Universal’s 2012 collection Icon is a 19-track overview of the Cranberries’, offering all their biggest hits – “Dreams,” “Linger,” “Zombie,” “Salvation,” “Ode to My Family,” “Ridiculous Thoughts” – and digging into some album tracks, resulting in a good sampler of the band at its peak.

The seminal San Francisco psychedelic band in the heyday of such things, Jefferson Airplane were sassy, political, and generally engaging. The band then morphed into Jefferson Starship, which was a whole other thing, a more polished band aiming at the pop charts. Eventually Jefferson Starship became just Starship, although the sound stayed aimed at the charts. This two-disc set combines the best tracks from all of these incarnations, which is a good thing if one is a fan of all of the approaches here, but not such a good thing if, like many, one prefers one version of the band to the other two.

On his third album, Jackson Browne returned to the themes of his debut record (love, loss, identity, apocalypse) and, amazingly, delved even deeper into them. "For a Dancer," a meditation on death like the first album's "Song for Adam," is a more eloquent eulogy; "Farther On" extends the "moving on" point of "Looking Into You"; "Before the Deluge" is a glimpse beyond the apocalypse evoked on "My Opening Farewell" and the second album's "For Everyman." If Browne had seemed to question everything in his first records, here he even questioned himself. "For me some words come easy, but I know that they don't mean that much," he sang on the opening track, "Late for the Sky," and added in "Farther On," "I'm not sure what I'm trying to say." Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well. "The Late Show," the album's thematic center, doubted but ultimately affirmed the nature of relationships, while by the end, "After the Deluge," if "only a few survived," the human race continued nonetheless. It was a lot to put into a pop music album, but Browne stretched the limits of what could be found in what he called "the beauty in songs," just as Bob Dylan had a decade before.

To Our Children's Children's Children is the fifth album by the Moody Blues, released in November 1969. The album was the first released on the group's newly formed Threshold record label, which was named after the band's previous album from the same year, On the Threshold of a Dream. It was inspired by the 1969 Moon landing. Drummer Graeme Edge remembers, "It was a very exciting time. Man had just gone to the moon and we thought of the album as a sort of time capsule - all our thoughts and feelings about living in such an epoch-making era." Keyboardist Mike Pinder adds, "To me, we were creating a rocket for every person who wants to go to the moon but couldn't, and would get to do so with the earphones on or the stereo turned up, lying on their backs on the carpet." The album was one of those listened to, on cassette tape, by the crew of Apollo 15 in 1971.

After a seven-year hiatus, Graham Nash returned to his solo career on Earth & Sky. While much of the material may have originated as an on-again/off-again collaboration with David Crosby (guitar/vocals), by the time the LP hit the racks in 1980 there were only traces of Crosby's input scattered throughout. One primary contribution highlighting the pair is the organic and acoustic "Out on the Island," and is likewise one of the best sides of the effort. In support of Nash is an all-star ensemble centering on the infamous "Mighty Jitters": Russ Kunkel (drums/percussion), Tim Drummond (bass), Danny "Kootch" Kortchmar (guitars), David Lindley (guitar/violin/vocals), and Craig Doerge (keyboards). The opening title cut, "Earth & Sky" has the earmark of a mid-tempo Jackson Browne rocker and boasts a tasty guitar lead from Joe Walsh.

Not long after the 1994 release of Plugged In, Dave Edmunds chose to tune out, slowly winding his way back to his native Wales, where he essentially acted as a hermit. Occasionally, he'd show up on-stage – or on Jools Holland's Later – but his active career essentially ceased, punctuated by the live album A Pile of Rock (a title often recycled in his career) documenting a one-off European show from 1997, plus a 2000-era largely instrumental album called Musical Fantasies. With this in mind, the release of …Again in 2013 is big news: it appears to be his first new album in nearly two decades. This isn't the case. …Again is a curious thing, a 15-track collection that contains no less than nine of the 11 songs on 1994's Plugged In, along with "Return to Sender," his contribution to the Otis Blackwell tribute Brace Yourself (released in 1994, but recorded in 1991), plus five new songs. It's not quite enough to be considered a full-fledged comeback but it's slightly more than tossed-off bonus tracks, too, as these new contributions spin the Plugged In material in a slightly different direction.

This is the 14th studio album released in 1982. Following the 1980 release of their previous album, "Conquest," four members, including Ken Hensley, left the band, which had been inactive. This album marks the return of the reformed Uriah Heep, led by the sole remaining member, Mick Box. While the musical style has changed, this album embodies a style that foreshadows what would later be known as melodic hard rock, and is a highly acclaimed masterpiece. This release features a paper sleeve, SHM-CD format, a 2026 remaster, and six bonus tracks!

Without Brian Eno, Roxy Music immediately became less experimental, yet they remained adventurous, as Stranded illustrates. Under the direction of Bryan Ferry, Roxy moved toward relatively straightforward territory, adding greater layers of piano and heavy guitars. Even without the washes of Eno's synthesizers, Roxy's music remains unsettling on occasion, yet in this new incarnation, they favor more measured material, whether it's the reflective "A Song for Europe" or the shifting textures of "Psalm." Even the rockers, such as the surging "Street Life" and the segmented "Mother of Pearl," are distinguished by subtle songwriting that emphasizes both Ferry's tortured glamour and Roxy's increasingly impressive grasp of sonic detail.

Roxy Music followed up their stunning debut with ‘For Your Pleasure’, an album that’s come to be regarded by many as the ultimate musical expression of Roxy Music’s early period. For this record the band found the freedom to develop the songs along experimental lines in the studio, resulting in an immensely satisfying musical statement. Added to Bryan Ferry’s alternately seductive and dystopian imagery, Eno’s other-worldly synth sounds and tape loop effects were propelled by the virtuoso musical powerhouse of Andy Mackay, Phil Manzanera and Paul Thompson. Ultimately, the sum of these parts continues to earn ‘For Your Pleasure’ a place in many ‘Best Albums Of All Time’ listings and its music is as timeless and fresh today as first heard back in 1973.

The All Time Greatest Movie Songs - Collection is a multi-release anthology box set compiled by Columbia and Sony Music between 1998 and 1999, gathering together some of the most iconic film themes and soundtrack hits in cinematic history. Spanning across multiple regional variations and specialized disc volumes, this expansive collection captures the emotional highs and blockbusting energy of silver-screen music from the 1960s through the late 1990s. From sweeping orchestral pop ballads like Céline Dion's My Heart Will Go On (Titanic) and Bruce Springsteen's Oscar-winning Streets Of Philadelphia, to high-octane chart-toppers like Will Smith's Men In Black, Coolio's Gangsta's Paradise, and Jamiroquai's Deeper Underground, this set highlights the deep synergy between modern cinema and global radio hits. Packed with legendary vocalists including Barbra Streisand, Michael Jackson, Roy Orbison, Cher, and Whitney-era R&B stars, this anthology stands as an essential archive for film score enthusiasts and pop lovers alike.

The Best Singles of All Time is a massive ten-disc compilation box set released in 1999 by Startel Entertainment, offering an unparalleled celebration of popular music history. Spanning four decades of chart-topping dominance, this expansive anthology gathers 200 essential singles that shaped the landscape of global radio and pop culture. Organized chronologically and by theme, the set guides listeners through the rock-and-roll explosion and bubblegum pop of the 1960s, the glam, funk, and disco anthems of the 1970s, the synth-pop and arena rock revolutions of the 1980s, and the dance-pop, hip-hop, and R&B smashes of the 1990s. The final two discs showcase an extraordinary lineup of definitive number-one hits. Featuring legendary artists like The Kinks, Cheap Trick, Eurythmics, Cyndi Lauper, Hall & Oates, Deep Purple, and Coolio, this collection delivers non-stop nostalgia, melodic brilliance, and timeless energy. Perfectly mastered for maximum enjoyment, it remains the ultimate treasure trove for music enthusiasts and casual listeners alike.

Thank You is the eighth studio album by the English pop rock band Duran Duran. It was released on 27 March 1995 by Parlophone. Consisting primarily of cover versions, the album performed moderately on the charts, reaching number 12 on the UK Albums Chart and number 19 on the US Billboard 200, but received negative reviews from critics.

Bruce Springsteen's debut album found him squarely in the tradition of Bob Dylan: folk-based tunes arranged for an electric band featuring piano and organ (plus, in Springsteen's case, 1950s-style rock & roll tenor saxophone breaks), topped by acoustic guitar and a husky voice singing lyrics full of elaborate, even exaggerated imagery. But where Dylan had taken a world-weary, cynical tone, Springsteen was exuberant. His street scenes could be haunted and tragic, as they were in "Lost in the Flood," but they were still imbued with romanticism and a youthful energy. Asbury Park painted a portrait of teenagers cocksure of themselves, yet bowled over by their discovery of the world. It was saved from pretentiousness (if not preciousness) by its sense of humor and by the careful eye for detail that kept even the most high-flown language rooted. Like the lyrics, the arrangements were busy, but the melodies were well developed and the rhythms, pushed by drummer Vincent Lopez, were breakneck.

Ever since Joe Jackson's debut album, Look Sharp, yielded his first single in "Is She Really Going Out With Him?" in July of 1979, which peaked at number 21 on Billboard (the album hit number 20), his career has seen him investigate a multitude of musical styles with clean-cut charm and poise. Jackson has dabbled in everything from reggae, disco, and soul to power pop, jazz, and even big band. Stepping Out covers 15 of his biggest singles, including his highest chart-topper, "Stepping Out," which hit number six on Billboard's Top 40, from the suave sounding Night and Day album. The downhearted appeal of "Breaking Us in Two" appears here as well, along with the salsa- flavored "You Can't Get What You Want (Till You Know What You Want)," which reached number 15 and was the strongest track from 1984's Body and Soul album. Outside of his chart appearances, the rest of this hits collection holds up well. Jackson's voice is heard in wispy detail on "Fools in Love," while his humor and wit explode on "I'm the Man" from the album of the same name. The live release entitled Big World from 1986 is spoken for with both "Right and Wrong" and the candid allure of "Hometown."