Tom Waits grew steadily less prolific after redefining himself as a junkyard noise poet with Swordfishtrombones, but the five-year wait between The Black Rider and 1999's Mule Variations was the longest yet. Given the fact that Waits decided to abandon major labels for the California indie Epitaph, Mule Variations would seem like a golden opportunity to redefine himself and begin a new phase of his career. However, it plays like a revue of highlights from every album he's made since Swordfishtrombones. Of course, that's hardly a criticism; the album uses the ragged cacophony of Bone Machine as a starting point, and proceeds to bring in the songwriterly aspects of Rain Dogs, along with its affection for backstreet and backwoods blues, plus a hint of the beatnik qualities of Swordfish.

Repeat Offender is the second studio album by singer/songwriter Richard Marx. Released in mid-1989, it reached No. 1 on the Billboard Pop Albums chart. The album went on to sell over five million copies in the US alone (several times that worldwide) due to five major singles on the Billboard charts, including two No. 1 hits: "Satisfied" and the Platinum-certified "Right Here Waiting".

The Man-Machine is closer to the sound and style that would define early new wave electro-pop – less minimalistic in its arrangements and more complex and danceable in its underlying rhythms. Like its predecessor, Trans-Europe Express, there is the feel of a divided concept album, with some songs devoted to science fiction-esque links between humans and technology, often with electronically processed vocals ("The Robots," "Spacelab," and the title track); others take the glamour of urbanization as their subject ("Neon Lights" and "Metropolis"). Plus, there's "The Model," a character sketch that falls under the latter category but takes a more cynical view of the title character's glamorous lifestyle. More pop-oriented than any of their previous work, the sound of The Man-Machine – in particular among Kraftwerk's oeuvre – had a tremendous impact on the cold, robotic synth pop of artists like Gary Numan, as well as Britain's later new romantic movement.

On this high-power album, the larger than life New York bluesman goes back to the roots of post-war Chicago Blues and plays famous tracks by Muddy Waters, Howlin Wolf, Willie Dixon, etc.He's joined by leading contemporary blues stars Bill Perry, Mason Casey, Matt Smith, Jean-Jacques Milteau, Paul Personne and Dimitri Archip from the Black Coffee Blues Band.On "Old School", Popa Chubby (who recently played some UK gigs) smokes TNT, drinks dynamite and shows he can put some speed on the classic tracks of his blues heroes.

It's never easy to be the sibling of a star when you're active in the same profession – ask Joey Travolta or Frank Stallone, and try to find out what happened to John Murray, one of Bill's brothers. Similarly, David Knopfler, younger brother of Dire Straits frontman Mark Knopfler, has often remained in his brother's shadow, unfairly remaining a footnote in the famous British band's history and not always gaining much recognition for his solo work – provided people know he's remained active in music at all. The comparison to the abovementioned actors is misleading, however, since they all possess little of their siblings' talent, whereas David Knopfler has proven himself to be a talented musician with considerable songwriting skills of his own and several strong solo releases under his belt.

The saving grace behind Everybody Up is the excellent "Don't Say Goodbye". Slow funk, sensual funk jam…backed by the wonderful guitarist/vocalist Sugarfoot and his excellent scat guitar delivery. The surrounding jams for the record boast nice funk, almost a return to form, and Everybody Up would serve as the last Ohio Players album to retain their signature vibe somewhat. The tunes here are still mostly forgettable, you would be buying the album primarily because you are a fan of the group and their history. The guys seem to be dipping into a Cameo bag a bit in 1979, but, the one trait that has always set them apart was Sugarfoot's guitar playing, and solid background ensemble vocals.