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.

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.

Fingerprints on discs is very `off-putting`to say the least. My enjoyment of the music almost automatically get reduced because of it. I get a lot less `lust` to put this kind of disc into my tray. (When I buy new CDs it will forever stay in a near mint `condition` because I take good care of my music, pride and pleasure is a good combo for CDs.) Thank you and all the best, Snorre Fjær.

The Corrs Unplugged is a live album by Irish band The Corrs, released in 1999. The album is part of MTV's Unplugged series. It was released internationally but for a short time was not available in the United States until later. The song "No Frontiers" was sung by Sharon and Caroline, with Jim playing the piano. It is a cover of the Mary Black song, written by Jimmy MacCarthy.

Best of The Corrs is a compilation album by the Irish pop rock band The Corrs, released in Ireland on 19 October 2001. The album consisted of the band's best-selling singles since their first chart appearance in 1995 with "Runaway", up to the Robert John "Mutt" Lange remix of their 2001 single "All the Love in the World", which charted at number twenty-four on the US Adult Contemporary chart. The album also featured the new single "Would You Be Happier?", as well as a new version of the Talk on Corners outtake, "Make You Mine". By the end of 2001, the album had sold over 2.4 million copies worldwide. By 2017, the album has sold 5 million copies.

In Blue is the third studio album by Irish pop rock band The Corrs, released in 2000 which saw the band become known in the United States. The title of the album comes from a lyric in the song "Give Me a Reason". As well as the UK number one single "Breathless", the album also contains new versions of "Radio" and "At Your Side", which had previously appeared on their previous album The Corrs Unplugged. Mutt Lange co-wrote and produced three songs from the album and Tim Martin was the engineer for the album's tracks for their recordings at Westland Studios and Windmill Lane Studios in Dublin.

Forgiven, Not Forgotten is the debut studio album by Irish pop rock group The Corrs. It was released by Atlantic Records on 26 September 1995 across the world. The album was primarily produced by David Foster, with additional production by Jim Corr. In January 1997, a special tour edition of the album was released in Australia and New Zealand and featured a bonus disc containing live and rare tracks which were recorded from their Forgiven, Not Forgotten World Tour.

The Bravery is the self-titled debut album by New York indie rock band The Bravery, released in March 2005. It peaked at number 18 on the Billboard 200 and number 5 in the UK.
The first single from the album, "An Honest Mistake", was released on February 28, 2005. The UK and Japanese releases of the album contain the bonus track "Hot Pursuit". The version on the Japanese edition is a different mix, featuring Gillian Conway (keyboardist John Conway's sister) on vocals, along with Sam Endicott.

Carry on Up the Charts: The Best of the Beautiful South was the surprise British hit of 1994, going platinum five times between its late fall release and the summer of 1995. The success was surprising, because while the Beautiful South had been modestly popular, their last few albums were sliding down the charts. However, their hits collection, Carry On Up the Charts, flew to number one and stayed there for weeks. It's nothing more than all their singles, yet compiled together they make the most convincing case for the Beautiful South's sly, cynical sophisticated pop.

This is a definitive best-of from the scathingly satiric, invariably tuneful band that arose from the ashes of The Housemartins. Sadly, Paul Heaton and friends have always been too twee and clever for the colonies, though classics like "My Book" and "Old Red Eyes Is Back" deserved better. A lovely, sing-along new track, "One Last Love Song," sounds like a farewell to arms, while the limited-edition disc of B sides proves that only XTC can match them in terms of high-caliber throwaways. --Jeff Bateman