Expectations were high when one of the 1980's greatest college radio bands signed to Sire Records in 1985. While The Replacements' major label debut 'Tim' is an excellent album, a lot of disappointment followed when it didn't make much of an impact in the mainstream. Tensions continued to build within the band and lead guitarist Bob Stinson was kicked out of the band allegedly for creative reasons, but probably due to his alcoholism. Ultimately it was a smart move for the band, allowing them to shed some of the punk stereotypes that they no longer wanted to carry. Paul Westerberg seized the opportunity and wrote his most diverse collection of songs to date, expanding the band's sound to include pseudo jazz (Nightclub Jitters), acoustic ballads (Skyway) and straight forward pop (Alex Chilton.) What makes this album so great is the sense of urgency that shines through the 11 song's simple arrangements. The Replacements wanted so badly to break into the mainstream without losing the fans who loved their drunken stage shows, their indie status and their "Who gives a fuck" attitude. Pleased To Meet Me is brutally honest and exhilarating, showing once and for all the Paul Westerberg had grown from a punk into one of rock's greatest songwriters, with tracks like 'The Ledge,' 'Never Mind' and 'Can't Hardly Wait.'

#22- The Kinks, The Village Green Preservation Society, Reprise, 1968.

The Kinks, although often overlooked, were one of the best bands of the British Invasion. After a string of early "power chord" hits like 'You Really Got Me' and 'All Day and All of the Night,' Ray Davies slowly developed into one of the greatest songwriters of the era. This record, along with their previous excellent release 'Something Else,'  marks the height of his creativity. 'Village Green' is a fascinating look at England's good old days and childhood through the eyes of Davies. Songs like 'Picture Book,' 'Village Green,' 'People Take Pictures of Each Other' and the title track chronicle his memories of better days that were long past. It's an amazingly vivid and emotional journey that draws the listener in and makes you believe that Victorian England must have been pretty great, with the small villages, simpler values and of course the village greens. This record is often missing from top album lists, but it's one of the greatest from the 1960s.

Although they have been panned for years, Queen developed a truly distinctive sound by combining elements of over the top glam rock, heavy metal and classical music. Their music is overblown, pompous and at times ridiculous. Queen knew it and often, they could pull it off brilliantly with a tongue in their collective cheek. Additionally, Brian May is a technically brilliant, underrated guitarist and Freddie Mercury was one pop's most flamboyant and unique voices. All of this makes Queen impossible to dismiss and 'A Night At The Opera' is their finest moment. The band pulls out all the stops, creating a theatrical listening experience that melds together a variety of styles including Broadway-esque show tunes (Seaside Rendezvous,) folky ballads ('39,) pseudo mysticism (The Prophet's Song) and straight ahead rockers (Sweet Lady.) The album also contains two of the band's best songs, the hit single "You're My Best Friend" and the operatic opus "Bohemian Rhapsody." Other bands have tried to emulate this sound, with powerful guitars, dreamy pianos and swirling background vocals. But no one will ever recapture the magic that was Queen.

By just his third album, Tom Petty recorded a classic. 'Damn The Torpedoes' epitomizes what he's all about as an artist. The influence of the Byrds and the Beatles is apparent on the jangly 'Here Comes My Girl' and 'Shadow of a Doubt.' He rocks with attitude on 'You Tell Me' and 'What Are You Doing in My Life.' His all or nothing attitude shines on tracks like 'Even The Losers' and 'Century City.' This became a theme in Petty's lyrics throughout his career, but it's even more evident here perhaps because the band was trying to find its way after their original label Shelter was sold to MCA. Other songs are just plain classics ('Refugee' and 'Don't Do Me Like That.') There's even a nod to his southern roots on 'Louisiana Rain.' All in all, this is one of the few classic records from 'album rock' era that still lives up to all the hype. Petty made a few great albums after this, but none of them were as catchy and focused as 'Damn the Torpedoes.'

There was no question this group lived in the shadow of the Beatles. Their first single was written by Paul McCartney, tracks on Straight Up were produced by George Harrison and they recorded for Apple Records. Heck, they even sounded like the Fab Four. But by their third record, they were more than just Beatle imitators, they had their own distinct sound and a complete mastery of pop-rock songwriting. This record is a blueprint for much of the great power pop recorded in the late 70s and early 80s. Pete Ham and Tom Evans were not only an amazing pair of vocalists who could harmonize like Lennon and McCartney, but also proved to be great songwriters on 'Straight Up.' Pete Ham, perhaps the most talented writer in the group, was capable of beautiful ballads (Day After Day' and "Take It All') and straight ahead power pop ('Baby Blue.) Tom Evans, while less prolific, offers some of his best songs here ('Money' and It's Over.') Guitarist Joey Molland comes into his own as well, offering some of the record's most rocking tunes ('Suitcase' and 'Sometimes.') Badfinger never recorded another album like 'Straight Up' and came to a tragic end among a myriad of financial problems and the eventual suicides of both Ham and Evans.