Richard Hawley is a romantic born in the wrong era. The former Longpigs and Pulp guitarist's love of lush musical arrangements -- composed of reverberating hollow-body guitars, tremolo vocals and occasional orchestral strings -- is torn straight from Roy Orbison's book. Among the weepiest of ballads on Lady's Bridge is "Valentine," a sweeping, cathartic number about nostalgia for love lost. "Dark Road," with Hawley's baritone wail, pours straight from a broken heart, yet still manages a swagger. Editor: Dan Shumate
Waters' first after the (temporary) demise of Floyd came a year after The Final Cut, and, with a conceptual thread and Gilmour-ish guitarwork courtesy of Eric Clapton, Pros & Cons looked, sounded and felt like a new Pink Floyd record. The dialogue underneath the music and plot shifts cued by sound effects and explosive guitar moves were the very apex of what people thought you could do with rock music in 1984. While another tale of a rich guy's midlife crisis may not have been so necessary and also may not have aged so well, the sonic aspects of the album are irrefutable. Editor: Mike McGuirk
Sure, "Le Freak" might grace every company party dancefloor, but for good reason: it's a hot dance number that nudges booties into action to this day. But that's not the only track C'est Chic offered the world: this highly crafted release gravitates between disco-era pathos and disco-era Dionysian excess. Pick it up. Editor: Sarah Bardeen
This eighth official bootleg offers insight into Dylan's compelling late-career comeback -- including material between Oh Mercy and Modern Times. For completists, the live and studio scraps from the Daniel Lanois-produced 1997 comeback, Time Out Of Mind -- including two stylistically disparate versions of "Mississippi" -- are compelling, even though the loose-shuffling alternate of "Tell Ol' Bill" (from North Country's soundtrack) stands best on its own. All told, the portrait of elder Dylan shows an artist every bit as magnificently capricious in the studio as he was as a youth. Editor: Nate Cavalieri
This triumphant concert captures the Clash at their popular peak, right before their swift and sad decline. In the studio, the Clash did anything and everything ¢Â€Â“ in concert, they concentrated on being high energy rockers (here, returning drummer Terry Chimes' pounding timekeeping is less fluid than Topper Headon's jazzier, more subtle style). This stadium set doesn't disappoint, with Joe Strummer acting as the in-house ringmaster who introduces the band, its songs and even utters enigmatic "political" statements (some of which are aimed at older fan's of the Who -- the night's headlining band). Editor: Nick Dedina
This fifth full length -- and first with guitarist Zack Blair -- kicks off with all the energy, passion and intelligent lyrics that brought this melodic hardcore quartet to the forefront. And while it dips in places, the Bill Stevenson/Jason Livermore-produced effort proves there's nothing wrong with more of the same as it returns to feel-it-in-your-gut form on standouts "The Strength to Go On," "Savior" and "Whereabouts Unknown," while political folk anthem "Hero of War" showcases McIllrath's ability to tone down his voice when turning up his message. Editor: Jen Guyre
For anyone wondering what good came out of T.I. catching a year on gun charges, Paper Trail is a good start. The Atlanta rapper has never lacked confidence, and he shines on opener "I'm Illy" over Chuck Diesel's ominous bells and operatic voices, but bearing his soul is where he's exceptional. Tip addresses his legal troubles on "Ready for Whatever," his beef with Shawty Lo on the scathing "What Up, What's Haapnin'" and the murder of his best friend, Philant Johnson, on the "Dead and Gone," featuring Justin Timberlake. This king isn't ready to give up his crown just yet. Editor: Toshitaka Kondo
Oasis like the Beatles! Okay, major understatement, but with the "Dear Prudence" picks closing "The Turning," the "I am the Walrus" utters in "I'm Outta Time," the "magical mystery" references and the sitar-rich "To Be Where There's Life," it's clear the Brits still heart the Fab Four. But, the Gallagher bros can't pull off being as pompous as they are by simply aping one of the best bands ever. Their haughty energy transfers into some pretty great grooves here as they shake up stadium-ready choruses with layers of dreamy drones, clap-happy rhythms, staccato bass and hip-shakin' beats. Editor: Stephanie Benson
This eighth official bootleg offers insight into Dylan's compelling late-career comeback -- including material between Oh Mercy and Modern Times. For completists, the live and studio scraps from the Daniel Lanois-produced 1997 comeback, Time Out Of Mind -- including two stylistically disparate versions of "Mississippi" -- are compelling, even though the loose-shuffling alternate of "Tell Ol' Bill" (from North Country's soundtrack) stands best on its own. All told, the portrait of elder Dylan shows an artist every bit as magnificently capricious in the studio as he was as a youth. Editor: Nate Cavalieri
The introspective, bearded singer-songwriter Ray LaMontagne has already attracted a dedicated audience despite a pronounced onstage shyness. In a recent concert in Madison, Wis., this support seemed to nudge him closer and closer to revealing the folk-rock soul man aching to get out. More
