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The elusive Chicago harpist's one and only full-length album, originally issued on Steve Wisner's short-lived Mr. Blues logo and later picked up by Rooster Blues (but not available on CD as yet). Cut in 1975, this set shows that Charles never left the 1950s stylistically – backed by a nails-tough combo, he pays tribute to both Sonny Boys and his ex-boss Jimmy Rogers while betraying more than a hint of Little Walter influence.

The release of Good Time Warrior by Lucifer's Friend saw the departure of legendary rock vocalist John Lawton (who exited for a stint as Uriah Heep vocalist) and the entrance of another English talent Mike Starrs. The album also marked a change of direction for the group. Earlier albums like Mind Exploding and Where the Groupies Killed the Blues demonstrated the German groups flair for progressive and experimental rock,while Good Time Warrior contained a more straight ahead rock sound. Such tracks as "Old Man Roller" and "Sweet Little Lady" demonstrate this the best and pave the way for future band releases such as Sneak Me In and Sumo Grip. The albums last cut "Warriors" is a lengthy and moody piece which harkens to the groups earlier sound while providing a solid platfrom for Starrs' vocals.

RCA and the Elvis estate made no bones about their intention on replicating the blockbuster success of the Beatles' The Beatles 1 with their own single-disc collection of number one hits – hence, the 2002 release of Elvis: 30 #1 Hits. The idea of collecting all the number one hits is simple enough, but there are problems inherent with the concept, not the least of which is that RCA did this once before. Unlike the Beatles, who went through numerous changes in just seven years of recording, Elvis had nearly three times as many years' worth of material and hits to choose from. Also, he hit on a number of different charts – not just pop, but also R&B, country, and adult contemporary.

Anticipation was quite high when it was announced in 1984 that Paul Rodgers, the past voice of Bad Company, and Jimmy Page, Led Zeppelin's former guitarist, were creating a "supergroup" called the Firm. Page and Rodgers had first tinkered with the idea of an album after their successful collaboration on the ARMS benefit tour for Ronnie Lane in 1983. Based upon the fact that it had been over five years since Page's last band effort, and two years since Rodger's lackluster finale with the original Bad Company, pundits were more than eager to hear what new material the duo would unleash. However, when the band's self-titled debut was actually released in 1985, it received a critical drubbing and was all but ignored by the record-buying public.

After the jarring reception of 1999's Synkronized, Jamiroquai constructed A Funk Odyssey, something more polished and slick inside the band's own brand of funky disco-rock. Jason Kay and keyboardist/songwriter Toby Smith perfected a maturation that was left keyed in Travelling Without Moving but left open-ended on Synkronized for a wide scope of musical delight. A Funk Odyssey taps into various illustrious grooves of the Latin world, classic rock, and mainstream club culture, and Jamiroquai is tight and eager to make everyone shake their groove thing in their own light. The first single, "Little L," beams with Kajagoogoo-like synths while warping into a funk-driven hue of orchestral whirlpools, but Jamiroquai allows the band's extroverted and unattached personality to shine on the worldbeat-tinged "Corner of the Earth."

An intricate, deliberately idiosyncratic record, assembled piece by piece, Boulders perfectly captures Roy Wood's peculiar genius, more so than anything else he recorded. All of his obsessions are here – classical music, psychedelia, pre-Beatles pop, pastoral folk ballads, absurdist humor, studio trickery, and good old-fashioned rock & roll – assembled in a gracefully eccentric fashion. Some listeners may find that eccentricity a little alienating, but it's the core of Wood's music. He wrote tuneful, accessible songs, but indulged his passions and weird ideas, so even the loveliest melodies and catchiest hooks are dressed in colorful, odd arrangements.

In the five years between Roxette's last album, Crash, Boom, Bang, and this, their "comeback" album, pop music had changed considerably. Crash, Boom, Bang failed, in part, because it was completely out of step with the times; in 1994 grunge, alternative, and rap ruled the charts, but Roxette always produced a relatively crisp and clean brand of pop/rock. In the five years since then, however, Brit-pop brought alternative rock back towards pop, electronica made dance music "cool" again, and bubblegum pop bands like the Spice Girls made unabashed pop fun again. Also, Per Gessle was fresh off from his very rock-oriented 1997 solo album.

Unplugged is an acoustic live album by Canadian musician Bryan Adams. The album was recorded completely on September 26, 1997, at the Hammerstein Ballroom in New York City. Recorded by David Hewitt and Bob Clearmountain on the Remote Recording Silver Truck. Adams was joined by Irish piper Davy Spillane and Michael Kamen who wrote orchestrations for many of the songs and brought students from the Juilliard School to play them. Three new songs were included; "Back To You", "When You Love Someone", and "A Little Love". The song "If Ya Wanna Be Bad - Ya Gotta Be Good" makes its debut on an album, originally appearing on the B-side of "Let's Make a Night to Remember" - to which it is paired on the Unplugged album.