An Elton John collaborations album made during lockdown featuring a collection of 16 songs, with some of the biggest, most exciting artists in the world today. The lead single 'Cold Heart' featuring Dua Lipa is a mashup of 'Sacrifice' & 'Rocketman', and the album features artists such Brandi Carlile, Charlie Puth, Dua Lipa, Eddie Vedder, Gorillaz, Lil Nas X, Miley Cyrus, Nicki Minaj, Rina Sawayama, SG Lewis, Stevie Nicks, Stevie Wonder, Surfaces, Years & Years, Young Thug, and more.

Norah Jones named her eighth proper studio set Visions because many of the musical ideas occurred to her in the middle of the night, right when her consciousness was hazy: they weren't fully realized so much as an apparition. That sense of dreaminess carries through to the finished product but not in ways that are commonly associated with such a description. Far from being an album constructed for twilight hours – a dimly lit excursion into mood music – Visions is clear and light, its textures vividly articulated and its rhythms mellow and fluid. It's music that feels alive, inhaling and exhaling with a gentle insistence; it's never rushed, never clipped. Despite the record's inherent relaxation, Visions never quite proceeds in a linear path.

In 1965, the Stones finally proved themselves capable of writing classic rock singles that mined their R&B/blues roots, but updated them into a more guitar-based, thoroughly contemporary context. The first enduring Jagger-Richards classics are here – "The Last Time," its menacing, folky B-side "Play With Fire," and the riff-driven "Satisfaction," which made them superstars in the States and defined their sound and rebellious attitude better than any other single song. On the rest of the album, they largely opted for mid-'60s soul covers, Marvin Gaye's "Hitch Hike," Solomon Burke's "Cry to Me," and Sam Cooke's "Good Times" being particular standouts. "I'm All Right" (based on a Bo Diddley sound) showed their 1965 sound at its rawest, and there are a couple of fun, though derivative, bluesy originals in "The Spider and the Fly" and "The Under Assistant West Coast Promotion Man."

20th Anniversary Edition. 90 page special collector's book - unreleased photos and exclusive memorabilia. 70 total tracks - 35 unreleased. Nevermind was never meant to change the world, but you can never predict when the Zeitgeist will hit, and Nirvana's second album turned out to be the place where alternative rock crashed into the mainstream. This wasn't entirely an accident, either, since Nirvana did sign with a major label, and they did release a record with a shiny surface, no matter how humongous the guitars sounded. And, yes, Nevermind is probably a little shinier than it should be, positively glistening with echo and fuzzbox distortion, especially when compared with the black-and-white murk of Bleach.

Okie is the third studio album by J. J. Cale, released in 1974. Several songs from the album were later covered by other artists, including "I Got the Same Old Blues", by Eric Clapton, Captain Beefheart, Bobby Bland, Lynyrd Skynyrd, and Bryan Ferry; "Anyway the Wind Blows", by Brother Phelps in 1995 and Bill Wyman's Rhythm Kings in 1999; and "Cajun Moon", by Herbie Mann on his 1976 album Surprises with vocals by Cissy Houston, by Poco on their album Cowboys & Englishmen, and by Randy Crawford in Naked and True (1995). "I'd Like to Love You, Baby" was covered by Tom Petty & The Heartbreakers in 2003, appearing on their 2009 album, The Live Anthology.

Dire Straits is the debut studio album by the British rock band Dire Straits released on 7 October 1978 by Vertigo Records internationally and by Warner Bros. Records in the United States. The album produced the hit single "Sultans of Swing", which reached #4 on the Billboard Hot 100 chart and number 8 on the UK Singles Chart. The album reached #1 on album charts in Germany, Australia and France, #2 in the United States and #5 in the United Kingdom. Dire Straits was later certified double-platinum in both the United States and the United Kingdom.

A year on from one of the most satisfying hard rock debuts of the age, 1972's Bulletproof, Hard Stuff were hard-pressed to make such a brazen impression on their second LP, and that despite having spent the intervening time pushing themselves to the very brink of a breakthrough. Funkier than its predecessor, and more experimental too, the uncompromisingly named Bolex Dementia substituted much of its predecessor's raw power with proggier tones – John Du Cann himself compared the title track to Spooky Tooth's equally vague meanderings with Pierre Henry. And as if that were not difficult enough, the album was decked in what remains an astonishingly ugly cover, and promoted with a truly tasteless ad campaign.

As progressive rock entered its revival stage in the early '80s, IQ was right in the middle of it. Without any emphasis on one particular instrument, Tales From the Lush Attic is an album that offers a balanced portion of hurried guitar and enveloping keyboards. Specks of prog-era Genesis glisten with every note sung by lead singer Peter Nicholls, who sounds eerily like Peter Gabriel. Even the structure of some of the songs resemble bits of The Lamb Lies Down on Broadway, but there's an air to this album that gathers attention, especially on the synth-ridden passages. Quick interchanges of 12-string guitar and Mellotron create an instrumental seesaw effect, peaking in the longer tracks like the 20-minute "Last Human Gateway" or "The Enemy Smacks."

Opening slowly with the dark, swampy "Born on the Bayou," Bayou Country reveals an assured Creedence Clearwater Revival, a band that has found its voice between their first and second album. It's not just that "Born on the Bayou" announces that CCR has discovered its sound – it reveals the extent of John Fogerty's myth-making. With this song, he sketches out his persona; it makes him sound as if he crawled out of the backwoods of Louisiana instead of being a native San Franciscan. He carries this illusion throughout the record, through the ominous meanderings of "Graveyard Train" through the stoked cover of "Good Golly Miss Molly" to "Keep on Chooglin'," which rides out a southern-fried groove for nearly eight minutes.

Another piece of topical hard rock from Manfred Mann's Earth Band and, as before, listenable even to those without a serious bone in their bodies, by virtue of the playing. Moving between hard rock and British blues influences (with a special debt to Cream on the opening cut, "Give Me the Good Earth") and progressive rock, the quartet cuts a mean swathe across the sonic landscape, between Mick Rogers' soaring guitar solos and Manfred Mann's inimitable synthesizer work. Some of the less ambitious cuts, such as "I'll Be Gone," are relatively dispensable, but when these guys start reaching, as on "Earth Hymn," that's when their best musical instincts take hold, and the results are always worth hearing.

As Kiss approach 40 years of ridiculously dumb rock & roll fun, it makes sense that their 20th studio album, Monster, is more self-referential than anything. Following 2009's Sonic Boom, the album marks the second set of tunes by a revamped "original" Kiss lineup, with Paul Stanley and Gene Simmons joined by new guitarist Tommy Thayer and re-emerging drummer Eric Singer donning the makeup and personas originated by Ace Frehley and Peter Criss, respectively. Dressing up these semi-random players in the classic comic book costumes is just step one in re-creating the feel of Kiss' 1970s over the top heyday.

{RYM}Here we have everything, from fast pomping passages to more mellow parts, the sound and manner of composing here is more refined then on their debute, the musicianship is tight, great ideas and top notch pieces. The interplay between guitar and organ (keyboards) and drums I must say is absolutly killer and inventive. There are some passages that truly shine no less, like on opening Put it this way, what to say really , impressive playing from each msucian, Gary Moore in duel with master Don Airey, somemthing not to be missed by any prog/jazz rock lover.

Buoyed by two U.K. number one singles in "Telegram Sam" and "Metal Guru," The Slider became T. Rex's most popular record on both sides of the Atlantic, despite the fact that it produced no hits in the U.S. The Slider essentially replicates all the virtues of Electric Warrior, crammed with effortless hooks and trashy fun. All of Bolan's signatures are here – mystical folk-tinged ballads, overt sexual come-ons crooned over sleazy, bopping boogies, loopy nonsense poetry, and a mastery of the three-minute pop song form. The main difference is that the trippy mix of Electric Warrior is replaced by a fuller, more immediate-sounding production.