Streetlife Serenade is the third studio album by American recording artist Billy Joel. The follow-up to his previous album Piano Man, it was his last release until 1993's River of Dreams to be mostly recorded with session musicians, while Joel himself sang and played piano and other keyboards, although some of his backing musicians, guitarists Don Evans and Al Hertzberg, and banjo/pedal steel guitarist Tom Whitehorse played on the album. Joel also featured synthesizers for the first time, namely the Moog synthesizer. The album peaked at No. 35 on the charts, eventually selling over 1 million copies.

Gilbert Laffaille occurs Printemps de Bourges in 1978. His second album ("Nettoyage De Printemps…") was then the Grand Prix de l’Académie Charles Cros.

Pierre Bachelet (25 May 1944 – 15 February 2005) was a French singer-songwriter with a gentle romantic voice.
Bachelet spent part of his childhood in Calais and developed a lifelong appreciation of the North of France, which inspired his hit song "Les corons" (1982).

Vaya Con Dios (Spanish for "Go with God!") was a Belgian music act, that stood out for its mixing of styles, as well as the distinctive voice of its lead singer Dani Klein. It was one of the most successful Belgian music acts ever, having sold more than 10 million albums and more than 3 million singles.

Ray Davies had indulged himself one time too often with Soap Opera, and his bandmates, namely brother Dave and founding member Mick Avory, revolted, insisting that their sixth RCA album sound more like a Kinks album (certainly, that's something RCA wanted too). So, Davies designed their next album as a return to a simpler, band-oriented sound. Of course, he didn't jettison his love for conceptual works, so Schoolboys in Disgrace was born. Working under the presumption that a return to simple rock demanded a simple theme, Davies constructed the album as a nostalgic trip through childhood, reviving '50s rock & roll (including the occasional doo wop harmony) for the album's foundation, then turning the amps up high.

The Kinks' scattershot U.S. career never fully flourished like that of their British Invasion peers. The most quintessentially British of British bands especially in the increasingly nostalgic songs of vocalist/rhythm guitarist Ray Davies the Kinks enjoyed a spike in popularity in America in the late '70s and early '80s. The gold-selling 1980 double-live album One for the Road is a fascinating document of trailblazing elder statesmen who paved the way for heavy metal and punk, but never felt a glorious pop song was out of their grasp. It also proves that Dave Davies is a criminally underrated lead guitarist. Brothers Dave and Ray Davies, bass guitarist Jim Rodford, drummer Mick Avory, and guest keyboardists Ian Gibbons and Nick Newell recorded One for the Road at several concerts in 1979 and 1980.

Low Budget doesn't have a narrative like Preservation or Soap Opera, but Ray Davies cleverly designed the album as a sly satire of the recession and oil crisis that gripped America in the late '70s thereby satisfying his need to be a wry social commentator while giving American audiences a hook to identify with. It was a clever move that worked; not only did Low Budget become their highest-charting American album (not counting the 1966 Greatest Hits compilation), but it was also a fine set of arena rock, one of the better mainstream hard rock albums of its time. And it certainly was of its time so much so that many of the concerns and production techniques have dated quite a bit in the decades since its initial release.

The 2016 Legacy Edition of Everybody's In Show-Biz includes the original album, produced by Raymond Douglas Davies, in its entirety alongside a full disc's worth of previously unissued studio sessions outtakes (recorded for the album in 1972 at Morgan Studios, Willesden, London) and live material (recorded March 2-3, 1972 during The Kinks' triumphant Carnegie Hall concert run).

Second Helping brought Lynyrd Skynyrd mass success and for the follow-up they offered Nuthin' Fancy. It was a self-deprecating title for a record that may have offered more of the same, at least on the surface, but was still nearly peerless as a Southern rock record. The biggest difference with this record is that the band, through touring, has become heavier and harder, fitting right in with the heavy album rock bands of the mid-'70s. The second notable difference is that Ronnie Van Zant may have been pressed for material, since there are several songs here that are just good generic rockers.

To mark what would have been John Lennon's 70th birthday, Yoko Ono has personally overseen a project to remaster and re-release all of his key post-Beatles work. For Double Fantasy Stripped Down, original producer Jack Douglas and Ono revisit the original master to reveal the heart of the songs and that voice without the 80's production and effects. This pack contains the original version of the album, remastered as a bonus tracks.

Essentially the same release, albeit with a slightly rearranged track list, as The Complete Greatest Hits, The Very Best of the Eagles is a two-disc crash course in the career of one of rock music's most iconic acts. With classic tracks like "Peaceful Easy Feeling," "Take It Easy," and "Hotel California," the compilation touches on some of the band's most ubiquitous tracks while still taking the time to dive deeper into their discography with its 33-track playlist. While it's hard not to be at least vaguely familiar with a band as big as the Eagles, this collection will act as a guide for those looking to dig a little deeper into the band's celebrated back catalog.

Having stayed out of the recording studio for four years prior to making his comeback album, 461 Ocean Boulevard, Eric Clapton returned to recording only a few months later to make its follow-up, There's One in Every Crowd. Perhaps be hadn't had time to write or gather sufficient material to make a similarly effective album, since the result is a scatter-shot mixture of styles, leading off with two gospel tunes, one a reggae version of "Swing Low, Sweet Chariot." Clapton and his second guitarist, George Terry, had written a sequel to "I Shot The Sheriff," "Don't Blame Me," which Clapton sang in his best impersonation of Bob Marley's voice. The other originals included "Opposites," whose lyrics were just that day, night, life, death, etc.

After the guest-star-drenched No Reason to Cry failed to make much of an impact commercially, Eric Clapton returned to using his own band for Slowhand. The difference is substantial where No Reason to Cry struggled hard to find the right tone, Slowhand opens with the relaxed, bluesy shuffle of J.J. Cale's "Cocaine" and sustains it throughout the course of the album. Alternating between straight blues ("Mean Old Frisco"), country ("Lay Down Sally"), mainstream rock ("Cocaine," "The Core"), and pop ("Wonderful Tonight"), Slowhand doesn't sound schizophrenic because of the band's grasp of the material. This is laid-back virtuosity although Clapton and his band are never flashy, their playing is masterful and assured. That assurance and the album's eclectic material make Slowhand rank with 461 Ocean Boulevard as Eric Clapton's best albums.

Fresh Cream represents so many different firsts, it's difficult to keep count. Cream, of course, was the first supergroup, but their first album not only gave birth to the power trio, it also was instrumental in the birth of heavy metal and the birth of jam rock. That's a lot of weight for one record and, like a lot of pioneering records, Fresh Cream doesn't seem quite as mighty as what would come later, both from the group and its acolytes. In retrospect, the moments on the LP that are a bit unformed in particular, the halting waltz of "Dreaming" never achieves the sweet ethereal atmosphere it aspires to stand out more than the innovations, which have been so thoroughly assimilated into the vocabulary of rock & roll, but Fresh Cream was a remarkable shift forward in rock upon its 1966 release and it remains quite potent.

Surprisingly, Warner Brothers never released a live Black Sabbath album in the U.S. during Ozzy Osbourne's years with the band. It wasn't until 1982's double-LP Live Evil (which featured Ronnie James Dio instead of the Oz) that Warner finally put out a live Sabbath album in the U.S. Released in England in 1980, Live at Last is a single LP that was recorded before Osbourne's departure but didn't come out until after he had left. Unfortunately, this LP's liner notes are problematic. Nems lets you know that Live at Last was recorded in Manchester, England, and at the Rainbow in London, but no recording dates are given. And Osbourne's first name is misspelled "Ossie."