Also known as the "rune" album or Zoso because of the medieval symbols adorning the inner sleeve, Led Zeppelin's fourth album, released in 1971, turned them from mere... read more

Also known as the "rune" album or Zoso because of the medieval symbols adorning the inner sleeve, Led Zeppelin's fourth album, released in 1971, turned them from mere superstars into giant behemoths of the rock world. On tracks like "Black Dog," "Misty Mountain Hop," and "Rock and Roll," the combination of Robert Plant's banshee wails and Jimmy Page's frenetic guitar playing forever altered the stylistic bent of hard rock music. And the foreboding "When the Levee Breaks" demonstrated that Zeppelin could indeed play the blues fairly straight if they so desired. Still, everything here ultimately took a back seat to the album's (and, ultimately, the band's) magnum opus--the expertly constructed and deftly executed classic, "Stairway to Heaven." --Billy Altman (hide)

A glimpse of the future, and not because of its huge influence and umpteen million sales. The poor-little-rich-boy protest "Out ta Get Me" intimates that Axl Rose's egotism... read more

A glimpse of the future, and not because of its huge influence and umpteen million sales. The poor-little-rich-boy protest "Out ta Get Me" intimates that Axl Rose's egotism and martyr complex were soon to grow bigger than his head; still, Appetite's night-train wreck of punk and metal sounds and sensibilities make it more than just an emblem of its time. Whether GN'R are dancing with Mr. Brownstone, penning a callow kiss-off letter to some chick named Michelle, or passing out on somebody else's sofa, this was and remains a savage journey to the heart of the American--or at least the Hollywood--dream. --Rickey Wright (hide)

Proving yet again their willingness to dice 'n' slice their burgeoning legacy into new--if not exactly fresh--product, the Fab Four Minus One have released this single-disc compendium of... read more

Proving yet again their willingness to dice 'n' slice their burgeoning legacy into new--if not exactly fresh--product, the Fab Four Minus One have released this single-disc compendium of their No. 1 hits. Though obviously superfluous to the faithful (who may also find themselves quibbling over the precise definition of "No. 1 hit" and the exclusion of seeming contenders like "Please Please Me" and "Strawberry Fields"), newly arrived visitors from the Pleiades star cluster and other neophytes will find it a concise and generous (nearly 80 minutes) single-disc introduction to the band's career-spanning, unparalleled dominance of pop music in the 1960s. But beyond being a mere trophy case of commercial success (and it won't be hard to find critics who'll argue that these singles aren't even the band's best work), it's also a Cliff's Notes take on a remarkable seven-year run of musical evolution, one that stretches from the neo-skiffle of "Love Me Do" through a remarkable synthesis of R&B, rockabilly, Tin Pan Alley, gospel, country, and classical that still defies efforts to effectively deconstruct it. This is the pop monument equivalent of the '27 Yankees and '90s Bulls; it's every bit as obvious and dominating--and just as essential. --Jerry McCulley (hide)

What Highway to Hell has that Back in Black doesn't is Bon Scott, AC/DC's original lead singer who died just months after this album was released. Scott had... read more

What Highway to Hell has that Back in Black doesn't is Bon Scott, AC/DC's original lead singer who died just months after this album was released. Scott had a rusty, raspy, scream of a voice, like he might break into a coughing fit at any moment. In other words, on crunchy, hook-heavy metal classics like the title track, and on "Get It Hot" which is more roadhouse rock than metal, he had the perfect instrument for such wild-living anthems. Too perfect, it turned out. --David Cantwell (hide)

Dark Side of the Moon, originally released in 1973, is one of those albums that is discovered anew by each generation of rock listeners. This complex, often psychedelic... read more

Dark Side of the Moon, originally released in 1973, is one of those albums that is discovered anew by each generation of rock listeners. This complex, often psychedelic music works very well because Pink Floyd doesn't rush anything; the songs are mainly slow to mid-tempo, with attention paid throughout to musical texture and mood. The sound effects on songs like "On the Run," "Time" and especially "Money" (with sampled sounds of clinking coins and cash registers turned into rhythmic accompaniment) are impressive, especially when we remember that 1973 was before the advent of digital recording techniques. This is probably Pink Floyd's best-known work, and it's an excellent place to start if you're new to the band. --Genevieve Williams (hide)

Part of the '90s Seattle grunge triumvirate completed by Nirvana and Soundgarden, Pearl Jam debuted with Ten, their most accessible, least self-conscious album. Over time, PJ's rep as... read more

Part of the '90s Seattle grunge triumvirate completed by Nirvana and Soundgarden, Pearl Jam debuted with Ten, their most accessible, least self-conscious album. Over time, PJ's rep as a politically correct band just a little too above it all to prostitute its music on MTV has nearly superseded the music. But before that, they were a simply an in-your-face, in-your-head, loud, melodic rock band. And lead singer Eddie Vedder was known for his possessed stage presence and a primal growl that sounded like it required three vocal chords. The personal, narrative singles "Alive," "Jeremy," and "Even Flow" catapulted the reluctant band into the 10-million-plus-sales division. Subsequent albums are more intricate, subtle, thematically complex, and, in many ways, better than Ten. But the band may never repeat the stampede caused by this debut. --Beth Bessmer (hide)

For its first new set of music since 2000's Warning, Green Day tears up the blueprint and comes up with something unexpected: a punk rock concept album built... read more

For its first new set of music since 2000's Warning, Green Day tears up the blueprint and comes up with something unexpected: a punk rock concept album built around elaborate melodies, odd tempo changes, and a collection of songs that freely reference classic rock warhorses like the Beatles and Pink Floyd. "She's a Rebel" and "St. Jimmy" might sound like vintage Green Day, but the rest of the disc finds the Northern California trio trying on a variety of different guises: "Boulevard of Broken Dreams" is a cliché-strewn Foo Fighters-style power ballad; "Extraordinary Girl" floats on Indian strings; and the hushed "Wake Me Up When September Ends" wouldn't sound entirely out of place on a Jessica Simpson record. It doesn't always work. "Dearly Beloved" eerily resembles the Alarm's "68 Guns," while the title track eerily resembles something Green Day has already done far too many times. But, overall, American Idiot represents a promising step forward. --Aidin Vaziri (hide)

Experience Hendrix brings together the major singles with a stack of majestic album tracks and the career-defining live Woodstock version of "The Star Spangled Banner" on a fat... read more

Experience Hendrix brings together the major singles with a stack of majestic album tracks and the career-defining live Woodstock version of "The Star Spangled Banner" on a fat 20-tracker. While best used as a sampler to direct new listeners to the immortal Are You Experienced, Electric Ladyland, and so on, the CD (which supplants the short-lived Ultimate Experience collection) does hang together as a listen. Its blend of Hendrix the rocker and Hendrix the underrated soul man is suggestive, painting a picture of a multifaceted genius and transcending its plainly mercenary origins. In the end, its effect--like that of all Hendrix's best records--is to remind us of a Jimi very, very much alive. --Rickey Wright (hide)

It may be too cynical to assume Hybrid Theory changed its name to Linkin Park in order to appear right next to Limp Bizkit in your local record... read more

It may be too cynical to assume Hybrid Theory changed its name to Linkin Park in order to appear right next to Limp Bizkit in your local record bin. But rock-rap workouts like "One Step Closer" and "Papercut" do make Linkin Park a comfortable fit with Fred Durst and his ilk. Producer Don Gilmore (Pearl Jam, Lit, Eve 6) and twin vocal threats Chester Bennington and Mike Shinoda serve up industrial-strength rap and rock melodicism with equal aplomb on this woulda-been-self-titled debut effort. "Points of Authority" aims to sound like Trent Reznor wanking it up with Lars and company, whereas guitarist Brad Delson's Edge-y harmonics help "In the End" and "Pushing Me Away" evoke a dark romanticism akin to A Perfect Circle. Curiously, the band gets by with no bass player, while sample-happy DJ Joseph Hahn's step into the spotlight on the instrumental "Cure for the Itch" suggests a potential for eclecticism that could help Linkin Park outlive its seemingly transient genre. --Bill Forman (hide)

While many of their peers were abandoning '70s metal and arena rock to hop the punk/new wave bandwagon, Def Leppard smartly stripped the earlier era's music of its... read more

While many of their peers were abandoning '70s metal and arena rock to hop the punk/new wave bandwagon, Def Leppard smartly stripped the earlier era's music of its excesses, bolstered it with energetic, pop-savvy hooks and quickly found itself the vanguard of the UK's new metal revival and one of the '80s most spectacularly successful rock acts. The first disc of this 35-track, two-and-a-half hour double-disc retrospective focuses on the familiar hits of their early MTV, platinum-selling prime, though the inclusion of the video edit/remixes of "Pour Some Sugar On Me" and "Rocket" attempts to cast them in a more club-friendly contemporary groove. But the grittier second disc showcases some of the early, overlooked roots of On Through the Night and High 'N' Dry, as well as underappreciated later gems like '99's "Promises" and a power-pop-perfect take on Badfinger's "No Matter What" from an upcoming covers project. --Jerry McCulley (hide)

For all his tattoos and bulked-up frat-boy persona, singer Bradley Nowell had real soul, which made his fatal heroin overdose even more tragic. There's more to this Long... read more

For all his tattoos and bulked-up frat-boy persona, singer Bradley Nowell had real soul, which made his fatal heroin overdose even more tragic. There's more to this Long Beach, California, trio's debut, released shortly after Nowell's death in 1996, than white suburban punks imitating Jamaican ska music. The band comes up with great songs, notably the catchy MTV hit "What I Got"; spooky dub-reggae undertones, produced by the Butthole Surfers' Paul Leary, to go with the snappy horns; and surprisingly progressive lyrics that attack sexism and other social ills, especially on "Wrong Way." Like the Red Hot Chili Peppers and Fishbone, obvious forebears, Sublime become slightly tiresome after 17 songs, but the band is great in short doses. --Steve Knopper (hide)