The Doobie Brothers - The Doobie Brothers (1971)

This is The Doobie Brothers' first album when they were still a four-men band. The strumming and the R&B beats here set the blueprint for their later works. Though some tracks display the embryonic tune of "Listen to the Music", the best tracks here are the rhythmic "The Beehive State" and the bluesy "Closer Every Day" and "Chicago". C

The Hooters - Nervous Night (1985)

The Hooter's major-label debut is a fine country-rock album that shows guitarist Eric Bazilian's dan keyboardist Rob Hyman's talent as an impressive songwriting team. With traditional instruments like mandolin, saxophone and melodica, they crafted a string of memorable, roots pop tunes such as "All You Zombies", "And We Danced", "Where the Children Go", "South Ferry Road" and "Blood from a Stone". Nervous Night achieved platinum status and was critically acclaimed by critics. B

Eric Clapton - Slow Hand (1977)

This album extended the concept of No Reason to Cry, catchy tunes combined with generic blues. The difference is the three catchy tunes here has since become Eric Clapton's most-played pub and radio songs which are "Cocaine", "Wonderful Tonight" and "Lay Down Sally". C

Tom Petty and the Heartbreakers - Let Me Up (I've Had Enough) (1987)

It can be considered a sister album of Southern Accents, though a few more uplifting rockers are featured here, which are the driving "Jammin' Me", co-written with Bob Dylan, and the title track. The heavy country-rock flavored "A Self-Made Man" is also a favorite. "Runaway Trains" is as Americana as "Rebel" in Southern Accents. B

Nick Cave & the Bad Seeds - The Boatman's Call (1997)

The Boatman's Call sounds like a Johnny Cash album. "Into My Arms", "Lime Tree Arbour" and "West Country Girl" are three Cash-like folk tunes with minimal instrumentation but "Brompton Oratory" goes beyond that with a more complex arrangement. (Peter Soemarko) C

Sammy Hagar - Standing Hampton (1981)

For me, Sammy Hagar is associated to anthemic rock. His debut solo album contains his first anthem "There Is Only One Way to Rock", which was later covered live by Van Halen after he joined in. However, "Heavy Metal", in more complex arrangement, showcases his latter-day influence on Van Halen's song structure. C 

The Velvet Underground - White Light/White Heat (1968)

If their first album is described as beautiful, then this second album is ugly, so said bassist John Cale. Disappointed with the low sales of The Velvet Underground & Nico, Cale imposed more influence in the musical direction and made the album an even more avant-garde piece. Title-track "White Light/White Heat" was the only accessible rock track and was later covered by David Bowie and Frankie Goes to Hollywood. Last song "Sister Ray" was a 17-minute jam with chaotic guitar and organ and embarrassing lyric. D

Gilby Clarke - Pawn Shop Guitars (1995)

From his solo album, we know that Gilby Clarke is a tuneful part of Guns N' Roses. This album reflects the influene of The Rolling Stones and The Clash. The tune and Spanish-talking on "Tijuana Jail" recalls The Clash's "Dictator". "Jail Guitar Doors" is a Clash cover, while "Dead Flowers" is a Rolling Stones cover with Axl Rose singing backing vocal. The rhythmic "Skin & Bones" and "Pawn Shop Guitar" are his own compositions; "Shut Up" recalls the riffs of Keith Richard's "How I Wish". This is a guitarist album equivalent to the best solo of Keith Richards, Ron Wood and Izzy Stradlin. A

JJ Cale & Eric Clapton - The Road to Escondido (2006)

A good collaboration between JJ Cale and Eric Clapton. Most songs are folk tunes written by Cale, including his signature jump-blues style "When the War Is Over" and "Ride the River". "Head in Georgia" is a great ballad. B

Big Audio Dynamite - No. 10, Upping Street (1986)

Mick Jones' second album is still as great as the first but is incorporated with more reggae and funk elements. During the making, he had a peaceful moment with Joe Strummer in the studio and they jointly wrote a great Clash-like song "Beyond the Pale", which has become the highlight of the album as well as one of the most memorable Clash-related tune. B