Ho'oponopono: The Hawaiian Ritual of Forgiveness, Revised & Expanded Edition

This album reunited Pride with the late, legendary producer Jack Clement, who had been a creative partner on many past hit records. The album also reunited Pride with the award-winning songwriting of Ben Peters on the album tracks I Need Somebody Bad and Plenty Good Lovin' – Peters had previously penned such Pride favorites as Kiss An Angel Good Morning, Burgers And Fries and You're So Good When You're Bad. Additionally, the new song Field Of Dreams features Janie Fricke, a former Country Music Association Female Vocalist of the Year and a perennial Country music fan favorite!

Coming ten years after his first solo album, For the Love of Strange Medicine's lack of success was solid proof that a new decade had no room for Steve Perry's saccharine-induced love songs or makeup and breakup-styled gushiness, even if it was sculpted to sound more mature. "You Better Wait" was the lead single that managed a number 29 spot, mainly because Perry's voice soared throughout its entirety, proving he could still utilize his greatest asset.

Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence will it overtake man, what does it mean to be man, what responsibilities do mechanical beings have to their creators, and so on and so forth with enough knotty intelligence to make it a seminal text of late-'70s geeks, and while it is also true that appreciating I Robot does require a love of either sci-fi or art rock, it is also true that sci-fi art rock never came any better than this.

All things considered, Tim was an easy transition to the majors for the Replacements, at least as far as the making of the album goes: things went wrong after the release, as the band botched big showcases like its Saturday Night Live spot, leading up to the dismissal of Bob Stinson at the conclusion of the Tim tour. The dust hadn't settled when the 'Mats headed down to Memphis to record Pleased to Meet Me with producer Jim Dickinson at Ardent Studios or to phrase it in Alex Chilton-speak, to record with Big Star's 3rd producer at the studio where all three Big Star albums were made.

With classical pianist Kevin Savigar established as his songwriting partner, Rod Stewart marched into the mid-'80s in finer shape than he'd been in for a few years. Every Beat of My Heart was his 15th solo album and, after the disappointments of the preceding Body Wishes and Camouflage, the wistful romance of the title track alone suggested that he was back on track. Unfortunately, it was not to be. One could compile a genuinely excellent collection from across Stewart's entire '80s output. But Every Beat of My Heart, like the LPs on either side of it, found him floundering directionless in a sea of, on the one hand, syrupy schmaltz; and, on the other, clichéd rockers, with just the occasional flash of style sneaking in, to remind us why we even cared any longer.