Making The Grade (1984) Dorian Walker, Judd Nelson, Jonna Lee, Gordon Jump

The Allnighter is the second solo studio album by Glenn Frey, the guitarist and co-lead vocalist for the Eagles. The album was released in mid 1984 on MCA in the United States and the United Kingdom, two years after Frey's modestly successful debut album, No Fun Aloud and four years after the demise of the Eagles. It was and still is Frey's most successful solo album throughout his whole solo career, having reached #22 on the Billboard charts, and releasing two Top 20 singles with "Smuggler's Blues" and "Sexy Girl". The album achieved Gold status in the US. It is generally regarded as the culmination of the smoother, more adult-oriented sound of Frey's solo work. The single "Smuggler's Blues" helped to inspire the Miami Vice episode of the same name, and Frey was invited to star in that episode, which was Frey's acting debut. The music video for the single also won Frey an MTV Video Music Award in 1985.

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.

Pallas are a progressive rock band based in the United Kingdom. They were one of the bands at the vanguard of what was termed neo-progressive during progressive rock's second-wave revival in the early 1980s. Other major acts included Marillion, IQ, Twelfth Night, Pendragon, Quasar and Solstice. The Sentinel is the debut album by British Progressive rock band Pallas. It is a concept album with lyrics based upon Cold War themes, using a futuristic version of the tale of Atlantis as a metaphor for a technologically advanced society brought to the brink of destruction.

Recorded in the midst of Robert Smith's tenuous tenure with Siouxsie and the Banshees, The Top is arguably the most hedonistic record the Cure ever produced. Essentially Smith and Lol Tolhurst working with studio musicians (this being the period when the Cure's lineup was never assured), it's an album obviously recorded under stress, drink, and drugs…

Former Clearlight's leader Cyrille Verdeaux comes back, after a too long absence. Dedicated to the planet's survival, "Messenger Of The Son" (1984) displays some lyrical and romantic streamings down of keyboards. His sense of melody reminds the best passages of "Visions". "Rhapsodies Pour La Planète Bleue", from which four titles are included on this welcome Musea reissue, have originally been recorded during the year 1986.

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!"

With the success of the band Incantation and ethnic South American music in 1982-1983, Chris Rea introduced his sixth album, Wired to the Moon, with the track "Bombollini," which was over six minutes of jungle-sounding drums and the haunting sound of pan pipes. The ethnic flavor continued on the second track, "Touché d'Amour," which was reggae in the unashamed style of lovers rock. However, Rea wasn't going to disappoint his fans altogether, small in number though they were in the U.K., having built a career over several albums of soft rock tracks and midtempo ballads with Dire Straits-style guitar breaks, and the rest of the tracks on Wired to the Moon fell easily into this category, especially "Shine, Shine, Shine" and "Holding Out," which were lovely emotive ballads.