It’s hard to get quite as mad at Rivers Cuomo when he writes songs like these, silly tributes to the larger-than-life rock gods that made him want to pick up a guitar. Just please never write a song about drugs again, dude.

The themes and caustic observations have much in common with Mark E Smith, but while the Fall were at times wilfully abrasive and uncommercial, Haines has an unerring consistency for writing memorable hooks

These final transmissions have their place in DOOM’s discography as exuberant mask-on productions, labors of love combining the influences – musical and otherwise – that forged him.

On Daddy’s Home, Annie Clark assumes the role of daddy, the smoky, swarthy ‘70s inspired image not of masculinity but of swagger.

Juliana Hatfield’s 19th solo album is one of her finest: an ideal marriage of catchy melody, musical experimentation and troubled lyricism.

Resende immersed himself in the sound of ‘70s fusion, and had the foresight and discipline (and sympathetic band) to forge something organic out of all that electricity.

Though The Glow Pt. 2 scans as a post-SMiLE studio prayer at first, there’s nothing “psychedelic” about it.

The mystical Morrison is an unhappy camper--and worse: he’s dull.

The music here might support the literal words, but it misses the spirit of the work.

Rather than being more of the same under a different name, The Natvral’s Tethers aims to make a clean break from what came before it. However, in the process, Kip Berman traded one musical style for another, more well-worn one.