For most artists recording a Christmas record is a convenient stop-gap in between releasing new material. In Peter Cetera's case this doesn't ring true as it has been a while since we last heard from one of soft rock's most distinctive crooners. You Just Gotta Love Christmas brings to the table everything you'd expect from a Peter Cetera record: lush, pleasant arrangements with crisp, warm, polished production and able musicanship from a crew of veteran session players. It's a mix of holiday favorites mixed in with a few originals and some guest appearances from Alison Krauss and Peter's daughter Claire; who is more than up to the task of singing with her father on two of the album's 12 tracks. Cetera and Chicago fans will no doubt enjoy having this on in the background during the holidays.

This incredibly diverse collection was Chicago’s sixth studio album and their final studio-recorded double album to date. Cited for its jazz excursions, Chicago VII reached No. 1 in the US and included three stand-out hits including Searchin’ So Long, Wishing You Were Here and the first single penned by trumpeter Lee Loughnane Call on Me, which reached No. 6 in the US.

If proof were needed that Roxette are the new ABBA, the lack of critical respect should be enough. Like Abba, Roxette is a masterful pop band (with just the right amount of kitsch in its armor) that routinely gets slagged off for lacking substance, whatever that may be. Room Service showcases a band at the top of its form with its feet firm on the pedal: this album is a case study in songcraft and pop smarts. With its na-na-na choruses and sparkly guitars, Room Service is also trademark Roxette, a mostly no-surprises package that divides its time between the soaring, emotive power ballads and the rife-with-hooks rock-dance stompers that the band pretty much took patents out on back in the '80s and '90s.

In the course of this 70-minute, 14-song live disc, recorded at the Stadium in Dublin on July 8, 1992, Glenn Frey divides the set list just about equally between solo material and old Eagles songs. As such, it provides a good sampler of Frey's career in total, from "Take It Easy" to "Smuggler's Blues." One might have hoped for a bit less of Frey's then-current solo album, Strange Weather, and a bit more of the Eagles (after this record, Frey returned for the group's reunion). At press time, MCA planned a Frey hits compilation for the second half of 1995; until then, this will serve as the album best able to give listeners an idea of what his solo career has been like (and it is the only one to contain a version of "The Heat Is On," albeit not the hit recording).

This double CD is the most comprehensive collection of Elkie's music yet released. The first CD is similar to previous compilations, focusing on hits and covers of other songs. Some covers (Nights in white satin (Moody Blues), Don't Stop (Fleetwood Mac)) show that Elkie can take famous songs and keep them interesting. Others (such as Lilac wine) she plucked from obscurity and made her own. This CD contains much great music, most if not all previously released on CD. The second CD showcases Elkie's blues roots. It also includes covers, but of bluesy songs such as Hello stranger (Barbara Lewis), The way you do the things you do (Temptations), Rescue me (Fontella Bass), He's a rebel (Crystals) and Do right woman do right man. The first 13 tracks on this CD pre-dates Elkie's commercial breakthrough and some may be making their CD debut.

The popular vinyl series of Steely Dan reissues continues with the 1980 masterpiece "Gaucho", their last album before a lengthy 20-year album hiatus. The album also marked the end of a number of truly unrivalled years in music with classic album after classic album from one of the most exquisite sounding bands in music history. Like all vinyl reissues in the series, the album has been remastered by Bernie Grundman from an analogue tape copy.

The group's first album with Michael McDonald marked a shift to a more mellow and self-consciously soulful sound for the Doobies, not all that different from what happened to Steely Dan – whence McDonald (and Jeff Baxter) had come – between, say, Can't Buy a Thrill and Pretzel Logic. They showed an ability to expand on the lyricism of Patrick Simmons and Baxter's writing on "Wheels of Fortune," while the title track introduced McDonald's white funk sound cold to their output, successfully. Simmons' "8th Avenue Shuffle" vaguely recalled "Black Water," only with an urban theme and a more self-consciously soul sound (with extraordinarily beautiful choruses and a thick, rippling guitar break).

This release from the BGO label combines two of Gino Vannelli's albums for A&M, Powerful People (1974) and Storm at Sunup (1975). Both releases peaked in the Top 60 of the Billboard 200, while “People Gotta Move” – the lead song on the former – was one of Vannelli’s biggest singles and narrowly missed the Top 20 of the Billboard Hot 100. Those who pick up a well-chosen Vannelli compilation can get the essential songs, but soft rock diehards can obtain a fair amount of Vannelli’s choice album-bound material right here.

Winter Light could arguably be classified as Linda Ronstadt's best pop album of the 1990s. She followed up 1989's hugely successful Cry Like a Rainstorm, Howl Like the Wind with two Spanish language albums (Mas Canciones and Frenesi), then returned with the beautiful light-pop collection that is Winter Light. This set finds Ronstadt interpreting such classics as the Bacharach/David compositions "Anyone Who Had a Heart" and "I Just Don't Know What to Do With Myself" with enough torchy bravado to make them her own. Her cover of the Beach Boys' "Don't Talk (Put Your Head on My Shoulder)" is an ethereal, gorgeous, and breathy interpretation, and other covers, such as "Oh No, Not My Baby" and "It's Too Soon to Know" shine just as brightly. In fact, there is not a single dud on this impeccably produced album, which, in fact, gets better and better with each listening.

Romeo’s Daughter is thrilled to announce the release of 6th studio album "Slipstream". It is an album filled with songs that are synonymous with the RD sound that you know and love with a few surprises along the way! It has been made with love and the deep respect we have for our wonderful fans and we hope you enjoy listening to it as much as we did making it!

Four solo albums from the guitarist and songwriter Mick Ralphs who was a founder member of two of the most important rock bands of the 1970s; Mott The Hoople and Bad Company. Mick Ralphs wrote many key songs across seven Mott The Hoople albums, followed by six records with Bad Company; these included 'Rock and Roll Queen', 'Ready For Love', 'Can't Get Enough', 'Good Lovin' Gone Bad' and 'Movin' On'. Bad Company took a break following 1982's 'Rough Diamonds', and after a stint playing alongside David Gilmour on his About Face tour, Mick embarked on a solo career in 1984 with 'Take This!' (CD1) which featured bassist Micky Feat and fellow Bad Company founder, drummer Simon Kirke, with a live band that consisted of guitarist Dave "Bucket" Colwell (later to join Ralphs in a reformed Bad Company), Uriah Heep drummer Chris Slade and Ozzy Osbourne keyboard player Lindsay Bridgewater.