South American shamanistic power melodies – and many more. The reason they are brought together in this way is for the telling of an allegorical story. In Riley's re-examining Salome's place in history, he finds a way to redeem both her and the world through her talent.

Recorded on December 15, 1988, during the tour for Talk Is Cheap, Live at the Hollywood Palladium is a loose, groove-laden affair, featuring the best from Keith Richards' first solo album as well as some Stones classics – mostly tunes he took lead vocals on. Opening with "Take It So Hard," the first thing that hits the listener is the lack of the gloss that was probably the only drawback to Talk Is Cheap, which is a very good thing, because while the album was still leaps and bounds more real than, say, Dirty Work, this live collection is loose without ever getting away from the band, and has an organic feel not present in the Stones' work since the early '70s. Rockers like "Whip It Up" and "Struggle" swagger, while Sarah Dash shines on "Make No Mistake" and "Time Is On My Side."

This 2013 anthology of the British synth pop group Visage is essentially an expanded edition of 1983's Fade to Grey: The Singles Collection. In 1993, it was rebranded under its current title Fade to Grey: The Best of Visage with the addition of two more tracks ("Love Glove" and "Fade to Grey [Bassheads 7" edit]"), both of which have been jettisoned from the 2013 version, along with the fantastic new romantic album cover and a handful of other tracks. So what makes the updated set noteworthy? Well, there are a couple of BBC versions of "The Anvil" and "Can You Hear Me?" and dance mixes of the sleek "Mind of a Toy," the guitar-heavy "We Move," and their early post-disco single "Frequency 7."

2016 two CD collection of recordings by the former Rolling Stones bassist, both solo and with his Rhythm Kings. With all the tracks chosen by Bill Wyman himself, these two CDs present the perfect introduction to his recordings. Disc One contains songs from Bill's solo albums, kicking off with '(Si Si) Je Suis Un Rock Star', his big hit from 1981, as well as the follow-up hits. Disc Two features songs from Bill's Rhythm Kings, the ten-piece band with revolving guest stars that he put together in the 90s after leaving the Rolling Stones, as well as tracks from Willie And The Poor Boys, Bill's 1985 all-star side-project. The guest stars include Eric Clapton, George Harrison, Jimmy Page, Paul Rodgers, Georgie Fame, Peter Frampton, Chris Rea, Gary Brooker, Andy Fairweather Low, Charlie Watts, Dr John, Joe Walsh, Van Morrison and many more. The booklet lists who plays what on every track, along with annotation by Tony Rounce.