Do not worry, The Record Room will discuss the delay. As I am someone who was there and happen to be a Yankees season ticket holder. But that will appear later in this article.

As it would not be fair focusing on the unfortunate, disastrous delay that put the Bronx in panic, more than what those three nights were all about.

However, before I even get into that, let me address the surprise to many when I tell them I listen to Jay-Z’s music. Admittedly, I was at best a casual fan up until about eight years ago, but I was always a fan of the hits from Jay-Z, pretty much from day one. Furthermore, I have been a fan of Rap/Hip Hop music from the early 80s. Many folks are surprised that I, obsessed with Bruce Springsteen’s music, love that genre. But is it really so strange?

I was introduced to rap music at an early age. I was old enough to make my own music choices when Grandmaster Flash & The Furious Five came onto the scene.

Which is to say I was lucky enough to have my own radio with a tape deck. I would listen to the radio all day just to get a chance to record The Message on tape. Not long after that I was heavily into acts like The Fat Boys, Run-DMC, Kurtis Blow, and The Treacherous Three. I was also absolutely enthralled with The Roxanne Saga. Still, all the while I also loved Bruce. After all, a lot of this music came out around the same time Born In The USA exploded. What a grand time for a twelve year old. Indeed, 80s pop culture is the only thing that kept me sane from the craziness that was my childhood.

Enough of that negative stuff.

Back to Jay-Z and Springsteen. As I see great connections between the two.

I mean, how could you ignore the similarities? Both of them have success stories in which they came from nothing. Both of them had families that added to the drama. Both of their music catalogues are saturated with the idea of hard work. Dig even deeper, both began a path to make it big and failing was not an option. Both had an insatiable, keep going until you die attitude, with their pursuit. And when they did make it, both have had much greater success with their albums charting, compared to their singles. Many more number one albums than singles for both men.

Okay, while both men lived in poverty, Jay-Z had a much more adventurous path to glory.

While Jay-Z toiled on the streets, hustling and what not, Bruce toiled on the bar band scene. Songwriting wise, Jay-Z is much more explicit on his success as well. While most of Bruce’s songs identify with his fans, most of it he did not actually experience himself. Bruce told us himself he is tinged with fraud. Jay-Z is the real deal when it comes to the life connections in his music, however. And, of course, the overall music is very different in style. For most Bruce Springsteen fans, their response to Jay-Z music is, ‘what the BLEEP is that.’ And vice versa.

A stark contrast to Bruce Springsteen and Jay-Z was the public response when they both made it.

Bruce more or less enjoyed critical acclaim from the start, but his first two albums were not huge sellers.

Meanwhile, Jay-Z’s first two albums sold immensely well. Yet, the overall critical response was not in keeping with the reception from fans.

Thinking about it, maybe they have less in common than I think!

Still, I hope there are more people like me, who love both Springsteen and Jay-Z’s music. All you need is eclectic taste.

Or am I wrong, are there more fans of both than I think? If you are indeed one of those people, comment below.

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Jay-Z’s recent stay at Yankee Stadium is another stark similarity to Bruce Springsteen.

Jay-Z fans had the anticipation juices flowing with three straight nights of live music. The third night added because of demand. Much like how Bruce Springsteen has done, these concerts had a particular theme. Night one was a celebration of the 30th anniversary of the Reasonable Doubt album. Where the idea was the album would be played in its entirety. Night two celebrated 25 years of The Blueprint. Once again, the expectation was that album would be performed in its entirety.

Night three was shrouded in mystery. What would that night consist of? Perhaps the excitement of not knowing was too much, and why some fans literally could not wait to get into the place. Literally.

The first description of night three that I saw was that is was going to be one of deep cuts and rarities. That theme shifted to more of the mainstream idea of…this is where the biggest stars will come out.

Indeed, Springsteen fan’s can relate to this three-piece in terms of setlist anticipation.

Oh the setlist! The setlist! The setlist! What is he going to play?!!

Familiar thoughts for fans of both men.

As is always the case with Bruce, Jay-Z did not disappoint.

Night one was Reasonable Doubt full album plus some of his biggest hits.

Night two was The Blueprint, with the notable absence of Takeover, plus the similar goodies of the night before.

Night three was the best of both words. As great tracks were played from both of the celebrated albums, and then some. And the stars came out! Money well spent I would say. But was it worth the wait? Well…

Okay, now we shall address the delay. Without diving to deep, my response will focus on the actions of the Yankee Stadium staff that I felt help contributed to the fiasco.

Now, I know most of you are going to say there is no excuse for the behavior of those people who busted into Yankee Stadium. Causing a lockdown of the stadium and threaten the concert itself. I am not going to dispute that belief. Those people were careless, inconsiderate, and should be held responsible for what they did. Although, in a world where so many people seem to be getting off the hook in this country for much worse behavior these days… (maybe another time)

Instead, I want to discuss a disturbing trend I have seen at Yankee Stadium.

While I do not pretend to know it all, I am someone who goes to Yankee Stadium more than most people. And I do not like what I am seeing.

I always wait at Gate 6. There they have a huge maze line to get in. A que if you will. But before the Yankee Stadium staff opens up the que line. Fans have to form a line a little down further. For Yankee giveaways these lines can get very messy. Congested. Causing more overlapping than an inexperienced investor with 20 ETF’s. Often, people try to cut the line, causing a lot of conflict.

I have noticed that the Yankee Stadium staff has opened the que line later and later in connection to when the gates open. In the past, fans could expect the que line to open up around 40 minutes or so before the gates open. This allows fans to move closer to the entrance. Allowing the overlapping to develop something that resembles some sense. Lately, the que line is opening closer to 15 minutes before the gates open. Causing all kinds of unnecessary traffic and tension for the fans.

Sunday night for the Jay-Z concert it was the same thing. Not only did they open the que line very late, they delayed the opening of the gates.

Gates were set to open at 6:00PM. We were the first ones on the line (I told you I am a veteran), waiting a few feet before the metal detectors, to get in about 5:50PM. It is typical to place fans right before those metal detectors 5-10 minutes before letting them in.

On Sunday, instead of letting us in at 6:00PM, the Yankee Stadium staff stood around looking at each other. Doing absolutely nothing, not starting to let the fans in until closer to 6:20PM. You are creating stress and more of a log jam by doing that.

I am telling you, the way Yankee Stadium is constructed, it is way too congested to keep the people out of the que for that long. Again, I am not making excuses for the behavior, but that delay did nobody any favors and I think being more on top of letting fans in in a timely manner could have prevented the, well…Takeover. Sadly, the only Takeover we experienced that weekend.

And when getting out, the Stadium staff were setting us up for more chaos. We had to exit out of Gate Two. Security had only one door open, and we had to walk through a turnstile to get out about. So many people funneling to one miniscule exit. Totally unacceptable. If I did not know the Stadium and that area like the back of my hand, I still might be trying to get home. Do we really know the backs of our hands all that well?

Regardless of how you feel about the incident that caused the delay, the three magical nights Jay-Z provided for his fans is what ultimately should be remembered.

Each night had something special about it. Even so, night three was the one to be at. Of course, I can easily say that because that was the concert my wife and I attended. However, given the setlist, the stars who came out, and the unfortunate delay, it is hard to argue that Extra Innings was a cut above the rest.

Similar to how both Jay-Z and Bruce Springsteen are a cut above in their respective genres, as well as preforming live.

By the way, it was worth the wait!

There has been a decent amount of feedback on The Record Room’s Top 20 listing.

Especially from the 70s article. Many of you were very kind and even agreed with a lot of what I listed. Some of you, well….

Look, I do not mind criticism. I even will not shy away from harsh debates…within reason. I mean that is the main reason why people make lists. However…

I find it astronomically puzzling when people make comments that make no sense, or, completely misread my work. I will dive deeper into that when a post another list article, but, as a sneak preview, someone complained that I had five Bob Dylan albums on the list!!!!

For now, we will focus on pitting the two lists against each other.

First, we will pit the albums that clocked in at number 20 against each other.

20: 80s Rapture by Anita Baker (1986) vs. 70s Off The Wall by Michael Jackson (1979).

Rapture: Upon its release, Rapture was drenched in positive critical acclaim, but light on flamboyancy. Which was sort of a shift from music released during the decade of decadence. The album peaked at number 11 on the US Billboard Album Charts.

Off The Wall: Upon its release, Off The Wall exploded with critical acclaim. Michael Jackon’s coming out party was indeed flamboyant, but its fusion of disco, funk, pop, & soul was not as over the top as many disco and funk tracks of the decade. The album peaked at number 3 on the US Billboard Album Charts.

Both albums reach number one on the Billboard R&B Album Charts. Both artists won Grammys for Best R&B Vocal Performance.

Poll results will be up a week, then the winner will be revealed. Have at it!

When you say Paul McCartney, you cannot help but smile. Celebrate. Cheerish. But also scratch your head.

Indeed, he has given the public sooooo much since the early 60s and it does not appear that he intends to slow down a bit. However, I have always had mixed feelings about Paul’s music since The Beatles broke up. On one hand, there is no denying his success. As a songwriter, nobody has been to the top of the charts as much as Sir Paul. Nobody. Ever.

However, if you look at his work post-Beatles through a critical lens, what do you actually get? That is where it gets dicey for me.

I think it is impossible to deny the fact that a lot of Paul’s post-Beatles work leaves a lot to be desired. I do not think he has made many great albums, and a lot of his hits, are just…well…silly.

It is a bit frustrating. Here we have one of the most talented musicians who ever lived. As there is no denying just how talented he is. The way he picked up the bass and ran with hit. The way he can write hit after hit. Year after year. And his voice. Oh, that voice. Very few singers can turn out the ballad, as well as deliver a raw, raunchy rocking sound from their vocal cords better than Paul. Arguably, nobody can do both with as much precision.

At the same time, McCartney has not had a solo top ten hit since the 80s.

Of course, the quality of music cannot be judge merely by how a song charts on the US Billboard Top 100. But it is something. Especially for someone who has been given credit as being the ultimate hitmaker. I expect this next statement to be a bit controversial, but here it goes. Would John Lennon not have had a top ten hit had he been lucky enough to make music form the 90s and beyond? I highly doubt it. And that’s what’s frustrating, Paul has never lacked the opportunity to knock us off our feet, and many time he has not.

McCartney has always been a guy who can create whatever wants, and is often brilliant, but way too often he has wasted his talent on Silly Love Songs.

Having said that, that is where it gets even trickier for me. I absolute loathe that silly song, I never play it, do not want any album that includes it. Still, when I recently heard Paul belt it out in the new documentary, Man on the Run, I actually liked it. Because that is the other thing about Paul McCartney, he is an absolute killer performer live. By far the best live performer of The Beatles. I have been lucky enough to see him live a few times.

To be able to take an unbearable song, like Silly Love Songs, and make it sound great live, is just nothing short of brilliant.

However, I still maintain the studio albums from Paul post-Beatles have been more filler than killer. Still, great songs still lie within those albums. I know, I am serving you up a bunch of waffles with this read (well Paul’s songs often contain too much syrup ;-) but it is how I genuinely feel about Paul’s music. A real conundrum for The Record Room.

I guess there is nothing left to do but to give you The Top 20 Songs from Paul McCartney.

Now, I want to make it clear, these are my 20 favorite songs. My personal Top 20. I am not declaring them the 20 best songs. With this list, I included any song that Paul wrote post-Beatles. So, I am bunching together Wings songs, with true solo work. Heck, everyone seems to do so anyway.

I kept the list to studio recordings. Nothing live. Also, I do not go in to as much description, as these are just my favorites (not calling them the best), therefore, I do not feel the need to go into depth as to why they are on the list. Here we go!!

Down further :-)

Keep going.

Will your favorite be included?

20. Listen to What the Man Said- One of his best from Wings.

19. This One- A brilliant tune from the underrated Flowers in the Dirt.

18. Old Siam Sir- Raspy greatness from my favorite McCartney album.

17. Dance Tonight- Fun, poppy Paul that does not have a syrupy overload.

16. Put it There- Another Flowers gem.

15. Let Me Roll It- A wonderfully crafted song.

14. No More Lonely Night- David Gilmour with a huge assist.

13. The Songs We Were Singing- Great opener from one of his best albums.

12. The Days We Left Behind- Some may say recency bias. I say brilliant.

11. Mull of Kintyre- Contagious pipes and impossible not to love.

10. The World Tonight- ‘I go back so far, I’m in front of me,’ clever line from a song I wish he played live more.

9. Hi Hi Hi- Let the party begin.

8. Pipes of Peace- Great song from a terrible album.

7. My Brave Face- Always has been underrated IMO.

6. Band on the Run- The anthem

5. Live and Let Die- Groundbreaking as a Bond song and has held up better than the film.

4. Somedays- Just an incredible tune that deserved better charting.

3. Maybe I’m Amazed- The one that started it all and is still one of his best.

2. Monkberry Moon Delight- Great rocking vocals. A shame he never plays this live.

1. Wild Life- Simply the best song he has ever written and the vocals to go along with it.

There you go. Feel free to tell me what you think, and include you own personal favorites in the comments as well. Thanks for reading!

The Top 20 Albums of the 80s received some praise, as well as criticisms.

Most of the critiques were a matter of taste. Opinion. Something that a reader loved that was left off The Record Room’s list. That type of noise is one of the major reasons why a list is curated in the first place. Reaction.

Some people also felt there was too much popular stuff on the list. I will let you in on a little secret, popular music is typically popular because it is good. Or had a profound impact on people.

Especially when it comes to albums. It is not easy to get an album to crack the top five. Let alone go to number one. When it does, it deserves respect. Even if it might not be your taste. Still, some of my album choices for the 80s were not top five sellers. In the case of Metallica, Public Enemy, and Lou Reed, those albums did not even sniff the top 15!

And while we are at it, a top 20 album list that includes Metallica, Public Enemy, and Lou Reed on it, cannot be criticized for being too safe, or not diverse enough. Can it?

The one criticism that the list received, that I will admit has some merit, is that the list had too many multiple acts.

While I truly believe Bruce Springsteen had four of the best albums of the 80s, he is not my favorite artist by about five football fields for no reason, the idea of limiting one act per list is intriguing. And it would be more illuminating, as one reader stated. It is a challenge I think is worth accepting.

From now on, any list from The Record Room will limit artists to one listing.

Unless it is a list of just that one act, of course. Top 20 Paul McCartney songs are coming soon.

I am doing this not because I think it is the best representation of a list. Indeed, it is not. But it is a fun challenge. And, I know, it will eliminate all complaints.

If you believe that, I have a nice piece of land in Pelham Parkway to sell you.

Of course, doing this will not eliminate complaints. I could just hear those Pink Floyd fans now, ‘how can a list not have…’ but it will at least eliminate one complaint.

Just remember. This (one artist entry per list) is what you asked for.

With that said, let the games begin.

The 70s is a decade I mostly missed in real time. Born in 1971, I have only memories of hit singles from the decade.

I was not listening to albums in the 70s. Other than my parents’ albums, Sinatra, Elvis, The Mills Brothers etc., I do not recall having any albums from the 70s in my house. And that music, save for a handful of Sinatra songs, never appealed to me. We did have the Saturday Night Fever Soundtrack on 8-track tape as well. Still, I was not exposed to complete albums during the 70s.

Therefore, unlike the 80s list, virtually all of the albums that will appear down below did not appear on my radar until much later than when they were released.

While I do not wish I am any older than what I am now, becoming a music buff has made me realize that I missed out on a lot of great albums upon release in the 1970s.

I had a much harder time narrowing this decade to just 20 albums.

For the 80s, I had probably 5 or 6 honorary mentions that I seriously had in contention, but they just missed the cut. With the 70s, even with limiting one listing per act, I had at least 15 albums that I wanted to find room for, but they just missed the cut.

In a way, it was good that I did not have the luxury of multiple entries from the likes of Springsteen, George Harrison, Stevie Wonder, The Who, and Pink Floyd. Undoubtedly, all would have had multiple entries. At least I think so!

Then again, choosing only one album from the four great Bruce Springsteen albums in the 70s was nothing short of agony.

In the end, the Springsteen album I picked was decided on by the corners. The first and last track on each side. Most Spring Nuts probably think they have it figured out. Other deciding factors for the list I came up with are as follows

Cohesiveness as a track-by-track album

Impact on genre and pop culture overall

Lyrics

appeal to my ear

I decided to not limit date of release as I did with the 80s. So, any album released from January 1st, 1970- December 31st, 1979, is in play. Let’s Go!

The chart information listed is from the Billboard US Top 200 albums.

20. Michael Jackson: Off The Wall (1979). Peak Position, 3.

Unlike the 80s, the 70s did not have that distinct pop sound that dominated the album charts. The 70s was more of a free for all and many of the best albums did not necessarily produce massive hit singles. Off the Wall, however, is indeed a pop masterpiece that produced many hits. While technically not his first solo album, it is widely thought of in that way.

At the very least, this album is a prelude to the dominance Michael would show in the 80s and beyond. Even many years after his death. What also makes this album one of the decade’s best is that it is heavily influenced by disco. However, this album did not die like most of the disco from the decade.

In fact, Off the Wall has indeed gotten better with age.

Favorite Track: Off the Wall

19. T. Rex: The Slider (1972). Peak Position, 17.

A great blend of ballads and hard rocking tunes. I favor this T. Rex album over Electric Warrior. Albeit they are both great albums. The album cover is also noteworthy, as the one and only Ringo Starr is given photo credit. At the time, the reception from US critics of this album were not always kind. It appeared as though the focus was on how many singles the album had to offer. Somehow that was the deciding factor of whether or not this was a good album. Singles should not be the end all and be all of judging an album. The listening experience from the first track to the final track, is how all albums should be heavily judged. The Slider is an essential listen from the decade.

Favorite Track: Rabbit Fighter

18. Carole King: Tapestry (1971). Peak Position, 1.

Often considered one of the best of the decade, and rightfully so. Not only was this album great at the time, dominating the charts, winning a bunch of Grammy’s, it has aged extremely well. A staple of pop culture that remained relevant many years after its release. Tapestry plays great as an album but is also loaded with singles. Songs that make you move as well as think. One for the ages.

Favorite Track: Its too Late

17. Joe Jackson: Look Sharp! (1979). Peak Position, 20.

A dynamic debut. A great album cover. With a sound that still sounds fresh in 2026. Joe Jackson may not get the same credit as contemporaries such as Elvis Costello, Squeeze, Talking Heads, The Cars, and The Police, but his body of work is just as great. And Look Sharp! is the best album released by any of the aforementioned acts. Anchored by the voice of Joe Jackson and the rhythm of his band. A skillful adrenaline shot that deserves its due.

Favorite Track: Sunday Papers

16. Al Green: Let’s Stay Together (1972). Peak Position, 8.

To justify this selection all I have to do is point to the title track. The opening track. The most timeless track of the decade. However, Al Green’s fourth studio album is much more than that. An amazing display of vocal range. Sometimes pop. Sometimes soul. Sometimes funk. Always endearing. If you love an amazing singing voice, this is one of the best examples of the decade.

Favorite Track: Let’s Stay Together.

15. Bob Dylan: Blood on the Tracks (1975). Peak Position, 1.

By 1975, Bob Dylan’s stature as a musical/song writing treasure was already baked in the cake. However, Blood on the Tracks was only the second time he reached number one on the album charts. Planet Waves was the first time. If you could believe that.

From start to finish, this is Dylan’s definitive album. Let me correct myself. Out of all of Dylan’s definitive albums, and he has at least 10, Blood on the Tracks is the most definitive of the lot. A great opener with Tangled Up In Blue, followed up by a Simple Twist of Fate, the album never lets up with its raw emotion and visceral lyrics. All backed by stellar production value.

Favorite Track: Idiot Wind

14. The Clash: London Calling (1979). Peak Position, 27.

Often credited as one of the best albums of the 80s. Since it was released in December of 1979, that is understandable. The Record Room omitted it from the 80s list because of the release date, however. So, here it is. To me, it makes more sense anyway because this album is totally a product of the punk sound that came out of the 70s. The title track gets the juices flowing and the amazingness of the album never lets up.

This assertation comes from a music fan that does not consider punk music in his wheelhouse so to speak. But anyone who appreciates music should identify this album as one of the most important released in the 70s. A double album that puts on its best hat to be ambitious, emotional, and incendiary. What it strived for it reached a thousand times over. Just a bit of advice, the importance and greatness of this album exponentially rises when the listener follows along with the written lyrics.

Favorite Track: Spanish Bombs

13. Led Zepplin: Led Zepplin IV (1971). Peak Position, 2.

For what Led Zepplin lacked in creativity, in terms of album titles early on, they sure made up for with content. Entering 1971 on an amazing run of albums that sold immensely well in both the UK and the USA, they decided to top themselves with their fourth studio album. Side one is legendary. Black Dog is as good as it gets when it comes to opening tracks. Rock and Roll is just as epic, reminding us of what a great gift John Bonham was behind the drum kit. The Battle of Evermore slows things down a bit but does not stop overloading your brain.

Then there is Stairway To Heaven. What can you say about it?

A track so epic. So iconic. So influential. It is about three songs in one! You know a song is monumental when, at some point down the line, the trendy thing to do is to say you are sick of hearing this song. Downplaying its greatness. Indeed, only the best of the best reach a mountain so high, that the only thing left to do is to try and knock it off the mountain that you put it on. An impossibility, indeed, but a practice tried time and time again.

While side two does not carry the same weight, the high-octane is taken down a notch, it is a showcase in showing us all just what master musicians the original band members were when they entered the studio.

Favorite Track: Stairway To Heaven.

12. Sly & The Family Stone: There’s A Riot Goin’ On (1971). Peak Position, 1.

Yet another entry from 1971. My birth year. A grand year. A year I think we will hear from again. However, in a year where many people in the USA want to get all lady gaga about its 250th, this might be the most important album of the 70s. While that point is debatable, what cannot be disputed is that Riot is one of the decade’s best. I suppose that could be debated as well, but I will choose to ignore such beliefs.

When an act decides to pursue the darker side of life in their craft, when they have not gone that route in earlier albums, one wonders where it comes from. At least I do. Is it a situation where they were handcuffed, like Stevie Wonder, or where they exposed to events that forced their pessimism into the artistry? I will continue to research the life of Sly Stone for more illumination.

Still, despite the apathy of this album, it is a grand funk effort that will produce a heck of a good time once you drop that needle. The dream of the 60s was indeed over, but this album connects harsh reality with groundbreaking, raw, hypnotic, funk. Planting the seeds of introspection. The Record Room should probably have this ranked even higher, but this is how great the albums of the 70s were.

Favorite Track: Runnin’ Away

11. Steely Dan: AJA (1977). Peak Position, 3.

Steely Dan is another act that could easily have multiple entries on the list, but limit The Record Room to choose just one, and Aja is the obvious choices. The album that defines most effectively the music Steely Dan wanted to make. A deeply complex, technical, in-depth studio album, yet is amazingly easy to listen to. While this is so much more than a pop album, its essence is in pop roots.

Donald Fagen and Walter Brecker crafted a studio masterpiece that requires many spins to grasp all that was happening in the studio upon creation.

Favorite Track: While no track is really meant to be listened to on its own, Josie would be the track I would pick.

10. Patti Smith: Horses (1975). Peak Position, 47.

The perfect blend of rock and punk. The best of both worlds. If you have never heard this album before, do so now. There is no doubt your mind will be blown. Nobody forgets when and where they first heard this album. Nobody. And based on its relatively low ranking upon release, I suspect many people are like I, hearing this gem for the first time way after its initial release.

Horses is an album that has it all. It opens with the rebellious sound of Gloria.

If you did not know you were in for a treat yet, the sorrow dripping off Redondo Beach undoubtedly solidifies this fact. The spoken word of Birdland will have your mind blown in a different way. The urgency of Free Money is a perfect way to end side one.

Side two starts off more romantic and sensual. It might even make you think that the world is full of tender moments. While it could be, Elegie, the closing song, reminds us all why an album like this is made in the first place. Why people can relate so closely to side one yet use it as a healing tool just the same. Such a masterpiece of pop culture.

Favorite Track: Free Money

9. The Who: Who’s Next (1971) Peak Position, 4.

Sandwiched between their two concept albums, Tommy & Quadrophenia, this 1971 effort exemplifies the colossal run these four lads were on at that time. This 1971 effort, however, is their best. On a slightly higher level than their other epic albums. Showcasing the talents of each member. Townsend as a songwriter. Both Roger & Pete vocally throughout, Enwistle as an underrated singer and songwriter on My Wife. Also, The Ox’s bass carrying the music on tunes like Baba O’ Reily, Going Mobile, and Won’t Get Fooled Again. Just to name a few.

Then there is the work of Keith Moon.

His masterful drum work is more controlled on this album, but tremendously ecstatic. His work on Won’t Get Fooled Again is probably my favorite. But, oh those fills in Baba O’ Riley. One of a kind. As is this nine-track masterpiece.

Favorite Track: Won’t Get Fooled Again

8. Marvin Gaye: What’s Going On (1971). Peak Position, 6.

The epitome of a concept album. Each track segueing marvelously into each other. The protagonist is a Vietnam Veteran returning home to America. The emotion and range of Marvin’s voice, as he tells the story, is nothing short of sublime. Sweet soul at its finest. But told through a critical voice. Addressing the hate, suffering, and injustice in the United States, that is so often very uncomfortable for many Americans to stare in the face. The particular injustice of how we treat our planet is eloquently told in Mercy, Mercy Me (The Ecology) was groundbreaking.

How badly we are destroying the planet is an inconvenient truth (see what I did there) that is still brushed under the rug by way too many folks in charge. Both in the USA and especially abroad. While most will not argue with the beauty of the song, they turn their nose up at the message. Indeed, what is going on? Still.

Listening to this album, I wonder how much poignant music we lost from Marvin Gaye. For one, he was handcuffed in what he could sing for many years, and he was also taken from us way too soon. Still, this masterful plea for understanding will live forever.

Favorite Track: What’s Going On

7. Lou Reed: Transformer (1972). Peak Position, 26.

Had Lou Reed’s masterpiece been released in any other decade, it would have been ranked number one. However, in a decade so rich with incredible albums, Transformer has to settle for number seven. This urban tale of beauty, decadence, desire, and disenchantment are anchored by the lyrics of Lou Reed.

From giving good head, to satellites in the sky, Transformer is the ultimate example of what an amazing lyricist Lou Reed was.

Perhaps he was not the best songwriter, but few were as unique.

Transformer is also a treasure trove of musical ecstasy as well. We all know about the epic bass line of Walk on the Wild Side. But the piano and strings of Perfect Day, the synth of Satellite of Love, the guitar on Vicious & Make Up, and the cabaret-style of Goodnight Ladies also highlight the musical diversity this album probably has never given credit for. Perhaps everyone was too focused on its perversity.

Favorite Track: Satellite of Love

6. Gil Scott-Heron: Pieces of a Man (1971). Peak Position, it did not rank on the charts.

This masterpiece is probably the most underrated album of all time. It is like knowing where the diamond in the ruff is but ignoring it. Coming to the unrealistic terms that diamonds are suddenly worthless. Refuse. I truly do not understand why the glowing acclaim for this album is mostly nonexistent.

You will find more knockouts on Paulie Malinaggi’s boxing record than praise for this album.

Indeed, it is a head scratcher.

There is nothing this album does not have. Social commentary defined in rich, gut-wrenching lyrics. A soulful blend of jazz and soul with an appealing grove. Sophisticated arrangements anchored throughout by tantalizing percussion and warm piano lines. Gil Scott-Heron’s voice is also special on this album.

While the most famous song on the album, The Revolution Will Not Be Televised, is driven by spoken word, songs like Lady Day and John Coltrane, I Think I’ll Call It Morning, and Pieces of a Man showcase Heron’s vocal range and diversity. Whether spoken word, baritone, or the gentler vocals, his voice delivers its social poetry better than most of its kind.

Perhaps this album did not resonate as well because Gil Scott-Heron presented as too confrontational to White America. Or perhaps it was something as simple as perception. While contemporaries like Marvin Gaye and Stevie Wonder also wrote about politically charged narratives of Black Life in America, they were not perceived as more of a political commentator than a pop star in the same way Heron was. Even those who thought highly of Pieces of a Man felt the content was absent from anything that could be played on Top 40 radio. That is a belief I do not subscribe to. With the proper marketing, I believe this album could have had hit singles. Water under the bridge now, I suppose.

Still, to listen to this album and not consider it one of the best albums of the decade is more an exercise of denial than anything based on merit.

5. George Harrison: All Things Must Pass (1970). Peak Position, 1.

Not only is George Harrion’s All Things Must Pass the best album of all the Beatles post breakup, but it is also better than anything ever produced by the Fab Four themselves. Ironic since a lot of the tunes on this album were written by George while he was a member of The Beatles but left off those albums by the more authoritative Lennon & McCartney. For whatever reason.

Everyone has their theories as to why George was always so shortchanged on The Beatles albums. Is it a case of Occam’s Razor?

Simply because the others felt that George’s tracks were not good enough? Perhaps. Personally, I think it was because both John and Paul realized George was now on their level, and in some cases surpassing them, and they did not want that type of competition on their grooves. It was stressful enough for them to compete with each other.

How else could you explain a gem like All Things Must Pass being left off the album.

For me, however, the greatness of this album lies within the neglect of John & Paul. Let me explain.

While this album consists heavily of tracks Harrison’s intended to be on Beatles albums, the minute you drop the needle you are treated to a perfectly cohesive album. Tracks that blend together so well they had to be meant to be played on the same album. Yet, they absolutely were not. And this is a double album we are talking about.

The jam session stuff was added to create a massive triple album.

With all due respect to Tapestry, this album should have won Grammy’s Album of the Year.

Its snub does not surprise me, however. Save for Pieces of a Man, All Things Must Pass is the most underrated album there is. It is always ranked way too low on the prominent album charts.

Favorite Track: Let It Down

4. Pink Floyd: The Wall (1979). Peak Position, 1.

I struggled with this one. Pink Floyd is one of those groups that dominated the 70s in terms of releasing albums. Especially from 1973 on. But only being allowed one entry per artist changed the conversation from, where do I place each of their four epic albums-do all four even make it? -to which one do I choose. I knew whatever Floyd album I picked would end up in the top five, but I went back and forth several times on which one to pick.

After some deliberation, it came down to The Dark Side of the Moon and The Wall. I decided on The Wall for three reasons:

One, I felt it crossed over to the mainstream more than The Moon did. I know that could be debatable given how many copies The Dark Side of the Moon sold. How long it spent on the US album charts. However, given the film and the number one smash, Another Brick in the Wall pt. 2, I feel that The Wall made a bit more of a mainstream/cultural impact.

Two, personally, I think The Wall is the better listening experience as an album. It tells its story of isolation, self-destruction, alienation, abuse, and social commentary a touch more effectively. Musically it is more ambitious and passes that test with glowing grades. Also, it has Comfortably Numb and The Moon does not.

Lastly, losing to Christopher Cross in the Grammy Album of the Year Category, The Wall is entitled to all the gushing over it can get. How could this album have been beaten by Christopher Cross? Talk about the crime of the century. Am I the only one still sore about this?

Favorite Track: Comfortably Numb.

3. Stevie Wonder: Innervisions (1973). Peak Position, 4.

Another daunting exercise of choosing one album from an artist that is entitled to two or three entries. Albeit this one was not as complicated. I was pretty set on Innervisions being the pick from the start. While Songs of the Key of Life might be a touch more popular, this album is perfect.

Innervisions is a masterful blend of soul, funk, and jazz. Containing social conscience songs that played on Top 40 radio.

I could be wrong, but I think this is the first time an album using the N-word won the Grammy Album of the Year.

Innervisions is significant because is showed us what Mr. Wonder could do with free reign of his choices. Songs that tackled drug use, systemic racism, police brutality, and hypocrisy in religion made it clear that Little Stevie Wonder had a voice that he fully intended to use.

Songs like Golden Lady and All in Love is Fair also reminded us that Stevie was also killer in songs that dealt with relationships.

Above all, however, Innervisions illuminated was a special musician Wonder is. This is as much a solo effort as you will find. On several tracks, Wonder plays virtually every instrument, yet the songs sound like an entire band was behind them.

Innervisions plays as Wonder’s most cohesive album. Tighter than Songs in the Key, with better hits than Fullingness’ First Finale, his other great album of the decade that won Album of the Year. It also has the best album cover.

2. Bruce Springsteen: Darkness on the Edge of Town (1978). Peak Position, 5.

When I stated I used the opening and closing tracks of each side of the album to decide which Bruce Springsteen album to include, most diehard Bruce fans probably thought Born to Run was the choice. Before I get into my reasoning, however, let me first say how grueling it was to only have one Springsteen album represented. Without restrictions, all four of Bruce’s album would have been in heavy consideration to make the top 20. Both Born to Run and Darkness would have made the top five. However, rules are rules. So, why Darkness and not Born?

After all, are there better corners of an album than Thunder Road, Backstreets, Born to Run, and Jungleland? No.

Having said that, as crazy as it sounds, The Record Room identifies the corners of Badlands, Racing in the Street, The Promise Land, and Darkness on the Edge of Town as being just as good. Not better, but just as good.

Couple that with the fact that I think that Darkness plays slightly better as an album, and it lands as my number two album of the decade. It is a tale of grit and redemption woven into a lean rock sound that was in many ways unlike most albums that were dominating the charts at the time.

Each track is a bit different yet highlights Bruce’s strengths. Badlands and Adam Raised a Cain are sticks of dynamite highlighting different, yet very relatable tales of despair. Something in the Night takes it down a notch musically but loses nothing emotionally. A chilling tale about being uncomfortable in your own skin. Candy’s Room is a gripping tale of desire that did not quite sound like anything else from Springsteen at the time. Racing in the Street is the most majestic song on the album. My wife even pointed out how it was sampled in the film, Pretty Woman.

Side two kicks off with the epic The Promised Land. A fantastic piece of songwriting.

Factory is another slower tempo song, but perfect strangers with a ballad. Who else could craft a song about the sacrifices of work into a contagious sing along tune? Streets of Fire is a song that is raw grit behind a steady rhythm of the drumming of Max Weinberg. Prove It All Night is yet another stick of dynamite and a highlight of the album. Then the closing track.

Darkness on the Edge of Town is my favorite song of all time. There is so much happening on this song, yet it is extremely subtle.

Lyrically, there is nothing more haunting. Nothing that emphasizes the need for acceptance better. Nothing that describes the contrasts and commonalties of human beings more stark in one song.

Musically, the decision to restrain from anything grandiose is what makes every instrument on the song shine. It is just a masterpiece of songwriting and a perfect way to end a perfect album. Still, there is one more album that is better than Darkness, probably the only album that I would ever say is better.

1. Fleetwood Mac: Rumours (1977). Peak Position, 1.

This album is the perfect example of how despair can bear the most delicious fruit. It also shows how creative people are built a little different than the rest of us. Especially musicians. Had the average group of people been going through what the band members of Fleetwood Mac been going through, they would not be able to stay in the same zip code together. Let alone a cramped studio to make harmonious music.

Instead of fleeing, John McVie, Christine McVie, Mick Fleetwood, Lindsey Buckingham, and Stevie Nicks created magic. A timeless album that resonates with the younger generation more than any other album of the 70s.

Lighting caught in a bottle that is still being passed around.

In pop culture, we have the immaculate reception, the immaculate collection and the immaculate inning. Rumours is the immaculate album. Many other great albums are out there, indeed, but everything else falls short to Rumours Alebit sometimes only a hair short, but short, nonetheless. I say this and I do not even consider myself a Fleetwood Mac fan. I am simply a fanatic for Rumours.

A flawless collection of songs woven by elegant songwriting, haunting harmonies, intricate arrangements, and dynamic rhythm. An achievement that could not have been curated without the craft of all five members. An album that mirrored the lives of the band members-betrayal & heartbreak-told through mainly songs that have an uplifting sound/vibe to them.

Each singer/songwriter of the group shines. Lindsey and Chritine carrying the bulk of the load, but Stevie fronting the most popular song on the album. Dreams is their only number one single, as well as their most streamed song by quite a substantial margin.

With that being said, Rumours might not have even been a thought without the drumming of Mick Fleetwood and the bass of John McVie. Instead of these men showing off their abundant talents with these instruments in a bombastic way, they simply add to the song what was essential to make the album shine. Make it timeless. Make it appeal to the Gen X and Gen Zs of the world.

Nothing short of incredible.

The greatest album in a decade that produced a ton of fabulous albums.

Favorite Track: Dreams

It is funny how we find our music. Over the years, my new old music has been the likes of Bob Dylan, The Who, Lou Reed & The Velvet Underground, and Gil Scott-Heron. Artists who were very formidable for many years, but not anything I listened to until much later. For those who want to criticize, better late than never, is my retort.

Add Olivia Rodrigo to that list. My acquaintance with her was a major accident. While I was aware of the name, I knew virtually nothing about her music. Might seem crazy to her biggest fans. I know.

However, that is the thing about music, unless your name is Matt Pinfield, there is always going to be more music that you do not know.

In an attempt to enhance my vinyl collection, I joined the Interscope Vinyl Collective (IVC) club. Chris Cornell’s Carry On was the first album offered when I joined. A magnificent pressing, by the way. Olivia Rodrigo’s Sour was up next as the IVC album of the month.

Sour’s IVC sold out fast and was going for triple digits on eBay before it was even delivered to customers.

I guess I should back up and explain that IVC is an option to subscribe to on the Interscope Records website. For a fee, a little under 60 bucks after all the add-on fees, customers receive a special vinyl pressing each month. A pressing only available to subscribers. These special pressings are numbered, typically to 3,000, have eye-popping color variants, other goodies, and mostly sell out very fast.

On advice from my wife, I have yet to open the IVC Sour pressing. But I wanted to listen to the music.

In comes Apple Music. As I could never buy all the music that I want to indulge in on vinyl, Apple is my go-to streaming service. After listening to Sour I was floored. It was such a great album. Full of passion, emotion, and balls. Naturally, I followed it up with Rodrigo’s sophomore effort, Guts.

Guts was another epic listen. Losing nothing that the great debut had going for it, yet, it had enough of its own personality. The growth of a superstar was on display.

I was pretty shocked how much I loved Oliva Rodrigo’s first two albums. What was even more astonishing is that I was not aware of these fabulous tunes before 2026. Then again, I am going on 55 years old, obsessed with Bruce Springsteen & The E Street Band, the Knicks and the Yankees. In other words, I have been busy!

But now that I discovered what a treasure Rodrigo’s music is, I am putting on my best Armageddon.

Indeed, I do not want to miss a thing.

Of course, now that I was listening to this music, my algorithm was flooded with the news that Olivia Rodrigo was dropping a new album. Great, more money to spend on vinyl. Money that could be used elsewhere. Money, I did not really have. With that said, I am the type of collector that wants every vinyl of artists I love. Artists that I consider special. Timeless. Olivia Rodrigo in now part of that club for me.

Also, knowing that Rodrigo’s albums sell out fast, and go up in value, I knew I had to act fast.

I then find out Olvia Rodrigo has a website. Of course, she has a website. Naturally I go there to pre-order you seem pretty sad for a girl so in love. Like with all new album drops from extremely popular artists, there were a few variants to choose from. Not nearly as many as Paul McCartney’s new album, however. Nevertheless, it was time to decide which one I was going to snag.

Now, I am not, or will ever be, one of those collectors who needs multiple variants of the same album. One version is enough for me. For the most part.

I do have multiple versions of Springsteen’s Born In The USA, how could I not snag the 40th anniversary edition? As well as Bruce’s Nebraska. Electric Nebraska Boxset is the reason for that. I also have two versions of Black Samson, the Bastard Swordsman by Wu-Tang & The Mathematics. I did not want to open the Record Store Day version. I will also get a different version of Sour because it is an album that is meant to spin. There will not be many other circumstances of multiple variant purchases in The Record Room.

Oh, wait. I also have more than one version of The Who’s Who Are You. This is only because I purchased the box set that included great live performances. But that is a bit different than buying multiple variants of the same album. Is it not?

Back to the website. Decision time! When I see an exclusive lenticular pink vinyl version, the decision is made. That is the one!

That pressing is now sold out. Indeed, I am a happy collector!

Still, what happens when you put down the needle is the ultimate test of whether or not you made the right decision. Does the music hold up? Or will it be a situation where you buy another album that you will never spin after the first time? Luckily, I do not have that many of those kinds of albums in my collection. In fact, I have the exact opposite dilemma. I do not even have close to enough time to play all the albums that I love in my collection. There are worse things in life, I suppose.

As soon as I opened the album, I was a bit disappointed.

The lenticular cover was nice. The color pressing was fine. The gatefold was lovely. However, no lyrics, and, even worse, no track listing. What?! No track listing? If this common practice for a Rodrigo album? Was it just for this particular pressing? Does she not understand I want to be a dissector of lyrics, not a private investigator looking for insurance papers.

Major disappointment there. On to the music. I made it a point not to listen to any of the singles released before listening to the full album. That was the correct decision because you seem pretty sad for a girl so in love is meant to be heard from start to finish. Over and over again. A true concept album.

The first time I heard this song I was knocked off my feet!

While this album is not as explosive as her first two efforts it is very rewarding. Yet, more subtle.

The titles of these albums should have been foreshadowing of the differences. Sour & Guts. Two one-word albums. Visceral words at that. Lead right hands for someone in a fight for their lives. you seem pretty sad for a girl so in love is more strategic. Poetic. Yet tragic. You know you are in for something emotional, but it is more like an opera than a street brawl.

The use of lower-case letters throughout the album should also provide the fans with evidence of the shift in mindset and tone with this album.

In keeping with the concept album theme, Rodrigo splits up the two sides.

Side one is the honeymoon side so to speak, but is it really? Side two is more like the unfortunate journey most couples take with an ending that you would never think possible after being so in love with each other initially.

Think of an album constructed around the Bruce Springsteen song, Loose Ends.

Hopefully, I am not the only person who is admirer of both Bruce Springsteen and Olivia Rodrigo.

But what about the songs themselves? After all, even the most concise concept albums have their tracks rated.

Take Pink Floyd’s The Wall. Another Brick in the Wall pt. 2, and Comfortably Numb, lose some of their essence when they are not played in sequence with the album, but they are great standalone tracks, nonetheless.

With Olivia, I felt the best tracks of side one are stupid song, which reminds me of Air Supply but with the benefit of Rodrigo’s genius. Some bite. maggot for brains is a great tune that takes us on a journey of infatuation that you can truly appreciate if you have lived it. I have. purple is a great track that shows us where the trouble starts to begin. Illuminating all of Rodrigo’s talents in the process.

Side two is the superior side, however. the cure, begged, and expectations are songs that get better with each listen. cigarette smoke is a remarkable closing track that is bound to rip out your heart. less is my favorite track, however. A sensational bit of songwriting that was probably not in her wheelhouse in 2021.

Speaking of the cure, is it pure coincidence that this is a song title on an album that features Robert Smith?

I will let you decide that one on your own.

whats wrong with me, the duet with Robert Smith is hands down the most unique moment of the album. Including Robert Smith, the King of Desolation, at the height of the collapse in the relationship is nothing short of genius. Smith’s contribution will most likely bring some newer fans to the Olivia’s universe as well.

Genius is the exact word I would choose to describe Oliva Rodrigo as a musician.

I feel confident in saying that and it being more fact than hyperbole. Her brilliance is not only in her music but her decision making. On this album her voice is more subtle. Exactly what was needed for the tone of this album, as well as the sustained phrases throughout the album. This album oozes with authenticity. With the help of her lower, darker voice, you believe everything the characters are going through.

Follow along with the lyrics and you cannot help but see the theme of Olivia’s album in this song.

Overall, you seem pretty sad for a girl so in love is a fantastic, yet different kind of album, from Olivia Rodrigo.

I anticipate that it will challenge Paul McCartney for album of the year come Grammy Time.

It puts Olivia Rodrigo in the exclusive company of artists who released three stellar albums out of the gate, that exploded on the US charts. Remember, Springsteen’s first two albums, while tremendous, failed to initially sell. Therefore, I would put Olivia on the shortlist along with:

Led Zepplin

Madonna

Pearl Jam

Jay Z

Eminem

Adele

Taylor Swift

Billie Eilish

I am sure you can name others. Feel free to do so in the comments.

For all the praise that Olivia Rodrigo’s third album deserves, the essentials of having the names of the tracks listed is missing, at least on the lenticular version, and that is an enormous problem for me.

A missing lyric sheet is also disappointing. For these reasons I cannot give this new addition to The Record Room a perfect 10/10. Still, the album itself is a contender for album of the year.

Rating 8/10

In case you were all wondering exactly when I started to get into those other older acts- who am I kidding, I know you are all waiting with bated breath- here is the breakdown.

Bob Dylan: I began to get interested in him when Time Out of Mind was nominated for Grammy’s Album of the Year. I soon became addicted.

The Who: I did not start to really listen to them until I saw them perform at the Hurricane Sandy relief in 2012. Late to the show, I know, but have been an avid fan since then. Collecting all their vinyl. Even the solo stuff.

Lou Reed and The Velvet Underground: I started to give them a deep dive about three years ago. I was a tad interested in The Velvet Underground’s music in the late 90s but I did not dig that deep. However, as a vinyl collector, the ‘Andy Warhol’ album is frequently discussed, so I went back. I loved the album, then began to listen to Lou Reed’s solo stuff, and I love that even more!

Gil Scott-Heron- I do not remember the exact year, but it had to be within the last five. I discovered that Gil was the man behind The Revolution Will Not Be Televised and began streaming his albums on Apple Music. I am slowly obtaining his work on vinyl.

All photos are from my personal collection.

1973 might as well have taken place on another planet. There was no internet, social media, or twenty-four-hour new cycle. This meant how people listened to music was, well, Worlds Apart. Indeed, I try and get a Bruce reference in whenever I can!

In 1973, when the Knick were champions, putting a man on the moon was more realistic than streaming music on a phone. People primarily depended on AM/FM radio, television shows such as American Bandstand, Soul Train, and The Midnight Special-folks had to stay up in the wee hours of the morning for that one- or walking inside a record store to get their music fix. While vinyl was king in 1973, there were other forms of physical media for fans to pluck down some cash on. No, the compact disc (CD) was not one of them.

While how music was listened to was very different in 1973, the music people heard that year turned out to be timeless. Let us start with the Grammys that aired in 1973 to identify some legends of sound.

The Grammys aired on March 3rd, 1973. Honoring the year in music of 1972. The very same year the Knicks last championship season began. Performers included Curtis Mayfield, Helen Reddy and Don Mclean. America won the best new artist award. Robert Flack’s The First Time Ever I Saw Your Face took home both Record & Song of The Year. And George Harrison & Friends’ The Concert for Bangladesh won Album of the Year. Ringo Starr, one of the ‘friends,’ accepted the award for the gang. I guess George was busy.

The substantial strength of 1973 lies with the albums released that year. Where record collectors are still looking for original pressings, where so many artists who have come after having been inspired by those albums, where the legends lie.

Stevie Wonder won his first of three Album of the Year Grammy with the release of Innervisions in 1973. Arguably one of the best albums to ever win the award. On the short list of the greatest albums of all time as well.

The Beatles enjoyed a great year as well. The release of their ‘Red’ and ‘Blue’ albums put them back on the charts. The ‘Blue’ 1967-70 album reached number one. Paul McCartney & Wings’ Red Rose Speedway held the number one spot for three weeks. George Harrison’s Living in the Material World knocked his former band mate out of the top spot. Enjoying a four-week stint at the top. McCartney & Wings also hit it big with Live and Let Die. A James Bond song that peaked at number two* and earned Paul an Oscar nomination. The first Bond song to be nominated for Best Song. Ringo Starr released Ringo. A top ten album that is considered to be his best and featured John Lennon, Paul McCartney and George Harrison on different tracks.

Speaking of John Lennon, he joined the party as well when he released the very underrated Mind Games later in 1973. It reached the top ten and produced a top 20 hit.

Marvin Gaye’s Let’s Get It On narrowly missed becoming his first number one album. It peaked at number two. Being held out of the top spot by the likes of Chicago’s Chicago VI, The Allman Brothers Band’s Brothers and Sisters, The Rolling Stone’s Goat Heads Soup, and Elton John’s Goodbye Yellow Brick Road. Marvin Gaye never reached the number spot on the US album chart. Indeed, his legacy and impact on 1973 is still intact.

Elton John’s Yellow Brick Road spent the final eight weeks of 1973 at the top spot. He also reached number one earlier that year for two weeks with Don’t Shoot Me I’m Only the Piano Player.

Pink Floyd’s legendary Dark Side of the Moon was also released in 1973. I was surprised that it only spent one week at number one that year. Still, it was one of the bestselling albums, of not only 1973, but of all-time. Dark Side of The Moon has also been repressed more times than most could count.

Other iconic albums to reach the top in 1973 were The Lady Sings the Blues soundtrack, Led Zepplin’s House of the Holy, Carly Simon’s No Secrets and Jethro Tull’s A Passion Play.

1973 was also the last time Elvis Presley was alive to see one of his albums reach number one with Aloha from Hawaii Via Satellite. Knocking Pink Floyd out of that top spot.

Despite a great crop of number one albums in 1973, none of these albums were nominated for Grammy’s album of the year. Instead, Stevie Wonder beat out these four albums

Behind Closed Doors- Charlie Rich

The Divine Miss M- Bette Milder

Killing Me Softly With His Song- Roberta Flack

There Goes Rhymin’ Simon- Paul Simon

Had there been social media back in the 1973, people would have had a field day with those nominations. Snubs galore. Also, how many goons would have begun their self-importance post with the nonsensical, ‘I don’t even watch the Grammys?’

Had I had the ability to post on the socials in 1973, these are the four albums I would have said should have been competing with Stevie Wonder:

Living in a Material World

Dark Side of the Moon

Don't Shoot Me I'm Only The Piano Player

Let’s Get It On

Other great albums released in 1973 were:

Bruce Springsteen’s double shot of Greetings From Asbury Park & The Wild, the Innocent & The E Street Shuffle. While I think these are the two best albums of 1973, save for Innervisions, it just did not sell well enough to be a realistic choice for an Album of the Year nomination.

Steely Dan- Countdown to Ecstasy

Temptations- Masterpiece

The Who- Quadrophenia

What were you listening to in 1973?

Was it just singles you were into? Well, 1973 had a timeless crop of those as well.

The number one song of the year was Tie a Ribbon Round the Ole Oak Tree by Tony Orlando and Dawn. With Dawn being two females, Thelma Hopkins of Gimmie a Break fame, and Joyce Vincent Wilson. It is a song that you cannot help but like. Sing-along to. Reminisce about. Growing in importance with the Iran hostage crisis in 1979 and beyond. Unfortunately.

However, Ribbon was far from the only great single released in 1973.

Here are some of my favorite Top 100 singles of the year. There are a ton, so I will list my top ten:

Killing Me Softly- Roberta Flack

Let’s Get It On- Marvin Gaye

You Are the Sunshine of My Life- Stevie Wonder

Half-Breed- Cher

Superstition- Stevie Wonder

Love Train- The O’Jays

Give Me Love (Give Me Peace On Earth)- George Harrison

Live & Let Die- Paul McCartney & Wings

Higher Ground- Stevie Wonder

Papa Was a Rollin’ Stone- The Temptations

When the New York Knicks won the title in 1973, it captivated New York but did not really have a huge impact in the rest of the country.

The NBA was just not that way back then. Most of the east coast did not even watch the final game of the series. But the music released that year, not only moved the needle in the United States, but across the globe. Music that people still listen to today, and not just from folks who lived it. Young people every day are discovering Pink Floyd for the first time. Understanding the impact of Stevie Wonder with creative freedom. Getting in touch with their hormones courtesy of Marvin Gaye. Realizing the impact of a symbol such as a yellow ribbon. That all happened in 1973 and it is all fairly easy to discover and enjoy in 2026.

By the way, the music of 2026 ain’t too shabby thus far (more on that later in the year). Will we soon have another New York Knick title to go hand in hand with a monumental year in music? As a Knicks fan since 1982 and an insatiable lover of music and albums, I certainly hope so.

Stay tuned…

*Live and Let Die spent three weeks at number two. During that stretch, three different songs went to number one. The Morning After by Maureen McGovern, Touch Me in the Morning by Diana Ross, and Brother Louie by Stories. Am I the only one who thinks LALD is much better than all three of those songs?

Paul McCartney and Wings also released the classic Band on the Run late in 1973 but that album is more associated with 1974. The album topped the charts in 1974 and it was nominated for album of the year for 1974. Still, it is another example on what 1973 was!

All references to charts are from the US Billboard Charts.

I should start by saying I am not a Paul McCartney superfan. Therefore, my upcoming praise/gushing over this album is in no way hyperbolic.

To clarify, I loved Paul’s work in The Beatles, and I think he is a fabulous live performer. However, I have never been crazy about his solo work in terms of the albums he has released. Including with Wings.

Most of his solo albums, save for a song or two, I downright did not like. Even with Wings.

Prior to Dungeon, only five albums reside in The Record Room. Two with Wings, Band on the Run and Back to the Egg, two solo albums, Flowers in the Dirt and Flaming Pie, and the more recent One Hand Clapping. Which is not a studio album. The only other McCartney album I would consider adding to The Record Room is Tug of War.

All the other McCartney albums, for me, have more skips than a beat-up vinyl.

Even most of the McCartney albums I like, the ones that I own, are not without skip-songs.

I might be the only one on the planet who feels this way, but I think that Back to the Egg is the only McCartney album without skips. Up until now.

Indeed, I had no plans of ordering this album without streaming it first. Then I saw Paul on Saturday Night Live. I loved Days We Left Behind so much, that I decided right then and there to pre-order. So glad that I did.

Once the commitment to buy was baked in the cake, the decision on what variant to get was the next order of business. No, I am not one to buy multiple variants of one album with the same track listing. For the most part.

I knew that I wanted to pre-order a selection from the McCartney website. I was torn between the green vinyl with the lyric card or the gatefold.

I went with the green vinyl. Ultimately, regardless of what variant we choose, what lies on the grooves is what counts. As I already revealed, Paul outdid himself with the 14 tracks on The Boys of Dungeon Lane.

Paul drafted the prolific and well-regarded Andrew Watt to co-produce. Which got me thinking, McCartney’s solo work has always been exponentially better when he had a standout talent help produce/collaborate with.

Prior to this release, I think his two best solo albums, by a million miles, were Flaming Pie and Flowers in the Dirt. In that order.

Flaming Pie was co-produced by Jeff Lyne, while Flowers saw Macca collaborate with Elvis. Costello, that is.

This creates an interesting dichotomy. While Paul has always been portrayed as a dominate force when making music. Someone who calls all the shots in the studio. Someone who is, quite frankly, hard to work with (It is just what I heard). At the same time, it is clear to me that Paul has always needed someone who could hold their own in the studio, as well as, make their own great music, to get the best out of him.

With The Beatles he had John Lennon. As good as it gets. As a result, Paul got better and better each year with The Beatles.

With Wings he had Denny Laine. Indeed, a bit of a step down from Lennon (who isn’t), but formidable, nonetheless. As a result, while I do not think many of the Wings albums were great, Paul was a hit machine and developed himself into a fantastic live performer when he had Denny Laine to work off of.

When he decided to put his foot in the duet pool- they were popular in the early 80s- he teamed up with Stevie Wonder.

Then teamed up with Michael Jackson. ‘nuff said.

I think if everyone listens through an honest lens, they will admit that most of Paul’s music, without the mention of the above names, falls way short in comparison. He needs that other ‘it factor’ to bring out his best.

With The Boys of Dungeon Lane, Paul could not have picked a hotter producer to work with. The results were, well, Fab!

Of course, I waited until my vinyl copy arrived before I listened to the Dungeon in its entirety. And from what I hear that was the right choice, as it does not seem to sound as grand on CD or streaming.

On vinyl, this album sounds crisp and vibrant. As far as the review of the album, I am not going to break it down track by track. For one, everyone with a pair of ears is doing that. Therefore, I am going to give you my thoughts on the album in a different way. Who wants the same old thing? Besides, I do not have the musical experience to review any album in such a way. Instead, I will offer some comments and observations.

First, this is one of the best albums of the last 10 years. Absolutely no skips. I hope it gets nominated for Album of the Year. An award Paul has won only as a Beatle. Days We Left Behind should get Song of the Year consideration as well.

Next, the songs that Andrew Watt is given a writing credit for are like night and day compared with Paul’s standalone tracks. This does not necessarily mean those are the best tracks on the album. Still, the innovation and experimentation are much more apparent with those songs.

Speaking of the best tracks, my five favorites are (currently, probably bound to change as I continue to spin).

1. Come Inside

2. Down South

3. Days We Left Behind

4. As You Lie There

5. Momma Gets By

Paul’s homage to Every Breathe You Take?

Speaking of As You Lie There, has anyone else addressed the fact that Paul has gone full voyeur with this song?

What’s more realistic, Paul as a stalker, or Paul and Michael Jackson fighting over a lady back in 1982? If I was ever lucky enough to interview Paul McCartney-one can dream- the first question I would ask is who is he singing about beyond the blind?

As you look over my top five, keep in mind that I love every track on this album.

Speaking of other tracks on this album, Home to Us is worth discussing. Personally, I did not have a problem at all telling the difference between Paul and Ringo’s vocals. Albeit their voices fused smoothly together. Making for a great listen. But it was not difficult to distinguish. The same way Incident fuses beautifully into Rosalita. But there are no issues distinguishing the two. I see you Bruce fans!

Where else are you going to get a comparison between a Springsteen album and a Ringo & Paul duet?

Speaking of the Paul & Ringo duet, Paul is going around telling everyone that this is the first time Ringo has sung on a song with another Beatle. Now, wait a minute…

I can argue that that statement is not true. At the very least, it is misleading. Goodnight Vienna, anyone? Indeed, Ringo shared vocals with John Lennon on that song. True, John only gets a writing credit, but he clearly takes on some vocals. Fans, what say you? By the way, Ringo’s name does not appear on the label next to the song. Therefore, is it even a real duet?

Speaking of misleading, Paul also appears to be playing with the truth about John starting the ‘shade throwing’ in their songs.

Too Many People, people? An obvious shot at John, as well as Yoko. Yes?

The Ram album was released months before Imagine. Which is where How Do You Sleep appeared. It should not be too hard to connect those dots. However, it is not surprising nobody has mentioned that to Paul. I probably would not either if I was interviewing him. Just saying.

Lastly, if you have not yet, go out and buy this album. If you can afford it. This inflation…

For me, it is the first time McCartney’s brilliance shines on every track since The Beatles broke up (while I contend Back to the Egg is a brilliant, no-skip album, not every song is from Paul. Denny Laine wrote and song one of the best tracks on the album).

The best way to give this album a listen is on vinyl. With the wonderful handwritten lyric booklet provided as you follow along. It is a Paul MCartney album that you will not get tired of listening to. Your favorite song will probably change multiple times. And you are bound to discover something different during each spin.

I never thought I would be saying that about a Paul McCartney solo album.

Rating 10/10

All photos are from my personal collection

On the surface, the 80s might have seemed like a down decade for George Harrison. Low output. Less quality of work. A lost decade. However, when The Record Room peeled the Harrison Onion (Or was it an Apple?). The 80s strengthened my belief that George indeed had the best solo career of all The Beatles.

1980 began with George Harrsion on a bit of a break from music. With both Paul McCartney and John Lennon providing succulent fruit for the fans in 1980. McCartney II, while I thought was dreadful, sold extremely well. Paul also topped the charts with a magnificent live performance of Coming Up. I have already said Paul was the best live performer of The Beatles, so back off with the I do not like Paul comments!! Ha!

Meanwhile, Lennon began 1980 as he had the past few years. Silent. That all changed in November, with his fantastic comeback album (‘cept for the Yoko tracks), Double Fantasy.

Fans seemed to be excited about Lennon’s return. The album was selling well upon its release in November, and (Just Like) Starting Over was a top ten hit when December began. Then…. well, if you are reading this, you already know what happened on December 8th, 1980.

I have read more than once how Lennon’s murder deeply affected George. But George already decided to take the year off in music in 1980. So, his absence was not due to Lennon’s murder.

1981 saw George return with the album Somewhere In England. Undoubtedly, the album took on a new life because of John’s death. With the tribute song, All Those Years Ago, anchoring the LP. It was that song that featured both Paul and Ringo. The only time that Paul & George collaborated on an album that was not The Beatles.

All Those Years Ago just missed becoming Harrison’s third number one single. As the pop world was obsessed with Bette Davis’ Eyes for several weeks.

Unfortunately, England did not do much commercially save for the Lennon tribute. Teardrops, the only other single released, charted miserably, and the album sales lagged terribly after the initial response. Most critics hammered the album as well.

Personally, while I think this album is good, I cannot say it is a great album. I would rank it last of all the albums that featured Harrison singing, Still, it deserved much better from the critics. It is much better than most artists lowest ranked album. I thought it was much better than McCartney II and Press to Play. Which is widely considered Paul’s biggest clunker.

George followed up Somewhere In England with Gone Troppo in 1982. George’s most peculiar release.

The first surprise is that George came back so quickly. Something (yes, intended) that he had not done since the mid-70s. And to return so fast after an album that did not sell well…

What was even more of a head scratcher is that George decided to not promote this release at all. It was almost as if he threw it to the curb. Like throwing out the trash. A child he wanted nothing to do with. Why? There is a dense paper trail out there indicating how George was fed up with the music business at that time. Perhaps that was the reason? If that was the case, why bother making an album at all? Perhaps there were some contract obligations I am not aware of.

Gone Troppo deserved much better treatment from everyone involved. With George being at the top of that list. It is a wonderful album. With wonderful artwork and intriguing tracks. Deep lyrics, and a plethora of earworms.

I will never understand. Why did Harrison make such a good album, yet treated it so poorly? Could it be he felt the same way about the album that most of the critics felt? Am I the only one who loves this album?

Troppo is an eclectic album that perfectly captures the Harrison Aura. Depending on the track, the album will make you relax, think, or laugh. Often all of the above. Its pop feel also has its share of experimentation as well. Including a sprinkle of a reggae. I have no doubt, with the right promotion, this album would have sold well. Had he been motivated, George could have even had some fun with MTV back in 1982, music’s new toy, with tracks like Wake Up My Love and Dream Away.

Having said that, I have no idea why the critics grossly missed the mark on this album. Perhaps they were too intoxicated with the trend of MTV as well.

George’s frustrations within the industry must have been real though, because he did not release another album until 1987. Not that George was not busy during this time, he fell in love with producing movies. Or did he?

Regardless, George Harrison was a musician at heart, and his return with Cloud Nine was an epic one.

Cloud Nine is not only one of George’s best albums. It is one of the best of the decade. Gone Troppo on steroids, if you will.

George earned his third number one single, exploded on the music video scene, and brought back some buzz and clout that the ‘Quiet Beatle’ had not enjoyed since he exploded in the early 70. Clout, in the mainstream anyway, as all Beatles had certain unconditional privileges since their breakup.

However, Cloud Nine was so much more than what excelled in the mainstream. George kills it with his guitar playing, voice, and songwriting on this album. Deeper tracks like Fish on the Sand, Just for Today, and The Devils Radio showcase some of Harrison’s best songwriting. This is Love is a great pop song. And Cloud Nine is a tremendous opener that has a little bit of everything.

Perhaps the most consequential action of Cloud Nine was the collaboration with Jeff Lyne. Which led to the Traveling Wilburys. It would be remiss to talk about George’s work in the 80s and not mention The Traveling Wilburys.

Wilburys should not be considered solo work, you say? Well, my answer to that comment is…

Most cannot seem to separate McCartney’s solo work with that of Wings…

The Traveling Wilbury’s annunciated what George Harrison did best. Just like with The Beatles, when he took on the lead lyrics, he was the boss, and his songs always held up against the juggernauts, but he also never stopped being that solid rock who guided the ship when he was not singing.

The final act for George Harrison in the 80s was the release of Best of Dark Horse 1976-1989. A solid compilation of some of George’s best work during that time, as well as solid unreleased tracks Poor Little Lady & Cockamamie Business.

Feel free to call me bias, but Best of Dark Horse is one of the best compilations albums ever. Certainly, one of the best of the 80s. It shows us George’s versatility, and underrated skills to create a unique pop/rock sound. Each album, From Thirty-Three 1/3 to Cloud Nine, is featured.

Indeed, while the 80s was not prolific for George in the way the 70s were. It was still Fab.

The decade saw George produce one of the most successful tribute songs of all-time, one of the best albums covers of the decade, secure his third number one single-being the last number one single for any solo Beatle- anchor a Super Group that is still relevant now, and release a formidable greatest hits album that illuminated what George Harrison was and still remains until this day. One of the greatest gifts in music history.

George Harrison will always be celebrated in The Record Room.

The current Springsteen buzz is mainly focused on his current tour. An amazing tour, with a powerful message, yet polarizing message.

Indeed, tensions and passion are bound to boil to an all-time high as Bruce & The E Street Band set to close the Land of Hope and Dreams Tour in DC and Philadelphia in 2026. I ask, what better time to revisit Tracks II, one of Bruce’s highlights of 2025?

Springsteen released the original Tracks on November 10th, 1998.

Tracks was a treasure trove, mostly consisting of material that did not make the cut on Bruce’s studio albums, as well as B-sides. The fans loved it. After all, such material was teased by Bruce as far back as the mid-80s. Tracks II seemed to be dangling out there for just as long.

The major difference, however, between the Tracks, is that Tracks II mostly consists of complete albums that Bruce intended to release to the public as such, then pulled back. According to the notes, only one of the seven album was put together for the Track II release. The others were supposed to be released as albums at the time they were cut but received the Loose Ends/Roulette treatment.

Was Track II worth the wait? Well…

before we reveal, The Record Room will first analyze each album separately.

LA Garage Sessions ‘83

This double album had me curious before I even put the needle on wax. …if Springsteen indeed intended this to be an album release, surely, he had a better name in mind for the album. Still, this is a gem of a listen with some of the best songs in the box.

The album is presented in a beautiful gatefold. A great black & white photo of a young Bruce behind the wheel. Both LPs come with inner sleeves that has the song lyrics.

While the album is absolute bliss, its uneven tone, and given what we know about the Bruce canon during that period, it is hard to believe that there was any real intention to release it, as is, in 1983. Nevertheless, with songs like Johnny Bye Bye, County Fair, Don’t Back Down, The Klansman etc. LA Garage Sessions is a unique blend of what Bruce was going through that led to the Nebraska album, as well as the ceiling he was looking to shatter that led to the Born in the USA Album. I can defiantly hear both objectives in this double album.

Streets of Philadelphia Sessions

Probably the most anticipated set of songs from diehard Springsteen fans, dare I say…SpringNuts. Much like its predecessor, this album lacks a proper name. There was no way this would have been the name of the album had it been released. SOPS also comes in an impressive gatefold with a visceral photo of Bruce. It looks like it was taken from the filming of the Streets of Philadelphia music video. While it is not a double LP, the inner sleeve also has the song lyrics.

And what lyrics they are. Powerful. Disturbing. Unforgettable.

An argument can be made that the Streets of Philadelphia Sessions is better than any Springsteen album after the magical ‘First Seven.’ Musically, it sounds nothing like any of those albums. Bruce was experimenting with new toys to make new sounds. While I am far from qualified to discuss or compare musical instruments, I know that despite the difference in sound, this album would have not been able to breathe on its own the way it does, without that, Springsteen Essence’ that his biggest fans know, recognize, and obsess over.

Side A jumpstarts your heart with Blindspot. Then it continues to dig deep with Maybe I Don’t Know You, Something In The Well, Waiting On The End of the World and The Little Things. A perfect blend of catchy music, albeit melon collie, and lyrics that tell a story better than most films nominated for Best Screenplay Oscars.

Side B does not let up. We Fell Down might be my favorite song on the album in terms of the music. The familiar Secret Garden fits well on the album as well. From start to finish this album is a gem that deserved to see the light of day, wink, wink, way before now. Better late than never, true, but that does not mask the thought i have, ‘what was Bruce thinking?’ Only he can shelve an album that would have been a great candidate for an Album of the Year nomination.

Faithless

This album has a much different story to tell than the others in the boxset. Faithless was not released because of the typical Springsteen mindset. Instead, it has been a mystery until now because the movie that the tracks were written for was never released. I believe the film was never made at that. Leading to many intriguing questions.

Why did the movie not get made? How would have the music appeared in the film? Why cut a would be soundtrack for a film not yet made? Is that how it is typically done? If it was made, what happened to it?

As a listen, however, I find Faithless the least interesting of Tracks II. The title track being the best track by far.

The only other thing I would like to say about Faithless is, well, it is more like a question, for those who get all the inside information about the comings of goings of Bruce, did you know he was working on a soundtrack for a film? Was that ever out there?

Somewhere North of Nashville

An album where the title provides immediate recognition for virtually all Springsteen fans. Nashville is packed with plenty of humor, pop punch, and flare. Repo Man, Delivery Man, and Detail Man has Bruce at his absolute candid self. Alternate versions of Janey Don’t Lose Your Heart, Stand On It, as well as the title track, provide the exact cat nip that Bruce fans love to devour. And Under A Big Sky provides proof that there are not many songwriters on the same tier as the man from New Jersey. A beautiful booklet is how to follow the lyrics on this one.

Inyo

While I have anointed the Streets of Philadelphia Sessions as the best album of the boxset. Inyo is my personal favorite. From the gorgeous booklet loaded with lyrics of tales that tell stories unlike anything else Bruce ever narrated, to the yet another layer Bruce’s vocal range, Inyo delvers on all fronts.

Bruce starts by taking us to time a place in history that is perfect strangers to the Jersey Freeze. Or is it? That is the beauty of Bruce’s songwriting you see, he can find a way to connect you to the most unfamiliar subject matter and make you care about. Make you feel like you have been there. Make you yearn to learn more about it.

Inyo is so rich with words and places that I had no knowledge of; I literally had Chat GPT on overtime on my first spin. While Inyo is work, it does not feel like work. There is no laboring with such joyful music keeping you company. Reading the lyrics in yet another gorgeous booklet has become one of my favorite things to do.

Each song can be its own movie.

Twilight Hours

This album represents some of the most powerful writing from Bruce. Which is saying quite a lot. I recently heard some fellows saying that they are a bit disappointed that Bruce’s writing sort of peaked circa 1973. It is a shame how lost these dudes are. From Sunday Love, to I’ll Stand By You, the title track, to Dinner at Eight, Twilight Hours is a marvelous double album that plays like a Broadway show.

Bruce also does a lot of the heavy lifting on this album in terms of playing instruments. Still, appearances by E Street mainstays Max Weinberg, Soozie Tyrell, Michelle Moore, Curtis King, Curt Ramm and Barry Danielian help enhance the listening experience. Former Bruce collaborators, Cindy Mizelle, David Sandcious, and Miss Patii Scialfa also provide essential contributions to this gem.

Perfect World

This is an intriguing piece of vinyl. As it is described as the only album in the box set that was not set out to be a stand-alone album for prior release. Indeed, Perfect World was put together by Springsteen to enhance Tracks II. Ear worms for the fans that in more in keeping with the rock sound of Bruce’s origins.

Amazingly, I think Perfect World plays like a perfect album that could have released and sold very well.

I’m Not Sleeping, co-written by Joe Grushecky, starts off the album. Creating an immediate personal connection for me. As someone who is very sleep deprived, I also often have the same mindset in the song. The Springsteen-Grushecky co-writes continue with Idiot’s Delight and Another Thin Line. Both tracks are biting and anchored by Weinberg’s drumming.

The rest of Perfect World plays as a cohesive rocking album. At least to my ears. Blind Man, Rain In The River and Cutting Knife the highlights for me.

As with all of Tracks II, the packaging for Perfect World hits a home run. Another beautiful gatefold, and this time we get a hybrid poster/lyric sheet inside.

Each album of Tracks II is unique in its own way. The seven albums and accompanying book all come together in this beautiful package for fans to enjoy and dissect at their leisure.

My ranking of the seven albums as my personal favorites are:

1. Inyo

2. Streets of Philadelphia Sessions

3. Perfect World

4. Twilight Hours

5. LA Garage Sessions ‘83

6. Somewhere North of Nashville

7. Faithless

Faithless is the only album I do not consider a gem, however. As the other six have already had many spins in The Record Room and, hopefully, will have many more spins for many years.

Was it worth it? Indeed. A clear 10/10.

All photos are from my personal connection.

22 at 86. We should start there. Long Long Road is the twenty-second studio album at age 86. He officially turns that age on July 7th.

Indeed, Richard Starkey has had a long Carrer. A ton of music, a plethora of hits, and plenty of cash made. But exactly how is Mr. Starkey’s music output as a solo artist perceived? Well, I think there are two ways people see Ringo. Either you love Ringo, or you love to hate him.

There is no question that Ringo Starr is a beloved individual.

Both from a huge fanbase and from fellow musicians. However, many people have taken on a pastime where they take pleasure in bashing Ringo. Finding joy in telling everyone how much he sucks. With no holding back. I call it the Phil Collins Syndrome. Both Ringo and Phil have sold a lot of records, enjoy a huge fanbase, but also have been heavily criticized. Ironically, both started behind a drum kit.

But unlike Phil Collins, Ringo Starr is a Beatle. Still, the most lucrative clout one can have.

When you are a Beatle, it does not matter how bad some of your albums might have been. How poorly it might have sold. Or how much your voice has declined. If a Beatle wants to cut a new album, not only will a label oblige, whomever a Beatle wants to contribute on the album will gladly do so.

And Ringo is supported by some heavy hitters. T Bone Burnett, Sheryl Crow, Billy Strings, St Vincent, Molly Tuttle, and Sarah Jarosz all provide meaningful contributions to the album. What are the results?

Does this all-star backing move the needle for a Ring Starr studio album? Provide him with his strongest outing since, perhaps Goodnight Vienna? Well….

Let me first start with saying The Record Room added this album for only one reason. The purple color variant. I was good with the two Ringo Starr albums I had in my collection. 1973’s Ringo, and the aforementioned Goodnight Vienna. There was no yearning for another Ringo album, especially a country album. I do not think I own one album that you would say is country without the name Bob Dylan attached to it. But then I see an advertisement of Long Long Road with a beautiful purple variant. I press click!

And low and behold, when the album arrives, it is a much darker purple than the one in the promos. It almost looks like a black vinyl in certain lighting. Oh well, I guess that is what I get for being a sucker for color vinyl. Not focusing on the music!!

And what about the music? Well, before I even get into that. Let us address the packaging. Which was impressive. Both the front and back covers are nice. It comes with an impressive gatefold-with a picture of a young Ringo wearing that famed purple, ruffled shirt- and the inner sleeve has nice, vibrant photos of Ringo. Also, the album is protected in an anti-static sleeve.

But what about what happens when you drop the needle? The music? Does it sound like I am stalling with answering that…

Kind of. But let us take it head on. I will start by saying this album will be a reflection of what I previously said about Ringo. Those who love Ringo will dig it. Those who take pleasure in bashing Ringo will now have some fresh ammunition. There have been some extremely harsh reviews already.

For me, it is just okay. The biggest problem with the album is there is nothing on here to get the pulse going. No kick ass moments. No standout track. The songs are kind of dull, and nothing bombastic seems to be happening with the music. Still, Ringo’s voice is soothing. Holding your interest enough to want to give this album more than one try. And, indeed, I found myself liking it better after a second spin. But still not loving it.

The most interesting thing to me is, for all of the fanfare about the guests on the album, and the wizardry of T Bone Burnett, I found myself enjoying the songs that Starkey had a hand in writing the most.

You and I (Wave of Love) is the best song on the album. With Choose Love and the title track competing for the second-best song on the album. The rest of the songs range from being okay to absolutely pointless. I’ll leave it to you to decide which are which.

However, feel free to do that by streaming. Unless you are a Ringo Starr completist, and I know you are out there, there is literally no good reason to spend your money on this vinyl

Rating 5/10.

All photos are from my personal collection.

There is nothing quite like seeing Bruce Springsteen & The E Street Band live.

You are either a person who understands perfectly what I mean, or you are not. May 5th, 2026, the show invaded the UBS Arena in Elmont, New York. It was my first concert of the tour, and it might just be my favorite concert of all.

Of course, when I say that, I must warn of potential recency bias. After all, I do not think there has been a time when I have left at a show and not said…that was the best one yet.

This show was somewhat of a different animal, however.

For one, it was a very different, emotionally intense setlist. Delivering a moving message that someone like me needed. Also, I do not think Bruce has ever sounded better vocally. He, as well as the rest of the band, were on fire. Playing at a higher level. Even for them. Let us look at the setlist and break it down.

Therefore, if you do not want to know the setlist, stop reading now!

1. War

2. Born In The USA

3. Death to My Hometown

4. Clampdown (The Clash Cover)

This four-piece dictated the pace. You knew where you were and why. Prior to this tour, you had a better shot of hitting the Win Four than hearing Born In The USA on US soil in recent years. He just has not played it all that much in America. With this tour, the title song of his best-selling album is back with a vengeance, however. Much like in the 80s, it was coupled with War. Let us not forget that War was a top ten hit for Springsteen. However, the drumming of Max Weinberg on this version of BITUSA was the showstopper early on.

Clampdown was fun to see. As it was a song you would have never had on your bingo card. Tom Morello’s contribution also enhanced this fun cover.

5. No Surrender

6. Darkness on the Edge of Town

7. Streets of Minneapolis

8. The Promise Land

A powerful sequence kicked off with a kick ass version of No Surrender. I think this was the point where I recognized how amazing Bruce’s singing was on this night. His final note on Darkness on the Edge of Town, my personal favorite song, corroborated my thought.

Then we were reminded why most of us were there. Certainly, the Murders of Minneapolis was the reason for the concert happening.

Bruce’s speech and vocals were haunting on this one. He started off playing solo, then when The E Street Band joined in…epic. After the moving tribute to Alex Pretti and Renee Good, Bruce went into The Promise Land.

Question, has there even been a bad version of The Promise Land? A version that does not quite get the crowd going? Answer…indeed, no!

9. Two Hearts

10. Hungry Heart

After a lot of visceral performances, Bruce went for a lighter moment in the night with this double shot. It worked well. Bruce & Little Steven were wonderful playing off each other with Two Hearts, and the crowd ate up Hungry Heart like candy. As they always do.

11. Youngstown

12. Murder Incorporated

13. American Skin (41 Shots)

These next three songs turned up the intensity once again. Bruce sounded wonderful on Youngstown. With Nils Lofgren also getting some shine. Murder Incorporated is just a great example of musicianship and American Skin (41 Shots) was completely moving. Capped by some hypnotizing guitar work from Morello.

Unfortunately, not everyone was as moved as I was during 41 Shots. I said this before; American Skin is a good litmus test to see exactly where the mindset of Bruce’s fans is. And how not all his fans share his message. His compassion. His dignity.

I was appalled by the number of fans who stepped out during this song where I was sitting. Or who was yapping behind me about something so trivial in their lives, instead of taking in the moment and the meaning of the song. It is no wonder why guys like the Orange Con get elected. Some people are so full of animosity for those who are different, or simply they do not care. Over the years, 41 Shots has illuminated this point.

14. Long Walk Home

15. House of a Thousand Guitars

16. My City of Ruins

Another amazing sequence that featured more pristine vocals by Bruce. The background singers really shine on Long Walk Home as well. A Thousand Guitars was a wonderful acoustic version from Bruce and My City of Ruins started off with the most polarizing speech of the night. It was the first time I heard City of Ruins live and it was intoxicating.

17. Because The Night

18. Wrecking Ball

19. The Rising

With a setlist that has been vastly different from what he has been doing the last few years, Bruce returned to this common three-piece suit as we went later into the night. Some diehards look down upon this commonality. Dub it as ho-hum central. Long for something different. I get it. Why not substitute Because The Night with something else? Ramrod, perhaps? Human Touch would work. It is also a perfect spot for a wildcard. One night, Roulette, the next night…take your pick.

And Bruce can certainly afford to put Wrecking Ball on the shelf for something fresher. I do get that mindset.

However, the Neil McCauley side of the coin says, ‘if it ain’t broke, don’t fix it.’ Meaning, I have never been to a show where Because The Night into Wrecking Ball has not worked immensely well. The crowd always gets into it. Bruce’s vocals shine on it. The band brings the house down while playing it. So why change?

Again, I understand both points of view. However, whatever you do, The Rising stays put. A perfect song that was meant to be played live.

20. The Ghost of Tom Joad

21. Badlands

22. Land of Hope and Dreams

Typically, Badlands would follow The Rising. But this is a tour that is a little different. With Tom Morello at every show this tour, Joad has been a mainstay. And how wonderful it is. Watching Springsteen and Morello work off each other drives home a point I made on social media a long time ago:

There are songwriters, then there is Bruce Springsteen, there are guitar players, then there is Tom Morello.

No concert experience will ever be complete until you see The Ghost of Tom Joad live.

The bliss train keeps steam rolling on as Joad is followed by Badlands and Land of Hope and Dreams. Even the most mundane individual would be moved by this sequence of songs.

Encore

23. American Land

24. Born To Run

25. Dancing in the Dark

26. 10th Avenue Freezeout

27. Chimes of Freedom (Bob Dylan cover).

The party continues with a euphoric version of American Land to kick off the encore. Followed by the showstoppers Born to Run, Dancing in the Dark, a song that gets everyone going bonkers, but somehow does not seem to be liked or respected by the fanbase, and 10th Avenue Freezeout. Nobody gets tired of seeing Clarence and Danny during that song.

Just when Bruce has the whole arena on the same page, he turns up the dial on the politics for his closing speech before Chimes. Personally, I do not get the division. It amazes me how so many people are more bothered by the words and message of Bruce Springsteen, than the actions of this disgraceful administration. Truly mind boggling.

After Bruce’s powerful words, he kicks into an amazing cover of Chimes of Freedom. Personally, I think Chimes is the best song ever written, and I think Bruce’s version is the best. I do have one small critique, however. Just once, I would love to hear him sing the entire song!

Still, Bruce’s vocals on that one is out of this world. As they were the whole night. Anyone who says Bruce cannot sing has defective ears. The man is 76 years old and sounds beautiful for nearly three hours straight. All while shredding his guitar in the process.

It was an amazing concert on all levels.

Clear evidence that Bruce Springsteen & The E Street Band is the best show on Earth. Ever. Period.

Need more convincing? Who else can have such a well-received show from their fans (even those who disagree with him) without playing so many of their fan favorites?

A song from the Born to Run album did not make an appearance until the encore. And only two songs from that epic album were played all night. And you did not go home feeling cheated.

No She’s the One. Backstreets. Jungleland. Thunder Road.

No Glory Days. No Rosalita. No Racing In The Street. And you did not go home disappointed.

Not one song from Greetings From Asbury Park. And you did not go home complaining.

Simply amazing.

We will never see this again. So, enjoy it now.

Thank you once again for giving me countless thrills and being one of a kind.

Unforgettable…with Love was released on June 11th, 1991. Indeed, it was a departure from much of what Natalie Cole was putting out since she first invaded the charts in 1975.

For most of her career, Natalie was emphatic about not being linked to Nat King Cole, her legendary father. It was an understandable decision, for the most part. After all, how do you follow in the footsteps of a legend? The answer, not too well. Usually.

Looking at it from an album standpoint, artists typically have a hard time equaling their zenith. Carole King never quite moved the needle after Tapestry in the same way. Same for Tracy Chapman’s self-titled, Fleetwood Mac’s Rumors, and Stevie Wonder’s Songs In The Key Life.

Following a legend is a daunting task. The difficulty rises exponentially when we are talking about a person. A relative. An iconic career. Nat King Cole was such a legend, so well respected, at the top of any list in music you want to create. The intimidation of having him being your father…immense.

Natalie Cole did well for herself early on by not wanting to be in sync musically with her dad. She charted well and had her own following. But then things became complicated. Erratic behavior turned into poor chart performances.

By the time the 80s began, the best Cole charted on the album charts was number 42 in the US. And that was with a top ten single on the album.

Whether or not the decision to cut an album based on the music of her father came out of love, nostalgia, or the need for an album that sold, I am not sure. Probably a combination of all three. But the decision to greenlight such a project was a bold one. To cut Unforgettable as a duet with Nat himself was even bolder. And it turned out to be one of the most fruitful decisions in music history.

As a form of physical media, the vinyl of Unforgettable ..with Love is a treasure.

My version is a double album on luscious pink vinyl. The inner sleeves include great pictures and commentary from Natalie Cole.

The music itself is timeless. Natalie takes us through the years with songs that Nat melted hearts with. Keeping that same pristine sound.

The real treat of the album, however, is the voice of Natlie Cole. Such a beautiful voice, with a sultry twist. Indeed, her interpretation of the music is bound to have a different effect on a red-blooded male. A much different effect if that same male listens to the version of Nat King Cole’s.

Which I think was exactly the point.

Up until the final track that is. When Unforgettable starts, and you get the tag team voices of father and daughter, that it the payoff of all payoffs. One of the best songs of the 90s. Considering that the singers had their heydays prior to the 80s, way before that in Nat’s case, it is astonishing.

For The Record Room, this addition is also important because it is another album of the year to join the collection.

The Record Room is one a quest to collect most Album of the Year winners since 1967. Prior to 1967 there is nothing interesting for me. I say most because there are just some Album of the Year winners, I cannot see myself owning. I will keep that part to myself. But here is the rundown of what I have so far.

1967: Sgt. Peppers Lonely Hearts Club Band by The Beatles

1971 Tapestry by Carole King

1972 The Concert for Bangladesh by George Harrison & Friends

1973 Innervisions by Stevie Wonder

1974 Fullingness’ First Finale by Stevie Wonder

1976 Song In The Key of Life by Stevie Wonder

1977 Rumors by Fleetwood Mac

1978 Saturday Night Fever Soundtrack by Various Artists

1981 Double Fantasy by John Lennon & Yoko Ono

1983 Thriller by Michael Jackson

1984 Can’t Slow Down by Lionel Richie

1985 No Jacket Required by Phil Collins

1988 Faith by George Michael

1991 Unforgettable…with Love by Natalie Cole

1993 The Bodyguard-Original Soundtrack Album by Whitney Houston

1998 The Miseducation of Lauryn Hill by Lauryn Hill

2015 1989 by Taylor Swift

How long will it take The Record Room to fill up the collection of Album of the Years?

Stay tuned…

We then focus our attention the Record Store Day. The list has changed since it came out in early February. Including some discrepancies with a landmark record store in New York City and the official RSD list.

I will start by saying George Harrison’s solo work is my favorite from the Fab Four. Since I used the word ‘favorite’ try not to dispute what is my personal opinion. Still, I am also going to make a case for George’s solo work being the best of all of the Beatles’ post 1969. I will start by comparing the albums of the 70s. And for that, let the debates begin.

I will begin my case for George Harrison by bringing out the heavy artillery first. George is the first Beatle to have number one single after the Beatles breakup (My Sweet Lord).

His first two studio albums released after 1969 went to number one (All Things Must Pass and Living In The Material World). Meanwhile, The Concert for Bangladesh, was sandwiched in the middle of those two albums. That album peaked at number two and also won the Grammy Album of the Year. All Things Must Pass was also nominated for album of the year.

George also put on his innovative hat with The Concert For Bangladesh. A benefit concert that was never done quite in that way. But has been imitated ever since. The live album enhanced the experience. Preserving it for all time. Both John & Paul passed on helping George to make that concert the best experience that it can be. While it was still a fabulous concert, can you imagine…

It is hard to say what is the full story behind the snubs. However, I read that Paul was not interested from the start. While John was on board but bailed out when he was told Yoko could not perform.

The rest of the 70s saw George’s work lose steam with the public and critics. While Paul was becoming a juggernaut with Wings.

To that point, I always felt McCartney’s album were overrated. Indeed, they always had big hits and some great songs, but save for Band on the Run, none of Paul’s album are nearly as good as George’s in the 70s. When I say this, people accuse me of not liking McCartney. Not true. I am just honest about the fact that he mostly made albums to produce great singles and spent a lot of time on filler material for the rest of the album.

George’s albums on the other, always had a theme, were cohesive, and vastly underrated. Here is the breakdown of his 70s work.

All Things Must Pass- One of the best ever.

The Concert for Bangladesh- A groundbreaking live album.

Living In A Material- A solid follow up to a masterpiece, that is best heard from start to finish.

Dark Horse- A bit heavy. Will probably get you depressed. But contain very good songs with its fair share of earworms. Despite the melon collie theme.

Extra Texture (Read All About It)- Probably the most underrated of the batch. I mean it gets obliterated by critics. How could an album that includes You, World of Stone, Can’t Stop Thinking of You, Tired of Midnight Blue, and Grey Cloudy Lies be labeled as terrible? The Answer Is…nowhere in sight!

Thirty Three & 1/3- A great album. Fans were treated to the more pop side of George. With plenty of humor and sarcasm.

George Harrison- This is the one that puzzles me the most. It should have been dubbed as one of the best albums of 1979 and had monstrous hits. From start to finish it is a gem. While it did well, it was not quite what it should have been.

The debates can go on and on. While I do not see how anyone can say that Paul’s albums of the 70s are superior, I cannot get all caught about other people’s opinions.

John’s output in the 70s was very good as well. Comes close to topping George, but I slightly favor the Harrison catalog.

Again, I am talking about albums. Paul was definitely the best live performer of the 70s. With the catchiest songs.

I will end it with this. As I see this theme played out a lot on the socials. If I was exiled somewhere and could only take the albums of one Beatle from the 70s, while I do not even hesitate. George Harrison all day.

If you said 45s, singles, indeed, Paul would win. Not even close. But I have always been an album guy.

All photos are from The Record Room’s personal collection.

This is not just any list, mind you. Indeed, no. The Record Room is going for the gold now. Targeting two immensely popular, yet polarizing topics. Albums, and the decade of the 80s.

Music in the 80s is, well, music in the 80s. But it is my music. The 80s was the first decade I experienced from start to finish. It was late in 1980 where I had two life-changing experiences. The discovery of Bruce Springsteen, and the death of John Lennon.

But the early 80s was also when I first heard ‘rap music.’ The 80s is when I thought I was the coolest person in the world when I was given a Michael Jackson Glove as a party favor from a birthday party. In the 80s, I also discovered Prince was so much more than that English dude that everyone made a fuss about getting married on TV.

The 80s was the decade where I obtained an abundance of 45 singles and albums. As far as I was concerned, musically, the 80s was the decade that had it all.

It is impossible to narrow down the best albums of the decade to just 20. Still, The Record Room pulled it off. After all, we do things, as John F. Kennedy once stated, not because they are easy…

Some of these albums have been with me from day one, some have come into my life much later than its release date, but all are worthy of representing the decade. Opinions will differ. However, the next time I meet a person who writes a list for the sole purpose of having everyone agree with it, would be the first time. THE WHOLE PURPOSE OF LISTS IS TO CREATE DEABTE…shhh…do not tell anyone!

While taking apart my list, please examine the criteria I used formulate the list. First, for me to consider the albums, they had to be released between January of 1980- August of 1989. I felt that anything released after August of the final year of the decade became problematic to consider. I also considered the following points when considering the best albums of the 80s

Impact, especially on its genre

Sales/hit singles

Were the opening tracks epic?

Did the final tracks make the album memorable?

Did the album produce memorable music videos? In the 80s, the videos attached to an album packed a lot of weight

Powerful lyrics

Sustainability

Did the album have a plethora of earworms?

Album cover

Only the best of the best checked all of these boxes, but all the albums of my top 20 had multiple checkmarks. Let us take a look:

20. Rapture by Anita Baker (Released March 20th, 1986).

A sweet soulful voice backed by a tight band. Memorable tracks, a bunch of sales and Grammy Awards. What I love about this album is that it is just enough. In a decade where decadence was fab, everything had to glitter, and excess was the norm, Rapture was none of that, yet it was still a fantastic album that has gotten better with age.

Favorite song: Same Ole Love (365 Days A Week)

19. 1984 by Van Halen (Released January 9th, 1984).

From the album cover to the big sound, and over the top videos, this album is the complete antithesis to Rapture. But it works in every way. Indeed, only in the 80s can a baby angel with a pack of cigarettes be on the album cover. David Lee Roth’s final album with Van Halen Jump-started what may very well be the best year ever for Pop Music. And it even bares it name. If you need further convincing, not just any piece of creativity can steal from George Orwell and make it their own!

Favorite Song: I’ll Wait

18. Empty Glass by Pete Townsend (Released April 21st, 1980).

The signature solo work from the driving force of The Who. It is by far his biggest selling solo album in the United States. This album is great because it emphasizes two points.

First, just how great Pete is as a musician. Vocals, lyrics, and guitar riffs are all intrinsic, as well as heavy on the earworms. With one of the signature songs of the decade anchoring the ten-track showcase.

Two, just how underrated Pete Townsend is. Rarely do I ever see him in the top ten best guitarists, or songwriters, and this album shows he is indeed both. The album itself always fall short in the rankings by other albums of the same genre. Albums where it is painfully obvious, they are inferior. Empty, if you will, compared to Empty Glass.

Favorite Song: Let My Love Open The Door

17. Master of Puppets by Metallica (Released March 3rd 1986).

In a year that saw the pop charts saturated by soft, sappy, ballads-one pundit once quipped that the edgiest song on the charts in 1986 was Dancing on the Ceiling (I cannot remember his name)- Metallica released the gold standard for heavy metal music. An honor that still holds true today.

Other albums sold better. Other albums had hits. Other albums won awards. But no other album was as perfect and meant more to the genre. And if you focus on the lyrics, the message behind the groundbreaking music, the listening experience is enhanced exponentially.

Favorite Song: Disposable Heros

16. Raising Hell by Run-DMC (Released May 16th, 1986).

Another album from the ‘soft-song’ year. Indeed, Run-DMC is widely recognized as a groundbreaking Hip-Hop act. Indeed, their first two albums are gifted with tons of accolades. Indeed, those two albums would fit like a glove on any list. However, I believe their third album is their best, and one of the defining albums of the decade.

Raising Hell plays better as a complete album. Rasing Hell has the superior opening track. Raising Hell has the crossover hit. Indeed, Aerosmith should still be sending thank you gifts to Run-DMC today.

Favorite Song: Raising Hell

15. Around the World In a Day by Prince and the Revolution (Released April 22nd, 1985).

While this album was not the juggernaut Purple Rain was, I think that was the point, it is in many ways Prince’s boldest album release of the decade. Instead of going the same route as Michael Jackson and Bruce Springsteen, milking their gargantuan albums with an abundance of singles, Prince pivoted from the just as popular Purple Rain, and quickly released this album. An album that seemed to be a deliberate shift in craft.

Still, ATWIAD checks most of the boxes. Great lyrics and music, hits, fantastic album cover. And, as with many of Prince’s 80s albums, fans are provided with a truly immersive experience with trying to read the cumbersome, albeit creative, font of the album and inner sleeve.

Favorite Song: America

14. Tunnel of Love by Bruce Springsteen (Released October 5th, 1987)

Unlike Prince, Bruce took quite a bit of time to follow up his life changing album. The result was… all good things come to those who wait. While Springsteen deliberately tried to craft an album that would not have the pop impact of its predecessor, The Boss still made an impact on the music video scene and had one of his biggest hits with Brillant Disguise.

An album which is heavily guided by the man’s marital issues. Despite having one of the weakest opening tracks on a Springsteen Album, Tunnel of Love contains some of the best songwriting in music history.

Favorite Track: One Step Up (I would love to see it back in concert!)

13. It Takes a Nation of Millions to Hold Us Back by Public Enemy (Released June 28, 1988)

Substack fans can check out Tune Tag with me to get a deeper look of what this album meant to me. Public Enemy’s second album was to Hip Hop music as Metallica’s Master of Puppets was to heavy metal. Both albums containing an edgy political message on top of a groundbreaking sound.

Chuck D established himself as one of the best writers of the genre, but the album would be a shell of itself without all of the moving parts in place. Flavor Flav, Terminator X, and Professor Griff round out one the most potent Murder’s Row of Hip Hop. Your parents might not have approved, many probably still do not, but we can all see what greatness can come out of defiance, resistance, and innovation.

Favorite Song: Bring The Noise

12. Invisible Touch by Genesis (Released June 6th, 1986)

Often, there is a stigma that comes with an album that produces a lot of hits. Especially from a band/artist that has seemed to shift from what they once were. I can make an argument that this album suffers from that stigma more than any other. I now ask, what is wrong with loving hits? Why does this album not get the critical love it deserves?

Invisible Touch has it all. Great cover. Great music videos (even one featuring Benny Hill). Great opening track. And hits. Tons of lovely hits. And for veteran Genesis fans, side two features the epic Domino, and the Brazilian. Which is, dare I say it, one of their best instrumental tracks. One last question, how the heck did In Too Deep not make it to number one? In my opinion it is a superior song to most of the solo songs that went to the top for Phil Collins.

Favorite Song: In Too Deep

11. Control by Janet Jackson (Released February 4th, 1986)

Not Janet Jackson’s first solo album, but the first album where she had some…do I need to say it? The result of Miss Jackson’s independence is one of the best artifacts in pop culture. While contemporaries, such as, Whitney Houston, Madonna, and Tina Turner all are better singers. Probably all had better hit singles. Control was the most perfect album of its ilk.

The music videos fit perfectly with the hits. The track placement is perfectly balanced. Blending a light, good time, with heavy themes, such as female independence, and the pressure of losing your virginity. Feel free to criticize this listing and name a more fitting album. But on top of everything else, none of those acts also had the added pressure of being Michael’s sister. Indeed, Control is so good, it makes you forgot her powerhouse sibling for a little while. Not easy.

Control should have won album of the year. But Grammy opted for Paul Simon’s Graceland instead. An album that features no top ten hits. Because, you know, Mr. Simon had not been recognized enough at the award shows!

Favorite Track: What Have You Done For Me Lately

10. Nebraska by Bruce Springsteen (Released September 30th, 1982)

Nebraska certainly represents the boldest album on this list. At a time when Bruce was one the cusp of super stardom, the decision to pivot to an album that would be perfect strangers to Top 40 music was… let us say, gutsy. Apart from no foreseeable hits and a less than robust marketing strategy, an argument can be made that Nebraska was even a distant cousin to the type of music and exposure Springsteen fans first fell in love with. Still, Nebraska is one of his most beloved albums. An album revered enough to produce its own book and film.

With that being said, Nebraska was not absent from all things pop culture at the time. The song Atlantic City did have a music video made, albeit Bruce did not appear in it, which did make the rotation in MTV. At a time where all MTV did was play music videos, that dynamic of Nebraska I feel gets underplayed a bit. It had to help immensely with exposure.

Still, the success of Nebraska is mainly contributed to the man himself. All of what makes Bruce great exists on this album. Not only his songwriting, but his ability to connect to everyday people bleeds all over this album. Despite never being the working man himself, Bruce has an uncanny ability to touch that pulse. And while Bruce is one of the best songwriters ever, that skill would not mean as much without the delivery of his underrated vocals. There were no do overs for Nebraska. No fixing or mixing in the studio. I mean they tried that, but Bruce did not like it.

The attempt in the studio did not click. But how could it? The demo tape was indeed a tough act to follow, and that only happened because of the man’s voice. It should finally be time to also give Springsteen his due as a singer! Nebraska demands it!

Favorite Song: Highway Patrolman

9. Sign o’ the Times by Prince (Released March 30th, 1987)

Prince’s double album gets better with age. This is not to say it did not get its due upon its release. The album was nominated for Grammy’s top prize and had two massive hits. Still, it was Prince’s lowest charted album since his breakout 1999 album. The title track was bold. Addressing the AIDS virus head on. While U Got the Look gave us the fun side of Prince.

However, the magic of this album lies in its deeper cuts. The Cross, Housequake, and The Ballad of Dorothy Parker do a great job of covering all of the bases that is Prince. Showing the world just how diverse he was with lyrics, instruments, and vocals. And that is just the tip of the iceberg.

It took me a while to truly appreciate this album in a way that it was meant to be. Truly one of the best double albums of all time.

Favorite Song: The Cross

8. Cloud Nine by George Harrison (Released November 2nd, 1987)

The discography of The Quiet Beatle in the 80s is an interesting study. It began with an album that was anchored by a tribute to John Lennon (Somewhere in England). Followed by an album that was sabotaged from the start by George himself (Gone Troppo). What followed was a decision to disappear from music for close to five years. Much like fellow bandmate Lennon in the 70s.

As with Lennon, George came back with a vengeance with Cloud Nine. It was George’s best charted album in the US since Dark Horse. Anchored by one of the biggest hit singles of 1988.

But the true beauty of this album lies in the underbelly of the grooves. The album kicks off with the impressive title track. Side one also provides fans with an intriguing three piece of Fish on the Sand, Just For Today, and This Is Love. George ends side one with a mini hit, When We Was Fab. A song that addresses his days as a Beatle. Accompanied with a fun music video.

Side two is bookended with The Devil’s Radio, a concert favorite, and the smash hit, Got My Mind Set On You. Including another music video that received a heavy rotation on MTV.

Cloud Nine might not be the first album you think of when listing a top ten list from the 80s. But like George’s complete body for work. It deserves a deeper look and more consideration as one of the decade’s best.

Cloud Nine was released late in 1987. Making it a big part of the music scene of 1988. What many consider as a down year for 80s music. But the beauty of Cloud Nine is, not only does it hold up today, the sound of the album could also have fit in at any point of the decade. And for that matter, the 70s.

The most late-80s thing about Cloud Nine is the shirt George is wearing on the album cover. Otherwise, it is an old shoe that would fit comfortably in any era. The success of Cloud Nine was also responsible for the creation of The Traveling Wilburys. Nuff said.

Favorite Song: Just For Today

7. The River by Bruce Springsteen (Released October 17th, 1980)

The greatest double album of all time. Much has been said about how Bruce has pivoted whenever his albums have had great success, to a sound not as in keeping with the mainstream. While this is true, The River is the antithesis of that dynamic. Conversely, The River is a product of the fact that Bruce did not think his initial album intended for release in 1980 was enough.

Indeed, Bruce was well aware of what his bank account looked like at that time and wanted to increase those numbers. The initial single album was not the stick of dynamite he was looking for. However, instead of just diving into the mainstream pool, selling out is how many might refer to it, Bruce Springsteen remained true to himself. Focusing on giving his fans an album much like his renowned concerts. Dare I say…Mission Accomplished.

As an album, The River delivers on all fronts. A great opener in The Tides That Bind on the first album. And the epic Point Blank kicking off album two. The River and Wreck on the Highway are gut-wrenching closers for each album.

In between there is everything you can ask for. Love songs, tales of struggle, and good ol’ jammers. The River pulls at the strings of your emotions without stopping for a breath. And all the while it is anchored by the unbelievable, underrated, Springsteen vocal. Steven Van Zandt felt he needed to speed up Bruce’s vocals on Hungry Heart for the album. However, the true essence of that song is when Bruce sings it live. No studio tricks are needed there.

Favorite Track: The River

6. New York by Lou Reed (Released January 10th, 1989)

Had I decided to make a list such as this prior to 2025, New York would not have been listed. I would not have even know this album existed, Therefore, some may say including an album on a list of the best of the 80s, that I did not even know existed back when it was released, is cheating. Well, if you feel that way, call me a cheater!

New York is such a great, important album, it does not matter when you have discovered it.

While New York hits the pulse of New York City in the late 80s as good as a piece of music can, the album does not sound dated at all. Reed treats us to a perfect blend of lyrics and sound. Overly conscious of not drowning out the coveted lyrics with over production. Yet, not scrimping of the Lou Reed sound. That musical edge that very few can equal.

Lou Reed is a great storyteller, and New York is the quintessential example of that. For a much deeper dive into New York, check out my post on new additions to The Record Room.

Favorite Song: Sick of You

5. Born In The USA by Bruce Springsteen (Released June 4th, 1984

Probably not to the same degree, but this album also suffers from the Invisible Touch Syndrome. Diehard fans allergic to the hits. It is an odd dynamic because, on one hand, if you ask a loyal Springsteen fan to list their top five albums, I do not see BITUSA listed much. If you ask them to list their favorite songs, they often do not mention any on this album. In fact, many fans would prefer not to hear many of these songs played in concert. Especially Dancing in the Dark. I belong to a lot of Springsteen groups on social media; therefore, I do not think I am speaking out of turn.

Yet, on the other hand, whenever Dancing in the Dark is played in concert, and it always is, absolutely nobody is sitting on their hands. Everyone is out of their seats, and the place is in full euphoria mode. The reception for any song on this album that is played in concert is grand. Still, there is not much praise for it from fans on the socials. I do not get it.

However, does it really matter?

Deep down we all know what this album is. One of the best of all time. Great opening track, many hits, formidable music videos, an abundance of earworms, and great story telling. Bruce does not hold back on his thoughts about veterans but also gets very personal on various fronts.

Born in the USA makes you think, makes you rock, forces you to self-reflect, and asks us the tough questions. Where, indeed, is your daddy?

Favorite Track: Dancing In The Dark (someone has to say it)

4. Straight Outta Compton by N.W.A (Released January 25th, 1989)

In the world of Hip Hop in the 80s, it would take a lot to top the greatness of It Takes a Nation of Millions to Hold Us Back. Indeed, what would it take to best Public Enemy’s masterpiece?

Answer:

An album that makes It a Takes a Nation seem mild by comparison.

An album that would turn the establishment upside down yet speak to so many people at the same time.

An album that features the greatest collection of talent in the world of hip hop, and arguably in all of music.

Indeed, the only negative about N.WA.’s debut album, is the sadness attached to it. We never got to see it again. N.W.A only made one other album, and that album did not feature Ice Cube**. I wonder how often fans, as well as the members themselves, think back and wonder why the band could not have stayed together. Even just for a touch longer.

Is it because something that fantastic, yet combustible, could not last? Indeed, N.W.A. scared the, you know what, out of the establishment. And while the individual members went on to have great success, especially Dr. Dre & Ice Cube, they never, as Bono once put it, tried to f*** up the mainstream, quite as effectively as they did when they were together. As solo artists, it was almost like they became the mainstream, albeit while still managing to slap it in the face a little bit.

Conversely, Straight Outta Compton was a clear punch in the face. A combination of Joe Frazier’s left hook, Marvelous Marvin Hagler’s right jab, and Rocky Marciano’s right cross all rolled into one.

An aggressive message that what was happening was not okay. You cannot contribute to creating the characters and not giving them the chance to breath at the same time. N.W.A showed those who were lucky enough to not have been part of that world that a devil with a badge is much worse than the devil of the streets.

Because the devil with the badge not only made the devil of the streets, but they also take, oppress, and abuse them for sport. All when they already have all the advantages. You know, just like they are doing now.

You get all this from Straight Outta Compton. N.W.A manage to pull it off with humor and a sound that will have you shaking your ass at the same time.

I must say, the powers that be must have been elated that these guys could not get along. Because had N.W.A. were able to continue to get that message across…well, we can all ponder.

Favorite Track: Fuck tha Police

3. Tracy Chapman by Tracy Champman (Released April 5th, 1988)

One of the best albums of the 80s. One of the most important. The absolute best debut album…ever. From start to finish not many albums have been better. And if we are going to be honest, Tracy herself has never come close to being better. Do not get me wrong, her other work is good. It is just not close to the work on this album.

Indeed, when you are that great out of the gate, the pressure is on. It is kind of like your first-born being Bruce Springsteen. Or if young Stevie Wonder started off with Songs in the Key of Life. 1978 being Ron Guidry’s rookie season. Typically, you have to work on your greatness.

Of course, the biggest crime of all is Tracy Chapman did not win album of the year. While there is nothing wrong with George Michael’s Faith, indeed it had more hits, multiple number ones, all of that, it does not come close to the stature of Tracy Chapman.

It is interesting that Grammy went with the album with the superior Top 40 resume in Faith for the year of 1988 in music. Yet, they did not go that route in 1986, when they chose Graceland over Control. Graceland, mind you did not have any top ten hits, and its peak position on the album charts was number 3. While Tracy Chapman did have a top ten hit and the album peaked at number 1. Why were the Grammy’s not consistent in their philosophy in years that were so close together*

I will leave that for you to answer.

I will spend my time listening to Tracy Chapman. Whenever I do, I sit down with the inner sleeve and read the lyrics. Each time, I discover something new about the album.

Favorite Song: Mountains 0’ Things

Thriller by Michal Jackson (Released November 29th, 1982)

It would take a monumental album to top Tracy Chapman. Our top twenty has two such albums. The first one being Thriller. The album that established Michael Jackson as being so much more that what he was perceived to be pre-Thriller.

Pre-Thriller Michael was seen as a credible pop singer. The cute kid who was the anchor of the Jackson Five. Then later, The Jacksons. Off The Wall was basically what you would expect from Michael minus his brothers. The public had some taste of that already. But with Off the Wall Michael was becoming an adult.

When Thriller came out, however, Jackson completely shattered the ceiling, even for him. And we are not just talking about sales. We are talking about craft. We are talking about song-writing genius that is Beat It, Billie Jean, and Wanna Be Startin’ Somethin',’ one of the greatest opening tracks ever. Michael wrote those songs and probably receives zero credit for that.

Michael also wrote The Girl Is Mine for the album. While that song is mediocre compared to the other three, Michael was smart enough to recruit a Beatle for enhancement. By the way, The Girl Is Mine was released prior to the album being released.

With Thriller we are also talking about the artwork inside. Yes, Michael drew the artwork.

With Thriller we are also talking about the groundbreaking Music Videos. Prior to Billie Jean, MTV did not show any black artists in their regulation rotation of videos. Beat It brought the gang life of the Crypts and the Bloods to the living rooms of many for the first time. Then there is Thriller, the grandaddy of all music videos. But with Thriller and the music videos, there is also the odd decision of not making a video for a lot of the singles.

Thriller is groundbreaking for the number of singles that were released for the album. Michael released seven singles for Thriller. Prior to that, an album releasing four singles was a bold move. Yet only three music videos were released along with the singles. Bruce Springsteen also released seven singles for BITUSA and made five music videos for those songs.

Nonetheless, the fact that Thriller contained just nine songs makes the number of singles released even more impressive. But the album deserves to be heard from start to finish.

Favorite Song: Billie Jean

1. Purple Rain by Prince and the Revolution (Released June 25th, 1984)

There were only five albums to reach the top of the Billboard Charts in 1984. Three of them are on this list, Born in the USA, Thriller, and the best album of the 80s. The slight difference between Purple Rain and Thriller is that Purple Rain could have went the route of Sgt. Peppers Lonely Hearts Club Band (Focusing on the concept of the album and not releasing any singles) and it would not have skipped a beat. Springsteen’s Dancing in the Dark would have also been a number one single. However, not releasing singles in the mid-80s was unheard of.

Purple Rain also slightly separates itself from Thriller with the superior opening and closing tracks. Starting off with Let’s Go Crazy and ending with Purple Rain is as good as it gets. Only Springsteen’s Born to Run and Darkness on the Edge of Town are its equals.

Purple Rain is the perfect blend of R & B, Pop, Rock, and experimentation. It also had its share of controversy due to some risqué material at the time. I for one was not allowed to listen to Darling Nikki in front of my parents.

A perfect album in every way. Purple Rain is the best way to represent the decade.

Favorite Song: Purple Rain

* In 1987, Grammy chose The Joshua Tree by U2. An album that had hits, and much critical acclaim. however, it beat out albums that had many more hits by Michael Jackson and Whitney Houston. In 1989, the album of the year was given to Bonnie Raitt’s Nick of Time. An album with high acclaim, but no Top 40 hits. So, in that four year stretch, Faith was the only album chosen that was purely based on the amount of hit singles it had. Go Figure, Father.

** N.W.A and the Posse was released in 1987, and later as a reissue in 1989. But The Record Room does not recognize that as a full N.W.A studio album. For one thing, it did not have the full N.W.A lineup that was featured in Straight Outta Compton. MC Ren and DJ Yella were not in the group yet. That album also features songs from other acts. Therefore, Straight Outta Compton is the only N.W.A album that featured the full lineup.

George Harrison was a great gift to mankind. His death was an untimely curse. The music he created, however, will live forever.

George was a gifted guitarist at a young age. So much so, it got him an invite to be the lead guitarist in a group anchored by a couple of lads named Lennon & McCartney. Forever linking him to two of the most gifted musicians ever. Such a link makes comparisons impossible to avoid. And any George Harrison fan will be the first one to tell you that he can hold his own with any comparisons to John & Paul.

How that happens exactly is a bit of a mystery to me. If we are going to be brutally honest, and I risk a lot of flak from Harrison fans by saying this, but George was nowhere near as charismatic as Lennon and McCartney. He did not have anything close to their aura, nor does he possess as good a singing voice as, George Martin once said, ‘the other two.’

Still, in my humble opinion, George’s body work is just as good, if not better than those powerhouses. In the near future, I will map out why George Harrison has the best solo career of all The Beatles. And while his song catalog with The Beatles is minuscule compared to John and Paul, the top-heavy quality of his Beatles songs makes him just as formidable in the Beatles lure.

Something, Here Comes the Sun, and While My Guitar Gently Weeps are top ten staples of any fan poll. and it is not out of the question to see all three of these songs penned by George in the top five of any given polls from the fans.

Imagine (pun intended), how many more Beatles favorites George would command if John and Paul were more open to giving ‘The Quiet Beatle’ more real estate on the grooves?

One of those songs could have been All Things Must Pass. Which happens to be the song that is the main topic of discussion here.

When we hear those words, All Things Must Pass, we all think of the incredible triple album that skyrocketed George’s post-Beatles career. But how often do we spend time giving the song itself its due? How often do we discuss it as a marvelous sample of songwriting. I do not think nearly enough.

One of the first things that comes to mind when listening to that song is, how in the world did it get left off of a Beatles album?

Were John and Paul that clueless? Or was it that they were too selfish? Perhaps they knew how good it was and were intimidated into passing on the song? It is literally anyone’s guess. Literally.

Having said that, John Lennon and Paul McCartney were not the only ones who severely underrated All Things Must Pass. George Harrison and his team also mistreated this gem.

How else can you explain not releasing the song as a single? Granted, My Sweet Lord, and What Is Life were fantastic choices for singles. Still, there was no room for one more, on a triple album?

The snubbing of All Things Must Pass continued in 1976 when it was left off the Best of George Harrison compilation album.

Really? I will ask again, what am I missing?

Let me tell you how All Things Must Pass would be perceived in my alternate universe:

I am not going to hallucinate and think that there is an alternate universe that exists where the egos of Lennon and McCartney would have allowed All Things Must Pass placed on a Beatles album.

Indeed, not. Besides, any attempt to change John and Paul risks absorbing the beauty of what they were. With geniuses, you have to take them as is, as well as all the shrapnel that comes with them.

Instead, the alternate universe of The Record Room has All Things Must Pass released as a single, making the top five, and being nominated for both Song & Record of the Year. Years later, the song would make the top 20 of Rolling Stones magazines best songs list. Philosophers, poets, doctorates, and the like, would write papers on the song. Giving it much more justice than I ever could with my mediocre writing.

In my world, All Things Must Pass is that great. it is that important. It should be that celebrated for its significant impact on pop culture and beyond. Again, I am talking about the song, separate from the fantastic album of the same name.

The catalog of George Harrison is not only superlative, it is best appreciated and absorbed by the thinking person. However, I do not think George’s body of work would be considered as dense without this one song. We should all start recognizing and appreciating this song for what it is.

It was not that long ago that I stacked about a tour with The E Street Band did not appearing to be in the cards for 2026. So much for that!

Indeed, Bruce will bring his Land of Hope and Dreams Tour to the United States. A small, for his standards, arena tour at select cities across the country.

Now, I am not going to get into the circumstances attached to the tour. Those who are not on Bruce’s side will never be. They will either go down with the ship that Bruce thinks the Orange Con is taking us, or they will gloat if somehow this guy being President is the best thing to ever happen to the United States. The latter is very unlikely, but the Orange Con will certainly do his part in selling such science fiction, and those who hate Bruce for doing what he is doing will likely buy it.

Instead, I want to focus on two dynamics that flood the craniums of any Springsteen fanatic once a tour is announced. Will I be able to score tickets? What is he going to play?

First, the ticket hunt. It was a huge disappointment trying to get tickets for this tour. I am not talking about the cost of the tickets. Bruce is entitled to charge what he wants, and he is not charging any more than other big acts are asking for these days. Expensive concert tickets are just the nature of the beast.

Could Bruce have turned off dynamic ticket pricing? Indeed, he could have. Am I a bit disappointed he did not? Of course. However, Bruce is very generous when it comes to paying everyone who contributes to the concert and is one of the most giving celebrities. Philanthropy should be his middle name. Therefore, I refuse to line up with so many that pontificate that Bruce is greedy.

Does he want to get paid? Well, he never really hid that he did not. But he makes sure others around him also get paid extremely well, and he cares immensely about charity. Unlike… let me stop!

With that said, the process of getting tickets has to change. For the shows I tried to get, over 90,000 people were ahead of me in the que. In some cases, over 100,000. Which has nothing to do with how early you tried to get into the Ticketmaster waiting room. Ticketmaster uses some random process to place people in their queue for tickets.

Now, had a bunch of diehard Springsteen fans, dare I say, Springnuts, beat me to the punch to get tickets, it would not sting as much. However, this was not the case.

As I am finally getting into Ticketmaster, only to see a handful of tickets left to buy, which are over 1,000 bucks apiece, a plethora of tickets appear on the secondary markets for outrageous prices. If that were not bad enough, a bunch of tickets appear on Ticketmaster as verified resale for an outrageous amount, not long after tickets went on sale.

The process to buy on Ticketmaster is clearly broken. Too many people are getting their hands on tickets who have no intention to go to the show.

Why do we stand for this? What can actually be done about it? What are the politicians doing about it? Indeed, with a real effort, I do not think it would be too heavy a task to ensure that less tickets get into the hands of ‘online scalpers.’ But lots of luck getting these elected officials to do anything to really benefit the blue collar. They never have issues getting tickets themselves, so why would they care about us?

The other thing, and main thing, on the minds of fans is, as Bruce said it himself, ‘oh the setlist!’

What will he play? How stagnant will it be? Will I finally get the song I am chasing? How often will he play Jungleland? You know, the important stuff.

Going in, fans should have an idea of what Bruce is going to play. Which is not at all uncommon for any tour. This tour is going to be heavy on the political pulse of the country. Also, we have a version of this tour from last year in Europe as a reference. After all, the tour is literally the same name as the European tour. Literally, indeed.

A major difference will be that Streets of Minneapolis, the new song, was not yet written. We anticipate that to be a staple on these shows. Another staple is that it was recently announced that Tom Morello will be a guest on every show of the tour. This announcement should further illuminate what we are going to hear.

When it comes to setlists, I am glad to hear anything that is played. For the most part, anyway. While I can honestly say that there is not one Springsteen song I do not like- a true story- there are some songs I think I have heard enough. I will be perfectly fine with no Kittys Back, E Street Shuffle, She’s the One, Wrecking Ball, Because the Night, or the majority of the Born In The USA tracks.

It is not like I do not like those songs, it is just that I have heard them all many times and would love to hear something different.

For each show that I attend, I hope to hear two or three songs live that I have not before. That is not a lot to ask for. Is it? So far, I have been fortunate enough to experience that.

With that being said, Born In the USA itself is the interesting one. Many fans are asking if that song will be a heavy part of the rotation. While it has not been for shows with the E Street Band in the United States in recent years, some seem to think it will fit this time around in, the USA! I would lean more towards, no. He may play it once or twice. He typically does in the US, but not much more than that. Let’s see.

If I had only one choice to pick a song that I am chasing that song would be…

Lost in the Flood.

It is a song that I have never heard live. It is a song that is in my top five. It is a song that would not be out of place on this tour. Please, please, please!!!

Now, let me provide you with a setlist that could be heard on this tour. Part of my setlist is pure prediction, based on the message of the tour, as well s what he played last year. But part is just pure wish list on my part. Songs that I would really love to hear, yet, a pure fantasy. I think most of you can identify which is which.

Here it goes.

1. Hitch Hikin’ (Bruce comes out alone and plays it acoustic)

2. Land of Hope and Dreams

3. Nebraska

4. Death To My Hometown

5. Working On A Dream

6. Rainmaker

7. The Promise Land

8. Lost In The Flood

9. Cadillac Ranch

10. Human Touch

11. Youngstown

12. 41 Shots

13. Long Walk Home

14. Streets of Minneapolis

15. Racing In The Street

16. House Of 1,000 Guitars

17. My City Of Ruins

18. Ramrod

19. Because The Night

20. The Rising

21. Badlands

    Encore

22. Thunder Road

23. The Ghost Of Tom Joad

24. Born To Run

25. Rosalita

26. Dancing In The Dark

27. Tenth Avenue Freeze Out

28. Power To The People

29. Chimes of Freedom

What would your setlist be?

Let’s hear it!

Lou Reed’s New York is the second boxset I was gifted for Christmas. In case you missed it, you can look back at the older posts to see the addition of the STP Core Boxset.

One of the best things about loving music, as well as having an eclectic music taste, is that there is always going to be more music that you have not heard than music you have listened to. More albums that you do not have than what you do. Although, that one can be financially challenging. Still, you are never going to run out of exposure. There will always be options. The well will never run dry.

For me, that running well includes the dynamic of discovering new old music. About 25 years ago, Bob Dylan was a new, yet old, discovery for me. Recently, Lou Reed has become my new, old music obsession. I cannot get enough of his music!

Similar to Zimmerman, I always knew of Lou Reed. A handful of his hits. His membership with Velvet Underground, and how he was seen as, very New York. However, for whatever reason, I never got into his music. Being a native New Yorker, a very proud New Yorker, someone who plans to be a New Yorker for all time, one could question my sanity when it comes to having Mr. Reed absent from my repertoire for so long. What took so long? Better late than never is the only answer I can give.

Transformer was the first Reed album I added to The Record Room. And, I am pleased to say, my Reed collection has expanded nicely in less than a year.

Sally Can’t Dance, Coney Island Baby, Rock and Roll Heart, Street Hassle, Growing Up In Public, The Blue Mask, New Sensations, and Mistrial were all added since the Summer of 2025. The Velvet Underground & Nico, and I’m So Free: The 1971 RCA Demos as well.

All I can say is there are very few things in life that equal the pleasure of dissecting the music and lyrics of Lou Reed. Not even the largest onion has as many layers.

New York might be the best album of his great catalog. I am not sure that it is not the best album of the 80s. But that is a discussion for another time.

Before we get into the music, as with all box sets, we should first discuss the product as a while. Packaging, extras etc. While it comes in a nice, sturdy booklet-type packaging, my only gripe with the product is that it is impossible to get to without removing the shrink wrap and hype sticker. A sad fact that comes with a majority of these box sets.

However, once you open the set, you soon forget your strife and are immediately indulge in the eye candy and content.

First, you see Lou in all his glory. Holding what he might have loved more than anything else in the world, his guitar, in a stunning black & white photo. Accompanied with the vinyl is a booklet with more gorgeous photos, and thoughtful insight from David Fricke.

The album itself is remastered across two LPs and the sound is pristine. New York is also remastered on a CD.

Next, we have the real bliss for Lou Reed fans. A live DVD and CD performance of the complete album, and an extra CD of various goodies.

The DVD is a complete performance of the album, from August 13th, 1989, in Montreal. The CD is once again the complete album performed live, but it is taken from various locations. New York can be heard live in locations such as Washington D.C., Upper Darby, PA, Richmond, VA, and Wembley Arena in London. To hear the album played in different locations is a sweet switch from watching the live DVD performance in one location. Showing fans there was real effort and thought put into the creation of this box set.

And if you needed more, the DVD also includes an audio interview with the man himself, Lou Reed. A man whose commentary when being interviewed is often just as interesting as the music.

Indeed, the music is why this boxset was created in the first place. The music is why the public spent their money. The music is why we are all hear. Indeed, I intentionally spelled it that way. The songs on this album are breathtaking. Really getting to the pulse of the greatest city in the world. Including a relative dose of politics. Which is what Reed intended.

New York City in 1989 was a hot bed of politics. Not much different than now. But instead of a 24-hour news cycle, we had Lewis Allan Reed. Reed begun writing on the heels of the 1988 Presidential Election. How Lou Reed wanted to be included in the wonderful message, which is how he interpreted it, of Jesse Jacckson (who sadly passed away recently). Reed wanted this album to be heavy on the politics, as he was always a man with that polarizing topic on his mind.

While this album was from 1989, Reed’s pollical commentary is still relevant for today. Indeed, Lou was ahead of the curve, being sick of The Orange Con when most people wanted to be his friend…you know, that fraud who happens to be our President? I wonder what Lou would think about that. Okay, enough of that…

From start to finish New York is a musical amusement park. The gift that keeps on giving but also keeps you thinking.

Romeo Had Juliette kicks it off and is one of Reed’s best. Halloween Parade is a product of the AIDS virus at a time when it was seen as a crisis, and, quite frankly, a topic most celebrities would not talk about. As many still saw AIDS as a ‘gay disease’ at that time. Lou was ahead of most. Save for Prince.

The album continues with themes that also might be tough to digest. Still, they are told so eloquently within the music. Before you even get to side two, it becomes evident that this is an album meant to be heard from start to finish. No skips. Lou Reed recognized that and immediately started playing the full album live. Which was not embraced by all fans at that time. However, in true Lou Reed fashion, he did not give a f***

As with just about everything else, Reed was ahead of his time when it came to playing a full album live. An album that had yet to have any legs, at that. Years later, Bruce Springsteen adopted the concert of performing albums from start to finish in concert. But every single one of those albums were iconic as far as his fans were concerned. New York had yet to have that type of affection when Reed wanted it out there.

Today, it would be unthinkable to have the Lou Reed canon without New York. Indeed, the live performances are a major part of the legend. This boxset would not be the same without it. I do not think it is a stretch to say such a box set would not have even been made without the ingredient of the full album performances.

Romeo Had Juillet, and that ended tragically. Lou Reed had New York City and…. we all had Lou Reed, and the only tragic part of that is we only had him for such a short period of time.

Nevertheless, we are lucky to have had him. And his music will never die. I am grateful that I finally discovered him. And this boxset is a must for all fans, and a welcomed addition to The Record Room.

Overall rating 9.5/10. The half point is for not having to remove the hype sticker to get to the content. Yes, it matters!!

All photos are from my personal collection.