Strayed (2003)

The Thompson Twins – who were neither a duo nor related, but simply named after the Tin Tin cartoon – were one of the more popular synth pop groups of the early MTV era, scoring a handful of hits before fading away into lite-funk obscurity. While many of their contemporaries indulged in stylish variations on Roxy Music or robotic electronic funk, the Thompson Twins were more pop-oriented, even when they strayed into dance-pop. Despite their success – "Hold Me Now," "Lay Your Hands on Me," "King for a Day" all reached the U.S. Top Ten – the group was unable to successfully expand their synth pop sound and, consequently, their audience had virtually disappeared by the late '80s.

Fans of George Thorogood & the Destroyers would probably stage a minor rebellion if their man strayed from his well-worn path of bloozy boogie. Luckily, there is no need to take up arms anytime soon, as Thorogood's sound remains unchanged on Ride 'Til I Die. Good-natured, guy-at-the-end-of-the-bar vocals, buzzing slide guitar, and solid American blues-rock are still the order of the day. The album is the usual mix of covers (Thorogood adds only one original, the forgettable "Sweet Little Lady") played with a barroom-friendly wink and smile. Songs like Eddie Shaw's "Greedy Man," J.J. Cale's "Devil in Disguise, " Nick Lowe's "That's It, I Quit," and Chuck Berry's "Move It" are perfect for Thorogood's good-time persona, and he plays them with energy that has been lacking on the last few records.

While many considered Car Wheels on a Gravel Road and Essence as definitive statements of arrival for Lucinda Williams as a pop star, she "arrived" creatively with her self-titled album in 1988 and opened up a further world of possibilities with Sweet Old World. The latter two records merely cemented a reputation that was well-deserved from the outset, though they admittedly confused some of her earliest fans. World Without Tears is the most immediate, unpolished album she's done since Sweet Old World…