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Japanese only remix album, compiled from tracks previously available on Children Of The Revolution (Tony Visconti '87 Remix) and Get It On (Tony Visconti 87 Remix). Erratum: "Cadilac" is incorrectly titled "Cadillac" - Bolan always spelt it with one 'l'.

If Day at the Races was a sleek, streamlined album, its 1977 successor, News of the World, was its polar opposite, an explosion of styles that didn't seem to hold to any particular center. It's front-loaded with two of Queen's biggest anthems – the stomping, stadium-filling chant "We Will Rock You" and its triumphant companion, "We Are the Champions" – which are quickly followed by the ferocious "Sheer Heart Attack," a frenzied rocker that hits harder than anything on the album that shares its name (a remarkable achievement in itself). Three songs, three quick shifts in mood, but that's hardly the end of it.

This double CD is a true gift to hardcore fans, offering previously unseen glimpses of Jethro Tull when the group was at its absolute peak. Anyone else, however, may find the album rough going, for while the group was never tighter or more productive, the material isn't even second-rate. Essentially, Nightcap is Jethro Tull's version of the Beatles' Anthology releases. The first disc consists of tracks that the band started to record during 1973 – the best parts of this material ended up being rewritten and incorporated into what became A Passion Play. These outtakes are pretty at times, but also unformed and distinctly unfinished – Anderson takes a gorgeous classical guitar solo on "First Post," but then the song drifts off, and "Tiger Toon" is an early version of the principal theme from "A Passion Play," not altered too much except in tempo.

Stay on These Roads is the third studio album by Norwegian band A-ha. It was released on 3 May 1988 by Warner Bros. Records. Six singles were released from the album. A Synclavier, Sequential Circuits Prophet 5, Yamaha DX-7, Roland D-50, and Roland Juno-60 or Roland Juno-106 synthesizers were used in the recording of this album, as was a Yamaha RX-5 drum machine. Stay on These Roads was the band's third studio album. The album's peak on the Billboard 200 was 148. The album was another big hit by A-ha internationally, selling over 4 million copies worldwide. Stay on These Roads achieved Platinum status in Brazil and Gold in the UK, Switzerland, the Netherlands and Germany and Double Platinum status in France.The album reached #2 in the European top-100 albums sales chart.

Bébé le Strange is the fifth studio album by the American rock band Heart. It was released on February 14, 1980 through Epic Records. It was the first album without founding member Roger Fisher on lead guitar, who had left the band months prior along with his brother Michael. The album was a commercial success, peaking at number five on the U.S. Billboard 200 and staying in the charts for 22 weeks. It also was certified Gold. The record contained the singles "Even It Up" (backed by the Tower of Power horn section) and the title track. Some of the backing vocals were provided by Don Wilhelm, who had been in a group called The Army with Steve Fossen and Roger Fisher in the 1960s.

This compilation CD has material recorded by Gary Moore between 1977 and 1979, when he was signed under MCA label, and issued on albums and singles either as a solo artist as well as a member of Colosseum II. Four songs: Back On The Streets, Fanatical Fascists, Don't Believe A Word and Parisienne Walkways come from his second solo album titled Back On The Streets, originally issued in december 1978. All these four songs fwature Phil Lynott of Thin Lizzy in a way or another. Back On The Streets has Phil Lynott on backing vocals, Fanatical Fascists was written by Lynott, Don't Believe A Word (a Lizzy song played here in a slower tempo) and Parisienne Walkways have both Lynott on lead vocals.

On the Road 1982 features the band's tenth anniversary tour performance from The Hague, Netherlands. Unfortunately, as the liner notes explain, the original tapes were lost, and the recording presented here draws from the version that passed through the mixing desk. While the end result is still better than your garden-variety bootleg, the sound of the "Camel Live" ladle scraping the bottom of the proverbial barrel is inescapable. Camel was promoting The Single Factor at the time (no wonder they called it the tenth anniversary tour), with a cast that bore little resemblance to any popular incarnation of the band.