"Never Too Much" is the debut solo album by American singer-songwriter Luther Vandross, released on August 12, 1981 (see 1981 in music). It peaked at #19 on the Billboard 200 (then known as Pop Albums), peaked at #1 on the R&B Albums chart, and went double Platinum by the RIAA. The album earned Vandross two Grammy Award nominations in 1982 - "Best New Artist" and "Best R&B Vocal Performance, Male". The album's title track topped the Black Singles chart for two weeks. Vandross's rendition of Dionne Warwick's 1964 "A House Is Not a Home" became one of his signature songs, and received attention for its transformation into an "epic", since its duration was extended to seven minutes.

The first CD from the Hildegard Knef album edition contains the two original albums "Und Ich Dreh' Mich Nochmal Um" (1972) and "Ich Bin Den Weiten Weg Gegangen" (1974). The Knef of the early seventies turned around for a short time and then continued on her first two Philips albums with the changing time spirit. Instead of Schlager and Swing, she sang sensitive, reflected ballads, became Germany's first singer-songwriter. Both albums were created in the tried and tested team with Hans Hammerschmid (composition & arrangement) and husband David Cameron (production).

Guy Clark didn't just write songs, he crafted them, with the kind of hands-on care and respect that a master carpenter (a favorite image of his) would when faced with a stack of rare hardwood. Clark worked slowly and with strict attention to detail – he released only 13 studio albums in his 40-year career – but he produced an impressive collection of timeless gems, leaving very little waste behind. His albums never met much commercial success, but the emotional level of his work consistently transcended sales figures and musical genres.

After ushering in the era of pop-metal with their 1986 blockbuster Slippery When Wet and its hit singles "You Give Love a Bad Name," "Wanted Dead or Alive," and "Living on a Prayer," Bon Jovi wound up transcending the big-haired '80s, withstanding changes in style and sound to become one of the biggest American rock bands of their time. Unlike a lot of their big-haired pop-metal peers, Bon Jovi's appeal wasn't limited to the States. Slippery When Wet, its 1988 sequel New Jersey, and 1992's Keep the Faith were all international smashes, each selling over ten million copies worldwide.

One of the most celebrated singer/songwriters of her generation, Lucinda Williams is also a fiercely independent artist who had to fight for the creative freedom that allowed her to do her best work. The daughter of a well-respected poet, Williams brought a literacy and sense of detail to her music that was unpretentious but powerfully evocative and emotional, and a number of major artists covered her tunes while she was still establishing herself as a performer. As a vocalist, Williams used the rough edges of her instrument to her advantage, allowing the grit to heighten the authenticity of her performance.

In many ways, Jackson Browne is the quintessential sensitive California singer/songwriter of the early '70s. Only Joni Mitchell and James Taylor rank alongside him in terms of influence, but neither artist tapped into the post-'60s Zeitgeist quite like Browne. While the majority of his classic '70s work was unflinchingly personal, it nevertheless provided a touchstone for a generation of maturing baby boomers coming to terms with adulthood. Not only did his introspective, literate lyrics strike a nerve, but his laid-back folk-rock set the template for much of the music to come out of California during the 1970s.

Remastered edition of the 7th album originally released in 1982 by the American funk group led by Randy Muller. Includes 2 bonus tracks Can You See The Light (12'' Version) and Can You See The Light (Special Remix Version - Instrumental).

"Spy" is singer-songwriter Carly Simon's 9th album, and 8th studio album, released in 1979. It is also her last album for Elektra Records. The title of the album is a tribute to Anaïs Nin, whose quote “I am an international spy in the house of love”, is written across the top on the inside jacket. Simon dedicated the album to producer Arif Mardin, in which she wrote in the liner notes, "Dedicated to Arif who is himself fantastic." Although "Spy" did not yield any major hit singles, "Vengeance" (which features actor Tim Curry on backing vocals) earned Simon a Grammy Award nomination for Best Rock Vocal Performance, Female in early 1980, the first year to feature this new category. The song peaked at #48 on the Billboard Pop singles chart, and Simon later included it on her Anthology album in 2002. The album also features a track entitled "Never Been Gone", which has gone on to become a fan favorite, as well as one of Simon's personal favorite songs of her own. In 2009, she would release an album entitled after the track.

6CD Box Deluxe Digipack with a comprehensive, exceptional and great collection of the still highly demanded genre Soul. A total of 72 tracks from legendary and unforgettable acts like Barry White, Marvin Gaye, Chaka Khan, Bill Withers, Aretha Franklin, Prince, Kool & The Gang, James Brown, Tina Turner. The Rock and Roll Hall of Fame defines soul as "music based on the experience of people of color in America that became a kind of funky, secular testimony through the transformation of gospel and rhythm and blues." Combining elements of religious African American music, rhythm and blues, and jazz, soul music became extremely popular around the world and has since significantly influenced both rock and pop music.

MESMERISING SECOND\-ALBUM\-TOUR BROADCAST FROM PETER GABRIEL\nThe Lamb Lies Down on Broadway was Peter Gabriel final album with Genesis, but tensions increased during this period as Gabriel wanted to write all of the lyrics himself, and he split with the band after director William Friedkin had invited him to work on a screenplay. The project dissolved, and Gabriel returned to work with Genesis, but was late to deliver the lyrics and relied on contributions from Banks and Rutherford.\nDuring a stop in Cleveland, while on the Lamb Lies Down tour, Gabriel informed the band of his intention to leave at its conclusion.

FINALLY, ALL THE UNRELEASED RARITIES IN ONE PLACE Following the experimental and challenging Trout Mask Replica in 1969, and its 1970 follow-up Lick My Decals Off, Baby , Captain Beefheart released The Spotlight Kid, the first album credited solely to himself with no mention of his Magic Band - despite the core members being equally involved as on previous records .

Released in November 1972, their fourth album was mainly recorded at Strawberry Studios in Stockport with the epic ‘Moonwater’ being recorded with a full orchestra at Abbey Road studios. The record was their final album for EMI’s Harvest label and featured pieces such as ‘Summer Soldier’, ‘One Hundred Thousand Smiles Out’ and ‘Delph Town Morn’. Upon its completion the album release was marked by an appearance by Barclay James Harvest with BJH Symphony Orchestra conducted by Martyn Ford on the BBC Radio One programme In Concert. This highly memorable appearance being the only professional live recording of the band with an orchestra. Aside from premiering new tracks from ‘Baby James Harvest’, the recording also featured classics such as ‘Mockingbird’, ‘Galadriel’, ‘The Poet’, ‘After the Day’ and ‘Dark Now My Sky’.

Flip Phillips was a tenor saxophonist who came to the fore in the post-war era playing with the bands of Woody Herman, Red Norvo, Benny Goodman and Frankie Newton, and was perhaps most famously associated with Norman Granz’ Jazz At The Philharmonic concerts in the late ‘40s and into the 1950s.

Mac Wiseman was a an American bluegrass and country singer, as well as a bass player and guitarist, who hailed from Virginia, and came to the fore with Lester Flatt and Earl Scruggs’ Foggy Mountian Boys in 1948 and later played with Bill Monroe’s Bluegrass Boys. In 1951 he signed a solo deal with Dot Records and immediately shot to prominence with his big seller “Tis Sweet To Be Remembered”. He sang with a clear, mellow tenor voice that helped him stand out from the usual run of bluegrass performers in his early career, with his appealing style earning him the nickname of “The Voice With A Heart”. This great-value 59-track 2-CD collection comprises selected A & B sides from his releases on Dot during this era, as he gradually moved from bluegrass towards more mainstream country and pop-flavoured material. It features his Top 10 country hits from these years with “The Ballad Of Davy Crockett” and “Jimmy Brown The Newsboy”. He was a noted ambassador for traditional country music over the years, and this collection provides an admirable showcase for his distinctive style of the genre.

Big Jay McNeely was an R&B saxophonist, whose music ran the gamut of R&B styles, from jazz-tinged pieces and pure blues to out-and-out rock ‘n’ roll, and was famous as one of the leaders in the “honkin’” saxophone style alongside the likes of Sam ‘The Man’ Taylor, King Curtis and Lee Allen, developing a wild stage act as he as he explored every sound the sax could make played in every bizarre position. He recorded for a variety of labels after making his debut with Johnny Otis, and this great-value 53-track 2-CD collection comprises A & B sides of his singles with his band The Blue Jays on the Savoy, Exclusive, Aladdin, Imperial, Veejay and Swingin’ labels, during this era. It features his R&B No. 1 with “Deacon’s Hop” in 1949 that immediately brought him to public attention, along with his other R&B hits “Wild Wig” and, from later years “There Is Something On Your Mind”. On some of his releases he featured vocalists like Clifford Blivens, Ted Shirley, Jesse Belvin, Mercy Dee Walton and Sonny Warner as well as organist Leon Haywood. He was one of the most distinctive and unusual R&B artists of the ‘50s and this collection is an entertaining trawl across his primary recording career.