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  #1  
Old 12-18-2014, 11:05 AM
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Default UCR: Best albums of 1979

Top 10 1979 Rock Albums
by Michael Gallucci

As the ’70s turned into the ’80s, a funny thing was happening: Rock music couldn’t be as easily categorized as it once was. Punk, pop, disco and New Wave all found their way into music made by the era’s best new bands as well as many of the ones that came of age a decade earlier. Our list of the Top 10 1979 Rock Albums is evenly split among relative newcomers and established vets. And they all have one thing in common: The records they made at the end of the ’70s rank among their all-time best.



10
'Tusk'
Fleetwood Mac


Fleetwood Mac followed up their gazillion-selling 'Rumours' with an ambitious, two-record set that was to that point the most expensive album ever made. At times, 'Tusk' plays like the band's version of the White Album, with the group's three singer-songwriters essentially backing each others' solo records. But Lindsey Buckingham's meticulous production pulls together this sprawling, fascinating work by a group that was both on top of the world and unwilling to take the easy way out.



9
'Reggatta de Blanc'
The Police

The second album by the Police pretty much picks up where 1978's debut left off, with spiky, reggae-influenced rhythms meshing with punk, pop, jazz and New Wave basics. But 'Reggatta de Blanc' also extends the notion that the group wasn't comfortable with labels and preferred to let its music land wherever it happened to fall. Here, it's somewhere between the '70s and '80s.



8
'Armed Forces'
Elvis Costello & the Attractions

Elvis Costello thickened his sound on his third album, tightening the musicianship of his backing band the Attractions and focusing his songwriting on matters of the heart, which just so happened to be filtered through political and global unrest. 'Armed Forces'' best songs -- 'Accidents Will Happen,' 'Oliver's Army,' '(What's So Funny 'Bout) Peace, Love and Understanding' -- ooze with spite, confidence and style.



7
'Cheap Trick at Budokan'
Cheap Trick

Cheap Trick had three albums out when they played Tokyo's Budokan arena in 1978. And unlike back home in the States, they were hugely popular in Japan, which gave 'Cheap Trick at Budokan' an energetic buzz missing from so many cash-in live albums. Originally available as an import, this record finally made the group stars in the U.S., where 'Budokan' soared into the Top 5 and spawned a pair of Top 40 singles. It's still one of the best live albums ever made.



6
'Squeezing Out Sparks'
Graham Parker and the Rumour

Like Elvis Costello (see No. 8 on our list of Top 10 1979 Rock Albums), Graham Parker played bar-band rock 'n' roll whose jagged music got him lumped in with the angry young punks. But Parker's smarter than that, and on his best album, he and the Rumour tear into a set of songs about love, hate, abortion and extraterrestrial beings. Every song here surges with grit and energy.



5
'Rust Never Sleeps'
Neil Young & Crazy Horse

Neil Young is no stranger to mixing his albums with electric and acoustic, live and studio. And on 'Rust Never Sleeps,' essentially a live record with all new songs, he checks in with one of his best. Crazy Horse turn up the amps for part of it, but the delicate solo cuts featuring just Young, his guitar and a harmonica are just as powerful.



4
'Highway to Hell'
AC/DC

Bon Scott died six months after AC/DC's breakthrough album was released, but he's the force behind 'Highway to Hell,' a blazing, full-speed-ahead trip fueled by winking innuendo and three-chord riffs. The title track is the killer cut here, but throughout the album the band sparks with an intensity that eventually gave way to formula. Here, it's all real, and it's a rock 'n' roll classic.



3
'Damn the Torpedoes'
Tom Petty and the Heartbreakers


By the time Tom Petty and the Heartbreakers' third album arrived in 1979, they were ready for the hit it would quickly become. With instant classics like 'Refugee,' 'Here Comes My Girl,' 'Even the Losers' and 'Don't Do Me Like That,' 'Damn the Torpedoes' brims with confidence. Gutsy, unpretentious and catchy as hell, Petty has never sounded so full of life and optimistic. The music business eventually wore him down.



2
'The Wall'
Pink Floyd

'The Wall' was pretty much Roger Waters' project from the start, with the other members of Pink Floyd following his directions as he steered them on his most personal record, a mostly autobiographical chronicle of a rock star who isolates himself from his friends, family and audience. The double-LP concept album became a huge hit, but it also further divided the group, which would soon split with Waters after one more solo record disguised as a band project.



1
'London Calling'
The Clash

The Clash were eager to shed their punk label when they released their third album at the tail end of 1979. And they did it with pop, jazz, rockabilly, reggae, R&B, old-time rock 'n' roll and, yes, punk on this sprawling, two-LP masterpiece that never lets up. After 'London Calling,' there was little doubt that the Clash were rock's best band going into the new decade.





Read More: Top 10 1979 Rock Albums | http://ultimateclassicrock.com/1979-...ckback=tsmclip
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  #2  
Old 12-18-2014, 11:27 AM
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Good lord, I'm old. I remember all of these albums coming out!
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Old 12-18-2014, 11:32 AM
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Originally Posted by aleuzzi View Post
Good lord, I'm old. I remember all of these albums coming out!
And I must be very old inside, because I love almost all of this albums!
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Old 12-18-2014, 10:42 PM
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Terrible list.

My 10 Best Albums of 1979:
1. TUSK, Fleetwood Mac
2. BAD GIRLS, Donna Summer
3. FEAR OF MUSIC, Talking Heads
4. ARMED FORCES, Elvis Costello
5. DR. BUZZARD'S ORIGINAL SAVANNAH BAND GOEST TO WASHINGTON, Dr. Buzzard's Original Savannah Band
6. RISQUE, Chic
7. OFF THE WALL, Michael Jackson
8. MANIFESTO, Roxy Music
9. RUST NEVER SLEEPS, Neil Young & Crazy Horse
10. THE CLASH, The Clash

(Note: London Calling was released in the US in 1980)
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Imagine paying $1000 to hear "Don't Dream It's Over" instead of "Go Your Own Way"

Fleetwood Mac helped me through a time of heartbreak. 12 years later, they broke my heart.
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Old 12-19-2014, 01:28 PM
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Not sure what I'd relegate from that top 10 list but I'd argue the case for;
The Specials- The Specials
One Step Beyond- Madness
Discovery- ELO
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  #6  
Old 12-19-2014, 02:04 PM
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As in love as this site is with Led Zeppelin, I'm surprised that they don't figure with "In through the out door"
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  #7  
Old 01-08-2015, 09:56 AM
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Default UCR: Top 10 Double Albums

Top 10 Double Albums
by Michael Gallucci


Releasing a double album in the ’60s and ’70s was a rite of passage. Even if an artist had no reason, let alone the material, to put out a two-record album, it was something that just needed to be done sometime during a career. The best double albums don’t leave you picking out half of the songs you’d think would work better on a single LP. For the most part, there’s nothing disposable on the records that made our list of the Top 10 Double Albums. Every single one of them belongs in your collection.

10
'Tusk' (1979)
Fleetwood Mac




Fleetwood Mac followed up the gazillion-selling 'Rumours' with one of the weirdest records ever released by a superstar band. It cost more than $1 million to make -- a record number back in 1979. And, like the Beatles' 'White Album' (see No. 3 on our list of the Top 10 Double Albums), it plays like several solo records by various members with their bandmates serving as the backing musicians. But it's a triumph of style and substance, and a wonderfully nuanced record that earns its long length.



9
'Tommy' (1979)
The Who


Pete Townshend called the Who's fourth album a rock opera, and it opened the gates to a whole bunch of messy, pretentious records over the next several decades. But the Who's sprawling, ambitious story about a kid's awakening (sexual and otherwise) is told through a battering of guitars, drums and rock-god vocals. No one else even came close.


8
'The Wall' (1979)
Pink Floyd




Like 'Tommy' (see No. 9 on our list of the Top 10 Double Albums), 'The Wall' grabs much of its inspiration from the World War II childhood of its creator. In Pink Floyd's case, mastermind Roger Waters charts his own rise, ego and psyche in a crushing narrative about an emotionally damaged rock star bottoming out with issues, including the all-purpose mommy one.



7
'Physical Graffiti' (1975)
Led Zeppelin




Led Zeppelin's most gargantuan album is made up of thunderous new tracks and leftovers from previous albums. It's not always a seamless mix (the recent songs are easy to pick out), but the band manages to pull it together with massively epic songs that bridge Eastern and Western music. Possibly the most Zep-like album of their career.



6
'Goodbye Yellow Brick Road' (1973)
Elton John




Elton John was at the point in 1973 where he could release a double album of show tunes recorded in the shower with his cat handling half of the vocals and it would be a worldwide smash. But 'Goodbye Yellow Brick Road' contains his best songs: epics, rockers, pop hits and old-fashioned standards retrofitted for electric guitars. And it all falls together as one of the best-sounding records of the decade.



5
'Layla and Other Assorted Love Songs' (1970)
Derek and the Dominos




The ultimate song cycle of love in all its complicated shades -- from unrequited to spurned to brokenhearted. Eric Clapton brainstormed the project in light of his complicated relationship with pal George Harrison and Harrison's wife, whom Clapton pined for. Through a sturdy mix of originals and covers, Clapton and band -- including Duane Allman -- soar through the hole in his heart.



4
'Electric Ladyland' (1968)
The Jimi Hendrix Experience




Jimi Hendrix's third album is his most aurally rich experience, an overload of musical ideas from the outer spaces of his mind. The patterns and textures layered throughout the album remain among rock's most visionary. 'Electric Ladyland' is a blend of rock, blues, jazz, soul, funk and folk that filters the '60s through a futuristic fever dream.



3
'The Beatles' (1968)
The Beatles




More than any other record on our list of the Top 10 Double Albums, the Beatles' 'White Album' is the one that still reveals new insights with each listen. The Fab Four basically played backing band to each other's solo recordings on the record, and the songs unfurl like their past and present histories. It's the Beatles at their most splintered, personal and ambitious.



2
'Blonde on Blonde' (1966)
Bob Dylan




Bob Dylan capped 12 months of tremendous output -- starting with 'Bringing It All Back Home,' quickly followed by 'Highway 61 Revisited' -- with the two-record 'Blonde on Blonde,' recorded in New York and Nashville with members of the Band and session musicians. From sweet pop to bluesy rockers to 11-minute epics, 'Blonde on Blonde' is Dylan's most sprawling record. Song for song, it could be his best.



1
'Exile on Main St.' (1972)
The Rolling Stones




From the muddy production to the grimy guitars to the snapped-together songs, 'Exile on Main St.' is the sound of drugs, fatigue and egos sinking in. And it wouldn't work any other way. Nobody could touch the Stones at this point, and this audacious work -- bluesy, doped-up tracks that barely hide the hedonism that fuels them -- stands as their life's masterpiece. No wonder it took them more than five years, and almost as many albums, to recover from the high. Double albums don't get better than this.





Read More: Top 10 Double Albums | http://ultimateclassicrock.com/doubl...ckback=tsmclip



P.S.: Looks like Fleetwood Mac have the 10th position syndrome...

Last edited by SisterNightroad; 01-08-2015 at 10:01 AM..
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  #8  
Old 01-08-2015, 10:52 AM
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Wow, Tusk is ranked among some real heavy hitters on both lists. Tusk ranking in the top double albums list is especially vindicating. Just look at the albums it's keeping company with! It looks like Tusk may finally be getting the critical respect it's long deserved.
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Old 01-08-2015, 11:09 AM
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Originally Posted by louielouie2000 View Post
Wow, Tusk is ranked among some real heavy hitters on both lists. Tusk ranking in the top double albums list is especially vindicating. Just look at the albums it's keeping company with! It looks like Tusk may finally be getting the critical respect it's long deserved.
Yes, this site is usually quite fair about Fleetwood Mac in general, Tango in the night is even included among the best albums of 1987, and they wrote some good pieces about their most classic albums, but it still baffles me that they pay much less attention to the pre Buckingham-Nicks era and Stevie's solo career.
I think that Tusk between all those other albums is really well-fitting.

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Old 01-08-2015, 05:29 PM
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Are these lists kidding me????
Where the f**** is BREAKFAST IN AMERICA????

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Old 01-09-2015, 09:30 AM
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Are these lists kidding me????
Where the f**** is BREAKFAST IN AMERICA????

The second list it's about "Double albums" so it couldn't fit as it contains only 10 song.
What would you replace in the first list to make space for Supertramp?
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Old 01-09-2015, 08:24 PM
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Originally Posted by SisterNightroad View Post
The second list it's about "Double albums" so it couldn't fit as it contains only 10 song.
What would you replace in the first list to make space for Supertramp?
Mmm good question...maybe Cheap Trick, Parker or Young's. It's just an opinion, but even when it was just not "rock", "ROOOOCK", you know, closer to a hard rock album, Supertramp rocked, and BIA was one of the best albums of 1979.
Regards!
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Old 03-16-2015, 03:00 PM
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Rock’s Most Criminally Underrated Albums
by Ultimate Classic Rock Staff


What are the most criminally underrated albums in rock history? We asked seven of our writers that question, and in both the video above and in the expanded text below, you will find each of them standing up for a record they feel was wrongly ignored by too many music lovers. Who knows? Maybe among our choices you’ll find an new favorite album. At worst, you’ll have a few more reasons to make fun of us in the comments section. While you’re there, be sure to let us know what your choices are for Rock’s Most Criminally Underrated Albums of all time.


'Tusk' (1979)
Fleetwood Mac

By Michael Gallucci

At the time, Fleetwood Mac's Tusk was called the most expensive album in rock history. It cost something like $1 million to make. In 1979, that was a lot of money. But after the massive success of 1977's Rumours, which made the '60s British blues band global superstars, Fleetwood Mac could pretty much do anything they wanted. And they did on Tusk. They made a double album. They gave Lindsey Buckingham total control over the sessions. And they made a sprawling masterpiece that could never, ever live up to its predecessor. But judged on its own terms, Tusk is a weird, personal and brilliant unraveling of one of the era's biggest and best groups. Like the Beatles' White Album, Tusk basically positions Fleetwood Mac's three singer-songwriters -- Buckingham, Christine McVie and Stevie Nicks -- as a trio of solo artists with the other band members serving as their backing group. As a bonus, it established Buckingham as one of the brightest stars of the period -- a mad perfectionist who used Brian Wilson's intricately arranged Beach Boys records as his template. Listen to Tusk, and you can hear those million dollars gliding into an art-rock vanity project disguised as a big pop album. That's not to say there weren't plenty of pop hooks on the album: "Tusk," "Sara," "Think About Me," "Sisters of the Moon" and "Storms" rank among the band's best songs. But Tusk is best digested as a 75-minute album rather than in the bite-size morsels that made both Rumours and 1975's Fleetwood Mac such big hits. Following up one of the biggest albums ever wasn't going to be easy, so Fleetwood Mac didn't even try. Instead, they splintered into three distinct voices: the mad pop scientist, the warm, consummate singer-songwriter and the flighty witchy woman. Tusk reached the Top 5 and sold a couple million copies, a long way from Rumours' chart and sales dominance. And it was viewed as a flawed record with some good songs. But it's better than that. Way better. When Fleetwood Mac returned in 1982 with Mirage, they were back to sounding like a band again on a single-record set that pushed Buckingham's experimental tendencies off to his solo records. Rumours is Fleetwood Mac's greatest record, there's no denying that. And there's no getting around the fact that there was no way that Tusk was going to top it, no matter what it looked and sounded like. But go back and listen to Tusk with open ears 35 years later, and you'll hear a band that wasn't going to let mega-stardom get in the way of their art.

Read More About 'Tusk': http://ultimateclassicrock.com/fleetwood-mac-tusk/



'The Who Sell Out' (1967)
The Who

By Dave Lifton

It was soon overshadowed by Tommy, Who’s Next and Quadrophenia, but The Who Sell Out is, quite possibly, the full realization of Pete Townshend’s ambitions. Released in 1967, The Who Sell Out paid tribute to “pirate radio,” where a ship containing a studio and transmitter would broadcast from international waters, but close enough to the shore be heard by the general public. In Britain at the time, the broadcasting of rock music on BBC Radio was heavily limited, so pirate radio played a major role in giving airtime to heavier bands like the Who. Townshend structured the album to sound like a block of programming of Radio London, complete with jingles and fake commercials in between the songs, which showed that Townshend was becoming an increasingly sophisticated composer. Three of the most beautiful ballads Townshend would ever write — “Our Love Was,” “Can’t Reach You” and “Sunrise” — were on The Who Sell Out. And ironically, even though it’s overlooked in the Who’s catalog, its lone single turned out to be their biggest hit in America. “I Can See for Miles” was the only Who single to crack the Top 10 on the U.S. singles chart. But the main reason why The Who Sell Out stands apart from his other masterpieces is that there’s an irreverent sense of humor that runs throughout the record. From the cover photo of Roger Daltrey submerged in a tub of beans to songs like “Mary Anne With the Shaky Hand” and “Tattoo,” the Who would never be so wonderfully silly again, as Townshend began to address more serious issues in his songwriting.



'Vincebus Eruptum' (1968)
Blue Cheer

By Eduardo Rivadavia

The most underrated classic rock album of all time is Blue Cheer’s Vincebus Eruptum, because no other LP has contributed so much in exchange for so little recognition. Both the Stooges and the MC5 are more frequently celebrated by punk-partisan critics for capturing the primal power of rock 'n' roll at its most savage and uninhibited, but the seminal and seismic Vincebus Eruptum preceded these bands’ first, very notable, efforts by at least a year. What’s more, the album saw Blue Cheer exploring and then exceeding the very limits of available amplifier technology, feedback abuse and sheer, deafening volume like no other group before it (not even Hendrix's Experience), breaking down the doors to heavy rock and metal so that Black Sabbath and their '70s brethren could march on through. Vincebus Eruptum's impact upon the softer end of the classic-rock spectrum wasn't nearly as overt (other than showing what not to do), but the album still cuts to the heart of rock 'n' roll's fundamentally rebellious, anti-establishment ethos (see the band's demolition of "Summertime Blues"), thanks to Blue Cheer's reckless mission to seize fans by the balls.



'Presence' (1976)
Led Zeppelin

By Nick DeRiso

What to make of Presence, a return to Led Zeppelin's earliest blues-focused influences after a period of titanic creativity? Well, mostly, people don't. It's understandable, on some level, considering the layered brilliance of albums like IV and Physical Graffiti. By then, Led Zeppelin had taken on a striking versatility. They sounded almost nothing like the blues musicians they'd once so blatantly emulated -- and, if the general apathy toward Presence is to be believed, nobody wanted them to anymore. Yet a return to that bedrock inspiration proved to be anything but a wistful dead end. Instead, Led Zeppelin brought along a subsequent ability to synthesize, turning the same old Delta saws into something else entirely. Listen as John Bonham unleashes fresh and subtle polyrhythms on rootsy throwbacks like "For Your Life" and "Tea for One." Even Jimmy Page's legendary Army of Guitars are no match for Bonham's fury on "Achilles Last Stand." Then there's "Nobody's Fault but Mine," which features one of the most wicked harmonica solos in all of rock, courtesy of Robert Plant. Never has the blues moved between such thundering revelation and oh-so-nimble asides. Loving look backs almost always dissolve into snoozy sentimentality. Not this time. Presence is the sound of a band that had learned something about where it had come from and was intent now on taking it to someplace entirely new.



'Waiting for Columbus' (1978)
Little Feat

By Jeff Giles

Always underrated in general, Little Feat were probably always doomed to cult status by the very things that made them special: namely, an abundance of musical talent, a subversive sense of humor and a propensity for self-destructive behavior. All of these things were foreshadowed as far back as the band's founding, which occurred after guitarist Lowell George was reportedly let go from his gig with Frank Zappa for writing "Willin'," the future Feat classic whose line about "weed, whites and wine" allegedly enraged the teetotaling Mothers of Invention mastermind, but they didn't stop the band from peeling off a string of outstanding albums throughout the '70s. While they never really achieved the mainstream success they probably deserved, Little Feat maintained a steady audience during the decade, partly by virtue of their dogged touring schedule — and you can hear the results of all those miles on 1978's Waiting for Columbus, which travels from rawer early efforts like "Willin'," "Dixie Chicken" and "Fat Man in the Bathtub" into the progressively smoother sound of later LPs, including the fusion-laced Time Loves a Hero. It's an unwieldy blend, but one expertly distilled by the group's rock-solid playing and the sharp tang of George's socket wrench slide, and it hints at even better things to come. Sadly, the band was soon derailed by George's untimely death, and although they eventually regrouped to record a series of latter-day albums that stand up in their own right, nothing ever clicked quite as satisfyingly as Waiting for Columbus — a record that should have been a bigger hit, and deserves to be more widely remembered.



'Done With Mirrors' (1985)
Aerosmith

By Matthew Wilkening

The late-‘80s rebirth of Aerosmith was a supremely welcome surprise. But some of us are still wondering why 1985’s gloriously raw Done With Mirrors couldn’t have been the album to bring them back to the promised land, instead of the comparatively over-polished Permanent Vacation. It’s not that we’ve got anything against poppy, Desmond Child-assisted hits like "Dude (Looks Like a Lady)" or "Angel," specifically. But if the band’s comeback had instead been built on leaner, meaner Done With Mirrors tracks like "Shame on You" and "The Hop," we might have been able to avoid future missteps such as "Falling in Love (Is Hard on the Knees)" and "Just Push Play." Plus, not to sound like our vinyl-obsessed friends over at Diffuser, but we'd love to see this one reissued with the awesome – and inexplicably CD-only – track "Darkness" put in its proper destined album-closing position.



'Yeah!' (2006)
Def Leppard

By Annie Zaleski

Covers records are rarely essential parts of a band's catalog; in fact, they're often seen as contract-fulfillers or considered the work of musicians out of original ideas. While in many cases that's true, the best covers albums are also quite a lot of fun -- a way for established musicians to let loose, honor their inspirations and get back to their bar-band roots. That's certainly the case with Def Leppard's 2006 covers album, Yeah!, a raucous, loose collection that lovingly highlights the band's varied influences. In fact, you can tell the group's having a blast putting their own spin on glam rock (T. Rex, Sweet, David Bowie), pure pop (the Kinks, Badfinger, ELO) and hard rock (Free, Thin Lizzy) faves. Def Leppard even unearths some obscure covers — specifically, a piano-first take on Jobriath's dramatic, torchy glam ballad 'Heartbeat' and a version of 'Hanging on the Telephone' by garage-punks the Nerves — that underscores their range as a band. But what stands out most on 'Yeah!' is that the members of Def Leppard are first and foremost huge music fans who have never lost their love for a good hook or for timeless songcraft. No wonder the group continues to tour each summer and fill amphitheaters; the passion they still have for music comes through loud and clear.





Read More: Rock's Most Criminally Underrated Albums | http://ultimateclassicrock.com/under...ckback=tsmclip

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