Spilt Milk was released at a time when few people were listening to highly produced, retro influenced pop because it just wasn't cool. As a result, too many people have never heard this pop masterpiece.  Critics may call it too derivative, but few artists have attempted to recreate the sound and power of bands like The Beach Boys, The Beatles and Queen with such amazing results. What keeps 'Spilt Milk' from sounding like the scads of amateur indie-rock bands paying homage to 'Pet Sounds' is Andy Sturmer's perfect voice, the immaculate production, the best lyrical imagery since 'I Am The Walrus' and the amazing song writing skills of Sturmer and Roger Manning. The first time I heard middle interlude of "The Ghost At Number One," I thought I had stumbled across the greatest outtake from the Smile sessions. The recordings are dense, revealing amazing layers and subtleties with repeated listening. This is the "Sgt. Pepper" for the 90s and a must for any fan of well produced pop music.

With the biggest cult following of any power pop band, Big Star has influenced thousands of musicians with only three albums. While many critics point to 'Third' as the band's greatest achievement, I prefer the laid back pop of 'Radio City.' With a sound that falls somewhere between 'Rubber Soul' and 'The Raspberries,' this album reveals Alex Chilton as a truly unique pop genius. The album features his most meldoic and endearing moments, like 'Back Of A Car," "O My Soul" and the classic "September Gurls." A touch of the artistic strangeness that defines 'Third' also makes an appearance on songs like "Life Is White" and "Morpha Too." There are times when the performances feel sloppy, but a certain sense of tension only adds to the power of this record. This is a truly amazing album that begs the question; What the hell happened to Alex Chilton after 1974?

Band on the Run has been slighted by critics for lacking substance and serving only as a vehicle for Paul's stylistic talents. Most critics feel Lennon made a greater impact as a solo artist than McCartney. But why dismiss this classic example of well executed 70s pop music? Critcis often perpetuate this unfair phenomenon by developing a comparison between 'Imagine' and this album. When Paul reveals emotion he is usually dismissed as too cute and cuddly, however, John's silly love songs like "Oh Yoko" and "Oh My Love" are regarded as genius. For 'Band on the Run,' Paul tries something different, playing with words and avoiding the traps of mushy love songs. As a result, the tracks get labeled as insubstantial and "nonsensical." (quoted from the All Music Guide.) Correct me if I'm wrong, but "Strawberry Fields Forever" and "I Am The Walrus" are both "nonsensical" and are universally regarded as great works.

Lennon's status as a lost icon elevates his standing within the history of rock music, at times to an extreme. Perhaps Paul's first few solo albums have forever brandished him as a light weight. And I will not argue, John's lyrics are more personal, emotional and generally better than Paul's. But for me, the style, melody and production here surpasses that of  'Imagine." There's no question about Paul's enormous talent, and this is his finest moment as a solo artist. 'Band on the Run' helped to define pop radio in the 70s with masterful production and excellent melodies and critics are too quick to ignore the influence of Paul McCartney and Wings on today's pop bands. The title track, "Jet" and "Let Me Roll It" are  classics from one of rock's essential but largely overlooked albums.

As much as I bitch about Lennon's legacy overshadowing McCartney's contribution to pop music, I can't deny my love for his solo work. 1970's 'Plastic Ono Band' is an undeniable classic, revealing the raw emotion of a very angry John Lennon. While this is fascinating and often cathartic for the listener, I prefer the joyous emotions he explores on Double Fantasy.  After a five year hiatus, John was re-energized by his love of the domestic life. The lyrics on this LP magnify the tragedy of John's death. He finally seemed to be at peace with his role as an icon, with his marriage and with his family. In 1980 he experienced a creative renaissance, recording some of the best songs of his career. Few Lennon songs touch me like "Starting Over," "Woman" and "I'm Losing You." And one of rock's finest songs, "Watching The Wheels," often brings tears to my eyes. The production on 'Double Fantasy' is fantastic too, featuring a dry, taught sound from one of the tightest bands John ever assembled. For an album recorded in 1980, the use of reverb and effects is very subtle and tasteful. Some fans complain about the inclusion of Yoko's tracks. While John's songs are strong enough to stand on their own, Yoko's songs compliment John's work effectively. Tracks like "Kiss Kiss Kiss" are true Ono: bizarre expressions that grow on you over time. This a classic album that makes John's passing hurt so much more. As I listen to this album, I often wonder what great music he still had to offer.

On this fine album, Velvet Crush recreates what they call 'Cosmic American Music,' which sounds like a mix of the Byrd's brand of country rock and 70s power pop bands like Badfinger and Big Star. Ric Menck is a quirky, solid drummer and Paul Chastain has one of pop's most endearing voices. The song writing is mature and melodic and Mitch Easter did a fine job producing a bright, clean and powerful album. The songs range from the beautiful "Time Wraps Around You," to the rocking power pop of "Hold Me Up" and "This Life Is Killing Me." There are some fantastic tributes to country rock as well, including the Gram Parsons cover "Why Not Your Baby" and the casual closing track "Lingerin' On." While many power pop bands find their influences in the obvious British groups, Velvet Crush celebrates  American power pop with fantastic results.