Far Beyond Driven may have been Pantera's fastest selling album upon release, but it's hardly their best. In fact, although it shot straight to the number one spot on the Billboard sales chart in its first week (arguably the most extreme album ever to do so), this incredible feat doesn't so much reflect its own qualities as those of its predecessor, 1992's Vulgar Display of Power. A true landmark by any definition, Vulgar Display had seen the Texan quartet quite literally reinventing the heavy metal wheel in ways not seen since Metallica's rise to fame in the mid-'80s. But when the time came to follow it up, the members of Pantera seemed unsure about how they could possibly top it, so they decided to try and out-heavy themselves, resulting in a less cohesive record which often sacrificed songwriting for outright aggression. Guitarist Dimebag Darrell (recently re-baptized from the far more glam Diamond Darrell) took it upon himself to conjure the heaviest guitar tones imaginable, turning up the volume and dissonance to sometimes painful thresholds with his massive, grinding riffs. As a result, songs like "Becoming," "Shedding Skin," and the particularly vicious "Slaughtered" still stand head and shoulders above most of the heavy metal competition, but only die-hard fans may be able to withstand their systematic sensory bludgeoning long enough to get to the hooks hidden underneath. Indeed, except for wisely chosen first single "I'm Broken," the rest of the material (and especially over-long tracks like "5 Minutes Alone" and "25 Years") generally lacks the iron-fisted discipline and controlled power captured on the band's previous triumphs. Worst of all is probably "Good Friends and a Bottle of Pills," which wanders aimlessly in formless feedback and is topped with vocalist Phil Anselmo in gratuitous, stream-of-consciousness mode -- a sketchy proposition at the best of times. In the end, it's probably the band's need to justifying their faithful cover version of Black Sabbath's gentle "Planet Caravan" in the album's liner notes that sheds the most light on their embattled frame of mind at the time. With or without this evidence, however, the bottom line is that Far Beyond Driven doesn't match the hype -- but it sure proved its weight in platinum at the bank.© Eduardo Rivadavia /TiVo

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In his third album in just two years, Jim Croce continued to mine the success of his previous efforts. I Got a Name includes the title track and "I'll Have to Say I Love You in a Song," which sailed into the Top 20 alongside nine other songs rich in the singer/songwriter tradition.© James Chrispell /TiVo

Rattus Norvegicus, the Stranglers' first album (and first of two in 1977), was hardly a punk rock classic, but it outsold every other punk album and remains a pretty good chunk of art-punk. On the other hand, No More Heroes, recorded three months later and released in September 1977, is faster, nastier, and better. At this point the Stranglers were on top of their game, and the ferocity and anger that suffuses this record would never be repeated. Hugh Cornwell's testosterone level is very high, but it's still an enjoyable bit of noise that holds up better than anyone would have guessed at the time.© John Dougan /TiVo

It all came together for Heaven 17 on this album, and as a result it is by far their strongest, most brilliant album. Combining their various influences (including R&B, pop, dance, electronica), Heaven 17 fused these styles together to create an almost perfect sound. There is simply not a weak track on the album. Highlights are numerous, including the very long but very wonderful "And That's No Lie." A strong melody, stunning vocals from Glenn Gregory, and tight production equal a fascinating glimpse into the human struggle. Adding a number of session players, including a guitarist, Heaven 17 was able to expand and build on their solid sound. Gregory is also allowed to branch out on this album and write more personal and political statements that were not clearly heard on their first two albums. Fans will not be disappointed, and in fact, this could be the album to win new fans over. "Sunset Now," "Flamedown," and the brilliant "This Is Mine" are just a few of the reasons for this album's greatness.© Aaron Badgley /TiVo

Tanya Blount-Trotter and Michael Trotter Jr., the couple behind the Nashville rock and soul act the War and Treaty, have a knack for dynamics. When they first appeared on the Americana scene in 2017, they did so with immediate gusto, delivering a fully formed and extremely confident amalgam of soul, folk, R&B, and country sung with the passion of gospel and the muscle of rock. While the husband-and-wife team may be relatively new as a musical duo, between them exists an interesting and varied catalog of credits dating back to the 1990s. On Hearts Town, the follow-up to their 2018 breakout Healing Tide, the Trotters crank up the power even further, turning in a deeply compassionate collection that is almost cinematic in its scope, though still a lot of fun. Self-produced and featuring a bevy of roots music staples, from instrumentalists like dobro legend Jerry Douglas and guitarist Chris Eldridge to singer/songwriter Jason Isbell, the album kicks off with a rock & roll flourish, with songs like "Yearning" and the Isbell-assisted "Beautiful" rippling with heavy guitars, horn stacks, and the full-bore attack of the Trotters' exuberant, intermingling vocals. A more soulful highlight is the playful and rousing "Five More Minutes," which features some of Michael's best vocal takes. Midway through, they take a breath with the stripped-down acoustic gospel-folk gem "Jubilee" before revving back up with the joyous, bluesy ballad "Hey Pretty Moon," a showcase for Tanya's massive vocal range. Elsewhere they take curious, but somehow effective, forays into energetic pop ("Jealousy"), torchy ballads ("Lonely in My Grief"), and elegant, earthy folk ("Hustlin'"). At times, the production threatens to become a little too heavy-handed, but with voices and talent like the Trotters possess, going big seems less a sin than underrepresenting their strengths.© Timothy Monger /TiVo

Oh, Boys Like Girls. With their eponymous debut for Red Ink, the Boston quartet marks its entry into the effervescent world of sugary, emo-blasted pop/rock. They've got the gleaming guitars, urgent vocals, and driving rhythms propelling three-minute ditties about their hearts, their girls, and those girls who just like to toy with their poor hearts. But unlike similarly styled bands, Boys Like Girls are largely lacking much of anything that could either separate them from the pack or, at the very least, give them more substance to appeal to more than just the teenaged girls who will be singing along enthusiastically at shows while secretly pining for the shaggy-haired, boyish clan. Boys Like Girls are simply without the overwhelming catchiness of the All-American Rejects or the unbridled enthusiasm of the City Drive. Instead, listeners are left with an offering that is almost catchy and enthusiastic. Even the few standouts -- like the summer drive of "The Great Escape" and "Heels Over Head" -- will be pretty hard to recall by the lukewarm album's end. Regardless, those looking for a quick fix will surely eat up the likes of Boys Like Girls.© Corey Apar /TiVo

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Far Beyond Driven may have been Pantera's fastest selling album upon release, but it's hardly their best. In fact, although it shot straight to the number one spot on the Billboard sales chart in its first week (arguably the most extreme album ever to do so), this incredible feat doesn't so much reflect its own qualities as those of its predecessor, 1992's Vulgar Display of Power. A true landmark by any definition, Vulgar Display had seen the Texan quartet quite literally reinventing the heavy metal wheel in ways not seen since Metallica's rise to fame in the mid-'80s. But when the time came to follow it up, the members of Pantera seemed unsure about how they could possibly top it, so they decided to try and out-heavy themselves, resulting in a less cohesive record which often sacrificed songwriting for outright aggression. Guitarist Dimebag Darrell (recently re-baptized from the far more glam Diamond Darrell) took it upon himself to conjure the heaviest guitar tones imaginable, turning up the volume and dissonance to sometimes painful thresholds with his massive, grinding riffs. As a result, songs like "Becoming," "Shedding Skin," and the particularly vicious "Slaughtered" still stand head and shoulders above most of the heavy metal competition, but only die-hard fans may be able to withstand their systematic sensory bludgeoning long enough to get to the hooks hidden underneath. Indeed, except for wisely chosen first single "I'm Broken," the rest of the material (and especially over-long tracks like "5 Minutes Alone" and "25 Years") generally lacks the iron-fisted discipline and controlled power captured on the band's previous triumphs. Worst of all is probably "Good Friends and a Bottle of Pills," which wanders aimlessly in formless feedback and is topped with vocalist Phil Anselmo in gratuitous, stream-of-consciousness mode -- a sketchy proposition at the best of times. In the end, it's probably the band's need to justifying their faithful cover version of Black Sabbath's gentle "Planet Caravan" in the album's liner notes that sheds the most light on their embattled frame of mind at the time. With or without this evidence, however, the bottom line is that Far Beyond Driven doesn't match the hype -- but it sure proved its weight in platinum at the bank.© Eduardo Rivadavia /TiVo

Mysterious French duo Her released their first EP this week, entitled Tape # 1. All very sober. Only a few months after releasing the track Quite Like on Soundcloud and blew the barometer of likes on blogs and on YouTube with her sultry video, it was finally time to hear a little more. This mixtape is, let's be clear, a small concentration of the terribly sensual - an indie fusion of soul and pop that we have had the pleasure of listening to tirelessly. Six tracks, like chapters in a modern fairy tale. Evidence of especially Anglo-Saxon influences, and paying tribute to all forms of femininity. Elegant.