#286 - Wrecking Ball, Emmylou Harris

"Wrecking Ball is a leftfield masterpiece, the most wide-ranging, innovative, and daring record in a career built on such notions. Rich in atmosphere and haunting in its dark complexity, much of the due credit belongs to producer Daniel Lanois; best known for his work with pop superstars like U2 and Peter Gabriel, on Wrecking Ball Lanois taps into the very essence of what makes Harris tick -- the gossamer vocals, the flawless phrasing -- while also opening up innumerable new avenues for her talents to explore." (allmusic guide)

#285 - Trace, Son Volt

"Throughout Son Volt's debut, Trace, the group reworks classic honky tonk and rock & roll, adding a desperate, determined edge to their performances. Even when they rock out, there is a palpable sense of melancholy to Farrar's voice, which lends a poignancy to the music. Trace isn't a great step forward from Tupelo's last album, the lovely Anodyne, but it is a fine continuation of the ideas Farrar has pursued over the course of his career." (allmusic guide)

#284 - Blind Faith, Blind Faith

"Blind Faith became synonymous with the idea that the "supergroup" was doomed to fail, and their debut record is not exactly the sum of its parts (Eric Clapton, Steve Winwood and Ginger Baker). But "Presence of the Lord" is one of Clapton's very best songs, and under the right circumstances (it's 1970, you're in a van) "Can't Find My Way Home" will get you laid." (real music guide)

#283 - Billy Breathes, Phish

"As many of their albums do, Billy Breathes marks a change of songwriting direction for the band. Acoustic-based ballads such as "Waste" and "Talk" reveal a more serious side. Producer Steve Lillywhite cut the LP to just 47 minutes (the band saved the extended jams of "Free" and "Character Zero" for their live shows)." (real music guide)