James Stafford

Although plenty of subsequent Bowie collections are far more comprehensive, none captured a specific moment in Bowie's evolution better than the first.

Two years after their trippy 2008 album with Danger Mouse, the Black Keys went back to basics and released their self-produced, blues-fueled breakthrough.

Between the radio breakthrough of 'Shake Your Money Maker' and their eventual jam band future, the Black Crowes captured themselves at their most fully realized.

By 1996, Dolores O'Riordan and the Irish outfit had become ubiquitous on alternative radio. But their third album signaled the beginning of the end.

Damon Albarn and Blur drew from England's rich musical past to create a witty and poignant postmodern masterpiece that defined the Britpop era.

When the people who create the soundtracks to our lives leave us, the personal moments they were a part of immediately come back into focus.

Who's the genius behind Yoshimi's brilliant cover art? Here's a hint: there's probably paint all over the hamster ball.

Although Ryan Adams might have been running out on fumes by the time he recorded '29,' the underrated album contains at least two legitimate classics.

While the artwork for Arcade Fire's 2007 album is beautiful in a postmodern way, you're only getting half the effect until you watch it in its animated form.

There's a great story about ascending New York's punk underground buried within the cover of Yeah Yeah Yeahs' debut and it has nothing to do with the band.

Rage Against the Machine's farewell gift to fans in 2000 was a covers album filled with a dozen disparate and classic songs filtered through their own distinct prism.

Where does the frontman of the Sex Pistols go when he's looking for justice? To the syndicated television chambers of Judge Judith Sheindlin, of course.