Bob Dylan:  Blood on the Tracks (1975) A return to the complex imagery of his best 60’s rock songs but with simple acoustic arrangements.

U-2: The Joshua Tree (1987) The first “side” are all instant classics, the second had all their best album cuts.

Dave Matthews Band:   Under the Table and Dreaming (1994) I was the first radio guy, outside of Charlottesville to play this, long before it’s official release and it was great to see how it exploded commercially creating the modern standard of the jam band. 

DeVotchKa;  How It Ends (2004)  One of my first Out of the Box discoveries, it is a stunning, highly underrated collection of perfect songs in what they now call the “gypsy Rock” genre.

REM:  Reckoning (1984) Early REM when they were still enigmatic and unpolished but with explosively acoustic rockers.

Lucinda Williams:  Car Wheels on a Gravel Road (1998) Taking Country-Rock to a new level with a voice like Dylan and songs to match him word for word.  

The Decemberists: The Crane Wife (2006) Tales of Civil War soldiers, star crossed lovers and axe murderers performed by earnest folk-rock traditionalists.

John Prine:  John Prine (1971) One of the most impressive debut albums ever, practically every song is not just a classic but a standard.

Elvis Costello:  My Aim is True (1977) Proof that punk rockers could write great songs, another amazing debut considering it was recorded with a pick up band.

Stevie Ray Vaughan:  Texas Flood (1983)  His impact on blues players of a new generation can’t be underestimated,  his Buddy Guy meets Jimi Hendrix style was introduced in this first album of his far too short career.

Death Cab For Cutie:  Narrow Stairs (2008) The bright vocals and the band’s upbeat, tight performance makes up one of indie rock’s smartest releases.

Creedence Clearwater Revival:  Cosmos Factory (1970) The fifth of five albums they released within a two year period, this has the best mix of hit singles, cool album cuts, funky cover songs and long jams!

Steve Earle:  El Corazon (1997) Mature songs dealing with social issues and personal struggles and the sweetest roots-rock of his large cannon of recordings. 

NRBQ: At Yankee Stadium (1978) It’s not a live album, they were pictured in the empty stands of the ballpark on the cover giving you a great introduction to the humor and wackiness of “American’s Best Bar Band.”   

Los Lobos:  Kiko (1992) I was a fan from the beginning but the sophistication of arrangements on this album blows away all  preconceived notions about Hispanic rock and roll.

Little Feat:  Sailin’ Shoes (1972)  Lowell George’s quirky songwriting, vocals and guitar work came together fronting one of the most funky, eclectic, and humorous bands of the seventies.

John Hiatt:  Bring the Family (1987) With a band that would later become Little Village, Hiatt’s songs are the most consistent, compelling and wise of all his albums.

Michelle Shocked:  Arkansas Traveler (1991)  A cozy collaboration of string band players and Shocked’s contemporary interpretation of bluegrass and old timey folk music.

Grateful Dead:  One From the Vault  (1991) I originally recorded this 1975 show on an eight track tape recorder from a radio station broadcast, wore the tape out and despite all the other bootlegs, still consider it their best live performance. 

Jackson Browne: For Everyman (1973) A definitive “Southern California” rock album from the picture of his Spanish style hacienda on the cover to the title cut, one of the best songs ever written about the apocalypse.

Dire Straits: Brothers in Arms (1985) Released at the height of the cd revolution, you could get longer versions of some of the songs on the cd; it’s a flawless collection of commercially and critically acclaimed rock.

Red Hot Chili Peppers: Stadium Arcadium (2006) A mighty impressive double album set that gives you a taste of every style they mastered over the years with all new songs and no filler!  

Rockpile: Seconds of Pleasure (1980) I used to record mix tapes alternating Dave Edmunds songs with Nick Lowes’s (it was the same band on all of their albums) so when they finally released an “official” album I was all over it.

Eagles:  Desperado (1973) A concept album about the similarities between touring rock bands and gunslingers of the old west, a “before they went commercial” peek at a great Country-Rock band.

Talking Heads: Stop Making Sense (1983)  One of the best live album/movie’s of all time with the band in stripped down mode; the opening acoustic version of “Psycho Killer” is unforgettable.

David Lindley:  Very Greasy (1988) His freakishly high voice is perfectly suited to the kooky ska/mexicali arrangements of covers and originals making it a perfect party record.

Amazing Rhythm Aces:  Too Stuffed to Jump  (1976) One of the most underrated Country-Rock bands of the seventies, their quirky singing and picking are heartfelt and funny at the same time.

Beat Farmers: Tales of the New West (1985) The short lived original lineup of this obscure band rocked with honky tonk abandon and Country Dick Monatana's low, low voice added just the right comedic touch.   

Muddy Waters: Hard Again  (1977) With Johnny Winter's hellacious guitar and background "shouting",  this blues legend had his best back-up band ever...and he's had a lot of great back-up bands.

Nighthawks: Open All Night (1976) Disciples of Muddy Waters' electric blues, this long time D.C. area band delivered an amazing set of bar room blues classics for neophytes and purists alike.

Tom Waits:  Nighthawks at the Diner (1975) Eschewing the pretty arrangements of his earlier albums, this double live set established his now trademark dramatic cabaret experimentation.

Nil Lofgren:  Nils Lofgren  (1975) On his first solo cd after breaking up Grin, Nils provided a tight, punchy set channeling his Keith Richards muse with classics like "Back it Up" and "Keith Don't Go." 

Jesse Winchester: Jesse Winchester  (1970) Another overlooked seventies masterpiece, it was recorded in Canada where he fled to avoid the draft and the sincerity of these folk and rock originals drip with homesickness.

Marshall Crenshaw: Marshall Crenshaw (1982 ) His power pop/rockabilly style was heavily influenced by Buddy Holly and for this one album at least, he was his equal.

Rod Stewart:  Every Picture Tells a Story  (1971)  Stream of consciousness lyrics, songs with no hooks, a ferocious rock interpretation of a soul classic ("I'm Losing You") Stewart and Ron Wood redefined the dynamic of the Jagger/Richards rock model.

Tom Petty:  Full Moon Fever (1989 ) Along with his Heartbreaker guitarist Mike Campbell, Petty's first solo album sounded just like his band's albums, but with better songs.

Peter Gabriel:  So (1986) The perfect balance of early Genesis-like artiness and futuristic funk-rock.

Elton John:  Honky Chateau (1972) The few songs that didn't get on the radio were just as strong as those that did in this last album before he lost his humbleness.

Bruce Springsteen:  Born in the USA  (1984) The rock equivalent/antidote to "Thriller", over half the songs reached the top ten singles chart allowing him to finally legitimize the hype of "Born to Run."