"The last album by the original line-up (until "...Meanwhile", which would come along more than a decade later) was also its best, showcasing all that the band had learned through the preceding years."
"The first record put The Buggles on the map, but their underrated sophomore album showcased the duo's greater strengths (particularly Trevor Horn's). Unfortunately, by the time it was released, Buggles was already dead."
"This is an album worthy of study since its unreleased predecessor, "Jesus H. Christ", contained far more samples. Like Beastie Boys' "Paul's Boutique", this record examined how far one can stretch and manipulate the sounds of others to create new music altogether."
"Unfortunately, this is the only album Death ever recorded, but it remains the earliest indicator of where the punk genre was headed and turned any preconception of black musicianship on its head. Catchy and heavy all at once."
"After the dismal mud-bucket ramblings of "Bummed" (a debatable masterpiece to some), Happy Mondays condensed its sound into a dancey but relentlessly cool record that would wind up being the band's high point."
"The Horror's sophomore album wore a lot of dynamic influences on its sleeve, from "Loveless"-era MBV to the distant cries of the heart that made The Cure's "Pornography" so infamous. You couldn't call The Horrors pop, but they come delightfully close with this one."
"A lot of critics hail Faith No More (at least the Mike Patton years) for being one of the most eclectic bands around, but I think that title can easily be bestowed on Patton's "side project" if only because Mr. Bungle takes the weirdness of previous outings and filters it through a streamlined lens."
"Found sound is a tough genre to get into because few bands can do it correctly. Negativland's "Helter Stupid" not only channels warped nostalgia, but also reflects the real-life media chaos that perpetuated its release."
"With "TARGO", Sly and the Family Stone wears a lot of darkness on its sleeve, revealing the band's own inner turmoil and a surprisingly misanthropic view of American society. The music is murky yet engrossing."
"The "Nearly God" album is often referred to as a "good collection of demos" by Tricky himself, and that's what lends this record its charm; "Nearly God" is spacey, rough around the edges, and vaguely unsettling, but it also captured Tricky at his most creative, and most vulnerable."
"The Tubes' debut album is arguably the band's best, if only because it comes the closest to capturing the black humor and relentless energy that made their live act so famous (not to mention loads of fun)."
"Was (Not Was) couldn't be judged by first glance (or rather first listen); most of their songs had a mainstream (yet dated) bent on the surface, but the bizarre and witty lyrics put them next to Frank Zappa and Captain Beefheart as the music industry's resident R&B weirdo squad. Their debut album is the best reflection of that."