Patti LaBelle's entry in the Universal Masters Collection is a decent compilation that covers most of her hits from the latter half of the '80s and the whole of the '90s, containing singles like "New Attitude," "Kiss Away the Pain," "Oh, People," "Feels Like Another One," "Stir It Up," "Yo Mister," "Beat My Heart Like a Drum," and "When You Talk About Love." Though it's not comprehensive with this phase of LaBelle's career, it's one of the better sets available with this kind of scope. This is a European release, so it is slanted toward the singles that made a big impact outside of the U.S., but there isn't a great deal of variance between what was most popular in the two territories.
Elton John's Classic Album Selection (1970-73) box set is comprised of five of the music legend's most influential and critical acclaimed albums: Elton John, Tumbleweed Connection, Madman Across The Water, Honky Chateau, and Don’t Shoot Me I’m Only The Piano Player. These albums (now including selected bonus tracks) provided the backbone of Elton’s early career and were the source of a series of breakthrough hits which would propel him to become one of the most successful British artists of all time.
There's a good reason why the Move's eponymous 1968 debut album sounds like the work of two or three different bands – actually, befitting a band with multiple lead singers, there's more than one reason. First, there's that lead singer conundrum. Carl Wayne was the group's frontman, but Roy Wood wrote the band's original tunes and sometimes took the lead, and when the group covered a rock & roll class, they could have rhythm guitarist Trevor Burton sing (as they did on Eddie Cochran's "Weekend") or drummer Bev Bevan (as they did on the Coasters' "Zing Went the Strings of My Heart")…
Though he had already produced works he called "diverimenti a Quattro" in his Opus 1 and 2, Haydn only really got serious about the string quartet genre 10 years later with his Opus 9, 17, and 20. The earlier works had been five movement, serenade-like pieces, but starting with Opus 9 the composer favored four-movement, sonata-form works that were lyric, dramatic, cogent, and entertaining and they became the model for all subsequent quartets.