Before she exploded with her feminine manifesto Little Earthquakes, Tori went through her awkward 80’s phase. Donning giant hair, Sunset Blvd glam makeup, and nasty little vixen outfits, this was not the Tori the world was waiting for. The LP quickly slipped through the cracks, yet it contains several outstanding cuts. Check out "Floating City", "Fire on the Side" and "For Eric" for the bubbly side of Ms. Amos. Featuring future Cult and GNR drummer Matt Sorum, this rare gem reveals a harder side to the notoriously poignant crimson haired siren. Don’t expect to hear any of these songs at Tori’s next gig; a period she’s eager to forget, Y Kant Tori Read has been kept silent all these years.

From the same Casablanca Records stylistic visionaries that brought us the KISS phenomenon in the 70’s, Angel were a delightfully energetic blend of sweet pop, guitar-god posing, and glam appeal. Boasting an unforgettable line-up featuring keyboard virtuoso Greg Guiffria, the puckering glam-boy prototype guitar of Punky Meadows, and vocal gymnastics of Frank DiMinno, this quintet in white quickly faded into obscurity. This, their third release is arguably their finest and most immediate collection, and features the standout pop tracks, "Magic Touch", "On The Rocks", and the Boston-flavored "Telephone Exchange". Special mention should also be made of their hit filled White Hot album, and Styx-like self titled debut.

You’ll really have to comb the used bins for this one, but the excavation will be quite rewarding. A pre Jellyfish incarnation featuring future pop luminaries Andy Sturmer (vocals, drums) and Roger Manning (keyboards) , Beatnik Beatch is an exciting glimpse into the embryonic stylings that would later evolve into the glorious signature pop of Bellybutton and Spilt Milk. The album features early renditions of future Jellyfish tracks ("Watching The Rain" and "Worthless Heart") as well as quirky delights ("Welcome" and "Lonesome Town") all featuring Sturmer’s stylistic whaling. "Sgt Lasard" is a standout track here, and ranks well among the best of Jellyfish’s later output. Special mention should also be made of an even rarer Beatnik Beatch independent release (At The Zula Pool) which is an early release of the Atlantic LP with some alternate tracks and the same penchant toward Jack Kerouac delightfully in tact.

With a dazzling array of backup talent (including Phil Collins, Sting, Eric Clapton, and Brenda Russel) its just baffling how this pop gem slipped through the cracks. This release (the first from Bish in nearly a decade) was to have been his big comeback, although even the syrupy testimonial liner notes from Phil Collins couldn’t get the ball rolling. Musically the album is a wondrous piece of work with infectious pop ("I Think I Know What Love Is"), ethereal ballads ("Sleeping With Girls" which is reminiscent of Collins’ own "In The Air Tonight"), and, arguably the best pop single of 1987, "Walking On Air" the theme song from the film The Boy Who Could Fly. Why Bish isn’t a household name is still a mystery. He began and ended with "down in Jamaica they got lots of pretty women..." Uggh.

Before achieveing household name status, Phil Collins would frequently record with Brand X to keep his chops up. The improvisational rock/jazz fusion project, led by guitar whiz, John Goodsall served up some well-conceived instrumental work, and herein their first attempts at pop singles; ("Don’t Make Waves" and "Soho", featuring Collins on vocals). This disc has the distinction of showcasing some of Collins’ finest drumming ever, as well as a ferocious instrumental, "And So To F…", which was a concert highlight on his early solo tours. While the casual peruser of The Used Bin may come across several dust covered Brand X discs for under a buck, this "Product" is an excellent choice for a glimpse into the secret world of Phil. The guy really could play, too!

In a span of 41 minutes, this record does for music what Gummo did for spaghetti. Not for the squeamish, this little gem is like a genetic experiment in a forbidden trailer park gone horribly wrong. Punkabilly aggression with a Ritual De Lo Habitual flavor, Hairway is a post-Surrealistic Pillow art project with lunk-headed wit. "I Saw an X-ray of a Girl Passing Gas" is like a nightmare after too much Neil Young and Dorittos. "Johnny Smokes" - "John was a little crippled midget lesbian boy with a knife"(!?) - is an altogether bewitching trek through the darkest realms of Jane’s Addiction’s "Three Days" albeit with a perplexing tale of leg-less dogs and cigarette butts. I’m not really sure what to make of this record, but its kinda cool in a sick sorta way. Rock out!

The prog fusion works of Camel in the 70’s, like that of Yes & ELP, were lofty suites with spacey themes and indulgent instrumentals. With Nude, Andrew Latimer and his humped minstrels, present a conceptual piece made of shorter more immediate titles. The story involves a soldier, separated from his company, left to live out his life stranded on a small island. Some 40 years later, he’s discovered, and is thrown back into the maelstrom of metropolitan civilization. Enthralling plot developments, with Floydian finesse, Nude is a clever record, and sports a few nice singles as well; "City Life" and "Please Come Home" are gems, while the instrumental, "Drafted", is arguably their best work since their classic Snow Goose LP. Great with weed.

Before Kyle Vincent became the 90’s answer to David Cassidy, and even before Gilby Clarke rocked the world with Axl, Slash, and the "Use Your Illusion" gang, this unlikely duo were half of one of the sweetest pop bands in Hollywood. Candy’s name said it all; with their hook filled verses, sing-along choruses, and radio friendly production, this power-pop-by-numbers disc is as enjoyably digestible as an overdose of Pop-Rocks with a Jolt Cola chaser. One listen to "Weekend Boy", "Kids In The City" and the bouncy title track, and you’d sware you’d known ‘em for years. Stylistically approaching the Raspberries, "Last Radio Show" and "The First Time" are elegant pieces of power pop perfection. This one’s a winner.

This is exactly the kind of disc this column is all about. Its shocking how a work of such superior quality can slip into obscurity, destined to become one of those cracked jewel cases covered with mark-down stickers.. Singer/ songwriter Chapman, has a uniquely intimate flare, inviting you to glimpse the inner workings of a her soul. Sort of a Joni Mitchell for the 90’s, with a bit of Kate Bush drama, Chapman shines on "Years", and "All I Have". "Child Again", marked by one of the most ironic bridges put to tape, is a genuine classic. With James Taylor’s band fleshing out the arrangements, this one’s the real deal, people.

Back when Green Day were producing their first diaper Dookies, the Dickies were pioneering the art of tongue-in-cheek three-chord comedy punk. Witty high-voltage ditties like "Stuck In a Pagoda With Trisha Toyota" and "I’ve Got a Splitting Hedachi" were fresh and bratty then, and just as fun today. This collection also features some of their oddball punk covers: "Sounds of Silence", "Banana Splits", "Nights In White Satin"" and Sabbath’s "Paranoid". Through all their spastic punkish angst, though, their knack for catchy hooks still shone through; "Manny Moe & Jack" is a delightfully peppy number with a chorus that sticks firmly in your head for weeks.

The songwriting duo responsible for two decades worth of classic Squeeze hits stepped out of the fold in the mid 80’s for this one off project. Filled with their signature melodic hooks and witty lyrical crafting, this used bin gem is a joy to listen to. From the familiar quirky Squeeze pop of "Man For All Seasons" to the dark brooding strains of "The Apple Tree", the pair create catchy original tunes that live up to their catalog legacy. "Loves Crashing Waves" was the standout track, oft performed by Squeeze on subsequent tours, but cover to cover the disc is filled with glistening intelligent pop. "On My Mind Tonight" showcases Glen Tilbrook’s emotive vocal storytelling ability, while "Hope Fell Down" is a tantalizing cut, reminiscent of Yes’s 90125 period. Get this one, turn it up load, and dance around your room when no one’s around.

If you remember this Sunset Strip glam era outfit and their Def Leppard-esque near-miss penchant for arena anthems, you’re probably as surprised as I was to find a new release from them in 1997. Actually this disc features a few new tracks mixed with a generous helping of the tunes that made them…well, anonymous. "All I Want", "Action" and the obligatory power ballad "Hi N Lo" are all here for your trip back to Wolf & Rissmiller’s Coutry Club. Even their vintage fist pumpin’ set closer, "D’Stroll", is here in all its cheesy majesty. "I’ve got my shoes on; my blue suede blues on; don’t stop me now I’m doin’ D’Stroll." It ain’t too pretty inside, but its got great curb appeal.

One of many new acts to surface in the 90’s neo-prog movement, Echolyn (now defunct) created a distinctively complex sound, rich with dynamic rhythms, intricate harmonies, and lush soaring crescendos. Harkening back to essential prog elements of Yes, Gentle Giant, and Rush, As The World is a gorgeous exploration of classic styles with a distinctly 90’s production. In fact, the flawless recording of the drum tracks should be a standard for modern percussion. "One For The Show", "My Dear Wormwood", and "Audio Verite" are standout tracks in a brilliant conceptual album chock full o’ topographic tales. Honorable mention to Echolyn’s breathtaking sophomore effort Suffocating the Bloom.

None of the usual instrumental masturbation that put these guys at the top of the self-congratulatory 70’s prog heap. A contractual requirement, this disc is oft overlooked by even ardent ELP fans. Big mistake, kids! On their final release of their 70’s heyday, Keith, Greg and Carl tap into some refreshingly strait-forward pop ("All I Want Is You"), gritty synth-based blues ("For You"), and an honest to goodness top-40 single ("Love Beach"). The highlight here, though, is the 20 minute cinematic tale of "Memoirs Of An Officer And A Gentleman". Predating the Richard Gere flick, this epic takes our love-struck hero from the academy to the front lines, by way of some of the most laughably atrocious lyrics ever committed to vinyl. And if all that’s not enough, just wait’ll you see the cover photo of ELP and their massive white denim bulges. A true classic!

Why do I do this to myself? I know I’m gonna get crap for fessin’ up, but I feel its my duty to unearth lost classics wherever they may be found. This sophmore effort from the most underrated band of the 80’s is no exception. The dynamic duo of Chip and Donnie (sounding uncannily like Elvis Costello on this disc), pulled another disc’s worth of Mega hits out of their ass, and again no one cared. "Baby Loves You", "Blue Island", "Mother’s Eyes"; man it just doesn’t get much better than this. In the 80’s, the world took one look these glammy hippies, and y’all ran for your lives. Too bad too, because somewhere between Cheap Trick and Squeeze was the hit making monster of Enuff Z’Nuff. This one’ll keep yer toes tappin.

Before desecrating Van Halen, Gary Cherone and the Beantown boys of Extreme captured on this sonic masterwork some of the finest musical moments Queen never recorded. Utilizing lush string arrangements, and gorgeous layered harmonies, along side Nuno Bettancourt’s dazzling fretwork, "Rest In Peace", "Tragic Comic", and the majestic waltz of "Seven Sundays" would make Freddie Mercury proud. "Stop The World" is a delicious slice of slow grinding pop, with unshakable hooks and a production reminiscent of Bob Ezrin. Delving deeper into the classical bag of tricks, the stunning 20 minute suite of "Everything Under the Sun" incorporates the orchestral arrangements of ELO, Beatlesque melodies, and thunderous symphonic crescendos. A work of uncommon genius, it grows richer with listen after listen. Just keep Gary away from Eddie!

If you close your eyes you can still picture the scene: a city in flames; blonde bombshell wandering the streets aimlessly in a tight white one-piece and stiletto heels, while leather clad bad boys douse her with Fireman power hoses. What does this have to do with music, you ask? Who cares… just pop in this disc, crank up "Don’t Treat Me Bad" and grab your sack like its 1988. The quintessential power ballad "Love of a Lifetime" is such an unintentionally diabolical self-parody of the genre, you’ll laugh til you cry, then ultimately succumb to its inane splendor. They don’t make em like this no more.

Another Canadian prog trio, you ask. Well yeah, but this one’s a bit different. With more of a resemblance to the Kansas school of pop-prog than their Toronto counterparts, FM showed a dazzling originality on this their debut release. FM was fronted by the smooth as glass vocals of Cameron Hawkins, and featured the Neil Peart-ish percussion of Martin Deller and the eclectic violin sounds of cult icon Nash the Slash. (Nash would soon be replaced by another fiddling Canadian, Ben Mink who’d go on to work with Rush, Barenaked Ladies, and KD Lang) Black Noise features their marginal hit "Phasor on Stun" and an array of intricate neo-prog techno-fusion. Sounds a bit daunting, but actually translates into an appealing pastiche of lush suites. Special mention also of FM’s next two releases, Surveillance and City of Fear which feature some dynamic synthetic compositions with Ben Mink in the fold.

Dismissed as yet another early eighties one-hit wonder, Frankie Previte’s Long Island New York quintet served up a comprehensive package of pop gems. The short lived chart-topper "Sweetheart" (one week at #1 before its fall to obscurity), is still as catchy as ever, as are "You’re My Girl" and the Dennis DeYoung-esque vocals of ="Annie Goes to Hollywood". The crisp polished production (at times reminiscent of 80’s Starship) is top notch, turning well crafted melodies ("She’s a Runner", "Come Back") into memorable choruses that replay in your head days later. A fun-filled listen for pop lovers, Franke the Knockouts is also an interesting footnote for trivia buffs for early performances of Tico Torres (Bon Jovi) and Charlie Dominici (Dream Theater).

Ever notice that Kid Rock seems to aspire to the rock- star greatness of David Lee Roth? Well where the hell do you think Britney Spears came from? Probably from listening to this hit filled teeny-bopper gem. With this, her manifesto of pre-pubescent vitality, the Debster serves up a dozen guilty pleasures. Not the disposable fodder of, say, Tiffany, the surprisingly complex arrangements on Gibson’s masterwork turns cute humable melodies into credible pop hits. "We Could Be Together", "No More Rhyme", and the unforgettable "Lost in Your Eyes" are just a few of the highlights. Hit me, Debbie, one more time…

A perfect blend of early 80’s style synth-pop, well crafted arrangements, and unforgettable bouncy melodies. Glassmoon had a minor FM hit (for about five minutes) with their Einstein progeny tribute, "Simon". The consistently appealing balance of this record is filled with genuine pop gems and crisp sparkling vocals. You’ll swear you recognize Dave Adams’ voice from somewhere. From the infectious chorus of "On a Carousel" to the Billy Joel-esque "Telegram Song", this is a sure fire winner in any record collection. We suggest picking up two or three copies. You’ll wear ’em out.

Lost in the shuffle of the late 70’s effort, by such smaller labels, to quickly replace their rock artist roster with new disco acts, The Godz never had their day in the sun. By Warhol’s standard these guys are still due at least 14 minutes! Hard edged bad boy rock, with a bit of a southern twinge, these guys sound like the after math of a back alley brawl between Blue Oyster Cult and Lynard Skynard. The riffs are immediate, the vocals rough and dirty, and machismo for days! Their cover of Golden Earring’s "Candys Goin Bad" is brilliant, but the standout track is their self-congratulatory opus, "Gotta Keep A Runnin" in which they declare once and for all that "the Godz are rock & roll machines." And you cant stop the machine!

A work of astounding originality and innovation, each listen uncovers new layers to the rich layered production. It Bites, fronted by future alternative poster boy Francis Dunnery, blended dynamic pop melodies, rich progressive arrangements, fascinating complex polyrythms, and a delightful sense of British humor. This masterwork covers a fascinating array of styles, from the anthemic "Yellow Christian" to the storybook wonder of "Plastic Dreamer". The twenty minute title track opus is the band’s "a day in the life" journey through an absurdist depiction of British aristocracy, with musical flavors of Genesis, Nightranger, and Dream Theater. An aural feast, this one’s required listening for Used Bin dwellers.

If ever there was time when chest hair density and Brillo coif mullets were in vogue, singer Marc Storace would be the sexiest man alive. Despite the fashion faux pas of the spandexed Tom Jones screecher and his Swiss cohorts, these guys knew how to rock arenas with the best of ‘em! Striking a careful balance between Bon Scott era AC/DC and Scorpions’ favorite Blackout riffs, Krokus were the reigning kings of rock for about 15 minutes when this disc came out. With the FM standard "Screaming In The Night", Fernando Von Arb’s chugging axe, and a serious Halford duet ("Ready To Burn"), this album was destined for staple status at strip clubs around the world. "Sons of vengeance", indeed!

Rock stars oft times come from the most unlikely places. In the early nineties, three hair farmin’ rejects, looking like extras in an Accept video, found the ultimate anti-hero front-man: a gutter-stenched homeless derelict, prone to slurred outbursts and violent rantings. The gravel throated vagrant, known only as Stanley, honed the role of rock’s tattered tragic comic, and crooned tunes of the homeless experience. On "Rise Above" and "Blue Velvet Moon" Stanley delivers credible Tom Wait-ish vocals, never breaking character from his disturbed persona. "Some Fuckin’ Shit-ass Stole My Money" and "Jawohl Asshole" are big time 80’s rock anthems, with cannon drums, buzzing guitar riffs, and MTV ready hooks. The band rocks hard, and deliver infectious fist-pumpin tunes, like the schizophrenic "Train" or the all-out assault of "Tank". Its Stanley, though, that elevates this collection of Ratt meets Kik Tracee rockers into an unforgettable classic.

So right now you’re thinking "Thats it; he’s lost all credibility." Well, have faith, true believers, for , albeit hard for many to believe, this was actually a smokin’ little Queensryche record. Back in ’89., Lizzy hung up his ax and shock-props for a while and came up with a compelling concept album production (ala Bob Ezrin) that offers tasty chops, dark themes, and (gulp) even a plot. They even brought in Terry Brown (of Rush fame) to twist the knobs. "Love is a Crime" is the big production number, while "Sins of the Flesh" is classic shock-erotica. If at times they seem to lift entire sections of Steve Harris’ Maiden riffs, well its not what you steal , but what you make of it that counts. They made a pretty cool metalli-drama.

Before Fish departed the fold, Marillion created sonorous suites detailing the bedazzling bitter sweetness of the interminable broken heart. The autobiographical set, recounting the tragic events of Fish’s romantic demise is essential listening for any serious prog fan, or anyone in the throws of brake-up aftermath. On Real to Reel, Marillion bring an added excitement to live readings of these early Marillion standards. "Assassing", "Emerald Lies",and "Incubus" are vibrant in this Fugazi period performance. "Forgotten Sons" is particularly riveting, as Fish’s cynical diatribe on wartime carnage reaches new frenzied heights, then suddenly halts to a dead stop in an unnerving mid song moment of silent prayer. Rousing singalongs of "Garden Party" and "Market Square Heroes" makes this set a well rounded document of Marillion’s early shows.

A no-frills, good ‘ol fashioned, high energy, three chord punk record with a twist. Its all 70’s covers. (?) Desecrating all your childhood favorites, these guys come off like a garage jam with Mojo Nixon, Green Day, and the Dickies. "Leaving on a Jet Plane", "Me and Julio Down By The Schoolyard", "Seasons In The Sun", and "Sweet Caroline" are reduced to their most rudimentary structure with tasty results. Their take on "Uptown Girl" complete with a comical reworking of its DooWop style harmonies, is enough to make your head explode. Their high octane version of "Nobody Does It Better" (sounding like the Red Hot Chilli Peppers on steroids), really brings things to a new level. Just try to sit still thru this one. Not a chance!

Take the sugary cheez of the Partridge Family, Beach Boys vibe (Pet-Sounds era), and the retro nostalgia of Jellyfish and you get something a bit like Mudpie. Clocking in at over 75 minutes, this grande adventure through a dynamic range of pop stylings is a flavorful collection of innocent ditties and satirical suites. Herein are pop gems ("Harrisons Pond", "Firegirl", "Serious"), lounge stylings ("Falling"), and avant garde epics("The Carnival"). Pop historians will enjoy the remake of Brian Wilson’s "Wonderful", "Stagefright" a tribute to Andy Sturmer’s 1962 champagne colored Gretsch kick drum (?)

Before her breakthrough success with the 1999 release of I Bificus, and MTV hit "Moment of Weakness", Bif had already achieved cult status in Canada. On this, her indie debut, a more raw, yet diverse, Bif rocks out like a seasoned pro. More in the vain of Courtney Love, than her cutesy persona of late, Bif turns in blistering performances on "Everything", and "Over You." The dark piano drama "Tell On You" is an ethereal Tori Amos-like anguish fest, while "The Gross Gross Man" is an hysterical Rollins-ish spoken word about getting oogled by construction workers. She was already starting to get her tongue-in-cheek little-girl thing down, though, on tunes like "Succulent"; "Wont you kiss my pink TeddyBear, I’ll try not to cry when you spank me in the chair." Hmm…

OK, this is the one I know I’ll get the back lash for! But for the record Jim Gillette is a god. No one comes anywhere near his inhuman vocal stylings. These guys were like the Guinness Book equivalent of 80’s metal. They were faster, louder, and infinitely more dangerous than any other act in metal history! Gillette had his eight octave range (I’ve seen him shatter glass live!), Michael Angelo had his quadruple neck guitar that he fingered at breakneck speed. TJ Racer played bass like each not was an Indy race, and Bob Rock basically raped and pillaged his way through the percussion tracks. This shit is just plain wrong, but in a way that’s so mind numbingly unparalleled you just gotta love em. "Freight Train" and "Nasty Repatriation" had a few fleeting moments of Headbangers Ball infamy, and in the grand scheme of things Nitro has amounted to little more than a footnote and a running joke. But beware my friends, the opening notes to "Machine Gun Eddie" are so numbing, so impossible, and so unabashedly bombastic, I defy anyone to give it a listen and not fall to their knees in praise of the metal. Oh the humanity!!

A duo so schizophrenic and unlikely you just gotta love it. Flashy guitar rocker Thommy Price, and seasoned session player Kasim Sultan (of Todd Rundgren’s Utopia) hooked up for this one off project, with results sounding like Hall & Oates meets the Flashdance soundtrack. While that may sound like a nightmare to some, snappy little pop gems like "Shotgun Shy", "No TV No Phone", and "Take Me Away", are undeniably hook laden wonders. "Reckless and Wild" is a bouncy rocker in the spirit of "Dancing With Myself", while "Oh No" sounds like a pre-Jellyfish run thru of "Wanna Stay Home". Cute melodies, smooth vocals; All in all, a really good listen.

Cast from the same teen-angst socio-political mold as early U2, and the Alarm, Rhythm Corps marched into the mainstream waving their banner of musical revolutionism in the late 80’s. Owing largely to an Unforgettable Fire inspired vision of change, this disc covers some passionate ground with a refreshing conviction. Musically this album is chock full o highs, from the anthemic "Fathers Footsteps" to the thunderous "Solidarity" to impassioned "Revolution Man". This midwestern quartet had fleeting moments of airplay with the single, "Common Ground" before retreating into the smoky aftermath of the where-are-they-now file. Too bad, too! By now these guys could’ve been in their Zooropa-Corp period.

In the grand tradition of absurdist pop humor ala Zappa, XTC, and Barenaked Ladies, the Rugburns are out in left field and keep running for the fence. The contagious choruses and laff-a-minute lyrical ironies of Steve Poltz are guaranteed to raise a smile. On this, their second release, the Rugburns pummel their way thru "The Fairies Came", "Skyfuckinline of Toronto" and a testosterone run thru of the "Sesame Street" theme. The clever structure of "Lockjaw" should be a case study for Songwriting 101. If that’s not enough to convince, riddle me this: why do you think yodel-princess Jewel has been nailin’ this dude for years? Cuz he’s a helluva guy, a great talent, and a heck of an uplifting songwriter. Who will save your soul indeed?

So you bought all Dave Roth’s solo albums, you picked up Hagar’s pre Halen discs, you even indulged in a few Extreme cassettes; well, Van Halen completists, you’re not done. That’s right Patty Smythe sat in for about two minutes with the boys from Pasadena, and had a shot at the ultimate rock star gig. In the end, its her hits with Scandal that put her on the map, and this debut release is a tasty sampler plate. "Goodbye To You" and "Love’s Got a Line on You" still sound fresh, and "She Can’t Say No" is a classic foot tappin’ rocker. "Win Some Lose Some" is a slice of quintessential 80’s rock, and probably the tune that made Eddie think "Hmmm…?" In some parallel universe Patty Smythe is shakin her ass to "Everybody Wants Some" and is screamin’ "Look at all the people here tonight…"

Possibly the greatest rock & roll band Los Angeles ever had (!!), and we let ‘em slip away into obscurity. Between ‘76 and ‘86 this top notch outfit played every club, headlining over the likes of Van Halen, Motley Crue, and virtually every other band that got a deal. So how did stardom evade these guys. That’s one of the greatest mysteries of the ages. Their one and only release offered only a glimpse of the infectious song writing and stylish charm that, singer, Scott Waller, and company treated Hollywood to. Instant anthems ("Radioactive Love", "Celebrity"), and pop delights ("I Want You", "Loose Ends") should have been staples on every FM station in the country by now. Somehow we missed out., and Waller never dethroned Roth like we all thought he would.

Despite their legendary status as a multi-million selling arena sized supergroup in the 70’s and 80’s, this 4/5ths reunion album from Styx went largely unoticed. Dennis DeYoung, JY, and the Panozzo’s recruited the fresh sound and energy of Glen Burtnik to reanimate the Styx hit-making machine, with tantalizing results. The single "Love is the Ritual" marked a new direction for the band, while "Show Me The Way" is a classic Dennis DeYoung ballad, in the tradition of "Babe." "All In a Days Work", with its poignant accordian bridge is a Beatlesque surprise, while "Homewrecker" (ala "Miss America") showcases JY. Best of all is "Back to Chicago", a candy-coated Dennis DeYoung concoction; one listen and the melody will stay securely stuck in your head for at least a month.

Often dismissed as the one-hit wonders responsible for that cheezy "Eye of the Tiger" song from those old Rocky movies, these guys were genuine hit-making geniuses with a wealth of gold to be unearthed. With the same knack for unforgettable pop hooks that defined the best of Chicago, REO Speedwagon, and Journey, singer, Jimi Jamison penned this record’ full of top 40 near-classics. An album that will instantly have you scratching your head wondering why these guys didn’t become a household, Vital Signs boasts the smash hits "I Can’t Hold Back", "High on You", and the song that launched a thousand proms, "The Search Is Over". "Popular Girl" wreaks of Bon Jovi’s finest, and I See You In Everyone" is equal parts Meatloaf and Eddie & the Cruisers. Dammit, just buy it.

In the wake of the the advertising overkill of the VH1 original movie, this forgotten sixties hippie fusion group has received more attention in ’99 then they likely got when they performed at Woodstock 30 years ago. That said, their music was actually quite good. Granted, the whole lyrical tirade of ‘Whats Wrong" is pretty silly, but a few gems, like "I’m In A Rainbow", and "Why Oh Why" make this a fun listen. And admit it, after catching the VH1 flick you know you had the tune of "Motherless Child" in your head for the next two weeks. At times reminiscent of Annie Haslan & Renaisance, Sweetwater were an inventive band with creative arrangements. Look for this one in the used bins and buy it for the resale value, or pick up the recent Rhino anthology release.

Hands down, these guys were the macho-ist band in the wild wild west. Fashioned as a roving pack of cowboy ruffnecks, these comical Clint Eastwoods of rock had an muscle-flexing power pop testosterone sound with all the gang vocals, heel stompin, and whip crackin they could muster. With vocalist, Steve Jones’s, gritty snarls, and the frontline multi-axe brigade, these guys were a barrel of fun. And the tunes were catchy too. Check out the snappy stanzas of "All Is Quiet on the Western Front", "Hang ‘Em High", and "Cheyenne". You’ll be hooked! Jones later went on (sans spurs and pistols) to cowrite hits for Asia, and several pop luminaries. Only this dusty gem remains, waiting in a used bin for you right now. Pick it up… or we’ll lynch ’ya.

The deliciously eclectic Todd Rundgrun has managed to build an entire career on a single predictable element; total unpredictability. With his 70’s incarnation of Utopia, he brought us skinny-tie new wave pop ("Hammer in my Heart") and a brilliant collection of the greatest Beatle songs never written (Utopia’s Deface the Music) On Ra, Rundgren and crew erect a Styx-ish pastiche of conceptual rock thematically shifting through movements of mystical and magical scenes. "Communion With The Sun" explodes with Grand Illusion grandeur, "Magic Dragon Theater" merrily bounces like a Dennis DeYoung wet-dream, and "Hiroshima" is a sinister Floydian recounting of the bomb (complete with bacon sizzling sound effect). The epic "Sing-Ring and the Glass Guitar" is a delightful electrified fairy tale. And as the narrator explains "if you’ve never heard of an electrified fairy tale, just picture wee tiny fairies with little electric guitars. " That Rundgren fella sure is a hoot.

Long before Stan Ridgeway composed quirky hits about Mexican Radios and "barbecued Iguana," his band released this seminal L.A. new wave manifesto. Chock full’o kitschy rhythm box beats, cheezy Casio arpeggios, and all the off kilter dementia they could muster, Dark Continent is a brilliant adventure in minimalism. Granny sprouting hair in "Animal Day", and auto-repair tips in "Me & My Dad" are comic highlights, as Ridgeway barks deliciously perplexing lyrical passages in his signature CB-radio vocals. "Back In Flesh", a career highlight, was also a standout moment in the genre defining movie Urgh! while "Two Minutes Til Lunch" is a bizarre essay on factory employment ("dont touch that you’ll blow this place up!"). Diabolically creative and catchy tunes too.

Why must I leave myself open for such abuse? Well, here’s where any bit of musical credibility I had left goes out the window. This disc is Wendy and her adorably nasal Barbie Doll vocals, sprinkled over a candy-coated batch of holiday standards with sister Carnie along for the fun. Wendys’ cute little "ooh"s and "aah"s over "Winter Wonderland", "Rudolph the Red-Nosed Reindeer" and their festive pop title track, will make you wanna run for the nearest mistletoe and rejoice in the blizzard of cheez. I had the chance to meet Wendy at one of her dad’s LA shows last year, and I finally came clean; I don’t know if she believed me, but I must be the only guy on the planet that listens to this merry little gem all year round. No really its true! I guess I must be gay!

While the world came to know Zebra, in the summer of ,81 as a Zeppelin-esque trio, with their double punch of "Who’s Behind The Door" and "Tell Me What You Want", it was this, their third release, that offered a consistent collection of hook filled originals that really illustrate the band’s potential. While the Physical Graffiti flavors are still intact ("Time"), the slick production makes catchy choruses of "Better Not Call" and "Your Mind’s Open" immediate favorites. Often dismissed as another casualty of 80’s formula rock, Zebra came of age with this release, which, track for track is an elegant collection of classic rock & roll, and should sit beside "Pyromania" and "Slippery When Wet" as essential listening for that period.

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