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Ensemble: Cult Hero. Within the space of two short years the Cure mysteriously transformed themselves from a more accessible Wire/Buzzcocks hybrid into the grandiose-haired gloom merchants they resembled for decades.

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THE BEST OF JAMES TAYLOR is the first collection to combine tracks from his three labels, rounding the set out with the newly recorded "Bittersweet." Though Taylor was among the first to usher in the era of autobiographical singer-songwriters, he also had a number of hits covering others (from Marvin Gaye's "How Sweet it Is" to Carole King's "You've Got a Friend)." The 20 songs here cover the arc of his career, serving to remind that not only do his early recordings remain essential components to the soundtrack of their era, but that Taylor remains one of ...

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Audio Remasterers: Jon Astley; Steve Rosenthal; Teri Landi; Paschal Byrne; Bob Ludwig. If faced with the absurd dilemma of picking one album to represent the meaning of rock music, the Rolling Stones compilation HOT ROCKS--which collects most of their commercially and artistically successful songs from 1964 to 1971--would certainly be in the running. A two-CD set (originally released as a double LP), HOT ROCKS' 22 tracks each have the ring of historical inevitability about them; more importantly, of course, they are great tunes

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EXILE sharpens the country, blues, and gospel tendencies the Stones began exploring in the late '60s on albums like BEGGAR'S BANQUET. Here, armed with an assortment of backing musicians and vocalists, the band virtually inhabits the spirit of each style, distilling the whole to a ragged, soulful perfection. From the escalating, horn-driven vamps of "Rocks Off" through the back porch singalong "Sweet Virginia" to the mean blues stomp of "Ventilator Blues" and the church-like strains of "Shine a Light," EXILE's double-album length plays like a weary, boozed-up sermon on the very meaning of rock music. This is the closest the band ever came to religion, and it still has the power to convert.

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Biography The Cure emerged from southern England in the late 1970s into a rock scene dominated by post-punk and new wave, where they comfortably held their own; but in developing their own gloomy guitar-based sound they went on to help instigate the gothic rock genre and everything that followed from it.

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Coming in way above their previous effort, 1990's Smooth Noodle Maps, Something for Everybody is the album Devo's fans had craved for 28 long years, or maybe 29, if you fall on the sour side of the iffy Oh, No! It's Devo. The synthetic, compressed, and punchy production -- courtesy of producer and Bird & the Bee member Greg Kurstin -- is a modern take on the sound of 1981's New Traditionalists, and if you judge by hooks, this is right in line with their 1980 breakthrough, Freedom of Choice, although there's certainly no "Whip It"-sized megahit here. Instead, there's the opening "Fresh!" a herky-jerky, infectious number with lead singer Mark Mothersbaugh stuttering as if he just created New Wave's "My Generation

Price:$ 11.95 / Each

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The Twilight Saga: Eclipse is another improvement, with more A-list names (Beck, Bat for Lashes)

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The instrumental "Love Theme From St. Elmo's Fire" by mega producer David Foster from his self-titled album hit the Top 15 in 1985, following the number one success of Foster's production of John Parr, also from the film St. Elmo's Fire. Foster's work overshadowed larger-than-life producers who came before him -- Jimmy Miller, who was signed to a CBS label as a vocalist before his stellar career with Blind Faith and the Rolling Stones, as well as Bob Crewe, who was produced by Jerry Wexler when he released the Motivation disc. One would think Foster could have launched himself further into the mainstream given his tremendous success -- or the fact that, unlike Crewe and Miller, he actually had a hit with Skylark in 1973, the Top Ten "Wildflower." An instrumental of that classic would have lent itself well to this Atlantic recording featuring a bevy of name session players from Carlos Vega to the horn section from the group Chicago, as well as Olivia Newton-John appearing on the tune "The Best of Me." Richard Page helps out with backing vocals on the Asia-sounding "Who's Gonna Love You Tonight," and "Sajé" is a very nice conclusion to the disc, which is all first class. ~ Joe Viglio

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The first fourth of the album focuses on '60s rock with Afro-Cuban overtones (imagine Buffalo Springfield sitting in with Santana), followed by a batch of country and bluegrass-oriented material (with Chris Hillman's influence more strongly felt). The dreamy, swaying "It Doesn't Matter" kicks off the third section, which has a folk-rock feel, replete with multi-part harmonies and chiming guitars. The final section brings things back to amped-up rock, wrapping up the set with the rootsy groove of "Blues Man," a tribute to Jimi Hendrix. A rich and varied collection that is as sophisticated and complex as it is earthy and easy to listen to, MANASSAS is considered by many to be one of the great overlooked gems of the '70s rock.

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Lady GaGa is a theatrical dance-pop singer/songwriter/pianist who created a buzz for herself in the New York underground before making her major-label debut with Interscope Records in 2008. Influenced by flamboyant glam rockers such as David Bowie and Queen, as well as '80s dance-pop like Madonna and Michael Jackson, Stefani Joanne Angelina Germanotta grew up in Manhattan, where she attended private school at the Convent of the Sacred Heart and later studied at New York University's Tisch School of the Arts. At age 20 she began working as a songwriter for Interscope Records, where she penned songs for pop acts such as the Pussycat Dolls. She mounted a solo career several years later, releasing her chart-topping debut single, 'Just Dance,' in early 2008. Her debut album, The Fame, was issued in the United States later that year, and its Grammy-nominated success paved the way for a U.K. release in early 2009. ~ Jason Birchmeier, All Music Guide

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