The guy who wrote Loser got slapped in the face and started taking things seriously.

Powerful rockers by a band overflowing with talent.

I can't listen to this. Too much noise hammering away at the same time. It's like everyone in the band is screaming "listen to me" while trying to play louder and more frenetically than the guy next to him.

An experiment that could have so easily gone wrong, combine sleazy Texas bar blues with the New Wave doing of the early 80s. It could have dated quickly or felt like selling out. The bearded boys pulled it off. I think it was the melding of the most complimentary aspects of both together. The tracks that didn't become the massive singles are still solid ZZ Top. Billy Gibbons' guitar blisters through the whole album, mesmerizing and lyrical.

Just like with Ray Manzarik's distinctive keyboard, I don't know how to take The Doors seriously. For every fantastic realization of a good idea there's another close behind that falls flat due to Morrison's posturing, Manzarik's noodling, or some other decision that leaves me scratching my head. At least on the last track on the last album before Morrison's exit it all fit together.

(4.5 stars) The first three tracks, all instantly recognizable hits, don't stand up as well as some of the deeper cuts, such as Miles From Nowhere. The first cuts aren't nearly as well developed. Of course, they have the tasteful strings and embellishments which make every track on the album a delight to listen to, but the simple melodies are gone through several times and they ultimately don't go anywhere new. For contrast, listen to But I Might Die Tonight grow and change.

(3.5 stars)

Love is a Stranger is the first song in this journey to give me goosebumps. The Eurthymics are at their best when Annie Lenox's cool voice is paired with pop music from a Blade Runner future. The several experiments with sped up dub didn't work for me. I can't give more than three stars to an album that feels like a mix of several strong cuts with filler in between.

After the solid, infectious groves of Off the Wall, this album was an evolution in Michael's genius. He crafted pop gems with broad appeal and underneath it all was Michael's bizarre, childlike mind. We didn't know enough to be frightened then. Deserves 5 stars despite that saccharin, cringe worthy She's Mine.

At first listen: jaw dropping! Multiple layers of styles coalescing into coherent music. Masterful.