Secret Messages is the tenth studio album by Electric Light Orchestra (ELO), released in 1983 on Jet Records. It was the last ELO album with bass guitarist Kelly Groucutt, conductor Louis Clark and real stringed instruments, and the last ELO album to be released on the Jet label. It was also the final ELO studio album to become a worldwide top 40 hit upon release. Secret Messages, as its title suggests, is littered with hidden messages in the form of backmasking, some obvious and others less so. This was Jeff Lynne's second tongue-in-cheek response to allegations of hidden Satanic messages in earlier Electric Light Orchestra LPs by Christian fundamentalists, which led up to American congressional hearings in the early 1980s (a similar response had been made by Lynne on the Face the Music album, during the intro to the "Fire on High" track).

90125 is the eleventh studio album by the English progressive rock band Yes, released on 7 November 1983 by Atco Records. After disbanding in 1981, following the Drama (1980) tour, bassist Chris Squire and drummer Alan White formed Cinema with guitarist and singer-songwriter Trevor Rabin and original Yes keyboardist Tony Kaye, who had left in 1971, and began recording an album. They adopted a more commercial and pop-oriented musical direction as the result of their new material, much of which derived from Rabin's demos, with former Yes singer Trevor Horn as their producer. During the mixing stage former Yes singer Jon Anderson, who had left in 1980, accepted the invitation to return and record the lead vocals, and subsequently Cinema changed their name to Yes. The album was remastered in 2004 with previously unreleased bonus tracks.

After the album-tour-album cycle of Script for a Jester's Tear, Fugazi, and the subsequent Euro-only release of Real to Reel, Marillion retreated to Berlin's Hansa Ton Studios with Rolling Stones producer Chris Kimsey to work on their next opus. Armed with a handful of lyrics born out of a self-confessed acid trip, Fish came up with the elaborate concept for 1985's Misplaced Childhood. Touching upon his early childhood experiences and his inability to deal with a slew of bad breakups exacerbated by a never-ending series of rock star-type "indulgences," Misplaced Childhood would prove to be not only the band's most accomplished release to date, but also its most streamlined. Initial record company skepticism over the band's decision to forge ahead with a '70s-style prog rock opus split into two halves (sides one and two) quickly evaporated as Marillion delivered its two most commercial singles ever: "Kayleigh" and "Lavender." With its lush production and punchy mix, the album went on to become the band's greatest commercial triumph, especially in Europe where they would rise from theater attraction to bona fide stadium royalty.

Each era of rock music has had its own craftily marketed phenomenon – it was the "live album" in the '70s, "unplugged" recordings in the '90s, and since the late '80s through the present day, the "tribute album." But the early 21st century saw another addition – veteran bands revisiting classic albums and performing them in their entirety. Jethro Tull's most enduring release is largely agreed to be 1971's classic Aqualung, and in late 2004 Ian Anderson, Martin Barre, and their latest Tull mates dusted off the album once more in front of a small audience for XM Radio's Then Again Live series.

Retrospective, Vol. 1 (1974-1980) was designed to replace the double-disc set Chronicles, and it is, in fact, a better compilation than its predecessor. By concentrating on Rush's earliest albums – from 1974's Rush to 1980's Permanent Waves – the album draws an excellent portrait of the group's artiest work, leaving their hard rock radio hits for Retrospective, Vol. 2. Meanwhile, Vol. 1 contains nearly all of the highlights from their '70s albums, including "Closer to the Heart" and "Fly by Night," making it a nearly flawless encapsulation of their early career.

Camel is the first studio album by English progressive rock band Camel. It was released in 1973. The bonus track "Homage to the God of Light" was originally released in Peter Bardens's solo album The Answer in 1970. By August 1972, Camel were signed to MCA Records. They quickly entered the studio to record their first self-titled album, Camel. A collection of individual songs, chiefly from Andrew Latimer and Peter Bardens, the album was greeted with muted success and MCA did not take an option for a second album. By then, the group had acquired the management team of Geoff Jukes and Max Hole of Gemini Artists (later to become GAMA Records) and had moved to Decca Records, where they would remain for the next 10 years.