#464 - Gaucho, Steely Dan

"Steely Dan's Gaucho hasn't aged a day since it was released in 1980, setting the stage for modern Smooth Jazz. Even darker than Aja, it isn't as cohesive an album but still scores song-for-song. "Time Out Of Mind" and "Hey Nineteen" became radio staples while "Babylon Sisters" and "Glamour Profession" may be their ultimate "L.A. is hell" narratives." (real music guide)

#463 - Benefit, Jethro Tull

"Most of the songs on Benefit display pleasant, delectably folk-like melodies attached to downbeat, slightly gloomy, but dazzlingly complex lyrics, with Barre's guitar adding enough wattage to keep the hard rock listeners very interested. "To Cry You a Song," "Son," and "For Michael Collins, Jeffrey and Me" all defined Tull's future sound: Barre's amp cranked up to ten (especially on "Son"), coming in above Anderson's acoustic strumming, a few unexpected changes in tempo, and Anderson spouting lyrics filled with dense, seemingly profound imagery and statements." (allmusic guide)

#462 - Diamond Dogs, David Bowie

"Released at the tail end of Bowie's Glam phase, Diamond Dogs features one of his biggest hits, "Rebel Rebel." The rest of the album is not considered his best work, but it does have some nasty guitar work despite the then-recent exit of Mick Ronson." (real music guide)




#461 - Sailin' Shoes, Little Feat

"It is...an utterly thrilling, individual blend of pop, rock, blues and country, due in no small part to a stellar set of songs from Lowell George...(who) truly finds his voice on this record, with each of his contributions sparkling with off-kilter humor, friendly surreal imagery and humanity, and he demonstrates he can authoritatively write anything from full-throttle rock & roll, sweet ballads, skewered folk, paranoid rock and blues and, yes, even hooky mainstream rock." (allmusic guide)

#460 - By The Way, Red Hot Chili Peppers

"The Red Hot Chili Peppers' eighth studio album finds the California foursome exploring the more melodic freeways of harmony and texture, contrasting the gritty, funky side streets of their early days. Luckily, with this more sophisticated sound, the Peppers have not sacrificed any of their trademark energy or passions for life, universal love, and (of course) lust." (allmusic guide)

#459 - The Angel In The House, The Story

"From the recorders and whistles that open "So Much Mine," to the Latin rhythms of "Fatso," The Angel in the House is a fiercely and unapologetically feminist album that addresses, among other themes, maternity, anorexia, and the underlying horrors of domestic life. Both in her spirit and in her narrative manner, Jonatha Brooke, who wrote almost the entire album, is a descendant of Virginia Woolf, and these songs, each one a beautifully arranged and well-orchestrated tale of longing, love, and/or loss, are some of her best." (allmusic guide)

#458 - The Hissing Of Summer Lawns, Joni Mitchell

"After opening with the graceful "In France They Kiss on Main Street," the album veers sharply into "The Jungle Line," an odd, Moog-driven piece backed by the rhythms of the warrior drums of Burundi. While not as prescient, songs like "Edith and the Kingpin" and "Harry's House -- Centerpiece" are no less complex or idiosyncratic, employing minor-key melodies and richly detailed lyrics to arrive at a strange and beautiful fusion of jazz and shimmering avant pop." (allmusic guide)

#457 - Fables Of The Reconstruction, R.E.M.

"A dark, moody rumination on American folk -- not only the music, but its myths -- Fables is creepy, rustic psychedelic folk, filled with eerie sonic textures. Some light breaks through occasionally, such as the ridiculous collegiate blue-eyed soul of "Can't Get There From Here," but the group's trademark ringing guitars and cryptic lyrics have grown sinister, giving even sing-alongs like "Driver 8" an ominous edge." (allmusic guide)