Long overdue Deluxe 2CD revamp for Kim Wilde’s fourth studio album, originally released in 1984 and a UK National Chart No.66 hit and No.22 in Germany (No.84 in the USA Billboard Hot 100) Includes the hit singles The Touch (UK, No 50, Germany No.29 and Holland No.20), The Second Time (UK No.29, Germany No.9, Switzerland No.7, USA No. 65 and Holland No.24) and Rage To Love (UK No.19, Germany No.45) Now comes complete with an incredible 16 bonus tracks including many ultra rare 12 and Extended mixes. Alongside the original LP artwork this release includes lyrics to all the songs, sleeve-notes by Steve Thorpe and the whole thing has been overseen by Kim’s official webmaster Marcel Rijs by the fans for the fans! Totally re-mastered by Tim Turan. Kim was the Most Successful British Solo Female Artist of the 80's (17 hit singles) and in France she is known as the Bridgette Bardot of Rock.

The Road to Hell is the tenth studio album by Chris Rea. It was released in 1989 and is one of Rea's most famous albums. The second part of the two-part title track, "The Road to Hell (Pt. 2)", is also one of Rea's most famous songs. The song "Texas" has been played through the years on Classic Rock/AOR radio stations in Texas, and is sometimes played as background music before Texas Rangers baseball games at Rangers Ballpark in Arlington. Another track, "Daytona", is about the Ferrari 365 GTB/4 "Daytona", in which he sings about the car metaphorically, with the engine and tyre noise from the car ringing out toward the end of the song. Also, the song "Tell Me There's a Heaven" was used in a 1991 public information film for the NSPCC. The eponymous title track was written about the A63, the principal road way out of Hull, which travels west until the M62. Chris Rea originally composed a melody about the A63, called as this is the Road to Hull, which he then changed to Road to Hell, upon his entry.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Mastered from the Original Analog Master Tapes for Superior Sound. Putting into perspective the incalculable impact and pioneering significance of the best-selling album of all time – Michael Jackson's Thriller – has never been easy. Though Thriller lays claim to mind-boggling statistics that serve as reminders of how pervasive and indispensable it remains to music snobs and casual listeners alike, its essence always traces back to the greatness, power, and scope of the music. Now, as it celebrates its 40th anniversary, the record that reimagined pop; united audiences; made strides towards achieving racial equality; established the video as an artistic and commercial format; and taught the world how to dance sounds even more invigorating than it did during the advent of the Walkman.

The album was remastered and re-released in September 2014 by Funky Town Grooves, as an "Expanded Edition" with bonus material on a second CD. This reissue was licensed from RCA, which owns rights to the album in the U.S. and Canada and is available in these countries (plus, through imports from Solid Records, also in Japan, even when actually Warner Music owns rights here.

The sensational Diana Ross returns with a sultry pop classic produced by Lionel Ritchie. The song "Missing You" was dedicated to friend and contemporary Marvin Gaye, and was a huge hit for Ross. Other sublime album cuts include a rendition of Bob Dylan's "Forever Young" and the intoxicating "Swept Away."

Bearing in mind that almost anything Status Quo chose to do could only be a vast improvement on their last album, Ain't Complaining, Perfect Remedy was very well titled – and that despite being far from perfect itself. Indeed, "Tommy's in Love" is arguably the worst song the band had ever recorded, while "Not at All" only sprang to attention when it became the band's worst performing 45 since the very early '70s. It's also worth remembering that, while the album does abandon its predecessor's attempt to locate a new band sound, that's only because it thinks it has found one, in the form of producer Pip Williams' slick, country-rock approach. It has a little more in common with some of the band's efforts from the early '80s ("Living on an Island" would have fit nicely in here), but still you can't help wondering what was wrong with the band's own sound? And how long before they get back to it?

The roots of hard rock can be traced back to the 1950s, particularly electric blues. In the 1960s, American and British blues and rock bands began to modify rock and roll by adding harder sounds, heavier guitar riffs, bombastic drumming, and louder vocals. By the end of the decade a distinct genre of hard rock was emerging with bands like Led Zeppelin, who mixed the music of early rock bands with a more hard-edged form of blues rock and acid rock, and Deep Purple, who began as a progressive rock group in 1968 but achieved their commercial breakthrough with their fourth and distinctively heavier album, In Rock in 1970. Half a century later Hard Rock music is still one the favorite of millions of fans around the world and The Hard Rock Box showcases in 6 CD's many of the genre's most successful artists and songs. Uriah Heep, Saxon, UFO, Foghat, Alcatrazz, Ian Gillan, Todd Rundgren, Nazareth, Mountain and Molly Hatchet are presented along epic classics such as 'Slow Ride', 'Get It On (Bang A Gong)', 'Blind Faith', 'Hair Of The Dog' and 'Ballroom Blitz'. With remastered sound and fantastic artwork, The Hard Rock Box is a never before available collection of classic rock music that you need in your music library. Also, remember that it is not available on any streaming platforms.

Soul Jazz Records’ Holy Church of the Ecstatic Soul: Gospel, Funk and Soul at the Crossroads 1971-83 draws upon the extensive links between black American gospel music and soul music, showing how the sensibilities of gospel artists such as Shirley Caeser, Dorothy Norwood, Andrae Crouch and others crossed over into secular soul music during this period.

Bob Dylan and Tom Petty… Live, together at the Entertainment Centre, Sydney, Australia in 1986. Bob Dylan and Tom Petty’s formed one of the most legendary live pairings of the 1980s. On this superb set, broadcast on KSAN-FM, Petty’s band, the Heartbreakers, are polished to brilliance, while Dylan's delivery is flawless on every song. Taking in a cross-section of classic material by both headliners, it’s presented here in superb fidelity, and comes with background notes and images.

LEGENDARY 1987 UK BROADCAST FROM AN EARLY GUNS N ROSES On 28th June 1987, the recently formed Guns N Roses became the latest addition to a distinguished list of artists who cut their teeth internationally at London s famous Marquee Club. Early followers of the up-and-coming band paid a princely admission fee of £4 to enter the celebrated Wardour Street location and see G N R s first-ever gig outside the US. The show took place in the very week that Guns N Roses first flickered on the UK sales charts. But they were still very much below the radar. The published singles chart was a top 75, so their new release It s So Easy was largely hidden from view as it entered the 20 June listings at No. 84.

This charming collection of duets features the bass of Rob Wasserman in a variety of different roles, from supportive to lead to orchestral. With the exception of Stephane Grappelli's violin, Lou Reed's guitar and Rickie Lee Jones' guitar and bells/percussion, every sound on this album is bass and voice, demonstrating that these two musical forces can be everything by themselves.

Manchester-based jazzy pop group who scored hits in the 1980s, but remained relevant for decades.

Considering how lackluster some of David Byron's early solo work (and final days with Uriah Heep) sounds today, it is not only refreshing, but astonishing, to run head first into On the Rocks and find the old voice box sounding better than it had in years. Packed with some of the most menacing riffs of his career – check out "King" – and a voice that roars on the right side of anger, On the Rocks is the sound of classic Heep, shot through with both the fresh adrenalin of the NWOBHM and an ear for what was going on elsewhere in the world. "Start Believing" layers in Mel Collins' sax to add an almost funky feel to the proceedings, even as "Piece of My Love" echoes on bluesy piano, while "Bad Girl" is simply slinky.

Jennifer Rush (The Power Of Love - International Version) is the debut album by American singer Jennifer Rush. It became a big-seller across Europe, hitting the top ten in many countries, including Germany, where it remained on the charts for over 100 weeks. The album features the song "The Power of Love" which when released as a single, reached number one in several countries around the world.