Following 10cc's self-titled debut album, Sheet Music took a big step toward the sound that would become the group's trademark. The record typifies the eclecticism and breathless invention that characterized 10cc's earlier work – soft and fuzzed art-rock guitars, seamless harmonies, elements of spoof and parody, and shifts between musical genres (often within the same song).
- George Durbalau, 1001 Albums You Must Hear Before You Die, 2005.

Concert footage of Mariah Carey in Anaheim, California. October 8, 2006 at Honda Center.

Nobody played small band blues better than Basie and thanks to Pablo records for releasing so many of these sessions. The formula was simple. Put Basie in a studio with some experienced jazz men and turn on the tape machine! And this session featured Eddie lockjaw Davis on sax, Snooky Young on muted trumpet, and Joe Pass on electric guitar. The songs are relaxed and bluesy, all done Basie style. The sessions must have been a joy to record. lots of bluesy riffing, lots of great soloing, and more Basie piano than on any of his big band recordings. It's sad most of these great musicians are no longer with us, but it's good that the music is still available for us to enjoy.

Suzanne Vega personified the neo-folk revival with this beautifully crafted literate album. Vega carves out a niche that she alone occupies with her hushed and stacatto singing style that recalls beat poets and confessional singer songwriters of the Leonard Cohen variety. Vega's spare guitar accompaniment jars and cajoles the listener into ruminations on self, love, loss, uncertainty, destiny. Stand outs include "Marlene on the Wall" an urgent portrait of Vega's affairs of the heart, all conducted under the ironic gaze of the poster-sized Marlene Dietrich; "Small Blue Thing" self-examination in the palm of a hand; "Some Journey" a soaring reflection on missed opportunity; "The Queen and the Soldier" a picture of willful arrogance that recalls the rich storytelling tradition of the Child ballads; "Neighborhood Girls" hipsters who are gone gone gone. Tactile and visceral images are juxtaposed in a sensual lyricism that reveals Vega as a maturing self who is reflective, protean, and open. The production values underscore the quiet intensity and overall moodiness of the album. A stunning set of songs that still inspires and moves.

Greeted with decidedly mixed reviews upon its original release, Exile on Main St. has become generally regarded as the Rolling Stones' finest album. Part of the reason why the record was initially greeted with hesitant reviews is that it takes a while to assimilate. A sprawling, weary double album encompassing rock & roll, blues, soul, and country, Exile doesn't try anything new on the surface, but the substance is new. Taking the bleakness that underpinned Let It Bleed and Sticky Fingers to an extreme, Exile is a weary record, and not just lyrically.

Snoop Dogg reigned supreme in 93 with this CLASSIC. Snoop was perhaps one of the coolest rappers to emerge from the west during this time, and when he dropped this album, he took the east AND the west by storm. And what resulted was his ABSOLUTE BEST album to this very day.

I recently posted Mendoza's "Sketches". That is in fact number 2 in a trilogy and this is the third and last. Nguyen Le and Peter Erskine return to assist Mendoza perform his seriously good compositions. It is almost immediately evident that this really is the product of a major talent, no wonder the list of artists to whom he has provided his services as arranger is so distinguished (see the post for "Sketches" for some of them). If there is any interest, I can also post the first album in the trilogy, "Jazzpaña". This album was nominated for a Grammy. Despite that, it really is excellent.