Australian new wave rockers known best for their '80s hits "Crazy" and "Electric Blue." Collection includes: Flowers (1980); Primitive Man (1982); Sidewalk (1984); Measure For Measure (1986); Man Of Colours (1987); Code Blue (1990); Big Wheel (1993).

Falco 3 was the artist's biggest hit album in the United States because of the radio and video success of the song "Rock Me Amadeus." The track "Vienna Calling" is a forgotten minor hit, as it charted in the Top 20. Originally released in 1986, Falco 3 was out of print for years, until its reissue in 1996. "Jeanny" is also of note, as it was ridiculously banned from radio play for its theme of prostitution. A classic, synth pop piece of 1980s guilty pleasure. Six of these tracks appear on Falco's Greatest Hits disc, which is the definitive collection of the Austrian's new wave dance pop. Falco 3 is his best and most popular album.

British pop group that amalgamated soul, jazz, and funk with a Stevie Wonder sound-alike named Jason Kay as its frontman. A Collection includes: Emergency on Planet Earth (1993); The Return Of The Space Cowboy (1995); Travelling Without Moving (1997); Synkronized (1999); A Funk Odyssey (2001); Dynamite (2005); High Times: Singles 1992-2006 (2006); Rock Dust Light Star (2010).

To celebrate the 21st anniversary of their debut release, Blur s break-through album Parklife has now been remastered from the original tapes by Frank Arkwright (The Smiths, Arcade Fire, New Order, Joy Division), with the remastering overseen by legendary original producer, Stephen Street. The first of five No 1 albums for the band, the four times platinum selling Parklife transformed Blur into the biggest band in the country and the Parklife Special Edition certainly doesn t fall short of that status. The accompanying bonus disc begins by collecting together all b-sides from all formats of the Girls And Boys, To The End, Parklife and End Of A Century singles, which contain - among many lesser-known Blur tracks - a Pet Shop Boys remix of Girls And Boys, a rendition of To The End with Damon singing in French, Graham s take on Country and Western in Red Necks and a rare appearance of a track written by Alex on, Alex s Song. Also included are previously unreleased acoustic versions of Jubilee and Parklife recorded for a BBC Radio 1 session in 1994 and the previously unreleased Cadena 40 Principales Acoustic Version of End Of A Century, which featured on a Spanish-only promo for the single.

Coming in way above their previous effort, 1990’s Smooth Noodle Maps, Something for Everybody is the album Devo's fans had craved for 28 long years, or maybe 29, if you fall on the sour side of the iffy Oh, No! It's Devo. The synthetic, compressed, and punchy production – courtesy of producer and Bird & the Bee member Greg Kurstin – is a modern take on the sound of 1981’s New Traditionalists, and if you judge by hooks, this is right in line with their 1980 breakthrough, Freedom of Choice, although there’s certainly no “Whip It”-sized megahit here. Instead, there’s the opening “Fresh!” a herky-jerky, infectious number with lead singer Mark Mothersbaugh stuttering as if he just created New Wave’s “My Generation.” The wicked highlight “Don’t Shoot (I’m a Man)” (“They’ll hunt you down/And tase you bro/For playing with the rules”) is the album’s other key track, thanks to Mothersbaugh’s perfect framing of de-evolution’s give (hybrid cars) and take, take, take (Beltway snipers, overzealous cops, etc.).

Freedom of Choice is the third studio album by the American new wave band Devo. It was originally released in May 1980 on the Warner Bros. label. The album contained their biggest hit, "Whip It", which hit No. 8 and No. 14 on the Billboard Club Play Singles and Pop Singles charts, respectively. Freedom of Choice peaked at No. 22 on the Billboard Pop Albums chart.

The Fixx had a banner year in 1983, as their second album, Reach the Beach, broke down doors and gave the band a huge hit with "One Thing Leads to Another." Phantoms wasn't as good, not just because Reach the Beach had that hit but also because it was simply a really good mainstream new wave record. Phantoms was a little more serious, a little more lugubrious, a little directionless, but it still is a pretty good record, all the same. The reason why? The Fixx were a good band. They had an original sound, thanks to the echoing synths, clean-processed guitars, cavernous drums, and Cy Curnin's soaring voice, which soared over the precise arrangements to make it sound human. The wondrous thing about this combination is that it sounded appealing even when the material wasn't the equal of the sound, which is often the case on Phantoms. That's not to say it's a disaster, because it hardly is – the band sounds good, and the record is a shining example of post-new wave production.

The B-52's is the debut album by the Athens, Georgia-based new wave band the B-52's. Also released in Germany as "Play Loud". The kitschy lyrics and mood, and the hook-laden harmonies helped establish a fanbase for the band, who went on to release several chart-topping singles. The B-52's peaked at number 59 on the Billboard 200, and "Rock Lobster" reached number 56 on the Billboard Hot 100. In 2003, the television network VH1 named The B-52's the 99th greatest album of all time. Shortly before his death, John Lennon said he enjoyed the album. In his 1995 book, The Alternative Music Almanac, Alan Cross placed the album ninth on the list of 10 Classic Alternative Albums. In 2012, the album was ranked number 152 on Rolling Stone magazine's list of the 500 greatest albums of all time. The B-52's was included in the book 1001 Albums You Must Hear Before You Die.

Drummer and songwriter best known as a member of million-selling album hard rock/glam band Queen. Collection includes: Fun In Space (1981); Strange Frontier (1984); Happiness? (1994); Electric Fire (1998).

Released in 1998, Time Capsule: Songs for a Future Generation is the essential B-52's greatest-hits collection. A chronologically assembled highlight reel of the group's first two decades, it contains all of their singles and a number of album favorites, along with two exclusive then-newly written tracks. When they first arrived on the scene in 1979, their kitschy thrift-store image and weirdly spartan sound immediately set them apart from others in the new wave scene to which they were loosely attached. Three guys, two girls, arcane hairdos, no bassist, and a sound that was equal parts spy music and good-time dance party, the B-52's were always fascinatingly loveable outsiders and remained so throughout their years of success. Beginning with "Planet Claire," "52 Girls," and the immortal "Rock Lobster," Time Capsule winds its way through their early and mid-'80s hits like "Quiche Lorraine" and the charming "Song for a Future Generation." As they continued to grow and evolve, their sound expanded, becoming both more nostalgic and more light-hearted, leading into their commercial peak in the early '90s with the excellent "Channel Z," "Roam," and of course "Love Shack".

Collection includes twelve studio albums, one EP, and also tree compilations: "Please" (1986); "Actually" (1987); "Introspective" (1988); "In Depth" EP (1988); "Behaviour" (1990); "Discography" (1991); "Very" (1993); "Bilingual" (1997); "Essential" (1998); "Nightlife" (1999); "Release" (2002); "PopArt" (2003); "Fundamental" (2006); "Yes" (2009); "Elysium" (2012); and "Electric" (2013).

Although Blondie made several first-rate albums, most of their best songs were released as singles, which makes The Best of Blondie an essential collection. The Best of Blondie glosses over their punk roots – very little from the first album, apart from the vicious "Rip Her to Shreds" and the seductive "In the Flesh" – but the band's pop hits are among the finest of their era and encapsulate all of the virtues of new wave. Apart from genuine chart hits like "Heart of Glass," "One Way or Another," "Dreaming," "Call Me," "Atomic," "The Tide Is High," and "Rapture," Best of Blondie picks up several of the group's best album tracks, like "(I'm Always Touched by Your) Presence, Dear" and "Hanging on the Telephone." The Best of Blondie isn't all you need to know, but it is an excellent introduction to one of the best new wave bands.

Eurythmics were one of the most successful duos to emerge in the early '80s. Where most of their British synth pop contemporaries disappeared from the charts as soon as new wave faded away in 1984, Eurythmics continued to have hits until the end of the decade, making vocalist Annie Lennox a star in her own right, as well as establishing instrumentalist Dave Stewart as a successful, savvy producer and songwriter. Originally, the duo channelled the eerily detached sound of electronic synthesizer music into pop songs driven by robotic beats. By the mid-'80s, singles like "Sweet Dreams (Are Made of This)" and "Here Comes the Rain Again" had made the group into international stars, and the group had begun to experiment with their sound, delving into soul and R&B. Collection includes: Sweet Dreams (Are Made Of This) (1983); Touch (1983); 1984 (For The Love Of Big Brother) (1984); Be Yourself Tonight (1985); Revenge (1986); Savage (1987); We Too Are One (1989).

Rare 1991 French-only 12-CD set, comprising all their albums from Three Imaginary Boys to Disintegration in individual card wallet picture sleeves, plus 68-page deluxe illustrated booklet [all text in French], housed in a picture box with pull-out tray and die-cut band logo section with rotating wheel insert!

2009 CD/DVD live release from the veteran Synth Pop band fronted by Terri Nunn includes a bonus DVD. Berlin's Electro-Pop sound features the enduring and assertive voice of Nunn, which is why All The Way In is the most preferable place to hear this Los Angeles-based group's music. Berlin made its first national impression with the provocative single 'Sex (I'm A…)' from the gold-selling debut EP Pleasure Victim in 1982. The Synth-soaked punch of 'No More Words' from 1984's Love Life album and the number one ballad 'Take My Breath Away' from the film Top Gun are the album's high points. Berlin's '80s poignancy provided some rather palatable music, even if the charts didn't say so. Songs like 'Dancing In Berlin' and 'Scream' could compete with anything Depeche Mode or Duran spouted at the time, and the range of Nunn's vocals elevated most of Berlin's efforts above the norm of the run-of-the-mill synthesizer glitz. All The Way In captures Berlin at their best in front of a hometown Los Angeles crowd.