Troubadour is a 1976 album by J. J. Cale, his fourth since his debut in 1972. Eric Clapton covered the song "Cocaine" on his 1977 album Slowhand, turning it into one of his biggest hits. He later covered the track "Travelin' Light" for his 2001 studio album Reptile. "Travelin' Light" was also recorded by Widespread Panic for their album Space Wrangler in 1988. JJ Cale's version of his own "Travelin' Light" was played to awaken the crews of the Atlantis Space Shuttle and International Space Station preceding their spacewalk early on Friday May 21, 2010.

Greatest Hits is a compilation album by the British rock band Queen, released worldwide on 26 October 1981. The album consisted of Queen's biggest hits since their first chart appearance in 1974 with "Seven Seas of Rhye", up to their 1980 hit "Flash" (though in some countries "Under Pressure", the band's 1981 chart-topper with David Bowie, was included). There was no universal track listing or cover art for the album, and each territory's tracks were dependent on what singles had been released there and which were successful.

The Preacher's Wife: Original Soundtrack Album is the soundtrack to the 1996 film of the same name and features songs performed by Whitney Houston, who also stars in the film. It is the best-selling gospel album of all time, and has sold an estimated 6 million copies worldwide. The lead single, "I Believe in You and Me" (a cover of The Four Tops classic), became a top five hit in the U.S. and was nominated for Best Female R&B Vocal Performance at the 40th Grammy Awards, as well as for Best R&B Album. "Step by Step" was another hit single, peaking at number 15 on the Billboard Hot 100 chart. "My Heart Is Calling" became the soundtrack's final release. "Lay Aside Every Weight", covered and performed by Georgia Mass Choir and Whitney Houston, appears in the film but not on the motion picture soundtrack for unknown reasons.

East of Eden's debut LP is one of the hardest-rocking albums to come out of the progressive rock movement, and maybe the best non-Rolling Stones albums issued by English Decca label during the late 1960s. It's also one of the most daring debut albums of its period, less tightly focused than, say, King Crimson's Court of the Crimson King, but otherwise equally bold and maybe more challenging. The whole record is eerie - coming from a pop culture where most psychedelic rock tended toward the light and airy - East of Eden use high-impact bass, drum, and guitar parts mixed with the distinctly Oriental and Central/Eastern European classical influences. The first track is a surprise coming from any British psychedelic band of the period, opening with a pounding heavy metal beat pumped out on Steve York's bass and Dave Dufort's drums, while Dave Arbus' electric violin subs for what would normally be the rhythm guitar part…

In 2013, Future was re-released on the Big Beats label featuring outtakes, alternate versions, and extensive liner notes by Alec Palao.
Though the Seeds' third album, 1967's Future, was pegged by critics as the band's attempt to ride the wave of baroque/psychedelic/orchestral magic the Beatles defined with Sgt. Pepper's, the recording was actually complete before the release of the Beatles' far more popular breakthrough album, making it impossible for the influence to touch the uncannily similarly minded flower power tones of Future. The Seeds had their own relatively huge smash with the raw high-pressure garage thumper "Pushin' Too Hard" the year before, and saw nothing wrong with recycling that tune's melody on more than a few songs on their first two albums…

Sal Salvador pays tributes to the jazz greats of his time - Charlie Parker, Dave Brubeck, Duke Ellington, and others - but also serves things up at a level that's very much his own bag too! The album's got a spare, stripped-down groove that really suits Salvador's guitar well - giving Sal plenty of room to craft these round, warm lines that are full of color and tonal depth - often with a sense of rhythm that makes things groove, even when moving slowly. The group has just the right sort of balance to fit the mood that Sal's going for - with Eddie Costa on piano and vibes, Frank Dallas on bass, and Ronnie Free on drums. Titles include "Manteca", "Ruby My Dear", "Yardbird Suite", "Cool Eyes", "Taps Miller", and "Solos For Guitar".

The ever prolific Roine Stolt brings his Swedish prog-rock monolith the Flower Kings back into the studio for a double-disc outing created around the notion of existence. Light stuff, eh? It is, actually. For those who are wrapped tight in prog rock's knotty, twist-and-turn melodies, quick-change tempos, harmonic extensions, eloquent, guitar pathways that are only topped by keyboard excesses that display acumen and prowess, and glistening production - and production where it takes eight hours to get a guitar solo right in the studio - Paradox Hotel will seem a tad foreign, and perhaps even strange. While it certainly has many of prog's long-expected tropes - from eloquent expansive melodies that are more like suites than songs - and rhythmic variation, it also does something very different…

2350 Broadway (1993) is the first in a series recorded by Namlook and Tetsu Inoue. The first half is rather too short on tones and melody but the second disc, consisting of the 70-minute epic "Hands Of Light" is a masterful exercise in deep spacemusic. It's glacial pace varies only marginally between beatless and gently pulsed and its mix of electronic drones, wind effects and melodies is deceptively simple.
2350 Broadway 2 (1994) is a seminal, almost fabled release spanning two CDs and recorded by Namlook and Tetsu Inoue in real time (no pre- or post-production and no overdubs). Remarkably engaging for its simplicity, the set was subsequently reissued by popular demand and spawned a pair (and counting) of follow-ups in the series…