It’s not quite right to say that the Go-Go’s' 1981 debut, Beauty and the Beat, is where new wave caught hold in the U.S., but it’s not quite wrong, either. Prior to this, there had certainly been new wave hits – Blondie had been reaching the Top Ten for two years running – but the Go-Go’s ushered in the era of big, bright stylish pop, spending six weeks at the top of the U.S. charts and generating two singles that defined the era: the cool groove of “Our Lips Are Sealed” and the exuberant “We Got the Beat.” So big were these two hits that they sometimes suggested that Beauty and the Beat was a hits-and-filler record, an impression escalated by the boost the Go-Go’s received from the just-launched MTV, yet that’s hardly the case. Beauty and the Beat is sharp, clever, and catchy, explicitly drawing from the well of pre-Beatles ‘60s pop – girl group harmonies, to be sure, but surf-rock echoes throughout – but filtering it through the nervy energy of punk.

Why mess with a great formula if there's no need to change? The Pretenders espoused this winning philosophy on the magnetic Pretenders II, a spectacular sophomore record that lived up to the promises of its breakthrough debut and replicated the 1979 effort's distinctive, can't-miss musical and lyrical flair. Part pop, part new-wave punk, part R&B, part soul, and 100% pure melodic rock n' roll, Pretenders II continued to send the quartet on its quick rise to the top and still serves as an admitted inspiration for bands ranging from Kings of Leon to Garbage. The key to the record's enduring appeal lies in the chemistry between iconic frontwoman Chrissie Hynde and inventive guitarist James Honeyman-Scott. Akin to legendary pairings like Mick Jagger and Keith Richards, or Steven Tyler and Joe Perry, the male-female duo operates as an inseparable team, with one member rousing the other and driving them to greater heights.

In a way, the Ramones are an ideal band to anthologize. No matter how cohesive their records were (or not), their albums always played like collections of singles and since singles are easy to anthologize, it stands to reason that the best of the Ramones' songs will sound good in nearly any context; hell, the haphazard Ramones Mania proved that. However, Rhino's double-disc Hey! Ho! Let's Go: Ramones Anthology has much greater goals than being just another collection – it strives to be the final word on the Ramones.

Call him a punk-pop icon, but Billy Idol is also a rock journeyman on 2025's introspective yet still swaggeringly fun Dream into It. Produced by Tommy English, the singer's ninth studio album moves deftly between blisteringly hooky pop-punk anthems and more atmospheric midtempo cuts, all of which nicely evoke the genre-crossing dance-rock of Idol's best work. As with all of his albums since his early-2000s renaissance, it also features plenty of sonic riffage from his longtime collaborator, guitarist Steve Stevens. English - who has worked with a stylistically varied mix of artists, including BØRNS, Foster the People, and blink-182 - brings a warmth to the production, kicking up the guitars when needed, but also adding in subtle synth and drum machine textures that smartly evoke an '80s pop atmosphere…

The brilliance of this collection is that it combines the standard Brit-punk anthems by the Sex Pistols, the Damned, the Buzzcocks, and Stiff Little Fingers with other great songs that typify the variety and range of punk-era independent music from both sides of the Atlantic. The songs are so well chosen that the punk aesthetic is further revealed by the inclusion of songs that characterize pub rock, new wave, and other related genres. The usual punk suspects ("New Rose," "Anarchy in the UK") are all here, along with many other treasures: Dr. Feelgood's "Milk and Alcohol", Devo's "Mongoloid," Jonathan Richman's "Roadrunner," Talking Heads' "Psycho Killer," and Television's "Marquee Moon." The less commonly anthologized punk selections are inspired, too: the Ruts' "Babylon Is Burning," Generation X's "Ready Steady Go," and X-Ray Spex's "Identity," along with the seminal "Sheena is a Punk Rocker." The conception of the genre is expanded further to include Elvis Costello, Iggy Pop, XTC, Joe Jackson, the Pretenders, the Tubes, and Blondie, and their presence overcomes the tendency for boring repetition on a very long collection.

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.

The Pretenders' 1987 collection, The Singles, did a fine job of assembling most of the group's finest tracks up to that point in their career, so after another decade passed, their record company felt it was necessary to compile a more "updated" collection, 2000's Euro-only release Greatest Hits. Although it contains a total of 20 tracks, Greatest Hits ultimately fails to improve over its predecessor, for the simple fact that the early '80s was the Pretenders' artistic and commercial peak, and Greatest Hits contains too much latter-day material. Whereas it would have been a wise move to showcase such oft-overlooked classics as "Tattooed Love Boys," "Mystery Achievement," "Precious," "My City Was Gone," or "Birds of Paradise" (all of which weren't included on The Singles), Greatest Hits includes such not-as-strong selections as "Night in My Veins," "Breakfast in Bed," and "Human" instead. Although there are quite a few gems included ("Brass in Pocket," "Message of Love," "Talk of the Town," "Kid," "Back on the Chain Gang," etc.), Greatest Hits leaves out far too many prime selections to be considered truly definitive.

For a band that rescued rock & roll from the Uriah Heeps of the world in the late '70s, and made a mark on everything that followed, the Sex Pistols left behind precious little in terms of their recorded legacy. Their only official release being the earth-shattering NEVER MIND THE BOLLOCKS, enthusiasts have to turn to collections of outtakes and live material to further satisfy their Pistols jones. This brings us to the mysterious NO FUTURE U.K.