Presaging the teen-pop phenomenon of the late '90s, Take That took Great Britain by storm in 1993. They didn't, however, hit the States until this release, and even then they hardly made a dent, with only the single "Back for Good" getting any airplay. Where Hanson sparked the boy band craze in the U.S. with a tight band, assured songwriting, good vocals, and an appreciation for rock & roll, and the Backstreet Boys and *NSYNC gave us lush harmonies and production, Take That lacks the confidence or the style of even the weakest cut by the above-mentioned groups.

After two LPs with little or no energy, Sade demonstrated some intensity and fire on her third release. Whether that was just an attempt to change the pace a bit or a genuine new direction, she had more animation in her delivery on such songs as "Haunt Me," "Give It Up," and the hit "Paradise." Not that she was suddenly singing in a soulful or bluesy manner; rather, Sade's dry and introspective tone now had a little more edge, and the lyrics were ironic as well as reflective. This was her third consecutive multi-platinum album, and it matched the two-million-plus sales level of her debut.

With their joint albums LUMINAL and LATERAL, music legend Brian Eno and conceptual artist Beatie Wolfe are releasing two projects that are as independent as they are interconnected. The alternative/vocal album LUMINAL features vocals and lyrics by Wolfe and was produced by Eno. Both describe the music, which is unusual for both artists, as "electric-country-dream-music." LATERAL, on the other hand, is described as "ambient-landscape-dream-music" and "like the familiar, but better." Eno himself is considered to have coined the term "ambient music" in the 1970s. The artists are members of EarthPercent, a non-profit organization that advocates for and supports climate protection within the music industry.

After a six-year gap between albums – during which time she was involved in a drawn-out legal back-and-forth with her former label – English-Albanian singer Rita Ora finally issued her sophomore effort, the aptly titled Phoenix. Despite the behind-the-scenes drama that threatened to derail her burgeoning career, Ora maintained public presence with a series of well-performing singles, many of which are included here. Much like contemporary releases from Jess Glynne and Dua Lipa, the strength of Ora's effortless, R&B-inspired vocals carries Phoenix, despite varying musical styles and recording periods, which stretched over two years from 2016 to 2018.

In the early 1970s, Dusty Springfield relocated from her native England to Los Angeles in an effort to pursue new opportunities in her career and signed with ABC/Dunhill Records. Her 1973 album Cameo showcased Springfield's soulful pop in splendid fashion but failed to generate significant traction outside of Billboard's Adult Contemporary listings. For her sophomore project with the label the following year, Dusty travelled to New York to team with producer Brooks Arthur, renowned for his work with Phil Spector's 1960s coterie of girl singers, For Longing, Arthur chose to frame Dusty in the 1970s singer-songwriter milieu, surrounding her with material from Colin Blunstone ("Exclusively for Me"), Melissa Manchester & Carole Bayer Sager ("Home to Myself"), Janis Ian ("In the Winter"), Stephen Schwartz ("Corner of the Sky"), Chi Coltrane ("Turn Me Around"), Barry Manilow ("I Am Your Child") and others. In many cases, the songwriters themselves contributed directly by playing keyboards on their respective creations at Arthur's famed 911 Studios. Bruce Springsteen was also known to sit in on some of the sessions in admiration.

Led by the songwriting and virtuoso musical duo of Walter Becker and Donald Fagen, Steely Dan released an extraordinary run of seven albums on ABC Records and MCA Records from 1972 through 1980. Filled with topline musicianship, clever and subversive wordplay, ironic humor, genius arrangements, and pop hits that outshone the Top 40 of its day, their records, which were as sophisticated and cerebral as they were inscrutable, were stylistically diverse, melding their love of jazz with rock, blues, and impeccable pop songcraft.

Chaka is the debut solo album by American singer Chaka Khan. It was released on October 12, 1978, through Warner Bros. Records. Following the release of the Chaka album, Khan reunited with Rufus for the recording of 1979's Masterjam, produced by Quincy Jones. Her second solo album Naughty followed in 1980.

Isaac Hayes - The Best Of brings together 10 soulful cuts from Stax Records’ incomparable creative force. As composer, producer, singer and multi-instrumentalist Isaac Hayes changed the face of music in the early 1970s and this collection is the perfect introduction to his music. Including the Academy Award Winning “Theme From Shaft” with its distinctive wah-wah guitar intro, “Walk on By,” and “Never Can Say Goodbye” all newly mastered by Paul Blakemore.

Styled as a conspicuous companion piece to Tug of War, Pipes of Peace mirrors its 1982 cousin in many ways: its title track holds up a mirror to its forefather – and, if that weren't enough, Paul McCartney serves up the knowing "Tug of Peace," an almost-electro collage that twists the songs into McCartney II territory – it serves up two showcases for duets with a former Motown star along with a cameo from fusion superstar Stanley Clarke and, most importantly, it is also produced by former Fab Four ringleader George Martin. Some of that production occurred during the sessions for Tug of War, with roughly half of the record culled from outtakes from that album, but Pipes of Peace has a distinctly different feel than its predecessor, seeming fleet, adventurous, and modern, almost as an accidental riposte to the consciously classical Tug of War.

Following the Pandolfi-Mealli's Sonatas disc (CC72948), Eva Saladin's second contribution to Challenge Classics catalogue is a collection of Sonatas by Veracini. Following Veracini's own suggestion, this is a personal selection of favourite movements from the twelve sonatas in the anthology.

After two albums that downplayed their penchant for gothic sounds and mystical lyrics, Uriah Heep brought these elements back to the fore on 1975's Return to Fantasy. The resulting album retains the musical experimentation that marked Sweet Freedom and Wonderworld but has an overall harder-rocking feel that makes it more consistent than either one of those albums. Return to Fantasy throws down the gauntlet with the title track, which builds from a tapestry of spooky synthesizer and organ riffs into a thunderous rock tune where the guitar and organ duel over a galloping backbeat laid down by Lee Kerslake.

With their first records, Ride created a unique Wall of Sound that relied on massive, trembling distortion in the vein of My Bloody Valentine but with a simpler, more direct melodic approach. The shatteringly loud, droning neo-psychedelia the band performed was dubbed shoegazing by the British press because the bandmembers stared at the stage while they performed. Along with their initial influence, My Bloody Valentine, Ride stood apart from the shoegazing pack, primarily because of their keen sense of songcraft and dynamics. For a while, Ride were proclaimed the last great hope of British rock, but they fell from the spotlight nearly as quickly as they entered it.

The Doobie Brothers had two distinct phases during their 1970s peak, evolving from boogie rockers with a penchant for mellow good vibes into a smooth blue-eyed soul outfit. Subsequent reunions and decades as a successful live attraction blurred the divide between the rambling "Black Water" and funky "What a Fool Believes," the band's two number one hits on Billboard.

Specializing in raunchy, sleazy boogie and melodramatic ballads, Aerosmith were one of the biggest hard rock bands to emerge in the 1970s, shaping the sound and style of hard rock and metal in the decades to come.

As a songwriter and performer, Willie Nelson has played a vital role in post-rock & roll country music. Although he didn't become a star until the mid-'70s, he spent the 1960s writing songs that became hits for stars like Ray Price ("Night Life"), Patsy Cline ("Crazy"), Faron Young ("Hello Walls"), and Billy Walker ("Funny How Time Slips Away"), as well as releasing a series of records on Liberty and RCA that earned him a small but devoted cult following. During the early '70s, Nelson abandoned Nashville for his native Texas, setting up shop with the redneck hippies in Austin and taking control of his music on the landmark Shotgun Willie (1973) and Phases & Stages (1974). He found a kindred spirit in Waylon Jennings and, together, they spearheaded the outlaw country movement that finally made him a star by 1975.