Inside Com

From the Inside is Poco's most unusual record, and one the band – especially founder Richie Furay, whose songs were sort of pushed into the background – finally didn't like all that much. But it was a very good one anyway, produced in Memphis by guitar legend Steve Cropper and featuring the group generating a leaner, more stripped-down, somewhat bluesier sound. The harmonies are less radiant and the guitars more subdued, and the spirits also a little more low-key than usual. But the sound they get is still appealing, the singing more reflective and a little bit closer to R&B than to the post-Byrds country-rock for which they were known – the songs are pretty, and in listening terms George Grantham's drums and Timothy B. Schmit's bass are nice and upfront in the mix, and the guitars have a really close presence, even if they are turned down. Paul Cotton's "Bad Weather" was the best reviewed song, but other highlights were "You Are the One," "Hoe Down," "Railroad Days" (maybe their hardest rocker), and "Ol' Forgiver."

Grace Jones' flamboyant outfits and statuesque looks made her one of the most unforgettable characters to emerge from New York in the late '70s. Teaming the singer/model with Chic mainman Nile Rodgers was a musical marriage made in heaven. Rodgers' sleek and funky production wrapped around Jones' deadpan and powerful delivery created some of the most memorable music of her career. With former Camera Club leader Bruce Woolley on keyboards and songwriting chores, this was a perfect blend of New York sass and New Wave sauce. 10 tracks including 'I'm Not Perfect (But I'm Perfect For You)'. Inside Story would become one of Jones' greatest album successes, making the top 40 in a number of European countries.

The Coen Brothers' celebration of 1960s folk music in their film Inside Llewyn Davis inspired the concert Another Day, Another Time…

From the Inside was hardly Alice Cooper's best-selling or most accessible album. An intensely personal account of his recovery from substance abuse, it tends to be one of his most abstract efforts and lacks the immediacy of Billion Dollar Babies, Welcome to My Nightmare, or Alice Cooper Goes to Hell. There are no rock anthems here à la "School's Out" or "18" and no celebrations of shock value like "I Love the Dead" or "The Black Widow." Instead, the singer honestly documents the way he confronted his demons and emerged victorious. Sometimes, this introspective effort is too self-indulgent and intellectual for its own good, but at its best as on "How You Gonna See Me Now", From the Inside is as riveting as it in inspiring.