Head Games is the third studio album by the British-American rock band Foreigner, released on 11 September 1979 by Atlantic Records. Recorded at Atlantic Studios in New York, with additional recording and whole mixing taking place at Cherokee Studios in Los Angeles, it was the only Foreigner album co-produced by Roy Thomas Baker, best known for working on Queen's classic albums. It marked the first appearance of new bass guitarist Rick Wills (formerly of Jokers Wild, Roxy Music and Small Faces) who replaced Ed Gagliardi (who was fired from the band), and was the last album with founding members Ian McDonald and Al Greenwood, who would leave the band after the recording. Head Games is also the last Foreigner album to feature a lead vocal by guitarist Mick Jones ("The Modern Day").

Foreigner is the debut studio album by British-American rock band Foreigner, released on March 8, 1977. It spun off three hit singles, "Feels Like the First Time", "Cold as Ice" and "Long, Long Way from Home". It also features album tracks such as "Headknocker" and "Starrider", the latter of which features a rare lead vocal from lead guitarist and co-founder Mick Jones.

Double Vision is the second studio album by the British-American rock band Foreigner, released on 20 June 1978 by Atlantic Records. Recorded between March - May 1978, it was Foreigner's only album co-produced by Keith Olsen and the last recording with bass guitarist Ed Gagliardi who would be later replaced by Rick Wills.
Double Vision was the first in the line of many other recordings in which A&R executive John Kalodner would simply have his name listed twice in liner notes, as a play on the title of this album. The phrase "John Kalodner: John Kalodner" originated when the producer Olsen was wondering just how to credit Kalodner's involvement in the band and the album. In keeping with the double vision theme, guitarist Mick Jones came up with an idea of doubling the name.

4, also known as Foreigner 4, is the fourth studio album by the British-American rock band Foreigner, released on July 2, 1981, by Atlantic Records. The album's name signifies that it is the band's fourth studio album and also the fact that the band's membership had reduced from six to four members. Musically, it showed Foreigner shifting from hard rock to more accessible mainstream rock and pop music.[10] The release of 4 coincided with the launch of MTV later that August.
4 was a commercial success worldwide, holding the No. 1 position on the Billboard 200 chart for a total of 10 weeks. It eventually sold over six million copies in the U.S. alone. Several of its singles were hits, including "Urgent", "Waiting for a Girl Like You" and "Juke Box Hero".

On Every Street is the sixth and final studio album by British rock band Dire Straits, released on 9 September 1991 by Vertigo Records internationally, and by Warner Bros. Records in the United States. The follow-up to the band's massively successful album Brothers in Arms, On Every Street reached the top of the UK Albums Chart and was also certified platinum by the RIAA.

Good as I Been to You is the twenty-eighth studio album by American singer-songwriter Bob Dylan, released on November 3, 1992, by Columbia Records. The title comes from the second line of side 2 track 4.
It is composed entirely of traditional folk songs and covers, and is Dylan's first entirely solo, acoustic album since Another Side of Bob Dylan in 1964. It is also his first collection not to feature any original compositions since Dylan in 1973.
On the charts, Good as I Been to You reached No. 51 in the US and No. 18 in the UK, and helped to restore Dylan's critical standing following the disappointing Under the Red Sky. The album's highest chart position worldwide was in Norway, where it peaked at No. 11.

Aretha's Gold is a greatest hits album by Aretha Franklin, released in 1969 at Atlantic Recording Corporation. The album's tracks were recorded at Atlantic Studios, New York City, except "I Never Loved a Man (The Way I Love You)" and "Do Right Woman, Do Right Man", which were recorded at the Fame Recording Studios, Muscle Shoals, Alabama.
The album was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings, published in Christgau's Record Guide: Rock Albums of the Seventies (1981).

Here's Little Richard is the debut studio album by the American musician Little Richard, released on March 4, 1957. Promoted as "six of Little Richard's hits and six brand new songs of hit calibre", the album compiles many of the A-sides and B-sides from Richard's hit singles including the Billboard top 40 entries "Tutti Frutti", "Long Tall Sally", "Slippin' and Slidin'", "Rip It Up" and "Jenny, Jenny" and the top 10 Rhythm and Blues Best-Sellers hits "Ready Teddy", "She's Got It" and "Miss Ann".

“Constantinople”, from 1998’s Modern Cool, is the most extreme example. Over a shifting Middle Eastern groove fueled by Mark Walker’s percussion work, Barber keens wordlessly and then gives trumpeter Dave Douglas several beautiful minutes to vamp in Sketches of Spain style; when she comes back in, long vocal lines punctuated by staccato guitar work by John McLean, it’s so haunting and perfect that you forget that she doesn’t actually play piano at all on the track.

When Café Blue was released by Premonition Records in 1994, two things happened. A “maverick” jazz artist began a sustained, inventive career and a significant audiophile release put the label on the map. Barber’s father, a musician with Glenn Miller, had instilled a respect for jazz arrangement. After paying her dues on the Chicago music scene, her relentless performance schedule garnered an enthusiastic cult following. It didn’t take long for critics to recognize the quirky stylistic approach to jazz. Relying on original material and a mix of pop standards, Barber created albums of musical vision and poetic flair.

On Smash, her January 22, 2013 debut on Concord Jazz, Patricia Barber reiterates her unique position in modern music as a jazz triple-threat – imaginative pianist, startling vocalist, and innovative composer (international release dates may vary). With a new band and a dozen new compositions, she also continues her two-decade crusade to retrieve the ground that jazz musicians long ago ceded to pop and rock: the realm of the intelligent and committed singer-songwriter, tackling even familiar subjects (like love and loss) with a nuance and depth beyond the limits of the Great American Songbook.

The Genius of Ray Charles is an album by Ray Charles, released in October 1959 by Atlantic Records, the seventh album since the debut Ray Charles in 1957. The album consists of swinging pop with big band arrangements.[1] It comprises a first half of big band songs and a second half of string-backed ballads. The Genius of Ray Charles sold fewer than 500,000 copies and charted at number 17 on the Billboard 200. "Let the Good Times Roll" and "Don't Let the Sun Catch You Cryin'" were released as singles in 1959.

The Notorious Byrd Brothers is the fifth studio album by the American rock band the Byrds, released on January 15, 1968, by Columbia Records. The album represents the pinnacle of the Byrds' late-'60s musical experimentation, with the band blending together elements of psychedelia, folk rock, country, electronic music, baroque pop, and jazz. With producer Gary Usher, they made extensive use of a number of studio effects and production techniques, including phasing, flanging, and spatial panning.

Pianist/vocalist Patricia Barber is the Alanis Morissette of the jazz world. Her serpentine, poetic songs teeter between deftly witty and awkwardly Latinate. Each album is more ambitious than the last, taking her deeper into avant-garde territory both lyrically and instrumentally. Verse is no exception. Case in point: "I Could Eat Your Words," a canny bit of word play in the tradition of "Peel Me a Grape," in which Barber barely gets away with words like "provocation" and "syllogistically," only to sum things up with the devastating line, "sip the spit from your bittersweet rhyme." The indelible track here, though, has to be "If I Were Blue," featuring the line, "If I were blue, like David Hockney's pool/Dive into me and glide under a California sky/Inside your mouth and nose and eyes am I." It's perhaps the best thing Barber has ever written -- it could be considered serious modern poetry if only it didn't rhyme. About the biggest complaint one can lodge against Barber is her insistent denial of melody. Her voice is soft, almost matter-of-fact, and she more or less hints at singing. Obviously, lyrical intent is more important to Barber than how she carries a tune, and her voice does seem more suited to whispering torch songs cabaret-style, such as on "Dansons la Gigue," than delivering any vocal gymnastics. It's just that sometimes her songs could be showcased better with a consistently delivered vocal melody. However, she makes up for her lack of sonorousness (to use a Barber kind of word) with intricate musical arrangements, this time around augmented by the Miles Davis-cum-Lester Bowie trumpet of Dave Douglas. Barber's is a world of cloaked intentions, and Douglas' playful vibrato works like the flame of a candle illuminating her soft, shadowy corners.

Chicago native and classically trained pianist Patricia Barber's sixth album is a collection of downtempo standards, perfect for a rainy day. Taking on classics like "Autumn Leaves," "I Fall in Love Too Easily," "Bye Bye Blackbird," or even "Alfie" is always a risk, but her confident vocals and interpretations eradicate any doubt that she is a master. Her production is spare, allowing her to sing with such melancholy it's almost eerie. Not many performers can relay such harrowing feeling without over-emoting, but Barber makes it seem effortless. Nightclub is an appropriate title; listening to these love songs is like being in a smoky room, courted by a lounge singer. This is a classy, solid effort.