The Dark Horse Years 1976–1992 is a boxed set of albums by George Harrison released in 2004. Comprising all of the output on his Dark Horse Records label, the set encompasses his studio albums from 1976's Thirty Three & 1/3 to 1987's Cloud Nine with bonus tracks, while 1992's Live in Japan features a special SACD remix in addition to its original mix. Furthermore, Harrison's intended artwork for Somewhere in England has been reinstated, while the lettering on the front of the album George Harrison has been modified.

Universal Music Group and the Harrison family are proud to announce that George Harrison’s first six solo albums, released between 1968 and 1975 on The Beatles’ Apple Records label, have been digitally remastered from the original analogue masters for CD and digital release on 22 September by UMG. Wonderwall Music, Electronic Sound, All Things Must Pass, Living In The Material World, Dark Horse, and Extra Texture (Read All About It) are available now for preorder, both individually in digipaks and together within the deluxe, eight-disc boxed edition, The Apple Years 1968-75.

Hope Of Deliverance album for sale by Paul McCartney was released Jan 18, 1993 on the Capitol/EMI label. Contains the title track and 3 unreleased B-sides.

The Night is the fifth and final studio album by the alternative rock band Morphine. Completed just before the sudden July 1999 death of bass player and lead singer Mark Sandman, the album was released in February 2000. The title song is used for the ending credits for the webshow Hate By Numbers.

Cure for Pain was the second album released by alternative rock band Morphine through Rykodisc in 1993. The tracks "Sheila" and "In Spite of Me" were prominently featured on the soundtrack of the 1994 independent film Spanking the Monkey. The video for "Thursday" also appeared on an episode of Beavis and Butt-head. The track "Buena" also appears in the first season of The Sopranos and in the Daria episode "The Teachings of Don Jake".

Legion's sixth release "Tempest" is their most ambitious yet. Both heavy and melodic, Legion bring to mind the sound of Winger, Dokken, Scorpions, and even Foreigner and Boston. Guitarist and producer Vince O'Regan has created layers upon layers of guitar tracks with each one occupying its own space in the sonic spectrum. His production alone challenges the A-list mentors Lang and Baker. Phil Vincent's keen ear for melody is the yang to O'Regan's ying, creating timeless melodies, aggressive lyrical passages, and massive layered vocals, much like Queen in their heyday. Bassist Gav Cooper once

A doulbe CD is inclouded in the Deluxe Boxsets, it's mainly the same as the concert film audio track. However, announcements are cut out beside of those before Biko. Therefore the first track Daddys Long Legs begins without applause, nor an introduction. It’s a hard start for a live album. Acclaims are again deleted then and the transition to Come Talk To Me is tough once more. Some similar situation happens still at the end of In Your Eyes, there again applause has been deleted so that The Tower That Ate People begins with the cut of a long lasting note that sounds really weird. Otherwise there is no further surprise compared to the film, and all in all it’s a well done live album of a successful tour with an amazing line-up.

Sunday 31st March 1974 is a landmark date in the history of rock music. It is now celebrated in the multi format release of a rare recording made at legendary London venue The Rainbow, of a concert by a then up-and-coming band called Queen. Few who turned up for that iconic performance could have predicted they would go on to become arguably the world’s best and most successful rock group, although many more may have suspected it after this stunning show.
Among the unique material contained in this release are over a dozen tracks never previously released on any official Queen live album.
Now, a remarkable 40 years later, Queen: Live at the Rainbow ’74 has finally surfaced from the archives, providing an invaluable record of emerging superstars demonstrating their talent.

Второй альбом арт-рокового проекта Алана Парсонса продолжил концептуальную традицию дебютника. На этот раз талантливый звукорежиссер и композитор взялся за фантастические рассказы Айзека Азимова. Много опасностей таит создание искусственного интеллекта, который может стать угрозой для интеллекта природного, тем более если роботы вдруг осознают, что в них человечности даже больше. Парсонс стал первым музыкантом, не являвшимся ни певцом, ни мультиинструменталистом, а всего лишь талантливым технарем, который смог обратить внимание слушателей на такие интересные проблемы, которые им в голову даже не приходили. Главным соавтором самых интересных пластинок The Alan Parsons Project стал Эрик Вульфсон – он сочинял все тексты, а также немалую часть музыки.

Eye in the Sky is the sixth album by the British rock band The Alan Parsons Project, released in 1982. It was recorded in London's Abbey Road Studios.
Songs on this album are in a number of different styles, from cool and funky to lyrical and heavily orchestrated. The Hipgnosis-designed sleeve was green with an image of the Eye of Horus, which was gold-foil stamped for early pressings of the LP. It is variously reported as their best-selling album, and was the last Platinum record from the band (joining I Robot and The Turn of a Friendly Card).

Gemini Suite Live is a recording of Jon Lord's classical/rock piece Gemini Suite featuring the original Mark II band lineup of Deep Purple, recorded live during this one and only live performance in 1970. A follow up to their "Concerto" Project, it featured five movements for the individual members of the band, including a guitar piece from Blackmore.

American/English is Acoustic Alchemy's fourth album release on the Higher Octave Music label, and contains eleven tracks, making it also their shortest album with the label to date.
The album was preceded by single "Say Yeah" for smooth jazz radio in the USA, an offering in a hip-hop style, remarked by some to be similar in style to British urban singer-songwriter Craig David. Experimental attributes include digital processing on Carmichael's guitar, which 'cut off' the ends of each note, and scat style vocals from Gilderdale toward the end of the track.