The Jam - All the Choice Cuts (1983)

01 - In the City 02 - All Around the World 03 - The Modern World 04 - News of the World

05 - David Watts

06 - 'A' Bomb in Wardour Street

07 - Down in the Tube Station at Midnight

08 - Strange Town

09 - When You're Young

10 - Smithers Jones

11 - The Eton Rifles

12 - Going Underground

13 - The Dreams of Children 14 - That's Entertainment [The Demo Version] 15 - Start! 16 - Funeral Pyre [The Remix] 17 - Absolute Beginners 18 - A Town Called Malice 19 - Precious 20 - The Bitterest Pill (I Ever Had to Swallow) 21 - Beat Surrender

- Pop/Rock

- New Wave

- Punk

Grateful Dead - American Beauty (1980)

1. Box Of Rain
2. Friend Of the Devil
3. Sugar Magnolia
4. Operator
5. Candyman
6. Ripple
7. Brokedown Palace
8. Till the Morning Comes
9. Attics Of My Life
10. Truckin'

- Country-Rock
- Folk-Rock

Review:

A companion piece to the luminous Workingman's Dead, American Beauty is an even stronger document of the Grateful Dead's return to their musical roots. Sporting a more full-bodied and intricate sound than its predecessor thanks to the addition of subtle electric textures, the record is also more representative of the group as a collective unit, allowing for stunning contributions from Phil Lesh (the poignant opener, "Box of Rain") and Bob Weir ("Sugar Magnolia"); at the top of his game as well is Jerry Garcia, who delivers the superb "Friend of the Devil," "Candyman," and "Ripple." Climaxing with the perennial "Truckin'," American Beauty remains the Dead's studio masterpiece — never again would they be so musically focused or so emotionally direct.

AC/DC - Back In Black (1980)

1. Hells Bells
2. Shoot To Thrill
3. What Do You Do For Money Honey
4. Given The Dog A Bone
5. Let Me Put My Love Into You
6. Back In Black
7. You Shook Me All Night Long
8. Have A Drink On Me
9. Shake A Leg
10. Rock And Roll Ain't Noise Pollution

- Hard Rock
- Heavy Metal

Review:

The first sound on Back in Black is the deep, ominous drone of church bells — or "Hell's Bells," as it were, opening the album and AC/DC's next era with a fanfare while ringing a fond farewell to Bon Scott, their late lead singer who partied himself straight to hell. But this implies that Back in Black is some kind of tribute to Scott, which may be true on a superficial level — black is a funeral cover, hell's bells certainly signify death — but this isn't filled with mournful songs about the departed. It's a more fitting tribute, actually, since AC/DC not only carried on without him, but they delivered a record that to the casual ear sounds like the seamless successor to Highway to Hell, right down to how Brian Johnson's screech is a dead ringer for Scott's growl. Most listeners could be forgiven for thinking that Johnson was Scott, but Johnson is different than Bon. He's driven by the same obsessions — sex and drink and rock & roll, basically — but there isn't nearly as much malevolence in his words or attitude as there was with Scott. Bon sounded like a criminal, Brian sounds like a rowdy scamp throughout Back in Black, which helps give it a real party atmosphere. Of course, Johnson shouldn't be given all the credit for Back in Black, since Angus and Malcolm carry on with the song-oriented riffing that made Highway to Hell close to divine. Song for song, they deliver not just mammoth riffs but songs that are anthems, from the greasy "Shoot to Thrill" to the pummeling "Back in Black," which pales only next to "You Shook Me All Night Long," the greatest one-night-stand anthem in rock history. That tawdry celebration of sex is what made AC/DC different from all other metal bands — there was no sword & sorcery, no darkness, just a rowdy party, and they never held a bigger, better party than they did on Back in Black.

New Order - Power, Corruption & Lies (1983)

1. Age Of Consent
2. We All Stand
3. The Village
4. 5 8 6
5. Blue Monday
6. Your Silent Face
7. Ultraviolence
8. Ecstasy
9. Leave Me Alone
10. The Beach

- Synth Rock
- Post-Punk
- Alternative Dance
- Club / Dance

Review:

New Order's second album was their giant step out of the looming shadow of Joy Division, clearly establishing their own unique and innovative musical identity. Seamlessly incorporating Gillian Gilbert's lush synth patterns into the mix, Power, Corruption & Lies springs from the propulsive, almost liquid bass of Peter Hook and the increasingly strong compositional skills of Bernard Sumner to firmly install the group as a cutting-edge electronic dance unit, one with unsurpassed reserves of humanity and depth — tracks like "Age of Consent" and the shimmering "Your Silent Face" speak to the mind and the body in equal measure. The U.S. release also appended their breakthrough club hit "Blue Monday," a masterpiece of the genre.

Bauhaus - In the Flat Field (1980)

1. Double Dare
2. In the Flat Field
3. God in an Alcove
4. Dive
5. Spy in the Cab
6. Small Talk Stinks
7. St. Vitus Dance
8. Stigmata Martyr
9. Nerves

- Post-Punk
- Rock
- Goth Rock

Review:

Few debut albums ever arrived so nearly perfectly formed; that In the Flat Field practically single-handedly invented what remains for many as the stereotype of goth music — wracked, at times spindly vocals about despair and desolation of many kinds, sung over mysterious and moody music — demonstrates the sui generis power of both the band and its work. This said, perhaps the best thing about the album isn't what it's supposed to sound like, but what it actually does — an awesomely powerful, glam-inspired rock band firing on all fours, capable of restraint and complete overdrive both, fronted by a charismatic, storming frontman. Starting with the challenging angst of "Double Dare," with shattering guitar over a curious but fierce stop-start rhythm while Murphy rages ever more strongly over the top, In the Flat Field contains a wide variety of inspirations and ideas. The astonishingly precise rhythm section of David J and Haskins pulls off a variety of jaw-dropping performances, including the high-paced tension of the title track and the brooding crawl from "Spy in the Cab." Ash, much like his longtime hero Mick Ronson, turns out to be a master of turning relatively simple guitar parts into apocalyptic explosions, from the background fills on "St. Vitus Dance" to the brutal descending chords of "Stigmata Martyr." Murphy, meanwhile, channels as much Iggy Pop as he does Bowie, proving to be no simple copyist of either, able to both maniacally sing-shout and take a somewhat lighter touch throughout. Concluding with the seven-minute "Nerves," an aptly titled piece that alternates between understated energy and unleashed power toward a dramatic ending, In the Flat Field started off Bauhaus' album career with a near-perfect bang.

The Pretenders - The Pretenders (1980)

1. Precious
2. The Phone Call
3. Up The Neck
4. Tattooed Love Boys
5. Space Invader
6. The Wait
7. Stop Your Sobbing
8. Kid
9. Private Life
10. Brass In Pocket
11. Lovers of Today
12. Mystery Achievement

- Pop / Rock
- Rock & Roll
- New Wave
- Pop/Rock


Review:

Few rock & roll records rock as hard or with as much originality as the Pretenders' eponymous debut album. A sleek, stylish fusion of Stonesy rock & roll, new wave pop, and pure punk aggression, Pretenders is teeming with sharp hooks and a viciously cool attitude. Although Chrissie Hynde establishes herself as a forceful and distinctively feminine songwriter, the record isn't a singer/songwriter's tour de force — it's a rock & roll album, powered by a unique and aggressive band. Guitarist James Honeyman-Scott never plays conventional riffs or leads, and his phased, treated guitar gives new dimension to the pounding rhythms of "Precious," "Tattooed Love Boys," "Up the Neck," and "The Wait," as well as the more measured pop of "Kid," "Brass in Pocket," and "Mystery Achievement." He provides the perfect backing for Hynde and her tough, sexy swagger. Hynde doesn't fit into any conventional female rock stereotype, and neither do her songs, alternately displaying a steely exterior or a disarming emotional vulnerability. It's a deep, rewarding record, whose primary virtue is its sheer energy. Pretenders moves faster and harder than most rock records, delivering an endless series of melodies, hooks, and infectious rhythms in its 12 songs. Few albums, let alone debuts, are ever this astonishingly addictive.

The Police - Zenyatta Mondatta (1980)

1. Don't Stand So Close To Me
2. Driven To Tears
3. When The World Is Running Down, You Make The Best Of What's Still Around
4. Canary In A Coalmine
5. Voices Inside My Head
6. Bombs Away
7. De Do Do Do, De Da Da Da
8. Behind My Camel
9. Man In A Suitcase
10. Shadows In The Rain
11. The Other Way Of Stopping

- New Wave
- Pop/Rock
- Post-Punk

Review:

The stage was set for the Police to become one of the biggest acts of the '80s, and the band delivered with the 1980 classic Zenyatta Mondatta. The album proved to be the trio's second straight number one album in the U.K., while peaking at number three in the U.S. Arguably the best Police album, Zenyatta contains perhaps the quintessential new wave anthem, the haunting "Don't Stand So Close to Me," the story of an older teacher lusting after one of his students. While other tracks follow in the same spooky path (their second Grammy-winning instrumental "Behind My Camel" and "Shadows in the Rain"), most of the material is upbeat, such as the carefree U.S./U.K. Top Ten "De Do Do Do, De Da Da Da," "Canary in a Coalmine," and "Man in a Suitcase." Sting includes his first set of politically charged lyrics in "Driven to Tears," "When the World Is Running Down, You Make the Best of What's Still Around," and "Bombs Away," which all observe the declining state of the world. While Sting would later criticize the album as not all it could have been (the band was rushed to complete the album in order to begin another tour), Zenyatta Mondatta remains one of the finest rock albums of all time.

U2 - The Joshua Tree (1987)

1. Where The Streets Have No Name
2. I Still Haven't Found What I'm Looking For
3. With Or Without You
4. Bullet The Blue Sky
5. Running To Stand Still
6. Red Hill Mining Town
7. In God's Country
8. Trip Through Your Wires
9. One Tree Hill
10. Exit
11. Mothers Of The Disappeared

- Pop/Rock
- Rock

Review:

Using the textured sonics of The Unforgettable Fire as a basis, U2 expanded those innovations by scaling back the songs to a personal setting and adding a grittier attack for its follow-up, The Joshua Tree. It's a move that returns them to the sweeping, anthemic rock of War, but if War was an exploding political bomb, The Joshua Tree is a journey through its aftermath, trying to find sense and hope in the desperation. That means that even the anthems — the epic opener "Where the Streets Have No Name," the yearning "I Still Haven't Found What I'm Looking For" — have seeds of doubt within their soaring choruses, and those fears take root throughout the album, whether it's in the mournful sliding acoustic guitars of "Running to Stand Still," the surging "One Tree Hill," or the hypnotic elegy "Mothers of the Disappeared." So it might seem a little ironic that U2 became superstars on the back of such a dark record, but their focus has never been clearer, nor has their music been catchier, than on The Joshua Tree. Unexpectedly, U2 have also tempered their textural post-punk with American influences. Not only are Bono's lyrics obsessed with America, but country and blues influences are heard throughout the record, and instead of using these as roots, they're used as ways to add texture to the music. With the uniformly excellent songs — only the clumsy, heavy rock and portentous lyrics of "Bullet the Blue Sky" fall flat — the result is a powerful, uncompromising record that became a hit due to its vision and its melody. Never before have U2's big messages sounded so direct and personal.

Metallica - Master of Puppets (1985)

1. Battery
2. Master Of Puppets
3. The Thing That Should Not Be
4. Welcome Home (Sanitarium)
5. Disposable Heroes
6. Leper Messiah
7. Orion (Instrumental)
8. Damage, Inc.

- Heavy Metal
- Speed Metal
- Hard Rock

Review:

Even though Master of Puppets didn't take as gigantic a leap forward as Ride the Lightning, it was the band's greatest achievement, hailed as a masterpiece by critics far outside heavy metal's core audience. It was also a substantial hit, reaching the Top 30 and selling three million copies despite absolutely nonexistent airplay. Instead of a radical reinvention, Master of Puppets is a refinement of past innovations. In fact, it's possible to compare Ride the Lightning and Master of Puppets song for song and note striking similarities between corresponding track positions on each record (although Lightning's closing instrumental has been bumped up to next-to-last in Master's running order). That hint of conservatism is really the only conceivable flaw here. Though it isn't as startling as Ride the Lightning, Master of Puppets feels more unified, both thematically and musically. Everything about it feels blown up to epic proportions (indeed, the songs are much longer on average), and the band feels more in control of its direction. You'd never know it by the lyrics, though — in one way or another, nearly every song on Master of Puppets deals with the fear of powerlessness. Sometimes they're about hypocritical authority (military and religious leaders), sometimes primal, uncontrollable human urges (drugs, insanity, rage), and, in true H.P. Lovecraft fashion, sometimes monsters. Yet by bookending the album with two slices of thrash mayhem ("Battery" and "Damage, Inc."), the band reigns triumphant through sheer force — of sound, of will, of malice. The arrangements are thick and muscular, and the material varies enough in texture and tempo to hold interest through all its twists and turns. Some critics have called Master of Puppets the best heavy metal album ever recorded; if it isn't, it certainly comes close.

Guns n' Roses - Appetite For Destruction (1987)

1. Welcome To The Jungle
2. It's So Easy
3. Nightrain
4. Out Ta Get Me
5. Mr. Brownstone
6. Paradise City
7. My Michelle
8. Think About You
9. Sweet Child O' Mine
10. You're Crazy
11. Anything Goes
12. Rocket Queen

- Hard Rock
- Rock n'Roll

Review

Guns N' Roses' debut, Appetite for Destruction was a turning point for hard rock in the late '80s — it was a dirty, dangerous, and mean record in a time when heavy metal meant nothing but a good time. On the surface, Guns N' Roses may appear to celebrate the same things as their peers — namely, sex, liquor, drugs, and rock & roll — but there is a nasty edge to their songs, since Axl Rose doesn't see much fun in the urban sprawl of L.A. and its parade of heavy metal thugs, cheap women, booze, and crime. The music is as nasty as the lyrics, wallowing in a bluesy, metallic hard rock borrowed from Aerosmith, AC/DC, and countless faceless hard rock bands of the early '80s. It's a primal, sleazy sound that adds grit to already grim tales. It also makes Rose's misogyny, fear, and anger hard to dismiss as merely an artistic statement; this is music that sounds lived-in. And that's exactly why Appetite for Destruction is such a powerful record — not only does Rose have fears, but he also is vulnerable, particularly on the power ballad "Sweet Child O' Mine." He also has a talent for conveying the fears and horrors of the decaying inner city, whether it's on the charging "Welcome to the Jungle," the heroin ode "Mr. Brownstone," or "Paradise City," which simply wants out. But as good asRose's lyrics and screeching vocals are, they wouldn't be nearly as effective without the twin-guitar interplay of Slash and Izzy Stradlin, who spit out riffs and solos better than any band since the Rolling Stones, and that's what makes Appetite for Destruction the best metal record of the late '80s.

Michael Jackson - Thriller (1982)

1. Wanna Be Startin' Somethin'
2. Baby Be Mine
3. The Girl Is Mine
4. Thriller
5. Beat It
6. Billie Jean
7. Human Nature
8. P.Y.T. (Pretty Young Thing)
9. The Lady In My Life

- Dance-Pop
- Funk
- Club/Dance

Review:

Off the Wall was a massive success, spawning four Top Ten hits (two of them number ones), but nothing could have prepared Michael Jackson for Thriller. Nobody could have prepared anybody for the success of Thriller, since the magnitude of its success was simply unimaginable — an album that sold 40 million copies in its initial chart run, with seven of its nine tracks reaching the Top Ten (for the record, the terrific "Baby Be Mine" and the pretty good ballad "The Lady in My Life" are not like the others). This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul — expanding the approach to have something for every audience. That alone would have given the album a good shot at a huge audience, but it also arrived precisely when MTV was reaching its ascendancy, and Jackson helped the network by being not just its first superstar, but first black star as much as the network helped him. This all would have made it a success (and its success, in turn, served as a new standard for success), but it stayed on the charts, turning out singles, for nearly two years because it was really, really good. True, it wasn't as tight as Off the Wall — and the ridiculous, late-night house-of-horrors title track is the prime culprit, arriving in the middle of the record and sucking out its momentum — but those one or two cuts don't detract from a phenomenal set of music. It's calculated, to be sure, but the chutzpah of those calculations (before this, nobody would even have thought to bring in metal virtuoso Eddie Van Halen to play on a disco cut) is outdone by their success. This is where a song as gentle and lovely as "Human Nature" coexists comfortably with the tough, scared "Beat It," the sweet schmaltz of the Paul McCartney duet "The Girl Is Mine," and the frizzy funk of "P.Y.T. (Pretty Young Thing)." And, although this is an undeniably fun record, the paranoia is already creeping in, manifesting itself in the record's two best songs: "Billie Jean," where a woman claims Michael is the father of her child, and the delirious "Wanna Be Startin' Something," the freshest funk on the album, but the most claustrophobic, scariest track Jackson ever recorded. These give the record its anchor and are part of the reason why the record is more than just a phenomenon. The other reason, of course, is that much of this is just simply great music.

Violent Femmes - Violent Femmes (1983)

1. Blister In The Sun
2. Kiss Off
3. Please Do Not Go
4. Add It Up
5. Confessions
6. Prove My Love
7. Promise
8. To The Kill
9. Gone Daddy Gone
10. Good Feeling

- Post-Punk
- Alternative Pop/ Rock
- New Wave

Review:

One of the most distinctive records of the early alternative movement and an enduring cult classic, Violent Femmes weds the geeky, child-man persona of Jonathan Richman and the tense, jittery, hyperactive feel of new wave in an unlikely context: raw, amateurish acoustic folk-rock. The music also owes something to the Modern Lovers' minimalism, but powered by Brian Ritchie's busy acoustic bass riffing and the urgency and wild abandon of punk rock, the Femmes forged a sound all their own. Still, the main reason Violent Femmes became the preferred soundtrack for the lives of many an angst-ridden teenager is lead singer and songwriter Gordon Gano. Naive and childish one minute, bitterly frustrated and rebellious the next, Gano's vocals perfectly captured the contradictions of adolescence and the difficulties of making the transition to adulthood. Clever lyrical flourishes didn't hurt either; while "Blister In the Sun" has deservedly become a standard, "Kiss Off"'s chant-along "count-up" section, "Add It Up"'s escalating "Why can't I get just one..." couplets, and "Gimme the Car"'s profanity-obscuring guitar bends ensured that Gano's intensely vulnerable confessions of despair and maladjustment came off as catchy and humorous as well. Even if the songwriting slips a bit on occasion, Gano's personality keeps the music engaging and compelling without overindulging in his seemingly willful naiveté. For the remainder of their career, the group would only approach this level in isolated moments.

Human League - Dare! (1981)

1. The Things That Dreams Are Made Of
2. Open Your Heart
3. The Sound Of The Crowd
4. Darkness
5. Do Or Die
6. Get Carter
7. I Am The Law
8. Seconds
9. Love Action (I Believe In Love)
10. Don't You Want Me
11. Hard Times
12. Love Action (I Believe In Love)

- Pop/Rock
- Dance-Pop
- Synth Pop
- New Wave

The Cure - Boys Don't Cry (1980)

1. Boys Don't Cry
2. Plastic Passion
3. 10:15 Saturday Night
4. Accuracy
5. So What
6. Jumping Someone Else's Train
7. Subway Song
8. Killing An Arab
9. Fire In Cairo
10. Another Day
11. Grinding Halt
12. Three Imaginary Boys

- New Wave
- Goth Rock
- Post-Punk

Talking Heads - Remain In Light (1980)

1. Born Under Punches (The Heat Goes On)
2. Crosseyed And Painless
3. The Great Curve
4. Once In A Lifetime
5. House In Motion
6. Seen And Not Seen
7. Listening Wind
8. The Overload

- Experimental Rock
- New Wave
- Post-Punk
- Dance-Rock

ABBA - Super Trouper (1980)

1. Super Trouper
2. The Winner Takes It All
3. On And On And On
4. Andante, Andante
5. Me and I
6. Happy New Year
7. Our Last Summer
8. The Piper
9. Lay All Your Love On Me
10. The Way Old Friends Do

- Euro-Pop
- Pop/Rock
- Dance-Pop

The Smiths - The Queen is Dead (1986)

1. The Queen Is Dead/Take Me Back To Dear Old Blighty (Medly)
2. Frankly, Mr. Shankly
3. I Know It's Over
4. Never Had No One Ever
5. Cemetry Gates
6. Bigmouth Strikes Again
7. The Boy With The Thorn In His Side
8. Vicar In A Tutu
9. There Is A Light That Never Goes Out
10. Some Girls Are Bigger Than Others

-Alternative Pop/Rock
-Indie Pop

Review:

Meat Is Murder may have been a holding pattern, but The Queen Is Dead is the Smiths' great leap forward, taking the band to new musical and lyrical heights. Opening with the storming title track, The Queen Is Dead is a harder-rocking record than anything the Smiths had attempted before, but that's only on a relative scale — although the backbeat is more pronounced, the group certainly doesn't rock in a conventional sense. Instead, Johnny Marr has created a dense web of guitars, alternating from the minor-key rush of "Bigmouth Strikes Again" and the faux rockabilly of "Vicar in a Tutu" to the bouncy acoustic pop of "Cemetry Gates" and "The Boy With the Thorn in His Side," as well as the lovely melancholy of "I Know It's Over" and "There Is a Light That Never Goes Out." And the rich musical bed provides Morrissey with the support for his finest set of lyrics. Shattering the myth that he is a self-pitying sap, Morrissey delivers a devastating set of clever, witty satires of British social mores, intellectualism, class, and even himself. He also crafts some of his finest, most affecting songs, particularly in the wistful "The Boy With the Thorn in His Side" and the epic "There Is a Light That Never Goes Out," two masterpieces that provide the foundation for a remarkable album.

Joy Division - Closer (1980)

1. Atrocity exhibition
2. Isolation
3. Passover
4. Colony
5. A Means To An End
6. Heart & Soul
7. Twenty Four Hours
8. The Eternal
9. Decades

- Post-Punk

Review:

If Unknown Pleasures was Joy Division at their most obsessively, carefully focused, ten songs yet of a piece, Closer was the sprawl, the chaotic explosion that went every direction at once. Who knows what the next path would have been had Curtis not chosen his end? But steer away from the rereading of his every lyric after that date, treat Closer as what everyone else thought it was at first — simply the next album — and Joy Division's power just seems to have grown. Hannett was still producing, but seems to have taken as many chances as the band itself throughout — differing mixes, differing atmospheres, new twists and turns define the entirety of Closer, songs suddenly returned in chopped-up, crumpled form, ending on hiss and random notes. Opener "Atrocity Exhibition" was arguably the most fractured thing the band had yet recorded, Sumner's teethgrinding guitar and Morris' Can-on-speed drumming making for one heck of a strange start. Keyboards also took the fore more so than ever — the drowned pianos underpinning Curtis' shadowy moan on "The Eternal," the squirrelly lead synth on the energetic but scared-out-of-its-wits "Isolation," and above all else "Decades," the album ender of album enders. A long, slow crawl down and out, Curtis' portrait of lost youth inevitably applied to himself soon after, its sepulchral string-synths are practically a requiem. Songs like "Heart and Soul" and especially the jaw-dropping, wrenching "Twenty Four Hours," as perfect a demonstration of the tension/release or soft/loud approach as will ever be heard, simply intensify the experience. Joy Division was at the height of their powers on Closer, equaling and arguably bettering the astonishing Unknown Pleasures, that's how accomplished the four members were. Rock, however defined, rarely seems and sounds so important, so vital, and so impossible to resist or ignore as here.

Sonic Youth - Daydream Nation (1988)

1. Teen Age Riot
2. Silver Rocket
3. The Sprawl
4. 'Cross The Breeze
5. Eric's Trip
6. Total Trash
7. Hey Joni
8. Providence
9. Candle
10. Rain King
11. Kissability
12. Trilogy: The Wonder/Hyperstation/Eliminator JR

- Noise-Rock
- Alternative Rock
- Experimental
- Indie Rock

Review:

By refining the song-oriented breakthroughs of Sister and developing their fascination with noise and alternate tunings, Sonic Youth created a masterpiece of post-punk art rock with the double-album Daydream Nation. Though the self-conscious sprawl of the album might appear self-indulgent on the surface, Daydream Nation is powered by a sustained vision, one that encapsulates all of the group's quirks and strengths. Alternating between tense, hypnotic instrumental passages and furious noise explosions, the music demonstrates a range of emotions and textures, and in many ways, it's hard not to listen to the record as one long piece of shifting dynamics. But the songs themselves are remarkable, from the anti-anthem of "Teen Age Riot" and the punky "Silver Rocket" to the hazy drug dreams of "Providence" and the rolling waves of "Eric's Trip." Daydream Nation demonstrates the extent to which noise and self-conscious avant art can be incorporated into rock, and the results are nothing short of stunning.