Piccole Labbra (1978)

This 1978 Italian compilation, a double LP, has proved to be one of Julio Iglesias' most popular with Italian audiences. Sung almost entirely in Italian, its 20 tracks represent two-thirds of the three albums Iglesias recorded for the Italian market between 1976 and 1978, when he was at the peak of his international popularity…

Ice Pickin' is the album that brought Albert Collins directly back into the limelight, and for good reason, too. The record captures the wild, unrestrained side of his playing that had never quite been documented before. Though his singing doesn't quite have the fire or power of his playing, the album doesn't suffer at all because of that - he simply burns throughout the album. Ice Pickin' was his first release for Alligator Records and it set the pace for all the albums that followed. No matter how much he tried, Collins never completely regained the pure energy that made Ice Pickin' such a revelation.

Blue Öyster Cult marks time with a second live album on which they turn out good, if redundant, concert versions of recent favorites like "(Don't Fear) The Reaper" and "Godzilla" and add to their repertoire of live covers such oldies as the MC5's "Kick out the Jams" and the Animals' "We Gotta Get out of This Place." A perfectly acceptable, completely unnecessary souvenir record from a hard-touring band of the '70s. (It should perhaps be noted that the mid- to late '70s was a period when more live albums than usual were being released, especially in the wake of Peter Frampton's massively successful 1976 album Frampton Comes Alive!.)

Released just as punk was taking hold on the public's imagination in America and making groups like Jethro Tull seem like dinosaurs on their way to extinction, Bursting Out became a seemingly perpetual denizen of the cutout bins for years afterward. However, it happened to be a good album, a more-than-decent capturing of a live Tull concert from Europe. The sound is remarkably good, given the group's arena rock status at the time, and the repertoire is a solid representation of the group's history, going all the way back to "A New Day Yesterday" from their second album and up through 1978's Heavy Horses, with stops along the way for "Bouree," "Aqualung," "Locomotive Breath," "Cross-Eyed Mary," and a compact reprise of Thick as a Brick.

After an uncharacteristic (for her) four-year hiatus from recording, Nina Simone returned to the fringes of the pop world with Baltimore, the only album she recorded for the CTI label. While it bears some of the musical stylings of the period – light reggae inflections that hint of Steely Dan's "Haitian Divorce" – the vocals are unmistakably Simone's. Like many of her albums, the content is wildly uneven; Simone simply covers too much ground and there's too little attention paid to how songs flow together. As a result, a robust torch piano ballad like "Music for Lovers" is followed immediately by one of Simone's more awkward moments, an attempt to keep up with a jaunty rhythm track on a cover of Hall & Oates' "Rich Girl."