Trash is the eighteenth studio album released by Alice Cooper in 1989. The album features the single "Poison", Cooper's first top ten hit since his single "You And Me" in 1977 and marked a great success in Cooper's musical career, reaching the Top 20 of various album charts and selling more than two million copies of a studio album. After Alice's return to the music industry with the successful "The Nightmare Returns" tour, Cooper had sought assistance from Desmond Child to create a comeback album. Trash became one of Cooper's biggest albums, accompanied by music videos for "Poison", "Bed of Nails", "House of Fire", and "Only My Heart Talkin'". A successful year-long worldwide concert tour in support of the album was documented in the home video release Alice Cooper Trashes The World.

Wonderworld continues in the vein of Sweet Freedom, trying to bring Uriah Heep's appeal to a wider level while still retaining the grandiose trademark elements (the organ-guitar attack, David Byron's operatic shriek) that got them noticed. The result is an album that is solid but not as inspired as Look at Yourself or Demons and Wizards. The hard rock quotient is a little stronger on this album than it was on Sweet Freedom: "Something or Nothing" is a galloping stomp-rocker in the vein of past classics like "Love Machine" and "Suicidal Man" is an organ-fortified speed-rocker that is one of the band's finest hard rock tunes.

Dynasty marked the first time that the original four members of Kiss didn't all appear together for the entire album – session drummer Anton Fig subbed for Peter Criss due to the latter's erratic behavior and injuries sustained in a serious car crash. And even though it was a platinum-plus smash, Dynasty marked the beginning of Kiss' unfocused period, which would ultimately end in a nosedive of the band's popularity, as well as Criss and Ace Frehley leaving the band by 1982. In latter-day interviews, the band admitted that they started to listen to outsiders about what direction the music should go around the time of Dynasty.

By the late '90s, guitarist Gary Moore was at a career crossroads. Should he continue on the path that brought him his biggest stateside success (Still Got the Blues), or try something a bit contemporary? The ex-Thin Lizzy member decided on the latter, issuing Dark Days in Paradise, an album that saw Moore utilize electronic beats and, of course, his trademark soaring guitar work, rather than blues-rockers. And you have to give the guitarist credit – he does venture outside of what you'd usually expect from a new Moore album, whether it be the Beatlesque "One Fine Day" (which contains a bassline quite similar to the Fab Four's "Rain") or the keyboard-heavy ballad "Like Angels" (which sounds like it's straight from 1987).

Stevie Ray Vaughan had always been a phenomenal guitarist, but prior to In Step, his songwriting was hit or miss. Even when he wrote a classic modern blues song, it was firmly within the genre's conventions; only on Soul to Soul's exquisite soul-blues "Life Without You" did he attempt to stretch the boundaries of the form. As it turns out, that was the keynote for In Step, an album where Vaughan found his own songwriting voice, blending blues, soul, and rock in unique ways, and writing with startling emotional honesty.

Sneak Me In is the seventh album by Lucifer's Friend, an album in which Mike Starrs, formerly of Colosseum II, replaced John Lawton on vocals for a second time. This album and the previous Good Time Warrior (1978) were an attempt at a more commercial, accessible style which met with limited success. Starrs was replaced by the returning Lawton, for 1981's Mean Machine.

Santana, which was renowned for its concert work dating back to Woodstock, did not release a live album in the U.S. until this one, and it's only partially live, with studio tracks added, notably a cover of the Zombies' "She's Not There" (number 27) that became Santana's first Top 40 hit in five years. The usual comings and goings in band membership had taken place since last time; the track listing was a good mixture of the old – "Black Magic Woman," "Soul Sacrifice" – and the recent, and with the added radio play of a hit single, Moonflower went Top Ten and sold a million copies, the first new Santana album to do that since 1972 and the last until Supernatural in 1999.

Crash is the fifth studio album by English singer-songwriter Charli XCX, released on 18 March 2022. It is her last album to be released under her current record contract with Atlantic Records. Charli announced the album title, release date, and artwork on 4 November 2021. Her website was also updated with information about the album's 2022 tour. The album was preceded by the four singles "Good Ones", "New Shapes" featuring Christine and the Queens and Caroline Polachek, "Beg for You" featuring Rina Sawayama, "Baby" and two promotional singles, "Every Rule" and "Used to Know Me".

With just a couple of cursory listens to the few tracks that popped up all over the Internet through 2007, comparisons were made between Adele, the much-hyped brassy British songstress, and Amy Winehouse, the…much-hyped brassy British songstress. However, after a solid listen to 19, the first full sampling by the up-and-coming Adele, listeners are forced to throw all comparisons to the wind; Adele is simply too magical to compare her to anyone. Bluesy like it's no one's business yet voluptuously funky in a contemporary way, Adele rocks out 19 with a unique voice and gritty sound that dazzle endlessly. Synthesizing blues, jazz, folk, soul, and even electric pop, Adele mystifies through her mature songwriting skills and jaw-dropping arrangements.

Foghat is the second album, and the second self-titled album, by the English rock band Foghat, released in March 1973. It is generally known by fans as Rock 'n' Roll, because of its cover picture depicting a rock and bread roll. Foghat specialized in a simple, hard-rocking blues-rock, releasing a series of best-selling albums in the mid-'70s. While never deviating from their basic boogie, they retained a large audience until 1978, selling out concerts across America and earning several gold or platinum albums.

With the future of the original Alice Cooper band in doubt by mid-1974 (they would soon break up for good with Alice going solo), Warner Bros. decided to issue a best-of compilation entitled Greatest Hits. If you're a newcomer to Alice, this 12-track compilation is a must-hear – all the selections are exceptional. While many have chosen to focus primarily on Cooper's theatrics over the years, the original bandmembers were indeed supreme rock songwriters; such anthems as "I'm Eighteen," "Under My Wheels," "School's Out," and "No More Mr. Nice Guy" are unquestionably among the finest hard rock tracks of all time.

The impressive Downwind is the first release from the band under its new moniker, Pierre Moerlen's Gong, as Moerlen assumes creative control and dominance. The release marks a return to vocals/lyrics, which proves only partially successful. Moerlen's voice is a hit on the opener, the rocking "Aeroplane," and the collective vocals on the fast-paced, percussive "Jin-Go-Lo-Ba" (popularized by Santana) are right on target. His singing is weak, though, on "What You Know" and detracts from the song's quality. Mick Taylor makes his only appearance here with an exceptional guitar solo. Downwind is also a return to compositions dominated by rock structures and styles, the jazz element minimal this time around.

Volume 2 of Connoisseur Collection's 2 part series on Ritchie Blackmore's overall career. Where Volume 1 focused largely on Blackmore's '60s sessions and his Purple work from 1968 to 1974, Volume 2 is more of a grab bag which has a lot of variety. Originally intended mostly to cover the period from 1975 (Rainbow's formation) onwards, it actually covers from 1965 to 1984 with several memorable pit-stops in between. This great CD is bolstered by great liner notes and great pictures, including some magazine covers quite rare to find anywhere else. Anyone remotely interested in the heights to which Blackmore can reach will be rewarded here.

It's a long way from the simple and rather forgotten days of guitarist Ritchie Blackmore's early dabbling in English skiffle to belting out some of the most memorable leads and riffs in hard rock. This well-researched collection traces the roots of a young "Man In Black" fingering the fretboard to nothing sounding that spectacularly different from his peers in the beginning to smoking the rest of the pack while fronting the multi-million-selling Deep Purple. Unearthed are four previously unreleased Deep Purple tracks, lost treasures that are worth the price alone, particularly the earliest recorded live version of "Highway Star," still in its infancy before being solidified in the studio on Machine Head.

A companion album of sorts to 2019's My Songs, Duets collects 17 duets Sting has recorded over the years. Some of these tracks appeared on soundtracks, some were included on albums by his duet partners, others – including "September," a song recorded with Zucchero that makes its debut here – trickled out on compilations. Collectively, these duets showcase Sting The Polymath, a cultured and worldly individual with an ability to synthesize his diverse interests into smooth, jazzy, mature pop. What's striking about the compilation is how a roster as diverse as Eric Clapton, Shaggy, Mary J. Blige, Annie Lennox, Herbie Hancock, Sam Moore, and Julio Iglesias doesn't sound especially eclectic; when the common denominator is Sting, all the guests adapt to his particular ways.