Import pressing of her 1992 album that is out-of-print domestically. Suzanne Vega makes it clear from the cover inwards that she's up to something different on 99.9 F. Her fiery red and yellow photo-manipulated hair and bandaged finger stand in stark contrast to the orderly mysticism conveyed on the front of her previous release, DAYS OF OPEN HAND. Producer MitchellFroom surrounds her strong songs with surprises in instrumentation, arrangement, and mix. The set opens smartly with a couple of selections that stand in stark contrast to the more traditional folk bearing of her previous output. By the third song, "In Liverpool", things break open to reveal a lushand popish heart. The title song is a dazzling groove of fuzzy and staccato guitar chords cast over layered percussion and her lilting vocal. An array of superb players, includingdrummer Jerry Marotta, guitarists David Hidalgo and RichardThompson, and bass player Bruce Thomas accompany her. While it represented a bit of an unexpected turn at the time of its release in 1992, 99.9 F is one of Vega's finest albums. Universal.

Tina Turner's phenomenal reclamation of her stardom is perfectly chronicled on Simply the Best. With the exception of the Phil Spector epic "River Deep, Mountain High," everything included here comes from 1983 on. Turner's iconic voice and bluesy earnestness surface on a cover of Al Green's "Let's Stay Together." She brings a moody sensuality to "I Can't Stand the Rain." Equally adept at rock, soul, gospel, and R&B, Turner makes ordinary songs such as "Typical Male" and "Private Dancer" into extraordinary recordings. There are actually better Tina albums than Simply the Best, but it stands as a useful compilation of her comeback hits. —Steve Gdula

Having nearly exhausted their capacity for pop-song politics on War and The Unforgettable Fire, U2 turned toward themes of personal identity and complex relationships on The Joshua Tree. Not that the group was willing to come down off the barricades entirely: "Mothers of the Disappeared" and "Bullet the Blue Sky" turned a jaundiced eye toward Central America and the United States' role there. But the predominant mood here is one of self-discovery and the hunger for something more on tracks like the pulsating "Where the Streets Have No Name" and the gospel-ish "I Still Haven't Found What I'm Looking For." The album's masterstroke, however, is "With or Without You," a nasty love song dressed up as an ode of devotion and care. It ranks with the Police's "Every Breath You Take" as the most misread smash hit of the '80s. —Daniel Durchholz

"I'm ready / Ready for what's next," Bono announces at the outset of Achtung Baby, the album that proved the so-called "band of the '80s" was capable of blazing into the '90s by replacing its flag-waving arena-rock stance with screaming synths, clubby rhythms, and industrial skronk. The group advances its sound without losing accessibility on "Who's Gonna Ride Your Wild Horses,""Even Better Than the Real Thing," and "Mysterious Ways," while pushing the envelope a bit more on "The Fly,""Zoo Station," and "Acrobat." The moody ballad "One" is arguably the finest song the band has produced, full of sorrow, compassion, and hope all at the same time. —Daniel Durchholz

The follow up to the original, this collection in many ways surpasses the initial effort. Duets seem to rule here, with Cyndi Lauper and Frank Sinatra double teaming on "Santa Claus Is Coming to Town," while the irrepressible Ronnie Spector shares the mic with Darlene Love for a resplendent "Rockin' Around the Christmas Tree," and Heart's Ann and Nancy Wilson give "Blue Christmas" a steamy and sizzling once-over. Vanessa Williams stops the disc, though, with her simple yet stunning rendition of "What Child Is This." The then-sign-of-the-times inclusion, Michael Bolton, offers a forgettable "White Christmas," but it's the only real clunker in the bunch. Always just a tad too country to make it as a cross-over artist, Randy Travis still makes "Jingle Bell Rock" his own in his smooth way. —Steve Gdula