Meeting In The Ladies Room (Expanded Edition) is a spectacularly energetic, deeply soulful, and masterfully synchronized urban pop studio masterpiece by the legendary all-female funk ensemble Klymaxx, originally released in 1984 and beautifully expanded here by the major international label MCA Records. Spanning nearly 80 minutes across 14 definitive tracks, this high-fidelity studio document stands as a vital milestone in the mid-80s electro-funk and contemporary R&B crossover movements. Under the sharp mentorship of solar-funk veteran Otis Stokes and the innovative production hands of Midnight Star's Reggie Calloway, this self-contained six-piece collective completely shattered industry barriers by writing, arranging, and tracking their own material, creating a fierce blueprint that blended heavy analog synthesizer programming with raw, street-certified dance grooves.

If you enjoy the electronic orchestrations of Vangelis or the refined Japanese sensibility of Kitaro, this album is a must. Sea and Sky is a masterpiece. Working with the brilliant arranger Paul Buckmaster, Stomu Yamashta brings together his virtuoso synthesizer and percussion playing with the richness and power of full symphonic orchestra. From the surging initial ascent to the spectacular final crescendo, Stomu brings you images of the sea and sky in all their grandeur, with echoes of Debussy's "La Mer," the passion of Berlioz and the lushness of the great film scores. With the exception of one inexplicable section of light jazz, every moment of this 1984 album shines with a special energy.

Virgin Killer (1976). Virgin Killer is the first of four studio releases that really defined the Scorpions and their highly influential urgent metallic sound. It was released in 1976 and was the first album of the band to attract attention outside Europe. The album was a step in the band's shift from psychedelic music to hard rock. For the first time in the band's career the line-up stayed the same with Klaus Meine on vocals, Uli Jon Roth on lead guitar, Rudolf Schenker on rhythm guitar, Francis Buchholz on bass, and Rudy Lenners on drums. The nine tracks were laid down with Dieter Dierks producing. The band is in top form and churns out some melodic yet blistering heavy rock. Virgin Killer is full of heavy songs and exceptionally, fast, innovative guitar leads by Uli Jon Roth. These songs are infectious and Uli's guitar solo on the Jimi Hendrix inspired "Polar Nights" exhibits the thunder-heavy riffs and grooves that make it a classic…

Released in 1984 on Mu Records, Radius stands as an incredibly vital, fiery, and deeply sophisticated landmark recording marking the brilliant debut album of multi-reed master and composer Thomas Chapin. Recorded long before his celebrated nineties avant-garde trio dates, this rare session finds Chapin asserting his towering technical facility within a formidable, straight-ahead acoustic framework. Armed with an astonishingly robust alto tone and lightning-fast flute articulation, Chapin leads a powerhouse modern rhythm section consisting of post-bop heavyweights: piano maestro Ronnie Matthews, bass titan Ray Drummond, and the deeply propulsive, crisp ride-cymbal swing of drummer John Betsch. Augmented by Sam Turner's organic conga textures on choice cuts, the ensemble cracks open standard boundaries. Moving effortlessly from the cooking, modal complexity of the title track and the intricate puzzle of Egg Hunt to a profoundly swinging, re-imagined reading of Fats Waller's classic Jitterbug Waltz, Radius captures a brilliant young master stepping definitively into the spotlight.

Mari Nakamoto's 1984 studio release, TV, issued on the JVC label, stands as a polished, highly sophisticated gem of Japanese contemporary jazz and city-pop-infused jazz vocal styling. Renowned for her deep, husky timbre and expressive phrasing, Nakamoto delivers a brilliantly produced session arranged entirely by American keyboard maestro Don Grusin. Supported by the slick instrumental arrangements of the ensemble Spanky, the album expertly bridges the gap between urban adult-contemporary grooves, sleek late-night fusion, and synth-pop textures typical of the mid-1980s Tokyo music scene. From the driving, rhythmic title track and the breezy sophistication of Ciao! to the beautifully evocative atmosphere of Stay Close and Look After Me, Nakamoto commands each melody with exceptional poise and emotional clarity. This release remains a definitive, beautifully recorded artifact of an era when traditional acoustic jazz vocals seamlessly intersected with high-end, smooth Japanese studio production.

Fruitcake 2 is a spectacularly crisp, sunny, and endlessly grooving slice of mid-1980s jazz-funk and fusion by the ultra-smooth Dutch studio outfit Fruitcake, released in 1984 and preserved here via a rare, early Japanese Victor CD pressing. Rising alongside the wave of European crossover jazz and bright West Coast sounds, the group excels at crafting infectious, upbeat instrumentals and vocal hooks wrapped in immaculate production. The album is an absolute treasure trove of slap-bass lines, shimmering synthesizers, dancing horn arrangements, and beautifully clean rhythm guitar work. The tracklist flows effortlessly through an energetic, high-caliber sequence, moving from the finger-snapping pop-jazz dynamics of Heartbeat and Washington Square to the playful complexity of Lobster Fusion and the tropical warmth of Ben's Bossa. Overflowing with melodic joy, driving urban syncopation, and vintage hi-fi sparkle, this album remains a definitive cult gem for aficionados of rare groove, light funk, and sophisticated synth-fusion.

Ghetto Blaster is an incredibly slick, high-energy, and rhythmically infectious studio album by the iconic jazz-funk outfit The Crusaders, released in 1984 on MCA Records and preserved here on an early Japanese Victor CD pressing. Moving aggressively into the mid-1880s urban landscape, core masterminds Joe Sample and Wilton Felder brilliantly fuse their signature Texas-soul-jazz roots with street-savvy synth grooves, snapping electro-funk bass lines, and heavy dancefloor production styles. To execute this vibrant sonic evolution, the duo assembled a legendary roster of session titans—featuring thunderous rhythm sections guided by bass giant Abraham Laboriel and drummer Leon "Ndugu" Chancler, vibrant percussion from Paulinho Da Costa, and an elite guitar army consisting of Cornell Dupree, David T. Walker, and Dean Parks. From the gritty, driving horns of Dead End and the celebratory pulse of Gotta Lotta Shakalada to the expansive, Afro-centric soul of Zalal'e Mini (Take It Easy), this high-caliber collection radiates with masterful instrumentation, undeniable club-friendly hooks, and pristine dynamic warmth.

Night is a stellar and highly evocative studio album by the influential American jazz guitarist John Abercrombie, released in 1984 on the prestigious ECM Records label. This landmark session stands out in Abercrombie's extensive discography as a fiery, rhythmically driven fusion masterpiece that departs from his more typical atmospheric, ethereal acoustic textures. To achieve this dynamic sound, he assembled a powerhouse quartet consisting of legendary keyboardist Jan Hammer, volcanic drummer Jack DeJohnette, and the soaring, muscular tenor saxophone lines of Michael Brecker. The tracking showcases a brilliant dialogue between Abercrombie's fluid electric guitar patterns and Hammer's innovative, rock-influenced synthesizer patches, all propelled by DeJohnette's intricate polyrhythms. From the reggae-infused grooves of the opening track to the deeply passionate, complex improvisations on the title cut, the record perfectly captures the cutting-edge intersection of electric fusion instrumentation and acoustic jazz sensibilities that defined the era.

Bandleader Simon Jeffes composed the leadoff track "Music for a Found Harmonium" on a harmonium he found abandoned on a Tokyo street, which offers an inkling of the musical inspiration that sprang from this remarkable Englishman. As usual, he gathers a loose aggregation of musicians who create stunning, free-flowing acoustic sounds that defy categorization. Jeffes includes brass here for the first time on a Penguin Café Orchestra recording. Recorded over three years, the band's third album is worth the painstaking studio overdubbing by its leader, who died of a brain tumor in 1997.

The Barking Spiders Live: 1983 is a live album by Australian rock band Cold Chisel. It was recorded during the final performances of their Last Stand tour in 1983, at the Sydney Entertainment Centre. The name of the album derives from a name the band used occasionally when playing warm-up shows before tours. Don Walker states a "barking spider" is "Scottish slang for a fart." The album spent 20 weeks in the Australian charts, peaking at number 14. Reviewed in the Canberra Times at the time of release, the album was described as, "a great reminder of the band's power and talent, particularly in concert, and a crucial purchase for all Chisel fans."

China Crisis main men Gary Daly and Eddie Lundon were great songwriters searching for that one song that would make a difference. "Working with Fire and Steel" was that song. Although they had hits before, and they would have hits after, no other song defined China Crisis' essence more. With its percolating beat, Daly's hiccupping vocals, and a smashing chorus, it was the perfect modern pop song. With that said, there was also so much more to China Crisis than that one song. This, their sophomore album, features songs cut from the same cloth as "…Fire and Steel," including "Animals in Jungles" and "Hanna Hanna," but also reveals a band with deeper meaning and ambitious ideas.

Crack all the jokes you want about Mike Oldfield and his Tubular Bells becoming the hit theme song for The Exorcist. While Oldfield is an amazing guitarist who could play with the best of them, with a lithe synth touch that became a trademark, the bottom line is that the man is a serious composer. All the proof one needs apart from his own records like Incantations and Hergest Ridge is this killer movie score. While Oldfield used a purely Western and neo-classical formal approach to write the music for Roland Joffé's dramatization of true events, his musical mates were among the best in the business at helping him to bring it off: David Bedford wrote arrangements and directed the choir, while Eberhard Schoener helped to conduct and direct another choir (!) and master percussionist Morris Pert lent his talents to the mix as well…

In 1984, Jethro Tull embraced the technological advances of the 1980s to make a record with the then height of technology, augmenting their sound with synthesizer and drum machines. Ian Anderson released his debut solo album 'Walk Into Light' the previous year. Now both albums have been extensively remixed by Bruce Soord, using the original drums sounds, plus more natural, traditional drums. The deluxe set also includes, unreleased recordings from 1983, BBC Live at The Hammersmith Odeon 1984 as well as a Blu-Ray disc of the high resolution audio and promo videos.

Strip away all the hype, controversy, and attendant craziness surrounding Frankie – most of which never reached American shores, though the equally bombastic "Relax" and "Two Tribes" both charted well – and Welcome to the Pleasuredome holds up as an outrageously over-the-top, bizarre, but fun release. Less well known but worthwhile cuts include by-definition-camp "Krisco Kisses" and "The Only Star in Heaven," while U.K. smash "The Power of Love" is a gloriously insincere but still great hyper-ballad with strings from Anne Dudley. In truth, the album's more a testament to Trevor Horn's production skills than anything else. To help out, he roped in a slew of Ian Dury's backing musicians to provide the music, along with a guest appearance from his fellow Yes veteran Steve Howe on acoustic guitar that probably had prog rock fanatics collapsing in apoplexy.

Mistura Brasileira is a 1984 album by Brazilian samba artist Agepê, a member of the Ala dos Compositores of the Portela samba school. The record represents a key moment in his career, combining traditional samba roots with a more accessible romantic style that helped broaden his audience in the 1980s Brazilian popular music scene. Agepê became widely recognized after his 1975 hit “Moro Onde Não Mora Ninguém,” but it was this album that established his national success, particularly through the massive popularity of “Deixa Eu Te Amar,” which sold over a million and a half copies. The album blends heartfelt romantic themes with samba rhythms, reflecting both urban sentimentality and carnival-influenced musical traditions. The arrangements emphasize melodic warmth, rhythmic swing, and emotionally expressive vocals, creating a cohesive listening experience that balances danceable samba with lyrical intimacy. Mistura Brasileira stands as a defining work in Agepê’s discography and an important representation of 1980s samba-romantic crossover music in Brazil.