Led Zeppelin II
Artist: Led Zeppelin
Released: 1969

Recorded quickly during Led Zeppelin's first American tours, Led Zeppelin II provided the blueprint for all the heavy metal bands that followed it. Since the group could only enter the studio for brief amounts of time, most of the songs that compose II are reworked blues and rock & roll standards that the band was performing on-stage at the... [+] Read More

Recorded quickly during Led Zeppelin's first American tours, Led Zeppelin II provided the blueprint for all the heavy metal bands that followed it. Since the group could only enter the studio for brief amounts of time, most of the songs that compose II are reworked blues and rock & roll standards that the band was performing on-stage at the time. Not only did the short amount of time result in a lack of original material, it made the sound more direct. Jimmy Page still provided layers of guitar overdubs, but the overall sound of the album is heavy and hard, brutal and direct. "Whole Lotta Love," "The Lemon Song," and "Bring It on Home" are all based on classic blues songs -- only, the riffs are simpler and louder and each song has an extended section for instrumental solos. Of the remaining six songs, two sport light acoustic touches ("Thank You," "Ramble On"), but the other four are straight-ahead heavy rock that follows the formula of the revamped blues songs. While Led Zeppelin II doesn't have the eclecticism of the group's debut, it's arguably more influential. After all, nearly every one of the hundreds of Zeppelin imitators used this record, with its lack of dynamics and its pummeling riffs, as a blueprint. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Sticky Fingers
Artist: The Rolling Stones
Released: 1971

Pieced together from outtakes and much-labored-over songs, Sticky Fingers manages to have a loose, ramshackle ambience that belies both its origins and the dark undercurrents of the songs. It's a weary, drug-laden album -- well over half the songs explicitly mention drug use, while the others merely allude to it -- that never fades away, but it... [+] Read More

Pieced together from outtakes and much-labored-over songs, Sticky Fingers manages to have a loose, ramshackle ambience that belies both its origins and the dark undercurrents of the songs. It's a weary, drug-laden album -- well over half the songs explicitly mention drug use, while the others merely allude to it -- that never fades away, but it barely keeps afloat. Apart from the classic opener, "Brown Sugar" (a gleeful tune about slavery, interracial sex, and lost virginity, not necessarily in that order), the long workout "Can't You Hear Me Knocking" and the mean-spirited "Bitch," Sticky Fingers is a slow, bluesy affair, with a few country touches thrown in for good measure. The laid-back tone of the album gives ample room for new lead guitarist Mick Taylor to stretch out, particularly on the extended coda of "Can't You Hear Me Knocking." But the key to the album isn't the instrumental interplay -- although that is terrific -- it's the utter weariness of the songs. "Wild Horses" is their first nonironic stab at a country song, and it is a beautiful, heart-tugging masterpiece. Similarly, "I Got the Blues" is a ravished, late-night classic that ranks among their very best blues. "Sister Morphine" is a horrifying overdose tale, and "Moonlight Mile," with Paul Buckmaster's grandiose strings, is a perfect closure: sad, yearning, drug-addled, and beautiful. With its offhand mixture of decadence, roots music, and outright malevolence, Sticky Fingers set the tone for the rest of the decade for the Stones. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing No Remorse
Artist: Motörhead
Released: 1984

There have been dozens and dozens of Motörhead compilations released over the decades, but the first one remains definitive, even if it's not perfect. Released in 1984 as a gap-filler -- for Motörhead were regrouping in the wake of the bandmember shuffling that followed the odd Another Perfect Day album -- No Remorse compiled two-dozen songs... [+] Read More

There have been dozens and dozens of Motörhead compilations released over the decades, but the first one remains definitive, even if it's not perfect. Released in 1984 as a gap-filler -- for Motörhead were regrouping in the wake of the bandmember shuffling that followed the odd Another Perfect Day album -- No Remorse compiled two-dozen songs across two discs (latter-day editions adding a good serving of bonus tracks, too). Many of the band's best songs to date are here, like "Ace of Spades," "Stay Clean," "Overkill," "Bomber," and "Iron Fist." There are also four new recordings that were cut exclusively for No Remorse: "Killed by Death," "Snaggletooth," "Steal Your Face," and "Locomotive." These four songs were cut by the newly instated four-piece lineup that would go on to record Orgasmatron (1986): guitarists Michael Burston and Phil Campbell, drummer Peter Gill, and of course, bassist/vocalist Lemmy. These new recordings make No Remorse more than a standard greatest-hits package, as do the number of stray recordings compiled here as well. For starters, No Remorse rounds up "Please Don't Touch" and "Emergency," which were released on a 1981 split EP with Girlschool, St. Valentines Day Massacre. It also rounds up an early single ("Louie, Louie") as well as a pair of B-sides ("Too Late, Too Late" and "Like a Nightmare") and a tossed-about live cover "Leaving Here." The inclusion of these stray recordings likewise makes No Remorse more than a standard greatest-hits package. Rather, it's a collection that caters to newbies as well as completists. And furthermore, it plays well, as the new songs and stray material are sequenced toward the end of each LP side, so the collection ebbs and flows between the familiar and unfamiliar, between the great and good. Granted, a straightforward best-of collection may be more suitable to newcomers looking for a one-stop compilation. For instance, No Remorse doesn't account for the wealth of music Motörhead would release post-1984, and too, it misses a lot of great songs that could have taken the place of the odds and ends rounded up here. So a straight-ahead, single-disc chronological survey would be a nice alternative, especially one that accounts for late-'80s highlights like "Deaf Forever," "Orgasmatron," "Rock 'n' Roll," and "Eat the Rich." But there's something to be said for tradition, and No Remorse is to Motörhead what We Sold Our Soul for Rock 'n' Roll is to Black Sabbath -- an age-old collection that every metalhead seemed to own at some point, the one that seemed to define the band for generations on end. No Remorse is one of those classic albums, no doubt. ~ Jason Birchmeier, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing A Nod Is as Good as a Wink...To a Blind Horse
Artist: Faces
Released: 1971

Boasting "Stay With Me," the only hit the Faces ever had, A Nod Is as Good as a Wink is their most consistent record, and arguably their best. "Stay With Me" and "Miss Judy's Farm" showcase the band at their best -- they're all over the place, threatening to fall apart altogether before they snap it all back into place. Nobody rocked better than... [+] Read More

Boasting "Stay With Me," the only hit the Faces ever had, A Nod Is as Good as a Wink is their most consistent record, and arguably their best. "Stay With Me" and "Miss Judy's Farm" showcase the band at their best -- they're all over the place, threatening to fall apart altogether before they snap it all back into place. Nobody rocked better than this, and the album is full of such terrific moments, including a rollicking cover of Chuck Berry's "Memphis." As with all of the Faces' albums, it's a little messy, but it is a classic rock & roll band at the top of their form. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Electric Warrior
Artist: T. Rex
Released: 1971

The album that essentially kick-started the U.K. glam rock craze, Electric Warrior completes T. Rex's transformation from hippie folk-rockers into flamboyant avatars of trashy rock & roll. There are a few vestiges of those early days remaining in the acoustic-driven ballads, but Electric Warrior spends most of its time in a swinging, hip-shaking... [+] Read More

The album that essentially kick-started the U.K. glam rock craze, Electric Warrior completes T. Rex's transformation from hippie folk-rockers into flamboyant avatars of trashy rock & roll. There are a few vestiges of those early days remaining in the acoustic-driven ballads, but Electric Warrior spends most of its time in a swinging, hip-shaking groove powered by Marc Bolan's warm electric guitar. The music recalls not just the catchy simplicity of early rock & roll, but also the implicit sexuality -- except that here, Bolan gleefully hauls it to the surface, singing out loud what was once only communicated through the shimmying beat. He takes obvious delight in turning teenage bubblegum rock into campy sleaze, not to mention filling it with pseudo-psychedelic hippie poetry. In fact, Bolan sounds just as obsessed with the heavens as he does with sex, whether he's singing about spiritual mysticism or begging a flying saucer to take him away. It's all done with the same theatrical flair, but Tony Visconti's spacious, echoing production makes it surprisingly convincing. Still, the real reason Electric Warrior stands the test of time so well -- despite its intended disposability -- is that it revels so freely in its own absurdity and willful lack of substance. Not taking himself at all seriously, Bolan is free to pursue whatever silly wordplay, cosmic fantasies, or non sequitur imagery he feels like; his abandonment of any pretense to art becomes, ironically, a statement in itself. Bolan's lack of pomposity, back-to-basics songwriting, and elaborate theatrics went on to influence everything from hard rock to punk to new wave. But in the end, it's that sense of playfulness, combined with a raft of irresistible hooks, that keeps Electric Warrior such an infectious, invigorating listen today. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Led Zeppelin IV
Artist: Led Zeppelin
Released: 1971

Encompassing heavy metal, folk, pure rock & roll, and blues, Led Zeppelin's untitled fourth album is a monolithic record, defining not only Led Zeppelin but the sound and style of '70s hard rock. Expanding on the breakthroughs of III, Zeppelin fuse their majestic hard rock with a mystical, rural English folk that gives the record an epic scope.... [+] Read More

Encompassing heavy metal, folk, pure rock & roll, and blues, Led Zeppelin's untitled fourth album is a monolithic record, defining not only Led Zeppelin but the sound and style of '70s hard rock. Expanding on the breakthroughs of III, Zeppelin fuse their majestic hard rock with a mystical, rural English folk that gives the record an epic scope. Even at its most basic -- the muscular, traditionalist "Rock and Roll" -- the album has a grand sense of drama, which is only deepened by Robert Plant's burgeoning obsession with mythology, religion, and the occult. Plant's mysticism comes to a head on the eerie folk ballad "The Battle of Evermore," a mandolin-driven song with haunting vocals from Sandy Denny, and on the epic "Stairway to Heaven." Of all of Zeppelin's songs, "Stairway to Heaven" is the most famous, and not unjustly. Building from a simple fingerpicked acoustic guitar to a storming torrent of guitar riffs and solos, it encapsulates the entire album in one song. Which, of course, isn't discounting the rest of the album. "Going to California" is the group's best folk song, and the rockers are endlessly inventive, whether it's the complex, multi-layered "Black Dog," the pounding hippie satire "Misty Mountain Hop," or the funky riffs of "Four Sticks." But the closer, "When the Levee Breaks," is the one song truly equal to "Stairway," helping give IV the feeling of an epic. An apocalyptic slice of urban blues, "When the Levee Breaks" is as forceful and frightening as Zeppelin ever got, and its seismic rhythms and layered dynamics illustrate why none of their imitators could ever equal them. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Paranoid
Artist: Black Sabbath
Released: 1971

Paranoid was not only Black Sabbath's most popular record (it was a number one smash in the U.K., and "Paranoid" and "Iron Man" both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbath's signature sound --... [+] Read More

Paranoid was not only Black Sabbath's most popular record (it was a number one smash in the U.K., and "Paranoid" and "Iron Man" both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbath's signature sound -- crushingly loud, minor-key dirges loosely based on heavy blues-rock -- and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like "War Pigs" and "Iron Man" (which sports one of the most immediately identifiable riffs in metal history). The subject matter is unrelentingly, obsessively dark, covering both supernatural/sci-fi horrors and the real-life traumas of death, war, nuclear annihilation, mental illness, drug hallucinations, and narcotic abuse. Yet Sabbath makes it totally convincing, thanks to the crawling, muddled bleakness and bad-trip depression evoked so frighteningly well by their music. Even the qualities that made critics deplore the album (and the group) for years increase the overall effect -- the technical simplicity of Ozzy Osbourne's vocals and Tony Iommi's lead guitar vocabulary; the spots when the lyrics sink into melodrama or awkwardness; the lack of subtlety and the infrequent dynamic contrast. Everything adds up to more than the sum of its parts, as though the anxieties behind the music simply demanded that the band achieve catharsis by steamrolling everything in its path, including its own limitations. Monolithic and primally powerful, Paranoid defined the sound and style of heavy metal more than any other record in rock history. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Blizzard of Ozz
Artist: Ozzy Osbourne
Released: 1980

Ozzy Osbourne's 1981 solo debut Blizzard of Ozz was a masterpiece of neo-classical metal that, along with Van Halen's first album, became a cornerstone of '80s metal guitar. Upon its release, there was considerable doubt that Ozzy could become a viable solo attraction. Blizzard of Ozz demonstrated not only his ear for melody, but also an... [+] Read More

Ozzy Osbourne's 1981 solo debut Blizzard of Ozz was a masterpiece of neo-classical metal that, along with Van Halen's first album, became a cornerstone of '80s metal guitar. Upon its release, there was considerable doubt that Ozzy could become a viable solo attraction. Blizzard of Ozz demonstrated not only his ear for melody, but also an unfailing instinct for assembling top-notch backing bands. Onetime Quiet Riot guitarist Randy Rhoads was a startling discovery, arriving here as a unique, fully formed talent. Rhoads was just as responsible as Osbourne -- perhaps even more so -- for the album's musical direction, and his application of classical-guitar techniques and scales rewrote the rulebook just as radically as Eddie Van Halen had. Rhoads could hold his own as a flashy soloist, but his detailed, ambitious compositions and arrangements revealed his true depth, as well as creating a sense of doomy, sinister elegance built on Ritchie Blackmore's minor-key innovations. All of this may seem to downplay the importance of Ozzy himself, which shouldn't be the case at all. The music is a thoroughly convincing match for his lyrical obsession with the dark side (which was never an embrace, as many conservative watchdogs assumed); so, despite its collaborative nature, it's unequivocally stamped with Ozzy's personality. What's more, the band is far more versatile and subtle than Sabbath, freeing Ozzy from his habit of singing in unison with the guitar (and proving that he had an excellent grasp of how to frame his limited voice). Nothing short of revelatory, Blizzard of Ozz deservedly made Ozzy a star, and it set new standards for musical virtuosity in the realm of heavy metal. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Tanx - US BONUS TRACKS
Artist: T. Rex
Released: 1973

By 1973's Tanx, the T. Rex hit-making machine was beginning to show some wear and tear, but Marc Bolan still had more than a few winners up his sleeve. It was also admirable that Bolan was attempting to broaden the T. Rex sound -- soulful backup singers and horns are heard throughout, a full two years before David Bowie used the same formula for... [+] Read More

By 1973's Tanx, the T. Rex hit-making machine was beginning to show some wear and tear, but Marc Bolan still had more than a few winners up his sleeve. It was also admirable that Bolan was attempting to broaden the T. Rex sound -- soulful backup singers and horns are heard throughout, a full two years before David Bowie used the same formula for his mega-seller Young Americans. However, Tanx did not contain any instantly recognizable hits, as their past couple of releases had, and the performances were not quite as vibrant, due to non-stop touring and drug use. Despite an era of transition looming on the horizon for the band, tracks such as "Rapids," "Highway Knees," "The Street & Babe Shadow," and "Born to Boogie" contain the expected classic T. Rex sound. The leadoff track, "Tenement Lady," is an interesting Beatle-esque epic, while "Shock Rock" criticizes the early-'70s glam scene, which T. Rex played a prominent role in creating. Other highlights include one of Bolan's most gorgeous and heartfelt ballads, "Broken Hearted Blues," as well as the brief, explosive rocker "Country Honey." Tanx marked the close of what many consider T. Rex's golden era; unfortunately, the band members would drift off one by one soon after, until Bolan was the only one remaining by the mid-'70s. Like the 1997 Polygram CD reissue of The Slider, the 1997 version of Tanx contains seven extra bonus tracks, including such non-album hits as "Children of the Revolution" and "20th Century Boy." ~ Greg Prato, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Born to Be Wild: A Retrospective
Artist: Steppenwolf
Released: 1991

Born To Be Wild: A Retrospective was the first attempt at a serious historical overview of Steppenwolf and founder/leader John Kay's career, and considering that the makers limited themselves to two CDs, they did an amazingly good job. A lot of listeners -- even those who were around during the band's heyday -- who think of Steppenwolf as... [+] Read More

Born To Be Wild: A Retrospective was the first attempt at a serious historical overview of Steppenwolf and founder/leader John Kay's career, and considering that the makers limited themselves to two CDs, they did an amazingly good job. A lot of listeners -- even those who were around during the band's heyday -- who think of Steppenwolf as nothing but successful purveyors of hard rock on the pop charts, may be surprised by what is here. Disc One reaches back to a pair of excellent tracks from the summer 1966 Columbia Records sessions by the Sparrow, the earlier band (featuring John Kay as lead singer) out of which Steppenwolf was formed. The array of Steppenwolf songs includes all of the expected hits and a lot more, which may be more than most casual fans will want. The latter will probably opt for the group's 20th Century Masters single CD, but this set is not to be passed over lightly -- as is quickly revealed on the first disc, Steppenwolf was one of the more prodigiously talented hard-rock acts of the late 1960's, easily able to go head-to-head with Iron Butterfly, Vanilla Fudge, or any other of the top American acts of the era and come out on top; they knew enough blues (and folk) licks, were good (and bold) enough with their instruments, and had a sufficiently charismatic lead singer in John Kay to generate six strong studio albums in five years -- including three very consistent, challenging, and inventive LPs in 1968 and 1969 -- and a string of hit singles, This set doesn't give enough exposure to the group's somewhat underrated second album, but otherwise it's a very good cross-section of some of their most popular work interspersed with their more ambitious album cuts, their entire output represented except for the two live albums, Early Steppenwolf and Steppenwolf Live. This set was also the first updated digital transfer of the band's classic recordings, and what's here does sound richer and louder than the existing individual CDs from MCA (which, in fairness, were unusually good for middle/late '80s releases). The collection includes highlights of John Kay's early 70's solo sides and the mid-1970's incarnation of the group on Columbia Records, up thru the version of the group organized by Kay in the late 1980's. There are a few flaws in the package, to be sure, mostly in the annotation -- Todd Everett's essay gets very sketchy about the music (especially their albums) after the first LP, and tend to focus more on personnel changes than on what they were actually releasing (which was still charting), and that's frustrating for anyone genuinely interested in the history of the music. But this is as good a survey of Steppenwolf and John Kay as we're likely to see, and the listening is a pleasure and a serious enlightenment for the uninitiated, and one that even casual fans should take seriously. ~ Bruce Eder, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing New York Dolls
Artist: New York Dolls
Released: 1973

There are hints of girl group pop and more than a hint of the Rolling Stones, but The New York Dolls doesn't really sound like anything that came before it. It's hard rock with a self-conscious wit, a celebration of camp and kitsch that retains a menacing, malevolent edge. The New York Dolls play as if they can barely keep the music from falling... [+] Read More

There are hints of girl group pop and more than a hint of the Rolling Stones, but The New York Dolls doesn't really sound like anything that came before it. It's hard rock with a self-conscious wit, a celebration of camp and kitsch that retains a menacing, malevolent edge. The New York Dolls play as if they can barely keep the music from falling apart and David Johansen sings and screams like a man possessed. The New York Dolls is a noisy, reckless album that rocks and rolls with a vengeance. The Dolls rework old Chuck Berry and Stones riffs, playing them with a sloppy, violent glee. "Personality Crisis," "Looking for a Kiss," and "Trash" strut with confidence, while "Vietnamese Baby" and "Frankenstein" sound otherworldly, working the same frightening drone over and over again. The New York Dolls is the definitive proto-punk album, even more than anything the Stooges released. It plunders history while celebrating it, creating a sleazy urban mythology along the way. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Back in Black
Artist: AC/DC
Released: 1980

Bon Scott's alcohol-related death in early 1980 couldn't have come at a worse time for AC/DC; the band was poised for worldwide breakthrough success, as their last album, Highway to Hell, was Angus and company's first gold-certified stateside release. They made an excellent choice in selecting Brian Johnson as their new vocalist; while he had... [+] Read More

Bon Scott's alcohol-related death in early 1980 couldn't have come at a worse time for AC/DC; the band was poised for worldwide breakthrough success, as their last album, Highway to Hell, was Angus and company's first gold-certified stateside release. They made an excellent choice in selecting Brian Johnson as their new vocalist; while he had the same bluesy edge as Scott, Johnson sang with more power and conviction. The first album from the new group, Back in Black, was issued only five months after Scott's passing but immediately rocketed up the charts, eventually becoming one of rock's all-time classics. By 1997, it had sold an astounding 16 million copies in the U.S. alone. Musically, the band hadn't changed much, although producer "Mutt" Lange helped the group focus its high voltage rock. The result was such perennial rock anthems as the stomping title track, the eerie "Hell's Bells," the melodic "Shoot to Thrill," the album-closing battle cry "Rock and Roll Ain't Noise Pollution," and one of AC/DC's best and most recognizable tracks, "You Shook Me All Night Long." Not a single weak track is included; even the lesser-known album tracks are strong ("Have a Drink on Me," "Shake a Leg"). Back in Black is the ultimate example of a band turning a career-threatening negative into a remarkable positive and stands alongside such landmark albums as Van Halen, Led Zeppelin II, Are You Experienced?, and Paranoid as hard rock's greatest achievements. Rock music rarely gets better than Back in Black. [In February 2003, the American distribution rights to AC/DC's back catalog transferred over to Epic, the band's new label. Epic reissued the band's catalog as remastered digipacks containing lavish, expanded booklets with plenty of rare photographs, memorabilia, and notes. Although the digipacks may wear a little too easy, the sound is terrific -- clean and muscular, enhancing the raw qualities of the original record -- and the packaging is loving, making the reissues necessary for collectors.] ~ Greg Prato, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Lynyrd Skynyrd - BOX SET
Artist: Lynyrd Skynyrd
Released: 1991

It was only fitting that the ultimate Southern rock institution, Lynyrd Skynyrd -- certainly one of the more tragic stories in rock & roll history -- should be one of the first bands to benefit from a comprehensive box set. Following the format of the highly successful Led Zeppelin box set, this three-disc, 47-song anthology provides a... [+] Read More

It was only fitting that the ultimate Southern rock institution, Lynyrd Skynyrd -- certainly one of the more tragic stories in rock & roll history -- should be one of the first bands to benefit from a comprehensive box set. Following the format of the highly successful Led Zeppelin box set, this three-disc, 47-song anthology provides a near-perfect career retrospective, complete with a carefully researched booklet with meticulous historical essays and rare photos for the new and rabid fan alike. The latter will probably be most interested in disc one, which features a number of early demos dating back as early as 1970 and not featured in prior collections, as well as an embryonic demo of "Freebird" minus its extended-jam coda. The nine-minute version from the band's milestone debut, Pronounced is also featured here, of course, as is most of the material from the group's next album, Second Helping, generally regarded as their career peak. Disc two alone could serve as a greatest-hits set, as classic after classic is rattled off in mind-blowing succession. And even when the creative fires finally begin to wane somewhat as the set approaches the Nuthin' Fancy and Gimme Back My Bullets material (recorded at a time when the band was plagued by overwork and escalating drug abuse), the set wisely offers alternate versions and live renditions to keep things interesting. The first half of disc three alternates never-before-heard concert performances with other, equally inspired live versions. Its second half is dominated by the unintentional swan song Street Survivors. Released only three days before the fateful plane crash, the album saw a re-energized Skynyrd achieving a new level of maturity, power, and purpose. Although most box sets tend to be a bit too much for the casual fan to swallow, this one feels just right. ~ Ed Rivadavia, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Flashback: The Best of .38 Special
Artist: .38 Special
Released: 1987

Flashback: Best of .38 Special is a terrific compilation of the Southern rock group's biggest hits, including "Caught Up in You," "If I'd Been the One," "Back Where You Belong," "Wild-Eyed Southern Boys," and the non-LP soundtrack contribution "Teacher Teacher." Since Flashback was released in 1987, it doesn't contain their biggest hit, 1989's... [+] Read More

Flashback: Best of .38 Special is a terrific compilation of the Southern rock group's biggest hits, including "Caught Up in You," "If I'd Been the One," "Back Where You Belong," "Wild-Eyed Southern Boys," and the non-LP soundtrack contribution "Teacher Teacher." Since Flashback was released in 1987, it doesn't contain their biggest hit, 1989's syrupy ballad "Second Chance," but it remains a comprehensive overview of their best moments, and makes a convincing case that they were the last great Southern rock singles band. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Crime of the Century
Artist: Supertramp
Released: 1974

With Crime of the Century, Supertramp established themselves as one of the handful of progressive rock acts that could sell albums and have hit singles. Stripping away the long-winded excesses of their first two albums, Crime of the Century featured tighter, more melodic songs, as evidenced by the singles "Bloody Well Right" and "Dreamer." ~...

With Crime of the Century, Supertramp established themselves as one of the handful of progressive rock acts that could sell albums and have hit singles. Stripping away the long-winded excesses of their first two albums, Crime of the Century featured tighter, more melodic songs, as evidenced by the singles "Bloody Well Right" and "Dreamer." ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Jailbreak
Artist: Thin Lizzy
Released: 1976

On Thin Lizzy's third album with new guitarists Scott Gorham and Brian Robertson, Jailbreak, the band perfected their hard-rocking, storytelling, guitar-laden style and were rewarded with worldwide breakthrough success. It also marked the first album where the band finally realized they were a true hard rock band, and put a stop to the soft rock... [+] Read More

On Thin Lizzy's third album with new guitarists Scott Gorham and Brian Robertson, Jailbreak, the band perfected their hard-rocking, storytelling, guitar-laden style and were rewarded with worldwide breakthrough success. It also marked the first album where the band finally realized they were a true hard rock band, and put a stop to the soft rock that plagued such albums as 1974's Night Life. Although vocalist/bassist Phil Lynott was unfairly criticized as being a Bruce Springsteen soundalike at the time, it was on Jailbreak that he came into his own, perfecting his storytelling lyric-writing and becoming a true poet in the process. Songwise, the album was also Lizzy's first really consistent album; there is simply not a single weak track in the bunch. The hard-rocking war tales of "Emerald" and "Warriors," the killer boogie of "Angel of the Coast," the country rocker "Cowboy Song," and a pair of rock's greatest anthems, the title track and the perennial radio favorite "The Boys Are Back in Town," are among Lizzy's best tracks ever. Add to it such strong album cuts as the Dire Straits-esque ballad "Fight or Fall" plus the heartbroken tales "Running Back" and "Romeo and the Lonely Girl," and you have one of the finest hard rock albums of all time. ~ Greg Prato, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Machine Head
Artist: Deep Purple
Released: 1972

Led Zeppelin's fourth album, Black Sabbath's Paranoid, and Deep Purple's Machine Head stand as the Holy Trinity of English hard rock. These recordings provide the blueprint followed by virtually every heavy rock & roll band since the mid-'70s. Though probably the least celebrated of the three, Machine Head contains the mother of all guitar riffs... [+] Read More

Led Zeppelin's fourth album, Black Sabbath's Paranoid, and Deep Purple's Machine Head stand as the Holy Trinity of English hard rock. These recordings provide the blueprint followed by virtually every heavy rock & roll band since the mid-'70s. Though probably the least celebrated of the three, Machine Head contains the mother of all guitar riffs in "Smoke on the Water," a song that needs no further explanation. The album also features the classic "Highway Star," which epitomizes all of Deep Purple's intensity and versatility, while featuring perhaps the greatest soloing duel ever between guitarist Ritchie Blackmore and organist Jon Lord. Also in top form is singer Ian Gillan (simply one of the finest singers of his generation, bar none), who explodes with amazing power and range throughout. Gillan lets the band take over on the largely instrumental "Lazy," which would evolve into an incredible live jam. The plodding shuffle of "Maybe I'm a Leo" shows some signs of age, but "Pictures of Home" and "Never Before" remain vital, displaying Purple at their melodic best. Another tremendous Blackmore riff drives the marvelous "Space Truckin'," a fitting end to one of the essential hard-rock albums of all time. ~ Ed Rivadavia, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Who's Next
Artist: The Who
Released: 1971

Much of Who's Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy. There's no discernable theme behind these songs, yet this album is stronger than Tommy, falling just behind Who Sell Out as the finest record the Who ever cut.... [+] Read More

Much of Who's Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy. There's no discernable theme behind these songs, yet this album is stronger than Tommy, falling just behind Who Sell Out as the finest record the Who ever cut. Townshend developed an infatuation with synthesizers during the recording of the album, and they're all over this album, adding texture where needed and amplifying the force, which is already at a fever pitch. Apart from Live at Leeds, the Who have never sounded as LOUD and unhinged as they do here, yet that's balanced by ballads, both lovely ("The Song Is Over") and scathing ("Behind Blue Eyes"). That's the key to Who's Next -- there's anger and sorrow, humor and regret, passion and tumult, all wrapped up in a blistering package where the rage is as affecting as the heartbreak. This is a retreat from the '60s, as Townshend declares the "Song Is Over," scorns the teenage wasteland, and bitterly declares that we "Won't Get Fooled Again." For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic basslines that are as captivating as his "My Wife" is funny. This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming. That is what the Who was about, not the rock operas, and that's why Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art -- this, even with its pretensions, is rock & roll. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Whitesnake's Greatest Hits
Artist: Whitesnake
Released: 1994

Whitesnake's Greatest Hits collects the cream of the band's later '80s efforts, gathering most of its material from Slide It In, Whitesnake, and Slip of the Tongue. Bigger fans will find worthwhile album tracks on the former two efforts, but this collection of Zeppelin-ish rock anthems and hooky power ballads are all most fans will need. ~ Steve...

Whitesnake's Greatest Hits collects the cream of the band's later '80s efforts, gathering most of its material from Slide It In, Whitesnake, and Slip of the Tongue. Bigger fans will find worthwhile album tracks on the former two efforts, but this collection of Zeppelin-ish rock anthems and hooky power ballads are all most fans will need. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Appetite for Destruction
Artist: Guns N' Roses
Released: 1987

Guns N' Roses' debut, Appetite for Destruction was a turning point for hard rock in the late '80s -- it was a dirty, dangerous, and mean record in a time when heavy metal meant nothing but a good time. On the surface, Guns N' Roses may appear to celebrate the same things as their peers -- namely, sex, liquor, drugs, and rock & roll -- but there... [+] Read More

Guns N' Roses' debut, Appetite for Destruction was a turning point for hard rock in the late '80s -- it was a dirty, dangerous, and mean record in a time when heavy metal meant nothing but a good time. On the surface, Guns N' Roses may appear to celebrate the same things as their peers -- namely, sex, liquor, drugs, and rock & roll -- but there is a nasty edge to their songs, since Axl Rose doesn't see much fun in the urban sprawl of L.A. and its parade of heavy metal thugs, cheap women, booze, and crime. The music is as nasty as the lyrics, wallowing in a bluesy, metallic hard rock borrowed from Aerosmith, AC/DC, and countless faceless hard rock bands of the early '80s. It's a primal, sleazy sound that adds grit to already grim tales. It also makes Rose's misogyny, fear, and anger hard to dismiss as merely an artistic statement; this is music that sounds lived-in. And that's exactly why Appetite for Destruction is such a powerful record -- not only does Rose have fears, but he also is vulnerable, particularly on the power ballad "Sweet Child O' Mine." He also has a talent for conveying the fears and horrors of the decaying inner city, whether it's on the charging "Welcome to the Jungle," the heroin ode "Mr. Brownstone," or "Paradise City," which simply wants out. But as good as Rose's lyrics and screeching vocals are, they wouldn't be nearly as effective without the twin-guitar interplay of Slash and Izzy Stradlin, who spit out riffs and solos better than any band since the Rolling Stones, and that's what makes Appetite for Destruction the best metal record of the late '80s. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Stooges
Artist: The Stooges
Released: 1969

While the Stooges had a few obvious points of influence -- the swagger of the early Rolling Stones, the horny pound of the Troggs, the fuzztone sneer of a thousand teenage garage bands, and the Velvet Underground's experimental eagerness to leap into the void -- they didn't really sound like anyone else around when their first album hit the... [+] Read More

While the Stooges had a few obvious points of influence -- the swagger of the early Rolling Stones, the horny pound of the Troggs, the fuzztone sneer of a thousand teenage garage bands, and the Velvet Underground's experimental eagerness to leap into the void -- they didn't really sound like anyone else around when their first album hit the streets in 1969. It's hard to say if Ron Asheton, Scott Asheton, Dave Alexander, and the man then known as Iggy Stooge were capable of making anything more sophisticated than this, but if they were, they weren't letting on, and the best moments of this record document the blithering inarticulate fury of the post-adolescent id. Ron Asheton's guitar runs (fortified with bracing use of fuzztone and wah-wah) are so brutal and concise they achieve a naïve genius, while Scott Asheton's proto-Bo Diddley drums and Dave Alexander's solid bass stomp these tunes into submission with a force that inspires awe. And Iggy's vividly blank vocals fill the "so what?" shrug of a thousand teenagers with a wealth of palpable arrogance and wondrous confusion. One of the problems with being a trailblazing pioneer is making yourself understood to others, and while John Cale seemed sympathetic to what the band was doing, he didn't appear to quite get it, and as a result he made a physically powerful band sound a bit sluggish on tape. But "1969," "I Wanna Be Your Dog," "Real Cool Time," "No Fun," and other classic rippers are on board, and one listen reveals why they became clarion calls in the punk rock revolution. Part of the fun of The Stooges is, then as now, the band managed the difficult feat of sounding ahead of their time and entirely out of their time, all at once. ~ Mark Deming, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Van Halen
Artist: Van Halen
Released: 1978

Van Halen's self-titled 1978 debut is undoubtedly one of the all-time best debuts by a hard rock/heavy metal band. All of the components for a classic are represented -- excellent songs and high-octane performances (the excitement of their live show was captured perfectly by producer Ted Templeman) are used to create an invigorating, original... [+] Read More

Van Halen's self-titled 1978 debut is undoubtedly one of the all-time best debuts by a hard rock/heavy metal band. All of the components for a classic are represented -- excellent songs and high-octane performances (the excitement of their live show was captured perfectly by producer Ted Templeman) are used to create an invigorating, original sound. Like other acclaimed debuts (Led Zeppelin, Are You Experienced?), Van Halen has a raw edge since it was recorded quickly, and every single song is a winner. It's also become one of the ultimate party albums over the years, since the overall mood is excited and celebratory. While singer David Lee Roth's bravado and the steady rhythm section of drummer Alex Van Halen and bassist Michael Anthony were both key ingredients, the main attraction was Eddie Van Halen's guitar playing. Few other guitarists have had such an instant impact on a generation of up-and-coming players who copied his unorthodox, kamikaze style -- especially his trademark tapping technique showcased on the album's legendary solo, "Eruption." Almost all of the tracks on Van Halen have rightfully become radio staples, such as the scorching rockers "Runnin' With the Devil," "Ain't Talkin' 'Bout Love," "Jamie's Cryin'," "Atomic Punk," and "On Fire," while covers of "You Really Got Me" and "Ice Cream Man" remain awe-inspiring to this day. Van Halen proved to be the ultimate coming-of-age soundtrack to many a teenager since its release, resulting in sales of over ten million in the U.S. alone. Everyone on the planet should own a copy of this landmark release. ~ Greg Prato, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Pyromania
Artist: Def Leppard
Released: 1983

While Def Leppard had obviously wanted to write big-sounding anthems on their previous records, Pyromania was where the band's vision coalesced and gelled into something more. More than ever before, the band's songs on Pyromania are driven by catchy, shiny melodic hooks instead of heavy guitar riffs, although the latter do pop up once in a... [+] Read More

While Def Leppard had obviously wanted to write big-sounding anthems on their previous records, Pyromania was where the band's vision coalesced and gelled into something more. More than ever before, the band's songs on Pyromania are driven by catchy, shiny melodic hooks instead of heavy guitar riffs, although the latter do pop up once in a while. But it wasn't just this newly intensified focus on melody and consistent songwriting (and heavy MTV exposure) that made Pyromania a massive success -- and the catalyst for the '80s pop-metal movement. Robert John "Mutt" Lange's buffed-to-a-sheen production -- polished drum and guitar sounds, multi-tracked layers of vocal harmonies, a general sanding of any and all musical rough edges, and a perfectionistic attention to detail -- set the style for much of the melodic hard rock that followed. It wasn't a raw or spontaneous sound, but the performances were still energetic and committed. Leppard's quest for huge, transcendent hard rock perfection on Pyromania was surprisingly successful; their reach never exceeded their grasp, which makes the album an enduring (and massively influential) classic. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Number of the Beast
Artist: Iron Maiden
Released: 1982

Even though Iron Maiden were on the brink of worldwide superstardom after their breakthrough sophomore effort, Killers, vocalist Paul Di'Anno left the band at the conclusion of their 1981 world tour. Many fans wondered if this would signal the end to one of metal's most promising new bands, but their worries were soon erased after hearing the... [+] Read More

Even though Iron Maiden were on the brink of worldwide superstardom after their breakthrough sophomore effort, Killers, vocalist Paul Di'Anno left the band at the conclusion of their 1981 world tour. Many fans wondered if this would signal the end to one of metal's most promising new bands, but their worries were soon erased after hearing the 1982 masterpiece The Number of the Beast. Ex-Samson singer Bruce Dickinson replaced Di'Anno, and his strong, operatic vocals proved to be one of Maiden's most distinctive trademarks. And while the music on their first albums contained elements of punk, Beast was a 100 percent true heavy metal album, as Maiden's songwriting and sound continued to solidify. Topping the charts in the U.K., and becoming their first U.S. Top 40 record, The Number of the Beast spawned a pair of all-time classic metal anthems -- "Run to the Hills" (which dealt with the plight of the American Indian) and the demonic title track (which caused controversy among religious groups, who wrongfully labeled the band Satan worshippers). But, like its predecessor, not a single weak track is included -- "Invaders," "The Prisoner," "22 Acacia Avenue" (a follow-up to 1980's "Charlotte the Harlot"), and "Gangland" were all rocking highlights; the quieter "Children of the Damned" and "Hallowed Be Thy Name" were also featured. The Number of the Beast is quite simply one of the best heavy metal albums ever released. ~ Greg Prato, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Screaming for Vengeance
Artist: Judas Priest
Released: 1982

Following the underwritten, erratic Point of Entry, Screaming for Vengeance returned Judas Priest to the top of the metal heap, boasting a much more consistent set of songs, highlighted by the monumental "You've Got Another Thing Comin'." Some of the bluesier elements of Point of Entry are still here, but the heavier moments tend to dominate the... [+] Read More

Following the underwritten, erratic Point of Entry, Screaming for Vengeance returned Judas Priest to the top of the metal heap, boasting a much more consistent set of songs, highlighted by the monumental "You've Got Another Thing Comin'." Some of the bluesier elements of Point of Entry are still here, but the heavier moments tend to dominate the album's flavor (particularly the title track); plus, there are arena-ready headbanging anthems like "Electric Eye," "Bloodstone," and, of course, "You've Got Another Thing Comin'," the latter two proof that the band really knew how to work a mid-tempo rock groove. Although the sound is commercial, Screaming for Vengeance doesn't feel like it's pandering as Point of Entry sometimes did; it's a catchy, accessible metal record in the best sense of the description, and it rivals British Steel as Priest's best album of the '80s. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Every Picture Tells a Story
Artist: Rod Stewart
Released: 1971

Without greatly altering his approach, Rod Stewart perfected his blend of hard rock, folk, and blues on his masterpiece, Every Picture Tells a Story. Marginally a harder-rocking album than Gasoline Alley -- the Faces blister on the Temptations cover "(I Know I'm) Losing You," and the acoustic title track goes into hyper-drive with Mick Waller's... [+] Read More

Without greatly altering his approach, Rod Stewart perfected his blend of hard rock, folk, and blues on his masterpiece, Every Picture Tells a Story. Marginally a harder-rocking album than Gasoline Alley -- the Faces blister on the Temptations cover "(I Know I'm) Losing You," and the acoustic title track goes into hyper-drive with Mick Waller's primitive drumming -- the great triumph of Every Picture Tells a Story lies in its content. Every song on the album, whether it's a cover or original, is a gem, combining to form a romantic, earthy portrait of a young man joyously celebrating his young life. Of course, "Maggie May" -- the ornate, ringing ode about a seduction from an older woman -- is the centerpiece, but each song, whether it's the devilishly witty title track or the unbearably poignant "Mandolin Wind," has the same appeal. And the covers, including definitive readings of Bob Dylan's "Tomorrow Is Such a Long Time" and Tim Hardin's "Reason to Believe," as well as a rollicking "That's All Right," are equally terrific, bringing new dimension to the songs. It's a beautiful album, one that has the timeless qualities of the best folk, yet one that rocks harder than most pop music -- few rock albums are quite this powerful or this rich. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Mascara & Monsters: The Best of Alice Cooper
Artist: Alice Cooper
Released: 2001

Rhino's Mascara & Monsters presents a more concise alternative to 1999's mammoth, four-disc set The Life & Crimes of Alice Cooper. Like the box set, this album delivers digitally remastered versions of 22 of Cooper's best-known rock anthems, including "Eighteen," "School's Out," "Billion Dollar Babies," "Poison," and "Welcome to My Nightmare."... [+] Read More

Rhino's Mascara & Monsters presents a more concise alternative to 1999's mammoth, four-disc set The Life & Crimes of Alice Cooper. Like the box set, this album delivers digitally remastered versions of 22 of Cooper's best-known rock anthems, including "Eighteen," "School's Out," "Billion Dollar Babies," "Poison," and "Welcome to My Nightmare." Just thorough enough to please both casual fans and diehards, Mascara & Monsters: The Best of Alice Cooper is the most complete retrospective available on one disc. ~ Heather Phares, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Ride the Lightning
Artist: Metallica
Released: 1984

Kill 'Em All may have revitalized heavy metal's underground, but Ride the Lightning was even more stunning, exhibiting staggering musical growth and boldly charting new directions that would affect heavy metal for years to come. Incredibly ambitious for a one-year-later sophomore effort, Ride the Lightning finds Metallica aggressively expanding... [+] Read More

Kill 'Em All may have revitalized heavy metal's underground, but Ride the Lightning was even more stunning, exhibiting staggering musical growth and boldly charting new directions that would affect heavy metal for years to come. Incredibly ambitious for a one-year-later sophomore effort, Ride the Lightning finds Metallica aggressively expanding their compositional technique and range of expression. Every track tries something new, and every musical experiment succeeds mightily. The lyrics push into new territory as well -- more personal, more socially conscious, less metal posturing. But the true heart of Ride the Lightning lies in its rich musical imagination. There are extended, progressive epics; tight, concise groove-rockers; thrashers that blow anything on Kill 'Em All out of the water, both in their urgency and the barest hints of melody that have been added to the choruses. Some innovations are flourishes that add important bits of color, like the lilting, pseudo-classical intro to the furious "Fight Fire With Fire," or the harmonized leads that pop up on several tracks. Others are major reinventions of Metallica's sound, like the nine-minute, album-closing instrumental "The Call of Ktulu," or the haunting suicide lament "Fade to Black." The latter is an all-time metal classic; it begins as an acoustic-driven, minor-key ballad, then gets slashed open by electric guitars playing a wordless chorus, and ends in a wrenching guitar solo over a thrashy yet lyrical rhythm figure. Basically, in a nutshell, Metallica sounded like they could do anything. Heavy metal hadn't seen this kind of ambition since Judas Priest's late-'70s classics, and Ride the Lightning effectively rewrote the rule book for a generation of thrashers. If Kill 'Em All was the manifesto, Ride the Lightning was the revolution itself. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing 20th Century Masters - The Millennium Collection: The Best of .38 Special
Artist: .38 Special
Released: 2000

The Millennium Collection: The Best of .38 Special focuses on the Southern rock group's original lineup and includes hits and radio staples like "Back Where You Belong," "Caught up in You," "Wild-Eyed Southern Boys," and "Rockin' Into the Night." Though it's not quite as comprehensive as Flashback, The Best of .38 Special's dozen tracks provide... [+] Read More

The Millennium Collection: The Best of .38 Special focuses on the Southern rock group's original lineup and includes hits and radio staples like "Back Where You Belong," "Caught up in You," "Wild-Eyed Southern Boys," and "Rockin' Into the Night." Though it's not quite as comprehensive as Flashback, The Best of .38 Special's dozen tracks provide a good starting point for casual fans. ~ Heather Phares, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Heaven Tonight - BONUS TRACKS
Artist: Cheap Trick
Released: 1998

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Dressed to Kill
Artist: Kiss
Released: 1975

By the release of their third album, 1975's Dressed to Kill, Kiss were fast becoming America's top rock concert attraction, yet their record sales up to this point did not reflect their ticket sales. Casablanca label head Neil Bogart decided to take matters into his own hands, and produced the new record along with the band. The result is more... [+] Read More

By the release of their third album, 1975's Dressed to Kill, Kiss were fast becoming America's top rock concert attraction, yet their record sales up to this point did not reflect their ticket sales. Casablanca label head Neil Bogart decided to take matters into his own hands, and produced the new record along with the band. The result is more vibrant sounding than its predecessor, 1974's sludgefest Hotter Than Hell, and the songs have more of an obvious pop edge to them. The best-known song on the album by far is the party anthem "Rock and Roll All Nite," but it was the track "C'Mon and Love Me" that became a regional hit in the Detroit area, giving the band their first taste of radio success. Since the band was on the road for a year straight, songs such as "Room Service" and "Ladies in Waiting" dealt with life on the road (i.e., groupies), and a pair of songs were reworked from Kiss' precursor band, Wicked Lester ("Love Her All I Can" and "She"). With Dressed to Kill's Top 40 showing on the Billboard charts, the stage was now set for Kiss' big commercial breakthrough with their next release. ~ Greg Prato, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Sladest
Artist: Slade
Released: 1973

If your taste in music leans toward arena rock anthems filled with great hooks, fist-pumping singalong choruses, and essentially mindless lyrics, then Slade is the band you've been looking for.

Sladest is a "best of" collection that includes all of the material that helped the band sell tons of records and fill arenas in the U.K. in... [+] Read More

If your taste in music leans toward arena rock anthems filled with great hooks, fist-pumping singalong choruses, and essentially mindless lyrics, then Slade is the band you've been looking for.

Sladest is a "best of" collection that includes all of the material that helped the band sell tons of records and fill arenas in the U.K. in the early '70s. Falling somewhere between the glam of T.Rex and the hard rock of Nazareth, Slade's finest moments come with arena rockers "Cum On Feel the Noize," "Mama Weer All Crazee Now," and "Gudbye T' Jayne." These songs were specifically written to be strong live numbers that would get the British kids up off their seats. This style of songs is what the band did best, and at the time, not many bands did it better.

When the band strays from their successful formula of catchy guitar riffs and big choruses, they tend to fail. Softer tracks like Coz I Luv You and Pouk Hill fall flat.

Although the band enjoyed major success in the U.K., they never broke stateside. They had a brief surge of popularity in the U.S. in the early '80s when Quiet Riot had hits covering two Slade tunes (Cum On Feel the Noize and Mama Weer All Crazee Now). One listen to Kevin Dubrow of Quiet Riot will tell you he spent many nights listening to Skweeze Me Pleeze Me and other Slade songs for hours on end. Judging by Slade's popularity in the early '70s, he wasn't alone. ~ Paul Tinelli, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Greatest Hits
Artist: Aerosmith
Released: 1980

Aerosmith's Greatest Hits remains one of the most popular and enduring best-of collections by any rock band, selling nearly ten million copies in the U.S. alone since its release. But when it was issued in 1980, the band had just about reached its nadir. With original guitarist Joe Perry gone (and Brad Whitford soon to follow), Aerosmith had... [+] Read More

Aerosmith's Greatest Hits remains one of the most popular and enduring best-of collections by any rock band, selling nearly ten million copies in the U.S. alone since its release. But when it was issued in 1980, the band had just about reached its nadir. With original guitarist Joe Perry gone (and Brad Whitford soon to follow), Aerosmith had turned into a directionless, time-consuming ghost of its former self. Since there would be a three-year gap between 1979's Night in the Ruts and 1982's Rock in a Hard Place, Greatest Hits was assembled, more or less, to fill the void and buy the band some time. With the album clocking in at only 37 and a half minutes, many Aerosmith classics are not included, such as what many consider the band's quintessential track, their cover of "Train Kept a Rollin'." The only poor selection is the forgettable "Remember (Walking in the Sand)," but nine out of ten are bona fide classics -- "Dream On," "Same Old Song and Dance," "Sweet Emotion," "Walk this Way," "Last Child," "Back in the Saddle," and "Draw the Line." Also featured is their venomous cover of the Beatles' "Come Together," previously only available as a single and on the soundtrack to the 1978 movie Sgt. Pepper's Lonely Hearts Club Band. For the casual fan, Greatest Hits will do the job, as well as its sister album, 1988's Gems. ~ Greg Prato, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Rust Never Sleeps
Artist: Neil Young & Crazy Horse
Released: 1979

Rust Never Sleeps, its aphoristic title drawn from an intended advertising slogan, was an album of new songs, some of them recorded on Neil Young's 1978 concert tour. His strongest collection since Tonight's the Night, its obvious antecedent was Bob Dylan's Bringing It All Back Home, and, as Dylan did, Young divided his record into acoustic and... [+] Read More

Rust Never Sleeps, its aphoristic title drawn from an intended advertising slogan, was an album of new songs, some of them recorded on Neil Young's 1978 concert tour. His strongest collection since Tonight's the Night, its obvious antecedent was Bob Dylan's Bringing It All Back Home, and, as Dylan did, Young divided his record into acoustic and electric sides while filling his songs with wildly imaginative imagery. The leadoff track, "My My, Hey Hey (Out of the Blue)" (repeated in an electric version at album's end as "Hey Hey, My My [Into the Black]" with slightly altered lyrics), is the most concise and knowing description of the entertainment industry ever written; it was followed by "Thrasher," which describes Young's parallel artistic quest in an extended metaphor that also reflected the album's overall theme -- the inevitability of deterioration and the challenge of overcoming it. Young then spent the rest of the album demonstrating that his chief weapons against rusting were his imagination and his daring, creating an archetypal album that encapsulated his many styles on a single disc with great songs -- in particular the remarkable "Powderfinger" -- unlike any he had written before. ~ William Ruhlmann, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Tres Hombres
Artist: ZZ Top
Released: 1973

Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn't have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album. As their sound gelled, producer Bill Ham discovered how to record the trio so simply that... [+] Read More

Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn't have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album. As their sound gelled, producer Bill Ham discovered how to record the trio so simply that they sound indestructible, and the group brought the best set of songs they'd ever have to the table. On the surface, there's nothing really special about the record, since it's just a driving blues-rock album from a Texas bar band, but that's what's special about it. It has a filthy groove and an infectious feel, thanks to Billy Gibbons' growling guitars and the steady propulsion of Dusty Hill and Frank Beard's rhythm section. They get the blend of bluesy shuffles, gut-bucket rocking, and off-beat humor just right. ZZ Top's very identity comes from this earthy sound and songs as utterly infectious as "Waitin' for the Bus," "Jesus Just Left Chicago," "Move Me on Down the Line," and the John Lee Hooker boogie "La Grange." In a sense, they kept trying to remake this record from this point on -- what is Eliminator if not Tres Hombres with sequencers and synthesizers? -- but they never got it better than they did here. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Classic Heep: An Anthology
Artist: Uriah Heep
Released: 1998

To irritate snobbish rock critics in the 1970s, all a band had to do was play heavy metal or progressive rock. Imagine their horror when Uriah Heep came along and consciously fused both styles. Uriah Heep was the subject of one vicious critic's infamous quote, "If this group makes it, I'll have to commit suicide." Well then, this critic is... [+] Read More

To irritate snobbish rock critics in the 1970s, all a band had to do was play heavy metal or progressive rock. Imagine their horror when Uriah Heep came along and consciously fused both styles. Uriah Heep was the subject of one vicious critic's infamous quote, "If this group makes it, I'll have to commit suicide." Well then, this critic is probably dead, because the British band did achieve widespread success. 1998's two-CD Classic Heep: An Anthology is a terrific compilation of Uriah Heep's 1970-1976 prime. The 30 songs are taken from nine studio albums: Uriah Heep (Very 'Eavy, Very 'Umble in the U.K.), Salisbury, Look at Yourself, Demons and Wizards, The Magician's Birthday, Sweet Freedom, Wonderworld, Return to Fantasy, and High and Mighty. It surely won't inspire a serious critical re-examination of Uriah Heep, but it should. The band was aggressively experimental, and while not everything worked, during its peak years vocalist David Byron, guitarist Mick Box, keyboardist/guitarist Ken Hensley, bass guitarists Gary Thain and John Wetton, and drummer Lee Kerslake tried it all. Musically, Uriah Heep relied on Byron's dramatic vocals, Box's gritty guitar crunch, Hensley's rumbling keyboards, and Thain's (later Wetton's) busy bass licks, and the band's harmony vocals and background "aah"s and "ooh"s were unique. Of course, Uriah Heep's two most famous songs, "Stealin'" and "Easy Livin'," are included. "Stealin'," a staple of classic rock radio, is the band's best: a powerfully tight, explosive lament from a penitent, ashamed outlaw. "Easy Livin'," the band's only U.S. Top 40 hit, is a catchy, full-bore rocker. Other notable cuts are "Gypsy," "Bird of Prey," "Lady in Black," "Rainbow Demon," "Blind Eye," "Sweet Lorraine," "Wonderworld," "Return to Fantasy," "Weep in Silence," and the ambitious epics "July Morning," "Paradise/The Spell," and "The Magician's Birthday." The detailed liner notes include an insightful essay by Hensley. ~ Bret Adams, All Music Guide [-] Hide

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Artist: Blue Öyster Cult
Released: 1995

Blue Öyster Cult was long in need of a thorough career retrospective, and this is it. Thirty-two tracks filling up two discs with a total running time of 154:46, Workshop of the Telescopes traces BÖC through 14 years as the kings of lite metal, 1972-1986. Actually, as annotator Arthur Levy notes, there are at least two phases in that era. The... [+] Read More

Blue Öyster Cult was long in need of a thorough career retrospective, and this is it. Thirty-two tracks filling up two discs with a total running time of 154:46, Workshop of the Telescopes traces BÖC through 14 years as the kings of lite metal, 1972-1986. Actually, as annotator Arthur Levy notes, there are at least two phases in that era. The first, running through 1974, includes the classic first two albums, Blue Öyster Cult and Tyranny and Mutation, when BÖC was one of the few acts in those pre-punk days bucking the trend toward soft rock without indulging in the more grotesque aspects of heavy metal. This material takes up disc one. Disc two leads off with "(Don't Fear) The Reaper," which launched the second phase of the band's career, when it sought to balance its hard-rocking approach (heard especially in concert) with pop accessibility. Since this period was marked by uneven material, it is ripe for compiling, and the selection here is good. On the whole, Workshop of the Telescopes lives up to Levy's description of it as "the ultimate BÖC anthology." It's about time. ~ William Ruhlmann, All Music Guide [-] Hide

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Artist: Alice in Chains
Released: 1992

Dirt is Alice in Chains' major artistic statement and the closest they ever came to recording a flat-out masterpiece. It's a primal, sickening howl from the depths of Layne Staley's heroin addiction, and one of the most harrowing concept albums ever recorded. Not every song on Dirt is explicitly about heroin, but Jerry Cantrell's solo-written... [+] Read More

Dirt is Alice in Chains' major artistic statement and the closest they ever came to recording a flat-out masterpiece. It's a primal, sickening howl from the depths of Layne Staley's heroin addiction, and one of the most harrowing concept albums ever recorded. Not every song on Dirt is explicitly about heroin, but Jerry Cantrell's solo-written contributions (nearly half the album) effectively maintain the thematic coherence -- nearly every song is imbued with the morbidity, self-disgust, and/or resignation of a self-aware yet powerless addict. Cantrell's technically limited but inventive guitar work is by turns explosive, textured, and queasily disorienting, keeping the listener off balance with atonal riffs and off-kilter time signatures. Staley's stark confessional lyrics are similarly effective, and consistently miserable. Sometimes he's just numb and apathetic, totally desensitized to the outside world; sometimes his self-justifications betray a shockingly casual amorality; his moments of self-recognition are permeated by despair and suicidal self-loathing. Even given its subject matter, Dirt is monstrously bleak, closely resembling the cracked, haunted landscape of its cover art. The album holds out little hope for its protagonists (aside from the much-needed survival story of "Rooster," a tribute to Cantrell's Vietnam-vet father), but in the end, it's redeemed by the honesty of its self-revelation and the sharp focus of its music. [Some versions of Dirt feature "Down in a Hole" as the next-to-last track rather than the fourth.] ~ Steve Huey, All Music Guide [-] Hide

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Artist: Bruce Springsteen
Released: 1975

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Artist: Sweet
Released: 1974

Sweet hit the peak of their powers on Desolation Boulevard, a wonderfully lightweight collection of fizzy melodies and big, dumb hooks. Essentially, the album consists of three dynamic singles buoyed by a bunch of filler, but those singles -- "Ballroom Blitz," "The 6-Teens," and "Fox on the Run" -- are addictive slices of bubblegum glam rock.... [+] Read More

Sweet hit the peak of their powers on Desolation Boulevard, a wonderfully lightweight collection of fizzy melodies and big, dumb hooks. Essentially, the album consists of three dynamic singles buoyed by a bunch of filler, but those singles -- "Ballroom Blitz," "The 6-Teens," and "Fox on the Run" -- are addictive slices of bubblegum glam rock. And the filler is ridiculously silly and enjoyable, with "Sweet F.A.," "I Wanna Be Committed," and "No You Don't" sounding like a kind of bizarre prototype for the Ramones' punky bubblegum (only without the irony, of course). Although the filler is relatively strong, there are a number of weak patches on Desolation Boulevard, but it remains an intoxicatingly fun record and one that sounds surprisingly fresh, even with all of its kitschy '70s production techniques. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: The Tubes
Released: 1992

The Tubes were true American rock & roll originals who appeared to be headed for permanent cult-band status and a footnote for the minor hit "White Punks on Dope." However, having signed with Capitol at the beginning of the '80s, the group enjoyed a couple of successful albums, several radio hits, and a solid profile on the fledgling MTV. The... [+] Read More

The Tubes were true American rock & roll originals who appeared to be headed for permanent cult-band status and a footnote for the minor hit "White Punks on Dope." However, having signed with Capitol at the beginning of the '80s, the group enjoyed a couple of successful albums, several radio hits, and a solid profile on the fledgling MTV. The Best of the Tubes culls material from the band's most commercially viable Capitol releases when the band worked with producers David Foster and Todd Rundgren. It contains such radio hits as the energetic Top Ten "She's a Beauty, the horn-laden "Tip of My Tongue," and the pop-crunch of "Piece By Piece." The set is fleshed out with some of the band's better album tracks like "Sushi Girl" and "Talk to Ya Later." The licensing and inclusion of some earlier tracks would have been nice, but for the casual fan, The Best of the Tubes is an excellent collection of their best-known and most accessible music. ~ Tom Demalon, All Music Guide [-] Hide

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Artist: The Stooges
Released: 1973

In 1972, the Stooges were near the point of collapse when David Bowie's management team, MainMan, took a chance on the band at Bowie's behest. By this point, guitarist Ron Asheton and bassist Dave Alexander had been edged out of the picture, and James Williamson had signed on as Iggy's new guitar mangler; Asheton rejoined the band shortly before... [+] Read More

In 1972, the Stooges were near the point of collapse when David Bowie's management team, MainMan, took a chance on the band at Bowie's behest. By this point, guitarist Ron Asheton and bassist Dave Alexander had been edged out of the picture, and James Williamson had signed on as Iggy's new guitar mangler; Asheton rejoined the band shortly before recording commenced on Raw Power, but was forced to play second fiddle to Williamson as bassist. By most accounts, tensions were high during the recording of Raw Power, and the album sounds like the work of a band on its last legs -- though rather than grinding to a halt, Iggy & the Stooges appeared ready to explode like an ammunition dump. From a technical standpoint, Williamson was a more gifted guitar player than Asheton (not that that was ever the point), but his sheets of metallic fuzz were still more basic (and punishing) than what anyone was used to in 1973, while Ron Asheton played his bass like a weapon of revenge, and his brother Scott Asheton remained a powerhouse behind the drums. But the most remarkable change came from the singer; Raw Power revealed Iggy as a howling, smirking, lunatic genius. Whether quietly brooding ("Gimme Danger") or inviting the apocalypse ("Search and Destroy"), Iggy had never sounded quite so focused as he did here, and his lyrics displayed an intensity that was more than a bit disquieting. In many ways, almost all Raw Power has in common with the two Stooges albums that preceded it is its primal sound, but while the Stooges once sounded like the wildest (and weirdest) gang in town, Raw Power found them heavily armed and ready to destroy the world -- that is, if they didn't destroy themselves first. ~ Mark Deming, All Music Guide [-] Hide

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Artist: Johnny Thunders
Released: 1978

Following the drug-fueled implosion of the Heartbreakers, Johnny Thunders bounced back with his first solo outing, So Alone. Featuring a veritable who's who of '70s punk and hard rock -- Chrissie Hynde, Phil Lynott, Peter Perrett, Steve Marriott, Paul Cook, and Steve Jones, among others -- the record was a testament to what the former New York... [+] Read More

Following the drug-fueled implosion of the Heartbreakers, Johnny Thunders bounced back with his first solo outing, So Alone. Featuring a veritable who's who of '70s punk and hard rock -- Chrissie Hynde, Phil Lynott, Peter Perrett, Steve Marriott, Paul Cook, and Steve Jones, among others -- the record was a testament to what the former New York Dolls guitarist could accomplish with a little focus. Much like Thunders' best work with the Dolls and Heartbreakers, So Alone is a gloriously sloppy amalgam of R&B, doo-wop, and three-chord rock & roll. Despite the inevitable excesses that plagued every Thunders recording session, Steve Lillywhite's solid engineering job and a superb set of songs hold everything together. A cover of the Chantays' classic instrumental "Pipeline" leads things off, and is a teasing reminder of what a great guitarist Thunders could be when he put his mind to it. The record's indisputable masterpiece is "You Can't Put Your Arms Around a Memory," a wrenching, surprisingly literate ballad in which Thunders seems to acknowledge that his junkie lifestyle has doomed him to the abyss. Songs like "Leave Me Alone," "Hurtin'," and the chilling title track continue the theme of life inside the heroin balloon. Fortunately, all this back-alley gloom is leavened by some memorably animated moments. "London Boys" is a scathing reply to the Sex Pistols' indictment of the New York punk scene, "New York." The funky "Daddy Rolling Stone" features the inimitable Lynott on background vocals, while the raveups "Great Big Kiss" and "(She's So) Untouchable" are terrific examples of Thunders' raunchy take on classic R&B.

Sadly, Johnny Thunders never followed up on the promise of his solo debut. His subsequent records were a frustrating mix of drug-addled mediocrity and downright laziness. But for one brief moment, he seemed to put it all together. That moment is So Alone. ~ Andy Claps, All Music Guide [-] Hide

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Artist: ZZ Top
Released: 1975

Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it's hard not to see this as a bit of a wasted opportunity in retrospect.... [+] Read More

Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it's hard not to see this as a bit of a wasted opportunity in retrospect. Why? Because the studio side is a worthy successor to the all-fine Tres Hombres, driven by "Tush" and "Heard It on the X," two of their greatest songs that build on that album by consolidating their sound and amplifying their humor. If they had sustained this energy and quality throughout a full studio album, it would have been their greatest, but instead the mood is broken by the live cuts. Now, these are really good live cuts -- and "Backdoor Medley" and "Jailhouse Rock" were fine interpretations, making familiar songs sound utterly comfortable in their signature sound -- and Fandango! remains one of their better albums, but it's hard not to think that it could have been even better. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: Free
Released: 1993

With their big riffs and bluesy melodies, Free virtually defined hard rock in the early '70s, and Molten Gold: The Anthology shows that this wasn't such a meager achievement. Throughout the two discs, it becomes clear that the key to Free's rock & roll was their rhythm section, which powered their riffs to perfection. This is the definitive...

With their big riffs and bluesy melodies, Free virtually defined hard rock in the early '70s, and Molten Gold: The Anthology shows that this wasn't such a meager achievement. Throughout the two discs, it becomes clear that the key to Free's rock & roll was their rhythm section, which powered their riffs to perfection. This is the definitive Free, two discs of pure hard rock. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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