Although Blondie made several first-rate albums, most of their best songs were released as singles, which makes The Best of Blondie an essential collection. The Best of Blondie glosses over their punk roots – very little from the first album, apart from the vicious "Rip Her to Shreds" and the seductive "In the Flesh" – but the band's pop hits are among the finest of their era and encapsulate all of the virtues of new wave. Apart from genuine chart hits like "Heart of Glass," "One Way or Another," "Dreaming," "Call Me," "Atomic," "The Tide Is High," and "Rapture," Best of Blondie picks up several of the group's best album tracks, like "(I'm Always Touched by Your) Presence, Dear" and "Hanging on the Telephone." The Best of Blondie isn't all you need to know, but it is an excellent introduction to one of the best new wave bands.

Return of Saturn is an almost defiantly mature record about two things: Stefani's exploration of a troubled romance and her own romantic ideals, plus a serious attempt by the group to not only keep new wave alive, but to make that adolescent music relevant to an older audience. It's a high concept, but Return of Saturn is filled with satisfying contradictions. It's melodic, but deceptively complex; it can seem frothy, but it's never frivolous. No Doubt's desire to expand the emotional template of new wave is the perfect match for Stefani's themes – she may be writing about love, but she's not writing adolescent love songs. Fragments of her teenaged romantic fantasies remain, but she's writing as a woman in her late 20s. She's tired of being another "ex-girlfriend" – she wants to fall in love, get married, and have a family. It's a subject that's surprisingly uncommon in pop music, which would alone make Return of Saturn an interesting album. What makes it a successful one is that the band delivers an aural equivalent of Stefani's lyrical themes.

Twenty years since their pop music debut, Duran Duran issued another greatest-hits collection. As if 1989's Decade weren't stellar enough, this select package was much more solid. Greatest showcased the band's early days of glam rock décor and new romanticism to the alluring sophistication Duran Duran exuded throughout the '90s. The typical synth-powered pop hits are included – "Girls on Film," "Rio," "A View to a Kill" – as well as the signature ballads – "Save a Prayer" – but it might also receive criticism due to its chronological disarray. Still, that gives no reason to fret, for other goodies can be found throughout. The much-neglected "New Moon on Monday" is featured, as well as the band's mature eclecticism of such songs from the self-titled Wedding Album – "Ordinary World" and "Come Undone." The band's experimentation with new millennium electronica found on "Electric Barbarella" again refocuses on Simon LeBon as the center of the band.

Coming in way above their previous effort, 1990’s Smooth Noodle Maps, Something for Everybody is the album Devo's fans had craved for 28 long years, or maybe 29, if you fall on the sour side of the iffy Oh, No! It's Devo. The synthetic, compressed, and punchy production – courtesy of producer and Bird & the Bee member Greg Kurstin – is a modern take on the sound of 1981’s New Traditionalists, and if you judge by hooks, this is right in line with their 1980 breakthrough, Freedom of Choice, although there’s certainly no “Whip It”-sized megahit here. Instead, there’s the opening “Fresh!” a herky-jerky, infectious number with lead singer Mark Mothersbaugh stuttering as if he just created New Wave’s “My Generation.” The wicked highlight “Don’t Shoot (I’m a Man)” (“They’ll hunt you down/And tase you bro/For playing with the rules”) is the album’s other key track, thanks to Mothersbaugh’s perfect framing of de-evolution’s give (hybrid cars) and take, take, take (Beltway snipers, overzealous cops, etc.).

A more mature, calculated album from a pop star who's often gloried in being immature and spontaneous, I've Been Expecting You may suffer from comparisons to its excellent predecessor, but it also finds Robbie Williams weathering the sophomore storm quite well. While Williams' debut was infectious and outrageous, the second is indeed a more studied album. The opener, "Strong," begins very well, with the spot-on lyrics: "My breath smells of a thousand fags/And when I'm drunk I dance like me Dad," and "Early morning when I wake up/I look like Kiss but without the makeup." Many of the tracks on I've Been Expecting You show an undeniable growth, both in songwriting and in artistic expression; two of the highlights, "No Regrets" and "Phoenix From the Flames," are sensitive, unapologetically emotional songs that may not be as immediately catchy as those on his debut, but pack a greater punch down the road. Williams does indulge his sense of fun occasionally, playing up James Bond during the transcontinental hand-waver "Millennium" (which samples Nancy Sinatra's theme for You Only Live Twice), and simply roaring through "Win Some Lose Some" and "Jesus in a Camper Van."

For their third album, the Go-Go's abandoned all pretense of being punk, or even new wave, and went for an unabashed mainstream pop masterpiece. They nearly achieved their goal with Talk Show, an album filled with great pop songs but undermined by its own ambition. Talk Show has a sharper sound than its predecessors, with bigger guitars and drums, which helps drive home the accomplished pop hooks of "Turn to You," "I'm the Only One," and "Yes or No." However, the record is cluttered with half-realized songs and an overly detailed production which occasionally prevents the songs from reaching their full potential. But when the production and song are teamed well, the results are incredible, such as the surging "Head Over Heels," another classic single.

Andy McCluskey and Paul Humphreys make up Orchestral Manoeuvres in the Dark, who were responsible for some of the catchiest and brightest synth pop that the '80s had to offer. O.M.D.'s material was a step above other keyboard pop music of the time, thanks to the combination of intelligently crafted hooks and colorful rhythms that bounced and jittered with pristine charm. Their squeaky-clean brilliancy initiated by both their synthesizers and subdued yet attractive vocal styles gave them a more mature sound over bands like Duran Duran and A Flock of Seagulls, who were attracting a younger audience. The Best of O.M.D. is an excellent compilation of their polished music, starting out with less provocative material like the basic electronic wash of "Electricity" and the bare but ebullient fervor of "Enola Gay." As this set moves along, so does the craftiness of their work, which is evident on tighter sounding songs like "Tesla Girls" and "Locomotion," where the intricacy of their formula begins to take a more resounding shape. O.M.D.'s best work came from 1985's Crush album, which harbored the midnight airiness found in "So in Love" as well as the adolescent innocence that streamed its way through "Secret," which are two of the best tracks on this set.