The above names represent those people who have made very special contributions to this site.

History gives Steely Dan's Walter Becker and Donald Fagen the last, hearty laugh on this, the crown jewel in their remarkable canon of 1970s Mensa-pop. Sneaking onto the charts a half-decade earlier with sinuous, jazz-inflected "rock", the dysfunctional duo's acerbic, anti-heroic visions had been critically lauded for their band identity and killer guitar riffs, then promptly challenged when the two songwriters retired from the road, dissolved any formal band lineup, and used the studio as laboratory. Aja carried the added indignity of its increased focus on sophisticated jazz models and musicianship, which carried the Dan's ambitions even further in terms of suave harmonies, intricate song structures, and brilliant playing. Time has proven them wiser than their rock crit detractors: These seven songs abound in knotty plots, sneaky imagery, and drop-dead brilliant performances from a blue chip studio repertory studded with first-call jazz players epitomised by Wayne Shorter's towering solo on the title song. From the hard-boiled jazz romance of "Deacon Blues" to the twisted Homeric vamp of "Home at Last", the veiled but ominous swing of "Peg" to the sci-fi eroticism of "Josie", Aja is a modern pop classic and the coolest fusion record no one ever thought to lump in that category. --Sam Sutherland

One of the most famous albums of all time, Dark Side Of The Moon sold 25 million copies in its first 25 years of release. It continues to be a favourite. Dark Side Of The Moon was the first album that Pink Floyd decided to break in live before attempting to record, with the debut performance of what they then called Eclipse just over a year before the final release date. When they finally retired to Abbey Road with top sound engineer Alan Parsons, state-of-the-art 16-track recording equipment and the new Dolby technology to hand, it was to produce one of the great pieces of studio art. Covering a range of styles, this was the last album (prior to Roger Waters' departure in the early 1980s) to whose writing the other members of Pink Floyd contributed significantly. Nevertheless, it remains a stunningly coherent package, bound together by surreal fragments of speech (mostly gleaned from asking questions of the doorman at the studio) and Waters' bold and bleak lyrics. Some of the extraordinary sound effects used came from the most unlikely sources--the coins at the start of "Money" from Waters tossing handfuls of change into an industrial food-mixer that his wife, a potter, used to mix clay. Whatever the medium, a new standard for attention to detail and production values had been set and the world of studio recording would never be the same again.--James Swift