Echo & The Bunnymen: “Lips Like Sugar” (1987)
From Ocean Rain to Knight Rider in one horrific bunnyhop.
[Review] Joe Walsh: So What (1974)
This is Joe’s tightest studio album to date, though one tinged with sadness in the wake of his daughter’s death.
[Review] Robin Trower: Long Misty Days (1976)
Trower, Dewar and Lordan continue to earn their place at the top of the power trio pyramid.
Eric Clapton: “Cocaine” (1977)
Clapton turns another J.J. Cale song into gold, although in most of the world this was a B side.
[Review] The Art of Noise: In Visible Silence (1986)
Not so much art for art’s sake this time, but it’s still audibly the work of The Art of Noise.
[Review] Phil Collins: No Jacket Required (1985)
The album where Phil Collins became a commercial force and probably began earning more money than some small countries.
Bryan Ferry: “Slave to Love” (1985)
The hero of Roxy returns from Avalon as bewitched and beautiful as you remember.
[Review] Howard Jones: Human’s Lib (1984)
Right place, right time and rightfully regarded as one of the more likeable synthesizer pop albums to emerge in the mid 80s.
[Review] Nick Lowe: Pure Pop for Now People (1978)
The man from Stiff turns out to be surprisingly flexible on his first (and arguably best) album.
The Who: “I Can See for Miles” (1967)
Pete Townshend writes a song for his wife-to-be that makes “Suspicion” sound like a love letter.
[Review] Weezer: Pinkerton (1996)
Rivers Cuomo’s ugly-duckling ode to rock-star loneliness becomes the beautiful swan of the new century.
[Review] Vangelis: Beaubourg (1978)
Vangelis’ vision of metal machine music showcasing the Yamaha CS-80 synthesizer.
[Review] The Mothers of Invention: Absolutely Free (1967)
More social satire and modern classical music for low-budget rock band plus a mini-opera!
[Review] Emerson, Lake & Palmer: Trilogy (1972)
ELP gives the classic Yes trilogy a run for its money on this progressive masterpiece.