Master of Dragonard Hill (1987)

A transitional album on which the band moved from Syd Barrett's relatively concise and vivid songs to spacy, ethereal material with lengthy instrumental passages. Barrett's influence is still felt (he actually did manage to contribute one track, the jovial "Jugband Blues"), and much of the material retains a gentle, fairy-tale ambience. "Remember a Day" and "See Saw" are highlights; on "Set the Controls for the Heart of the Sun," "Let There Be More Light," and the lengthy instrumental title track, the band begin to map out the dark and repetitive pulses that would characterize their next few records.

Though it was considered a disappointment upon its release (indeed, its production was much too sleek at times, and it lacked the creative daring of Perfect Strangers), 1987's House of Blue Light has actually stood the test of time just as well, if not better, than its predecessor. The second effort from the re-formed Mark II lineup, this album showed Deep Purple searching for an '80s-flavored hit single, and by doing so, sounding uncomfortably similar to guitarist Ritchie Blackmore's other band, Rainbow. Virtually all of the record's first half suffers from this (especially "Unwritten Law" and "Bad Attitude"), but things improve with the Eastern-flavored melodies of "The Spanish Archer" and "Strange Ways."

While the goth scene in England was picking up commercial steam in the mid-'80s, the Sisters of Mercy may have seemed quiet, but they roared back with 1987's Floodland. Opening with the driving two-part hymn "Dominion/Mother Russia," Sisters leader Andrew Eldritch (along with bassist Patricia Morrison) creates a black soundscape that is majestic and vast. While the earlier Sisters releases were noisy, sometimes harsh affairs, Floodland is filled with lush production (thanks to Meat Loaf writer/producer Jim Steinman and the New York Choral Society) and lyric imagery that is both scary and glorious. The slower tracks, like "Flood" and "1959," are some of the best ethereal sounds goth has to offer, and the downright regal "This Corrosion" is one of the best songs of the genre. A definite milestone.

Drummer Marvin "Smitty" Smith, widely regarded among jazz's premier percussionists and accompanists, got his chance in the spotlight when he made his debut as a leader for Concord. This 1987 session was a brilliant first effort, with Smith heading a wonderful four-horn octet. The group included alto and soprano saxophonist Steve Coleman, tenor saxophonist Ralph Moore, trombonist Robin Eubanks and trumpeter Wallace Roney. The eight songs were not lengthy (none much longer than six minutes), but were structured to allow maximum individual identity and collective performances. It was the perfect blend of traditional setting and contemporary insights, which has been lacking in so much 1990s jazz material.

The Alan Parsons Project were an English rock band active between 1975 and 1990, whose core membership consisted of Alan Parsons and Eric Woolfson. They were accompanied by a varying number of session musicians and some relatively consistent band members such as guitarist Ian Bairnson, arranger Andrew Powell, bassist and vocalist David Paton, drummer Stuart Elliott, and vocalists Lenny Zakatek and Chris Rainbow. Parsons was an audio engineer and producer by profession, but also a musician and a composer. A songwriter by profession, Woolfson was also a composer, a pianist, and a singer. Almost all the songs on the Project's albums are credited to "Woolfson/Parsons". The Best of the Alan Parsons Project, Vol. 2 is a 1987 greatest hits compilation by The Alan Parsons Project.

The Cream of Eric Clapton is a strong collection that provides an excellent overview of one of rock music's premier performers. Though the title might imply that the selections here are from Clapton's recordings as a part of the British supergroup Cream, the range is much broader, beginning with Clapton's earliest professional work with the Yardbirds and concluding with many of his most popular solo hits. There's an excellent historical perspective in the choices included, and this is an excellent introduction to Clapton's career. Of particular historical interest are "Crossroads," "I Shot the Sheriff," and "Behind the Mask," which showcase the eclectic influences that form Clapton's career. Much of the increased mainstream interest in traditional blues, reggae, and electronica can be credited to these cover versions, which introduced the works of Robert Johnson and Bob Marley to a wider audience.