More Specials is the second album by English ska band the Specials, released by 2 Tone Records in September 1980. After the success of the band's debut album, band member Jerry Dammers assumed the role as the band's leader and stirred them into expanding their 2 Tone sound into other genres of music, most prominently a lounge music and easy listening style inspired by Muzak. Several band members disagreed with Dammers' vision and brought their own influences to the album, including from northern soul and rockabilly, contributing to an eclectic sound palette. The relations between band members continued to sour into the album's accompanying tour and most of the band departed in 1981.
3 Feet High and Rising is the debut studio album by the American hip hop group De La Soul, released on February 6, 1989, by Tommy Boy Records. It was the first of three collaborations with the producer Prince Paul, and was the critical and commercial peak of both parties. The album title comes from the Johnny Cash song "Five Feet High and Rising". The album contains the singles "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know".
The River is the fifth studio album by the American singer-songwriter Bruce Springsteen, released on October 17, 1980, by Columbia Records. Springsteen's only double album, The River was produced by Jon Landau, Springsteen, and bandmate Steven Van Zandt. The album was Springsteen's first to reach number one on the Billboard Top LPs & Tape chart and spent four weeks at the top of the charts. It received critical acclaim and the title track, "The River", was nominated for Best Rock Vocal Performance at the 1982 Grammy Awards.
The Beat are a British band formed in Birmingham, England, in 1978. Their music fuses Latin, ska, pop, soul, reggae and punk rock.
Dirty Mind is the third studio album by the American singer-songwriter and musician Prince. It was released on October 8, 1980, by Warner Bros. Records.
Trilogy is the third studio album by English progressive rock supergroup Emerson, Lake & Palmer, released in June 1972, by Island Records. The group had spent most of 1971 touring, and paused in September so they could record a new album at Advision Studios with Eddy Offord resuming his role as engineer. It would be his last with the group, as he later elected to work full-time with Yes. The album features "Hoedown", an arrangement of Aaron Copland's ballet composition which became a live favourite.
A Tonic for the Troops is the second album by Irish rock band The Boomtown Rats, released in June 1978.
"The Tears of a Clown" is a song written by Hank Cosby, Smokey Robinson, and Stevie Wonder and originally recorded by Smokey Robinson & the Miracles for the Tamla Records label subsidiary of Motown, first appearing on the 1967 album Make It Happen. The track was re-released in the United Kingdom as a single in July 1970, and it became a number-one hit on the UK Singles Chart for the week ending September 12, 1970. Subsequently, Motown released a partially re-recorded and completely remixed version as a single in the United States as well, where it quickly became a number-one hit on both the Billboard Hot 100 and R&B Singles charts.
Peter Gabriel is the third solo studio album by the English rock musician Peter Gabriel, released on 30 May 1980 by Charisma Records. The album, produced by Steve Lillywhite, has been acclaimed as Gabriel's artistic breakthrough as a solo artist. AllMusic wrote that it established him as "one of rock's most ambitious, innovative musicians".
Eat to the Beat is the fourth studio album by American rock band Blondie, released on September 28, 1979, by Chrysalis Records. The album was certified Platinum in the United States, where it spent a year on the Billboard 200. Peaking at No. 17, it was one of Billboard's top 10 albums of 1980. It also reached No. 1 on the UK Albums Chart in October 1979 and has been certified Platinum by the British Phonographic Industry (BPI).
Non-Stop Erotic Cabaret is the debut studio album by English synth-pop duo Soft Cell, released on 27 November 1981 by Some Bizzare Records. The album's critical and commercial success was bolstered by the success of its lead single, a cover version of Gloria Jones's song "Tainted Love", which topped the charts worldwide and became the best-selling British single of 1981. In the United States—as a result of the single's success, the album had reported advance orders of more than 200,000 copies. The album spawned two additional top-five singles in the UK: "Bedsitter" and "Say Hello, Wave Goodbye".
We Can't Be Stopped is the third studio album by Geto Boys, released on July 9, 1991. It was among their most successful records in terms of units sold. The album is analysed track-by-track by Geto Boys in Brian Coleman's book Check the Technique. We Can't Be Stopped was certified Platinum in early 1992.
Special Beat Service is the third studio album by the British ska band the Beat, released on 1 October 1982 by Go-Feet Records. Like the rest of their material, it was released in the US under the name "the English Beat". It peaked at No. 39 on the Billboard 200 album chart in 1983 on the strength of two singles, "I Confess" and "Save It for Later," the music videos for which received modest airplay on the fledgling MTV video network.
"You'll Never Stop Me Loving You" is the debut single of English pop singer Sonia. Written and produced by Stock Aitken Waterman, the song was included on Sonia's debut album, Everybody Knows (1990). The single became Sonia's only number-one single on the UK Singles Chart and reached number 10 on the US Billboard Dance Club Play chart.
"Red Alert" is a song by English electronic music duo Basement Jaxx. It was released on 19 April 1999 by record label XL as the first single from their debut album, Remedy (1999). The vocals from the track were provided by Blu James. It reached number five on the UK Singles Chart and became their first number-one hit on the US Billboard Hot Dance Music/Club Play chart. As of September 2023, the single has sold and streamed 600,000 units in the United Kingdom, allowing it to receive a platinum certification from the British Phonographic Industry (BPI).
"I Can't Let Go" is a song co-written by Al Gorgoni and Chip Taylor, who also wrote "Wild Thing". "I Can't Let Go" was originally recorded by blue-eyed soul singer Evie Sands' on George Goldner's Blue Cat label, which was popular in New York City in 1965. The song became popular in 1966 for the group the Hollies, who charted at number two in the UK Singles Chart with their version. Linda Ronstadt covered the song in 1980 and had a number 31 hit on the US Billboard Hot 100 chart.
Wha'ppen? is the second studio album by British ska band the Beat, released in 1981 via Go-Feet Records in the United Kingdom and Sire Records in the United States. After the critical and commercial success of I Just Can't Stop It (1980), which mixed ska, reggae and punk rock with social lyrics, the band changed direction on Wha'ppen?, taking influence from many other musical styles which were intriguing the band, including African, steel band and dub music, while keeping reggae at its core. The fast pace of the band's previous work is also exchanged for a slower, mid-tempo pace. Accompanying the music is the socially conscious and political lyrics. The band recorded the record at Roundhouse Studios with producer Bob Sargeant.
Protect the Innocent is the second album by American singer Rachel Sweet. It was released on February 15, 1980, and was issued by Stiff Records and Columbia Records. The album was produced by Martin Rushent and Alan Winstanley, with the latter also handling engineering.
"Bon Bon Vie (Gimme the Good Life)" is a single by American band T. S. Monk, released in August 1980 on Mirage Records. It was arranged by band leader Thelonious Monk, Jr. and written by songwriter Lawrence Russell Brown and producer Sandy Linzer. The song has a rhythmic style and lyrics about aspiring to a rich lifestyle.
"Mirror in the Bathroom" is a single by the British ska band the Beat, released as a single in 1980 from their debut studio album I Just Can't Stop It. It reached number 4 on the UK Singles Chart and consequently was their highest charting release in the UK until 1983. It was released again in 1995 as a 12" single and early in 1996 as a CD single to promote B.P.M.: The Very Best of the Beat. The reissued single reached number 44 in 1996.
