Sony Music UK

I'll Remember You is the debut album from the 2018 Britain's Got Talent finalists, a novelty nonet whose members perform wartime vocal pop standards while dressed in WWII-era Air Force uniforms. Formed a decade ago, the group started out performing to war veterans in old folks' homes, and now have the seal of approval of Vera Lynn herself. Released to coincide with the centenary of Armistice Day, the album includes two new songs in addition to iconic classics like "We'll Meet Again," "The White Cliffs of Dover," and "Pack Up Your Troubles." © John D. Buchanan /TiVo

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This is the London cast recording of Conor McPherson's acclaimed play Girl from the North Country. Recorded at Abbey Road Studios, the album features tracks written and originally recorded by Bob Dylan re-scored by composer Simon Hale. © Rich Wilson /TiVo

On their fifth album, Eurythmics moved away from the austere synth-pop of their previous work and toward more of a neo-'60s pop/rock stance. "Missionary Man" (which went Top 40 as a single in the U.S. and charted in the U.K.) featured a prominent harmonica solo, while "Thorn in My Side" had a chiming guitar riff reminiscent of the Searchers and a fat sax solo. Of course, the primary element in the group's sound remained Annie Lennox's distinctive alto voice, which was still impressive even if the material was slightly less so. Revenge was a successful album, reaching the Top Ten in the U.K. and going gold in the U.S., but it was a disappointment compared to their last three albums. And creatively, it was a step down as well -- there was nothing here that they hadn't done a little better before. © William Ruhlmann /TiVo

Eurythmics followed their 1982 breakthrough album Sweet Dreams with the superior Touch, which yielded three hit singles and kept the innovative duo at the forefront of the 1980s British new wave explosion and MTV phenomenon. Mixing cold, hard, synthesized riffs with warm, luscious vocals, the duo crafted some of the most unique and trendsetting music the 1980s had to offer. Subsequent albums found the duo leaning heavier toward straightforward rock -- this album found them at the height of their electronic incarnation. The lead single, "Here Comes the Rain Again," is a melodramatic opus, complete with pre-techno beats, sweeping strings, and Annie Lennox' rushing, cool vocals. The soulful "Who's That Girl" is an icy, steamy throwback to the torch songs of yesteryear, with Lennox oozing sensuality from every syllable emitted from her lips. The final hit, "Right by Your Side," finds the duo in a cheerful, Caribbean-inspired mode. Other standouts include the seven-and-a-half-minute disco trance of "Paint a Rumour," the driving "The First Cut," and the icy, spellbinding, and sparse "No Fear No Hate No Pain (No Broken Hearts)." The cool, sophisticated musical experimentalism all over Touch cemented Eurythmics' reputation as one of the most innovative duos of their time; the hit singles solidified their reputation as dependable 1980s hitmakers and MTV mainstays. Touch is a testament to what Eurythmics were at the height of their electronic-techno phase and, without doubt, is a milestone in 1980s pop music. © Jose F. Promis /TiVo

For such a modest album, Here You Are: The Music of My Life has a remarkably complicated release history. Originally released as a ten-track album by Aqua Music in 2013, it was re-released as a 12-track album -- an acoustic version of the title track was excised and three new tracks were added -- paired with a 19-track The Best Of bonus disc in 2016. That double-disc set only appeared in the U.K., although Ocean did wind up making a promo appearance on the American television show The Tonight Show with Jimmy Fallon. Here You Are: The Music of My Life finally saw an American release in the summer of 2017 in an edition that split the difference between the two U.K. releases. The single disc contains ten of the recently recorded covers, then adds Ocean's five biggest American hits: "Caribbean Queen (No More Love on the Run)," "Suddenly," "Get Outta My Dreams, Get into My Car," "When the Going Gets Tough, the Tough Get Going," and "There'll Be Sad Songs (To Make You Cry)." The oldies don't necessarily jibe with the new tunes -- they're bouncier and livelier, bearing all the neon trademarks of the '80s -- but the contrast is also appealing, as the hit singles don't suggest the relaxed, friendly singer Ocean now is. If the arrangements sometimes seem a little too simple -- everything is a little too clean and airy, the instruments sometimes sounding synthesized even when they're not -- the Spartan surroundings keep the focus on Ocean's warm presence. He seems happy to be singing the songs that inspired him to begin singing, and it's hard not to smile at his joy. © Stephen Thomas Erlewine /TiVo

London-based trio Scouting for Girls released their debut self-titled album in September 2007 and immediately drew comparisons as a sort of cross between the anarchic punk of the Arctic Monkeys and the ultra-safe piano-led Keane. The vocals of Roy Stride, backed by friends Greg Churchouse and Peter Ellard, also fell into the category of music occupied by the Kaiser Chiefs hiring Lily Allen or Kate Nash as a guest vocalist. Most of the songs were about Stride's lack of success in his love life, every disaster that could possibly befall a young man attempting to date girls, or being bored in a dead-end job, and were very highly repetitive in the lyric department, especially the hit single "She's So Lovely" (with its three-syllable "love-er-ly") and its nonchalant way of rhyming "I love the way she makes me drool, I think she is beautiful." "I Need a Holiday" repeated the line "I wish it could be Sunday when I wake up everyday" over and over again, and "The Airplane Song" began with the unforgettable lyric "She's a strawberry milkshake." The album ended with tributes to "James Bond," particularly the Roger Moore incarnation, and Stride's boyhood crush on "Michaela Strachen," reflecting on another girl who got away, as she broke his heart when he was just 12. A fun pop album with pleasant melodies, not unlike McFly or Busted. © Sharon Mawer /TiVo

Leftism spans most of Paul Daley and Neil Barnes' singles output from 1992 to 1995 (excepting only "Not Forgotten") and adds several new tracks. Far from being just a stale progressive house LP, it spans a wide range of influences (tribal, dub, trance) and includes a good mixture of vocal tracks (with Toni Halliday, John Lydon, and Earl Sixteen) and instrumental workouts. © John Bush /TiVo