Firefly is the 10th album by British rock band Uriah Heep, released in 1977 by Bronze Records in the UK and Warner Bros. Records in the US. It was their first album without lead vocalist and founding member David Byron, and the first of three albums with new singer John Lawton.

Labour of Love II is the ninth album and second covers album by UB40, released in 1989. The album contained two Top Ten Billboard Hot 100 hits – "Here I Am (Come and Take Me)" peaked at No. 7, "The Way You Do the Things You Do" peaked at No. 6 – and "Kingston Town" reached No. 4 on the UK singles chart.

Baggariddim, not to be confused with the EP Little Baggariddim released in the US, is the sixth album by UB40, released in 1985. Most of the tracks are reworkings of previous UB40 recordings that originally appeared on Labour of Love and Geffery Morgan, here showcasing guest singers and "toasters" on vocals. Guest artists included Chrissie Hynde, the leader of The Pretenders, and Douglas Gilbert, lead trombonist with the London Symphony Orchestra (LSO). In the UK, Germany, the Netherlands and Belgium, this album was released in a gatefold sleeve containing an additional 3-track 12" EP. The album features two hits, "I Got You Babe"—a duet with Hynde that reached number one in the UK, Ireland and Australia—and the UK number-three follow-up "Don't Break My Heart", which was the 'B-side' of "I Got You Babe" ("Theme from Labour of Love") with vocals added.

War is the third studio album by Irish rock band U2. It was produced by Steve Lillywhite, and was released on 28 February 1983 on Island Records. The album is regarded as U2's first overtly political album, in part because of songs like "Sunday Bloody Sunday" and "New Year's Day", as well as the title, which stems from the band's perception of the world at the time; lead vocalist Bono stated that "war seemed to be the motif for 1982."

Rattle and Hum is a hybrid live/studio album by Irish rock band U2, and a companion rockumentary film directed by Phil Joanou. The album was produced by Jimmy Iovine and was released on 10 October 1988, while the film was distributed by Paramount Pictures and was released on 27 October 1988. Following the breakthrough success of the band's previous studio album, The Joshua Tree, the Rattle and Hum project captures their continued experiences with American roots music on the Joshua Tree Tour, further incorporating elements of blues rock, folk rock, and gospel music into their sound. A collection of new studio tracks, live performances, and cover songs, the project includes recordings at Sun Studios in Memphis and collaborations with Bob Dylan, B.B. King, and Harlem's New Voices of Freedom gospel choir.

Pop is the ninth studio album by Irish rock band U2. It was produced by Flood, Howie B, and Steve Osborne, and was released on 3 March 1997 on Island Records. The album was a continuation of the band's 1990s musical reinvention, as they incorporated alternative rock, techno, dance, and electronica influences into their sound. Pop employed a variety of production techniques that were relatively new to U2, including sampling, loops, programmed drum machines, and sequencing.

How to Dismantle an Atomic Bomb is the eleventh studio album by Irish rock band U2. It was released on 22 November 2004 in the United Kingdom by Island Records and a day later in the United States by Interscope Records. Much like their previous album All That You Can't Leave Behind (2000), the record exhibits a more mainstream rock sound after the band experimented with alternative rock and dance music in the 1990s. It was produced by Steve Lillywhite, with additional production from Chris Thomas, Jacknife Lee, Nellee Hooper, Flood, Daniel Lanois, Brian Eno, and Carl Glanville.

All That You Can't Leave Behind is the tenth studio album by Irish rock band U2. It was produced by Brian Eno and Daniel Lanois, and was released on 30 October 2000 through Island Records and Interscope Records. Following the mixed reception to their 1997 album, Pop, All That You Can't Leave Behind represented a return to a more mainstream sound for the band after they experimented with alternative rock and dance music in the 1990s. At the time of the album's release, U2 said on several occasions that they were "reapplying for the job ... [of] the best band in the world". U2 brought back Eno and Lanois, who had produced three of the band's previous albums. The album was originally named "U2000", which had been a working title for their PopMart Tour.

Achtung Baby is the seventh studio album by Irish rock band U2. It was produced by Daniel Lanois and Brian Eno, and was released on 18 November 1991 on Island Records. Stung by criticism of their 1988 release Rattle and Hum, U2 shifted their musical direction to incorporate influences from alternative rock, industrial music, and electronic dance music into their sound. Thematically, Achtung Baby is darker, more introspective, and at times more flippant than their previous work. The album and the subsequent multimedia-intensive Zoo TV Tour were central to the group's 1990s reinvention, by which they abandoned their earnest public image for a more lighthearted and self-deprecating one.

The Best of 1990–2000 is the second greatest hits album by Irish rock band U2. It was released on 5 November 2002 through Island Records, except in the United States where the album was released on the Interscope label as a single-disc CD compilation. The Best of 1990–2000 & B-Sides was released on the same day with a second disc featuring 14 of the B-sides released between 1990 and 2000 and a bonus DVD with a trailer for the album and three other segments. A video album of the same name was later released in December 2002.

Музыка на данном альбоме выдержана в старых традициях. Не буду перечислять старые эпитеты по поводу своеобразия и монументализма творчества австрийских парней - это сделано уже множество раз в предыдущих рецензиях. Альбом отличается как мне показалось большей выдержанностью и мудростью с одной стороны и стремления Summoning оставаться верными своему неповторимому стилю .В музыкальном плане стало больше чистого вокала и появились хоровые партии. Не знаю но в целом кажется что этот альбом... немного более "грустный" что ли...может промозглая осенняя погода навеяла.Откровенно сразу запоминается Ashen Cold... - несомненный хит. Вообщем твердая десятка...

А альбом у Sick of it All получился весьма неплохой. В принципе, его даже можно причислить к классике хард-кора. Быстрые агрессивные короткие песни не дадут вам скучать. Возможно, людям с неустойчивой психикой и склонным к массовым убийствам, действительно не стоит слушать этот альбом, а всем остальным не только стоит, но даже и рекомендуется. Диски Sick of it All – уже история.

В 2007 году вышел небольшой альбом под названием Progress and Perfection. Официально выпущен не был. Альбом является саундтреком к презентации новой модели автомобиля Audi А5. Издан ограниченным тиражом специально для раздач на презентациях (всего 350 копий). Два трека содержат вокал, остальные — инструментальные.По сути почти все композиции с альбома Progress and Perfection встречаются на последнем альбоме Yello, который называется Touch Yello и вышел двумя годами позже (2009 год). Данный альбом имеет две версии: обычную и Limited Edition с бонусными треками и DVD

Кавалера не подкачал. На новом альбоме, есть что послушать.Есть как полюбившееся по первым двум альбомам бескомпромиссное рубилово, так и среднетемповые песни. Ну и конечно очередной инструментальный "полет души". Особенно меня порадовали "веселые" Last of the mohicans(L.O.T.M), Сall to arms и Four Elements. Очень "своеобразная" "песня" - 9-11-01,на которой Макс и музыка вообще отстуствуют.

Вот перед такими альбомами я преклоняю голову, ибо их слушали раньше, слушают сейчас, и будут слушать через тысячи лет. «Painkiller» - это настолько классная работа, что подобрать слова для описания своих чувств очень сложно. Таких альбомов у Пристов никогда не было и не будет, а попытки перенять стиль у многочисленных подражателей получались только частично – с "Пейнкиллером" ничто не сравнится в полной мере! Чем меня всегда привлекал этот альбом, так это своим мощным плотным звуком и необычным вокалом Роба Халфорда. Именно на «Painkiller» голос Роба достиг своей наивысшей точки кипения – это настолько безумный, психованный и одурелый крик, что пробирает до самих костей!