Mqa CD x Uhqcd, Remastered Japan

Released a year after Eat a Peach, Brothers and Sisters shows off a leaner brand of musicianship, which, coupled with a pair of serious crowd-pleasers, "Ramblin' Man" and "Jessica," helped drive it to the top of the charts for a month and a half and to platinum record sales. This was the first album to feature the group's new lineup, with Chuck Leavell on keyboards and Lamar Williams on bass, as well as Dickey Betts' emergence as a singer alongside Gregg Allman. The tracks appear on the album in the order in which they were recorded, and the first three, up through "Ramblin' Man," feature Berry Oakley – their sound is rock-hard and crisp.

The Game is the eighth studio album by the British rock band Queen. It was released on 30 June 1980 by EMI Records in the UK and by Elektra Records in the US. The Game features a different sound than its predecessor, Jazz (1978). The Game was the first Queen album to use a synthesizer (an Oberheim OB-X). A critical and commercial success,The Game became the only Queen album to reach No. 1 in the US, and became their best-selling studio album in the US, with four million copies sold to date, tying News of the World's US sales tally. It is estimated to have sold a further 4 million copies in other countries. Notable songs on the album include the bass-driven "Another One Bites the Dust" and the rockabilly "Crazy Little Thing Called Love", both of which reached No. 1 in the US. The Game was the first Queen album to be recorded digitally.

In every sense, A Day at the Races is an unapologetic sequel to A Night at the Opera, the 1975 breakthrough that established Queen as rock & roll royalty. The band never attempts to hide that the record is a sequel – the two albums boast the same variation on the same cover art, the titles are both taken from old Marx Brothers films and serve as counterpoints to each other. But even though the two albums look the same, they don't quite sound the same, A Day at the Races is a bit tighter than its predecessor, yet tighter doesn't necessarily mean better for a band as extravagant as Queen. One of the great things about A Night at the Opera is that the lingering elements of early Queen – the pastoral folk of "39," the metallic menace of "Death on Two Legs" – dovetailed with an indulgence of camp and a truly, well, operatic scale.

Queen were straining at the boundaries of hard rock and heavy metal on Sheer Heart Attack, but they broke down all the barricades on A Night at the Opera, a self-consciously ridiculous and overblown hard rock masterpiece. Using the multi-layered guitars of its predecessor as a foundation, A Night at the Opera encompasses metal ("Death on Two Legs," "Sweet Lady"), pop (the lovely, shimmering "You're My Best Friend"), campy British music hall ("Lazing on a Sunday Afternoon," "Seaside Rendezvous"), and mystical prog rock ("'39," "The Prophet's Song"), eventually bringing it all together on the pseudo-operatic "Bohemian Rhapsody." In short, it's a lot like Queen's own version of Led Zeppelin IV, but where Zep find dark menace in bombast, Queen celebrate their own pomposity.

Queen is the debut studio album by the British rock band Queen, released on 13 July 1973 by EMI Records in the UK and by Elektra Records in the US. It was recorded at Trident Studios and De Lane Lea Music Centre, London, with production by Roy Thomas Baker, John Anthony and the band members themselves. The album was influenced by heavy metal and progressive rock. The lyrics are based on a variety of topics, including folklore ("My Fairy King") and religion ("Jesus"). Lead singer Freddie Mercury composed five of the ten tracks, lead guitarist Brian May composed four songs (including "Doing All Right", which he co-wrote with his Smile bandmate Tim Staffell), and drummer Roger Taylor both composed and sang "Modern Times Rock and Roll". The final song on the album is a short instrumental version of "Seven Seas of Rhye," the full version of which would appear on the band's second album, Queen II.

Innuendo is the fourteenth studio album by the British rock band Queen, released on 5 February 1991 by Parlophone in the United Kingdom and it is the band's first studio album to be released by Hollywood Records in the United States. Produced by David Richards and the band, it was the band's last album to be released in lead singer Freddie Mercury’s lifetime, and their most recent one to be composed of entirely new material. It reached the No. 1 spot on the UK album charts and stayed at that position for two weeks, and also peaked at No. 1 in Italy, the Netherlands, Germany, Switzerland, staying at No. 1 for three weeks, four weeks, six weeks, and eight weeks, respectively. It was the first Queen album to go Gold in the US upon its release since The Works in 1984.

The Works is the eleventh studio album by the British rock band Queen, released on 27 February 1984 by EMI Records in the United Kingdom and by Capitol Records in the United States. After the synth-heavy Hot Space (1982), the album saw the re-emergence of Brian May and Roger Taylor's rock sound, while still incorporating the early 80s retro futuristic electronic music (Freddie Mercury) and New York funk scenes (John Deacon). Recorded at the Record Plant Studios in Los Angeles, California and Musicland Studios in Munich, Germany from August 1983 to January 1984, the album's title comes from a comment Taylor made as recording began – "Let's give them the works!" During the decade, after a conservative reaction against and ban of the music video for "I Want to Break Free" in the United States, the band decided not to tour in North America and lost the top spot in U.S. sales, but sales around the world (especially Europe) would be even better. The Works has sold over 5 million copies worldwide.

Yes' debut album is surprisingly strong, given the inexperience of all those involved at the time. In an era when psychedelic meanderings were the order of the day, Yes delivered a surprisingly focused and exciting record that covered lots of bases (perhaps too many) in presenting their sound. The album opens boldly, with the fervor of a metal band of the era playing full tilt on "Beyond and Before," but it is with the second number, a cover of the Byrds' "I See You," that they show some of their real range. The song is highlighted by an extraordinary jazz workout from lead guitarist Peter Banks and drummer Bill Bruford that runs circles around the original by Roger McGuinn and company.

Sticky Fingers is the ninth British and eleventh American studio album by the English rock band the Rolling Stones, released 23 April 1971 on their new, and own, label Rolling Stones Records. Sticky Fingers is considered one of the Rolling Stones' best albums. It was the band's first album to reach number one on both the UK albums and US albums charts, and has since achieved triple platinum certification in the US. Songs such as "Brown Sugar," the country ballad "Dead Flowers," "Wild Horses," "Can't You Hear Me Knocking," and "Moonlight Mile" were chart-toppers. The album is inducted in the Grammy Hall of Fame and included in Rolling Stone magazine's 500 Greatest Albums of All Time list.

Released a year after Eat a Peach, Brothers and Sisters shows off a leaner brand of musicianship, which, coupled with a pair of serious crowd-pleasers, "Ramblin' Man" and "Jessica," helped drive it to the top of the charts for a month and a half and to platinum record sales. This was the first album to feature the group's new lineup, with Chuck Leavell on keyboards and Lamar Williams on bass, as well as Dickey Betts' emergence as a singer alongside Gregg Allman. The tracks appear on the album in the order in which they were recorded, and the first three, up through "Ramblin' Man," feature Berry Oakley – their sound is rock-hard and crisp.