I've Tried Everything but Therapy (Part 2) is the second half of the debut studio album by American singer and songwriter Teddy Swims. A follow up to his debut album I've Tried Everything but Therapy (Part 1), the album was released on January 24, 2025, by Warner Records, and features the singles "Bad Dreams", "Are You Even Real" and "Guilty", and also includes the Bose x NME: C24 Mixtape single, "Funeral". An album reflecting the current state of his personal life, I've Tried Everything but Therapy (Part 2) blends together diverse genres, including R&B, pop, country, rock, and soul-pop, and features artists such as Giveon, Muni Long, Coco Jones, and GloRilla. I've Tried Everything but Therapy (Part 2) peaked at number one in Australia and Croatia, and entered the top ten in Austria, Belgium, Germany, Hungary, Ireland, the Netherlands, New Zealand, Norway, Scotland, Sweden, Switzerland, the United Kingdom, and the United States. The album also received a silver certification from the British Phonographic Industry.

I've Tried Everything but Therapy (Part 1) is the first half of the debut studio album by American singer and songwriter Teddy Swims. It was released on September 15, 2023, through Warner. It features his breakout single "Lose Control", which topped the US Billboard Hot 100, while also reaching the top ten in twenty-three countries including the UK Singles Chart. The album also reached the top ten in Norway, the Netherlands, Lithuania, Sweden, Australia and subsequently entered the charts in New Zealand, Belgium, Canada, France, Lithuania, Sweden, Scotland, United Kingdom and the United States. The album is followed by I've Tried Everything but Therapy (Part 2), which released on January 24, 2025.

Humble Pie are an English rock band formed by Steve Marriott and Peter Frampton in Moreton, Essex, in 1969. They are known as one of the first supergroups of the late 1960s and enjoyed success in the early 1970s with songs such as "Black Coffee", "30 Days in the Hole", "I Don't Need No Doctor", "Hot 'n' Nasty" and "Natural Born Bugie". The original line-up featured vocalist and guitarist Steve Marriott of the Small Faces, vocalist and guitarist Peter Frampton of the Herd, bassist Greg Ridley of Spooky Tooth and a 17-year-old drummer, Jerry Shirley, of the Apostolic Intervention.

After four albums, Budgie had achieved moderate success in the U.K. with their unique combination of Black Sabbath heaviness, progressive rock flashes, and bizarre sense of humor. But 1975's Bandolier found the band pursuing a more conventional rock sound with a noticeable funk influence. This is most apparent on the guitar-scratching "I Can't See My Feelings" and the finger-snapping "Who Do You Want for Your Love?," featuring a slow groove topped with vocalist Burke Shelley's soulful wailing. While the riff-heavy "Breaking All the House Rules" and the amusing "Napoleon Bona Part 1 & 2" hark back to the band's early days, change was on the horizon. Budgie's creative spark was remarkably absent from subsequent releases for new label A&M, marking Bandolier as the last album of the band's golden age.

Projecting a full-bodied voice with every inch of her being, Dorothy Martin kindles a spark of hope into a fame as bright as the sun itself. The Budapest, Hungary-born maverick singer, songwriter, performer, and frontwoman of the Los Angeles-based eponymous band DOROTHY brings gusto, grit, and glory back to hard rock, exuding superstar-size confidence coupled with the quiet resolve of an old school Western anti-hero. She has unassumingly blazed her own trail with sold-out tours, major collaborations, and over 1 billion streams already in the rearview. Now, her vision really catches fire on the group's fourth full-length album, THE WAY. Released via Roc Nation, the album includes the hit singles, "MUD," "THE DEVIL I KNOW," "I COME ALIVE," and lead single, "TOMBSTONE TOWN," featuring Slash.

Japanese Only Special Edition mini-album. The five track release from Sade, features rare versions of popular songs like "Love Is Stronger Than Pride" and "Paradise."

Genesis proved that they could rock on Foxtrot but on its follow-up Selling England by the Pound they didn't follow this route, they returned to the English eccentricity of their first records, which wasn't so much a retreat as a consolidation of powers. For even if this eight-track album has no one song that hits as hard as "Watcher of the Skies," Genesis hasn't sacrificed the newfound immediacy of Foxtrot: they've married it to their eccentricity, finding ways to infuse it into the delicate whimsy that's been their calling card since the beginning. This, combined with many overt literary allusions – the Tolkeinisms of the title of "The Battle of Epping Forest" only being the most apparent – gives this album a storybook quality.

In their latest album "Forever Now," Gösta Berlings Saga shows that they know very well how to preserve their essence without falling into repetition by composing a record that delivers an engaging blend of analog synthesizers, well- crafted guitar lines, pulsating drums, and echoes of space rock and post-rock, all wrapped in dense atmospheres. The notes seem carefully chosen to stir emotions, awaken images, and create entire stories in our imagination. "Forever Now" is not just a new chapter in the group's discography but a powerful statement that the band remains in full creative form.

Fifty years after their early beginnings and after so many important individual experiences, those 18-year-olds are still together today: to play their "old stuff" again, but also to interpret and produce their "new stuff." The group then reconstituted itself with the addition of two great musicians of the caliber of Claudio Cesar Corvini and Roberto Rocchetti to record these new unreleased songs in the 50th year since their debut; thus was born this new album…SPIRALE 50th!

Abandoning the lovely soundscapes of Snow Goose, Camel delved into layered guitar and synthesizers similar to those of Pink Floyd's Wish You Were Here on the impressive Moonmadness. Part of the reason behind the shift in musical direction was the label's insistence that Camel venture into more commercial territory after the experimental Snow Goose, and it is true that the music on Moonmadness is more akin to traditional English progressive rock, even though it does occasionally dip into jazz-fusion territory with syncopated rhythms and shimmering keyboards.

Islands is the seventh studio album by the Canadian-American rock group the Band. Released in 1977 to mixed reviews, it is the final studio album from the group's original lineup. Primarily composed of previously unreleased songs from the Band's career (including their 1976 cover of "Georgia on My Mind", which was recorded to aid Jimmy Carter in his presidential bid), Islands was released to fulfill the group's contract with Capitol Records, so that the soundtrack to their film The Last Waltz could be released on Warner Bros. Records. In the CD liner notes, Robbie Robertson compares the album to the Who's Odds & Sods.

Main Course is the thirteenth studio album (eleventh worldwide) by the Bee Gees, released in 1975 by RSO Records. This album marked a great change for the Bee Gees as it was their first album to include mostly R&B, soul, disco and funk-influenced songs, and created the model for their output through the rest of the 1970s. It rejuvenated the group's career and public image, particularly in the US, after the commercial disappointment of their preceding albums. Main Course was the first album to feature keyboardist Blue Weaver who had just left the Strawbs and toured with Mott the Hoople.

Recorded on December 15, 1988, during the tour for Talk Is Cheap, Live at the Hollywood Palladium is a loose, groove-laden affair, featuring the best from Keith Richards' first solo album as well as some Stones classics – mostly tunes he took lead vocals on. Opening with "Take It So Hard," the first thing that hits the listener is the lack of the gloss that was probably the only drawback to Talk Is Cheap, which is a very good thing, because while the album was still leaps and bounds more real than, say, Dirty Work, this live collection is loose without ever getting away from the band, and has an organic feel not present in the Stones' work since the early '70s. Rockers like "Whip It Up" and "Struggle" swagger, while Sarah Dash shines on "Make No Mistake" and "Time Is On My Side."

The Future Now is the seventh studio album by Peter Hammill, released on Charisma Records in 1978. It was the first solo album Hammill released following the 1978 breakup of his band Van der Graaf Generator, although he had released numerous solo albums while VdGG were active. The album contains twelve short songs, several in the new wave style of VdGG's last studio album, The Quiet Zone/The Pleasure Dome. The album cover shows a set of photographs by Brian Griffin, portraying Peter Hammill with half of his moustache and beard shaven. "If I Could" was re-worked for Hammill's 1984 album The Love Songs.

This 2013 anthology of the British synth pop group Visage is essentially an expanded edition of 1983's Fade to Grey: The Singles Collection. In 1993, it was rebranded under its current title Fade to Grey: The Best of Visage with the addition of two more tracks ("Love Glove" and "Fade to Grey [Bassheads 7" edit]"), both of which have been jettisoned from the 2013 version, along with the fantastic new romantic album cover and a handful of other tracks. So what makes the updated set noteworthy? Well, there are a couple of BBC versions of "The Anvil" and "Can You Hear Me?" and dance mixes of the sleek "Mind of a Toy," the guitar-heavy "We Move," and their early post-disco single "Frequency 7."