I was a Led Zeppelin kid in junior high school, and this is the one we listened to a lot. Nowadays, I prefer Led Zeppelin III (hippie folk rock) or their first (a "hit you in the head" debut). But IV is holding up pretty well as a blend of those approaches, even if I never need to hear the overplayed "Stairway To Heaven" again.

You can't mistake Boston for anyone else, although the keyboard parts hint of an ELP influence. I appreciate the DIY effort of Tom Scholz, but the music itself is obnoxious, with throwaway lyrics. By the end of the eight tracks here, it all sounds the same.

Doves have a definite early 2000s Brit sound that hasn't aged well, similar to Coldplay. There are some tuneful moments here, notably "The Man Who Told Everything." But muddy production and drab vocals bring this down a notch.

1979 was the year of double albums: The Wall, London Calling, and Tusk. Each had notable showstoppers. In the famously quirky Tusk, those showstoppers are the title track and "Sara." The former is Peak Lindsey, the latter Peak Stevie. Those two songs alone make this album a rewarding listen, but don't overlook hidden gems like "Brown Eyes" and "Walk A Thin Line."

A compelling chronicle of the South. This album has a cinematic feel, a foreshadowing of Newman's move into film soundtracks later in his career.

The Lips' magnum opus. Even if you find Wayne Coyne annoying, you will be pulling for Yoshimi as you glide thru the lush soundscapes of "It's Summertime" and ""Do You Realize??"

The only Coldplay album you need, and it established the band's brand of user-friendly rock. "Politik" jump-starts things, with other highlights including "The Scientist," "Amsterdam," and the title track. These are fine songs that are well written, produced and performed. In a more dubious achievement, "In My Place" and "Clocks" remain in heavy rotation at grocery stores.

Prince in his prime.

An epic achievement. My favorite Cure album with my favorite song of theirs, "Pictures of You."

Deep, deep 1970s prog. This album is at its best during its lengthy instrumental sections and at its worst with the feeble vocals of John Wetton.

A few clunkers outweighed by several bangers (including "Fools Gold," available on the US version of the album). Ideal music for shuffling at the club whilst staring at your shoes.

Gritty, tough and occasionally scary. The track order is off: close it with "War Pigs."

I prefer jazzy Joni over folkie Joni.

Pile on many more layers, and I'll be joining you there.

The one that created the U2 sound. Strong songs from start to finish.

Ocean Rain is the one you need to listen to.

The title track is their best song — actual poetry without the pretension that characterizes their other work.

I'm a tumbler. I'm a government man.

The first three tracks kill it, especially the cover of "Comfortably Numb."

Not so much a concept album and more of a contrivance album, burdened by irritating vocals and complicated arrangements.

My first CD!

Delete the obvious filler and it would be a solid 55-minute CD, if that technology had existed at the time. Docked one star for the band claiming writing credit for "In My Time of Dying."

Macca music for quiet Sunday mornings

You better put your kingdom up for sale.

Unlike its predecessor, this album is sloppy and unfocused. There are the usual Zeppelin ripoffs of blues artists. The album is redeemed by the ballad "Thank You," and the bass and keyboard work of John Paul Jones, the band's most valuable player throughout its run.

Intermittently interesting hippie noodling.

The last solid Morrissey album, thanks in large part to producer Steve Lillywhite

The one you want to hear is Blue Bell Knoll.

This hasn't aged well, and it has some obvious filler. "Love Over Gold" is the one you need to hear.

The only one you really need to hear is Fragile and its best track, "Heart of the Sunrise."

Sides 1 and 3: 5 stars Sides 2 and 4: 4 stars Best track: "Nobody Home" None of it works without producer Bob Ezrin and engineer James Guthrie.

Simply unlistenable.

"Heart of the Sunrise" is the banger here. The rest is overplayed or simply dull.

Best track: "Us and Them," the perfect blend of Rick Wright's composition and Roger Waters' lyrics.