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.
David Bowie: “Memory of a Free Festival (Part I)” (1970)
The hippy-trippy closer on Bowie’s second album gets a new haircut, but no one paid attention.
[Review] Jon Hassell: Earthquake Island (1978)
If you’ve ever wondered what Jon Hassell would sound like in a Brazilian jazz band, why?
[Review] Anthrax: State of Euphoria (1988)
Metal machine music, heavy on high-end production but light on personality.
Squeeze: “Another Nail in My Heart” (1980)
The first single from Argybargy is three minutes of musical joy tied up with a gorgeous six-string solo.
[Review] Jethro Tull: This Was (1968)
What do you get when you cross Cream with a one-legged flautist? This (was).
[Review] An Evening with Herbie Hancock and Chick Corea (1978)
One of two releases culled from the celestial alignment of Chick Corea and Herbie Hancock together on one stage.