With such rich talent on display it was hardly surprising to find that the band courted by some of the biggest powers in the industry including Deep Purple manager Bruce Payne, and Atlantic Records sister label Atco, with whom the band eventually signed in 1980. Produced by renowned English producer Tim Friese Greene, the Touch album caused a sensation amongst fans of the genre being hailed as in instant classic and a record that would go on to become a touchstone for AOR in general.

Sadly, unlike their contemporaries, Touch never received the commercial acclaim that their music undoubtedly deserved. Despite this, however, the Touch legacy continues to endure to this very day.

Track listing: ‘Don’t You Know What Love Is’, ‘When The Spirit Moves You’, ‘Love Don’t Fail Me’, ‘Black Star’, ‘There’s A Light’, ‘So High’, ‘Last Chance For Love’, Yes (You Need To Rock M’ Roll)’, ‘Listen (Can You Fell It)’. BONUS TRACKS: ‘My Life Depends On You’, ‘Don’t You Know What Love Is’ (Live at Donington, 1980).

But it wasn’t always that way. Back in 1977 Desmond was just another struggling New York City based performer/songwriter trying to catch a break in a business whose bedside manners left a lot to be desired. As the architect of Desmond Child And Rouge his vision was, even for the time, wildly on the theatrical side. Featuring no less than three female lead vocalists – that’s Maria Vidal, Myriam Valle & Diana Grasselli – and a style that could best be described as both flamboyant and beguiling, the band recorded two critically lauded but commercially rather unsuccessful studio albums.

‘Runners In the Night’ is generally regarded as the troupe’s piece de résistance, a record full of delightful twists and turns with a forceful melodic rock quotient that has been recognised as one of the genre’s most ambitious and impressive creations. Make no mistake, this is one of the best, if unheralded, AOR releases of all time.

Track listing: ‘The Truth Comes Out’, ‘My Heart’s On Fire’, ‘The Night Was Not’, ‘Goodbye Baby’, ‘Runners In The Night’, ‘Tumble In The Night’, ‘Scared To Live’, ‘A Feelin’ Like This’, ‘Imitation Of Love’, ‘Rosa’.

For Eric Martin, the road to success had, in many respects, been long and frustrating. Based in San Francisco and managed by Journey Svengali Herbie Herbert, Martin’s career had long been big on promise but low on results. Amongst the critical cognoscenti, however, his reputation as one of the world’s best vocalists was always in the ascendant with praise never far from sight and always gushing.

‘I’m Only Fooling Myself’, his second solo album, originally issued in 1987, is a work of sublime perfection. It is an album that fully supports the notion that Eric Martin is blessed with one of the world’s greatest voices. In addition, the choice of material is truly astounding with song writing contributions from such impressive names as Nicky Chin, Paul Gurvitz, Simon Climie, Rob Fisher, Billy Steinberg, Tom Kelly, Dan Hartman and Myles Hunter to name but just a few.

Truly one of the greatest AOR albums of all time from unquestionably one of the world’s most revered vocalists.

Track listing: ‘These Are The Good Times’, ‘If You Believe Me’, ‘Everytime I Think Of You’, ‘I Can’t Relax’, ‘I’m Only Fooling Myself’, ‘Confess’, ‘Unfinished Business’, ‘Crazy World Like This’, ‘This Is Serious’, Gonna Make A Lover Out Of You’.

So, when original lead vocalist Danny Joe Brown opted to leave the band in 1980 and pursue a solo career, many thought that Hatchet’s days would be numbered. Amazingly nothing could’ve beeen further from the truth. With the appointment of new front man Jimmy Farrar they crafted yet another classic slice of southern fried rock, the prophetically titled, ‘Beatin’ The Odds’, which became yet another platinum success story.

Like its predecessors, ‘Beatin’ The Odds’ is another masterpiece of loud and proud southern rock, with guitars a blazing and guns a firing. New boy Jimmy Farrar fitted the role like he was born for the job, whilst the triple lead guitar work of Duane Rolland, Steve Holland and Dave Hlubek would give even Skynyrd a run for their money. Unquestionably this is a southern rock classic.”

24-bit remastering from original source tapes, 4 bonus tracks, 4,000 word story of the making of the album by Malcome Dome, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track listing: ‘Beatin’ The Odds’, ‘Double Talker’, ‘The Rambler’, ‘Sailor’, ‘Dead And Gone’, ‘Few And Far Between’, ‘Penthouse Pauper’, ‘Get Her back’, ‘Poison Pen’. BONUS TRACKS: ‘Beatin’ The Odds’ (Live 1981), ‘Few And Far Between (Live 1981), ‘Penthouse Pauper’ (Live 1981), ‘Dead And Gone’ (Live 1981)

Developing a reputation as one of the hottest acts on what was affectionately termed the chittlin’ club circuit Doc Holliday - or Roundhouse as they were then known - eventually captured the ears of various power players in the record business. Wined and dined by cigar chomping executives at A&M Records they were eventually signed to a major contract in 1980.

Introduced to renowned English record producer ‘Colonel’ Tom Allom (Judas Priest, Strawbs, Nantucket) the coupling appeared an unlikely marriage, but the natural  bonhomie of both parties proved hugely infectious, helping to create one of the most impressive debut albums from a Southern Rock band since the early days of the Allman Brothers Band and Lynyrd Skynyrd.

24-bit remastering from original source tapes, 2 bonus tracks, 4,000 word story of the making of the album by Derek Oliver, previously unpublished photos, all spread out over a super 16 page full colour booklet.

Track listing: ‘Ain’t No Fool’, ‘Moonshine Runner’, ‘Magic Midnight’, ‘A Good Woman’s Hard To Find’, ‘Round And Round’, ‘Keep On Running’, ‘Never Another Night’, ‘The Way You Do’, ‘Somebody Help Me’, ‘I’m A Rocker’. Bonus Tracks: ‘Bad Love’ (Roundhouse Demo), ‘Crazy’ (Roundhouse Demo).

Opting to call his own shots he set about forming the Danny Joe Brown Band, which like Hatchet featured a three guitar army, including childhood friend Bobby Ingram. Snapped up by Epic Records, the band we’re seconded at the world famous Compass Point studios in Nassau, with veteran English producer Glynn Johns (The Faces, The Who, The Eagles, Rolling Stones etc) recording their debut album.

The ‘DJB’ album is about as good a Southern Rock record as you will ever hear. With impassioned vocals and copious lead guitar playing, the songs are superior examples of a much maligned and now largely defunct genre. Indeed, it houses two of the movement’s greatest signature tracks; ‘The Alamo’ and ‘Edge Of Sundown’, the latter contains an extended guitar showdown in the finest Southern Rock tradition.

24-bit remastering from original source tapes, 4,000 word story of the making of the album written by Malcolm Dome, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track listing: ‘Sundance’, ‘Nobody Walks On me’, ‘The Alamo’, ‘Two Days Home’, ‘Edge Of Sundown’, ‘Beggar Man’, ‘Run For Your Life’, ‘Hear My Song’, ‘Gambler’s Dream’, ‘Hit The Road’.