Chris Norman first found fame fronting huge 70's band Smokie. In 1986, Chris left the band and went on to carve a hugely successful solo career. In his career to date he has had 21 hit singles and released around 22 albums, selling over 20 million records worldwide. After the success of the last album "Rerecorded Love Songs" which contained well-known pop classics, Chris is now current with an album that contains completely newly written songs written by Chris or in collaboration with others. Three songs are written with his old friend and band member Pete Spencer, two with Geoff Carline his current band member, one with Mike Chapman and the rest on his own. The tracks are hallmarks of a true singer-songwriter with timeless melodies and memorable harmonies that soar. Recorded and produced in Chris's own studio. Chris says, “the title reflects the fact that I am at a new junction in my career and it has been 55 years since I turned pro.”

All the Best certainly lives up to its title, offering 17 of Leo Sayer's most popular pop efforts, including each of his Top 40 singles. Beginning with "The Show Must Go On," a frolicking vaudeville-type number with Russ Ballard playing banjo and a number four hit for Three Dog Night, the set entertainingly works its way through the years to reveal Sayer's adeptness at singing ballads and his overly effective pop melodramatics. The disco-flavored "You Make Me Feel Like Dancing" was a number one hit for him in 1976, followed by the syrupy "When I Need You," which accomplished the same feat only four months later. Both singles came from Endless Flight, a platinum seller that also yielded a minor hit with "How Much Love," and would prove to be Sayer's strongest album.

Active as a solo recording artist between the years of 1975-1981, Chris Rainbow wrote and recorded three very highly regarded albums, Home Of the Brave (1975), Looking Over My Shoulder (1978) and this release, his third full length recording, White Trails (1979), as well as a collection of singles throughout his valued career. Chris Rainbow also worked extensively adding vocal contributions to artists’ work of the calibre of The Alan Parsons Project, Culture Club, Elaine Paige and Toyah Wilcox, as well as producing albums for the likes of Scottish Gaelic rock group Runrig.
Features the sought after bonus tracks ‘Body Music’ (7” Version), ‘Girl In Collision’ (12” Version) and ‘Body Music’ (12” Version). All material has been fully remastered especially for this release.

Formed in Los Angeles, CA, in 1971, The Eagles were among the most successful rock groups of the 70s and their blend of country, folk and rock continues to sell well to this day. Led by Don Henley and Glenn Frey, The Eagles produced a string of number one albums and sold out tours through their eleven year run at the top.

Bonnie Tyler returned in the mid-1990s after a long hiatus with Free Spirit, her first U.S. release in years, although foreign releases have kept her somewhat in the European spotlight. Her throaty voice sounded as raspy and smoky as ever, (reminiscent of Kim Carnes or a female Rod Stewart), which is what made Bonnie Tyler so unique. Several songs on this album rate about average, but there are several shining moments which should have brought this set, from such an engaging singer, much more attention than the minimal it received. To begin with, her rendition of "Making Love out of Nothing at All," the early-1980s Air Supply hit, is fantastic, clocking in at nearly eight minutes, and seems perfectly suited for her voice. Their version was already great, but hers is awesome.

Completists will be happy to own many of the rarities on this four-disc set, including Stevens's first demo session, an unreleased 1970 duet with Elton John, a cover of Fats Domino's "Blue Monday," and several choice live cuts from the late '70s. And it's nice to have an overview of the artist's entire career–from late '60s pop-star wannabe to '70s folk-rock superstar–in one place. But the difference between early Cat Stevens (despite composing hits for others) and post-Tea for the Tillerman Stevens is substantial. The two follow-up LPs were part of a trilogy of brilliance–both musically and lyrically–and any Stevens collection must start there. Nevertheless, surprises and some gems are to be found throughout all four discs–even his most recent recording (as Yusuf Islam) isn't bad. This box set also offers a choice opportunity to reassess a deserving career. (All royalties go to New York City relief victims and orphans and homeless families in underdeveloped countries.)

On his third album, Jackson Browne returned to the themes of his debut record (love, loss, identity, apocalypse) and, amazingly, delved even deeper into them. "For a Dancer," a meditation on death like the first album's "Song for Adam," is a more eloquent eulogy; "Farther On" extends the "moving on" point of "Looking Into You"; "Before the Deluge" is a glimpse beyond the apocalypse evoked on "My Opening Farewell" and the second album's "For Everyman." If Browne had seemed to question everything in his first records, here he even questioned himself. "For me some words come easy, but I know that they don't mean that much," he sang on the opening track, "Late for the Sky," and added in "Farther On," "I'm not sure what I'm trying to say." Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well. "The Late Show," the album's thematic center, doubted but ultimately affirmed the nature of relationships, while by the end, "After the Deluge," if "only a few survived," the human race continued nonetheless. It was a lot to put into a pop music album, but Browne stretched the limits of what could be found in what he called "the beauty in songs," just as Bob Dylan had a decade before.