The Contract (1980) Krzysztof Zanussi, Leslie Caron, Maja Komorowska, Tadeusz Lomnicki

OMD's first full album won as much attention for its brilliant die-cut cover - another example of Peter Saville's cutting-edge way around design - as for its music, and its music is wonderful. For all that, this is a young band, working for just about the last time with original percussionist Winston; there's both a variety and ambition present that never overreaches itself. The influences are perfectly clear throughout, but McCluskey and Humphreys would have been the last people to deny how Kraftwerk, Sparks, and other avatars of post-guitar pop touched them. What's undeniably thrilling, though, is how quickly the two synthesized their own style. Consider "Almost," with its dramatic keyboard opening suddenly shifting into a collage of wheezing sound beats and McCluskey's precise bass and heartfelt, lovelorn singing and lyrics…

Though there are still some traces of the confessionals that underpinned Beautiful Loser through Stranger in Town, Against the Wind finds Bob Seger turning toward craft. Perhaps he had to, since Against the Wind arrived after three blockbuster albums and never-ending tours…

After the fluke success of "Hey Saint Peter" made Flash and The Pan's first album into an international hit, this side project from Harry Vanda and George Young had to contend with a follow-up. Vanda and Young, best known as the core of 60's hit makers The Easybeats and producers to AC/DC (George Young is family to Malcom and Angus), were already no strangers to hit song-writing. The result was "Media Man" charting in several countries, and the album expanding on the band's cult audience. The formula remained pretty much the same. Heavy new wave synths paired to either dance-beats or down tempo gloominess, along with monotone, processed vocals. This doesn't click quite as often as it does on the debut album, and there's nothing here as memorable as "Hey St Peter" or "The Band Played On/Down Among The Dead Men." But more than half the album clicks, with "Media Man" being the dance-hit and the title track being the best of the bummers. It's also worth pointing out that, despite the minimalist trappings, these guys were pretty incredible musicians. Give a listen to the piano solo on "Welcome To The Universe" for proof on that one.

This exciting live session is pretty definitive of the Great Guitars. With fine support offered by bassist Joe Byrd and drummer Jimmie Smith, guitarists Charlie Byrd, Barney Kessel and Herb Ellis romp on such swinging numbers as "Broadway," "Air Mail Special" and "Straighten Up and Fly Right." As usual, Byrd, with his grounding in classical guitar, is the most distinctive, while Kessel and Ellis constantly pay tribute to Charlie Christian. This combination worked quite well, and each of the Great Guitars' five recordings are easily recommended to fans of bop guitar.

This exciting live session is pretty definitive of the Great Guitars. With fine support offered by bassist Joe Byrd and drummer Jimmie Smith, guitarists Charlie Byrd, Barney Kessel and Herb Ellis romp on such swinging numbers as "Broadway," "Air Mail Special" and "Straighten Up and Fly Right." As usual, Byrd, with his grounding in classical guitar, is the most distinctive, while Kessel and Ellis constantly pay tribute to Charlie Christian. This combination worked quite well, and each of the Great Guitars' five recordings are easily recommended to fans of bop guitar.