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 | Rank: 101 Album: 1 of 50 Artist: Frank Sinatra Title: In the Wee Small Hours Released: 1955-04-25 Tracks: 16 Duration: 49:58 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 In the Wee Small Hours of the Morning (03:00) 2 Mood Indigo (03:30) 3 Glad to Be Unhappy (02:35) 4 I Get Along Without You Very Well (03:42) 5 Deep in a Dream (02:49) 6 I See Your Face Before Me (03:24) 7 Can’t We Be Friends? (02:48) 8 When Your Lover Has Gone (03:10) 9 What Is This Thing Called Love? (02:35) 10 Last Night When We Were Young (03:17) 11 I’ll Be Around (02:59) 12 Ill Wind (03:46) 13 It Never Entered My Mind (02:42) 14 Dancing on the Ceiling (02:57) 15 I’ll Never Be the Same (03:05) 16 This Love of Mine (03:34) |
| In the Wee Small Hours : Allmusic album Review : Expanding on the concept of Songs for Young Lovers!, In the Wee Small Hours was a collection of ballads arranged by Nelson Riddle. The first 12" album recorded by Sinatra, Wee Small Hours was more focused and concentrated than his two earlier concept records. Its a blue, melancholy album, built around a spare rhythm section featuring a rhythm guitar, celesta, and Bill Millers piano, with gently aching strings added every once and a while. Within that melancholy mood is one of Sinatras most jazz-oriented performances -- he restructures the melody and Millers playing is bold throughout the record. Where Songs for Young Lovers! emphasized the romantic aspects of the songs, Sinatra sounds like a lonely, broken man on In the Wee Small Hours. Beginning with the newly written title song, the singer goes through a series of standards that are lonely and desolate. In many ways, the album is a personal reflection of the heartbreak of his doomed love affair with actress Ava Gardner, and the standards that he sings form their own story when collected together. Sinatras voice had deepened and worn to the point where his delivery seems ravished and heartfelt, as if he were living the songs. | ||
 | Rank: 102 Album: 2 of 50 Artist: Cream Title: Fresh Cream Released: 1966-12-09 Tracks: 10 Duration: 38:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 N.S.U. (02:46) 2 Sleepy Time Time (04:22) 3 Dreaming (01:58) 4 Sweet Wine (03:20) 5 Spoonful (06:31) 6 Catʼs Squirrel (03:07) 7 Four Until Late (02:06) 8 Rollinʼ and Tumblinʼ (04:43) 9 Iʼm So Glad (03:59) 10 Toad (05:10) |
| Fresh Cream : Allmusic album Review : Fresh Cream represents so many different firsts, its difficult to keep count. Cream, of course, was the first supergroup, but their first album not only gave birth to the power trio, it also was instrumental in the birth of heavy metal and the birth of jam rock. Thats a lot of weight for one record and, like a lot of pioneering records, Fresh Cream doesnt seem quite as mighty as what would come later, both from the group and its acolytes. In retrospect, the moments on the LP that are a bit unformed -- in particular, the halting waltz of "Dreaming" never achieves the sweet ethereal atmosphere it aspires to -- stand out more than the innovations, which have been so thoroughly assimilated into the vocabulary of rock & roll, but Fresh Cream was a remarkable shift forward in rock upon its 1966 release and it remains quite potent. Certainly at this early stage the trio was still grounded heavily in blues, only fitting given guitarist Eric Claptons stint in John Mayalls Bluesbreakers, which is where he first played with bassist Jack Bruce, but Cream never had the purist bent of Mayall, and not just because they dabbled heavily in psychedelia. The rhythm section of Bruce and Ginger Baker had a distinct jazzy bent to their beat; this isnt hard and pure, its spongy and elastic, giving the musicians plenty of room to roam. This fluidity is most apparent on the blues covers that take up nearly half the record, especially on "Spoonful," where the swirling instrumental interplay, echo, fuzz tones, and overwhelming volume constitute true psychedelic music, and also points strongly toward the guitar worship of heavy metal. Almost all the second side of Fresh Cream is devoted to this, closing with Bakers showcase "Toad," but for as hard and restless as this half of the album is, there is some lightness on the first portion of the record where Bruce reveals himself as an inventive psychedelic pop songwriter with the tense, colorful "N.S.U." and the hook- and harmony-laden "I Feel Free." Cream shows as much force and mastery on these tighter, poppier tunes as they do on the free-flowing jams, yet they show a clear bias toward the long-form blues numbers, which makes sense: they formed to be able to pursue this freedom, which they do so without restraint. If at times that does make the album indulgent or lopsided, this is nevertheless where Cream was feeling their way forward, creating their heavy psychedelic jazz-blues and, in the process, opening the door to all kinds of serious rock music that may have happened without Fresh Cream, but it just would not have happened in the same fashion as it did with this record as precedent. | ||
 | Rank: 103 Album: 3 of 50 Artist: John Coltrane Title: Giant Steps Released: 1959-12 Tracks: 7 Duration: 37:33 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Giant Steps (04:47) 2 Cousin Mary (05:49) 3 Countdown (02:26) 4 Spiral (06:02) 5 Syeeda’s Song Flute (07:05) 6 Naima (04:24) 7 Mr. P.C. (06:58) |
| Giant Steps : Allmusic album Review : History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltranes debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers -- who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated -- replicating the lineup featured on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltranes tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos -- the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound." Coltranes polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre -- turning it into the equivalent of easy listening. He wastes no time as the discs title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of "Countdown" does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral "Naima" was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty. Both Giant Steps [Deluxe Edition] and the seven-disc Heavyweight Champion: The Complete Atlantic Recordings offer more comprehensive presentations of these sessions. | ||
 | Rank: 104 Album: 4 of 50 Artist: James Taylor Title: Sweet Baby James Released: 1970-02 Tracks: 11 Duration: 31:49 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Sweet Baby James (02:53) 2 Lo and Behold (02:36) 3 Sunny Skies (02:21) 4 Steamroller (02:57) 5 Country Road (03:24) 6 Oh, Susannah (02:01) 7 Fire and Rain (03:23) 8 Blossom (02:14) 9 Anywhere Like Heaven (03:27) 10 Oh Baby, Don’t You Loose Your Lip on Me (01:50) 11 Suite for 20 G (04:41) |
| Sweet Baby James : Allmusic album Review : The heart of James Taylors appeal is that you can take him two ways. On the one hand, his music, including that warm voice, is soothing; its minor key melodies and restrained playing draw in the listener. On the other hand, his world view, especially on such songs as "Fire and Rain," reflects the pessimism and desperation of the 1960s hangover that was the early 70s. That may not be intentional: "Fire and Rain" was about the suicide of a fellow inmate of Taylors at a mental institution, not the national malaise. But Taylors sense of wounded hopelessness -- "Im all in pieces, you can have your own choice," he sings in "Country Road" -- struck a chord with music fans, especially because of its attractive mixture of folk, country, gospel, and blues elements, all of them carefully understated and distanced. Taylor didnt break your heart; he understood that it was already broken, as was his own, and he offered comfort. As a result, Sweet Baby James sold millions of copies, spawned a Top Ten hit in "Fire and Rain" and a Top 40 hit in "Country Road," and launched not only Taylors career as a pop superstar but also the entire singer/songwriter movement of the early 70s that included Joni Mitchell, Carole King, Jackson Browne, Cat Stevens, and others. A second legacy became clear two decades later, when country stars like Garth Brooks began to cite Taylor, with his use of steel guitar, references to Jesus, and rural and Western imagery on Sweet Baby James, as a major influence. | ||
 | Rank: 105 Album: 5 of 50 Artist: Ray Charles Title: Modern Sounds in Country and Western Music Released: 1962-04 Tracks: 12 Duration: 39:27 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 Bye Bye, Love (02:11) 2 You Don’t Know Me (03:16) 3 Half as Much (03:26) 4 I Love You So Much It Hurts (03:33) 5 Just a Little Lovin’ (03:28) 6 Born to Lose (03:15) 7 Worried Mind (02:54) 8 It Makes No Difference Now (03:30) 9 You Win Again (03:29) 10 Careless Love (03:56) 11 I Can’t Stop Loving You (04:14) 12 Hey, Good Lookin’ (02:12) |
 | Rank: 106 Album: 6 of 50 Artist: Ramones Title: Rocket to Russia Released: 1977-11-04 Tracks: 14 Duration: 32:09 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Cretin Hop (01:56) 2 Rockaway Beach (02:06) 3 Here Today, Gone Tomorrow (02:49) 4 Locket Love (02:11) 5 I Don’t Care (01:39) 6 Sheena Is a Punk Rocker (02:48) 7 We’re a Happy Family (02:40) 8 Teenage Lobotomy (02:01) 9 Do You Wanna Dance? (01:55) 10 I Wanna Be Well (02:28) 11 I Can’t Give You Anything (02:01) 12 Ramona (02:37) 13 Surfin’ Bird (02:37) 14 Why Is It Always This Way? (02:15) |
| Rocket to Russia : Allmusic album Review : The Ramones provided the blueprint and Leave Home duplicated it with lesser results, but the Ramones third album, Rocket to Russia, perfected it. Rocket to Russia boasts a cleaner production than its predecessors, which only gives the Ramones music more force. It helps that the group wrote its finest set of songs for the album. From the mindless, bopping opening of "Cretin Hop" and "Rockaway Beach" to the urban surf rock of "Sheena Is a Punk Rocker" and the ridiculous anthem "Teenage Lobotomy," the songs are teeming with irresistibly catchy hooks; even their choice of covers, "Do You Want to Dance?" and "Surfin Bird," provide more hooks than usual. The Ramones also branch out slightly, adding ballads to the mix. Even with these (relatively) slower songs, the speed of the album never decreases. However, the abundance of hooks and slight variety in tempos makes Rocket to Russia the Ramones most listenable and enjoyable album -- it doesnt have the revolutionary impact of The Ramones, but its a better album and one of the finest records of the late 70s. | ||
 | Rank: 107 Album: 7 of 50 Artist: Sam Cooke Title: Portrait of a Legend 1951–1964 Released: 2003-06-17 Tracks: 31 Duration: 1:19:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 Touch the Hem of His Garment (02:04) 2 Lovable (02:26) 3 You Send Me (02:45) 4 Only Sixteen (02:03) 5 (I Love You) For Sentimental Reasons (02:40) 6 Just for You (02:22) 7 Win Your Love for Me (02:47) 8 Everybody Loves to Cha Cha Cha (02:43) 9 I’ll Come Running Back to You (02:14) 10 You Were Made for Me (02:55) 11 Sad Mood (02:40) 12 Cupid (02:37) 13 (What a) Wonderful World (02:09) 14 Chain Gang (02:35) 15 Summertime (02:23) 16 Little Red Rooster (02:53) 17 Bring It On Home to Me (02:43) 18 Nothing Can Change This Love (02:39) 19 Sugar Dumpling (02:45) 20 (Ain’t That) Good News (02:30) 21 Meet Me at Mary’s Place (02:43) 22 Twistin’ the Night Away (02:43) 23 Shake (02:53) 24 Tennessee Waltz (03:12) 25 Another Saturday Night (02:42) 26 Good Times (02:28) 27 Having a Party (02:37) 28 That’s Where It’s At (02:37) 29 A Change Is Gonna Come (03:13) 30 Jesus Gave Me Water (02:31) 31 Soul (00:32) |
 | Rank: 108 Album: 8 of 50 Artist: David Bowie Title: Hunky Dory Released: 1971-12-17 Tracks: 15 Duration: 57:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Changes (03:35) 2 Oh! You Pretty Things (03:12) 3 Eight Line Poem (02:55) 4 Life on Mars? (03:51) 5 Kooks (02:53) 6 Quicksand (05:06) 7 Fill Your Heart (03:07) 8 Andy Warhol (03:56) 9 Song for Bob Dylan (04:12) 10 Queen Bitch (03:18) 11 The Bewlay Brothers (05:24) 12 Bombers (02:41) 13 The Supermen (alternate version) (02:43) 14 Quicksand (demo version) (04:46) 15 The Bewlay Brothers (alternate mix) (05:20) |
| Hunky Dory : Allmusic album Review : After the freakish hard rock of The Man Who Sold the World, David Bowie returned to singer/songwriter territory on Hunky Dory. Not only did the album boast more folky songs ("Song for Bob Dylan," "The Bewlay Brothers"), but he again flirted with Anthony Newley-esque dancehall music ("Kooks," "Fill Your Heart"), seemingly leaving heavy metal behind. As a result, Hunky Dory is a kaleidoscopic array of pop styles, tied together only by Bowies sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class. Mick Ronsons guitar is pushed to the back, leaving Rick Wakemans cabaret piano to dominate the sound of the album. The subdued support accentuates the depth of Bowies material, whether its the revamped Tin Pan Alley of "Changes," the Neil Young homage "Quicksand," the soaring "Life on Mars?," the rolling, vaguely homosexual anthem "Oh! You Pretty Things," or the dark acoustic rocker "Andy Warhol." On the surface, such a wide range of styles and sounds would make an album incoherent, but Bowies improved songwriting and determined sense of style instead made Hunky Dory a touchstone for reinterpreting pops traditions into fresh, postmodern pop music. | ||
 | Rank: 109 Album: 9 of 50 Artist: The Rolling Stones Title: Aftermath Released: 1966-04-15 Tracks: 11 Duration: 43:04 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Paint It, Black (03:23) 2 Stupid Girl (02:55) 3 Lady Jane (03:10) 4 Under My Thumb (03:42) 5 Doncha Bother Me (02:42) 6 Think (03:10) 7 Flight 505 (03:29) 8 High and Dry (03:10) 9 It’s Not Easy (02:56) 10 I Am Waiting (03:12) 11 Going Home (11:13) |
| Aftermath : Allmusic album Review : The Rolling Stones finally delivered a set of all-original material with this LP, which also did much to define the group as the bad boys of rock & roll with their sneering attitude toward the world in general and the female sex in particular. The borderline misogyny could get a bit juvenile in tunes like "Stupid Girl." But on the other hand the group began incorporating the influences of psychedelia and Dylan into their material with classics like "Paint It Black," an eerily insistent number one hit graced by some of the best use of sitar (played by Brian Jones) on a rock record. Other classics included the jazzy "Under My Thumb," where Jones added exotic accents with his vibes, and the delicate Elizabethan ballad "Lady Jane," where dulcimer can be heard. Some of the material is fairly ho-hum, to be honest, as Mick Jagger and Keith Richards were still prone to inconsistent songwriting; "Goin Home," an 11-minute blues jam, was remarkable more for its barrier-crashing length than its content. Look out for an obscure gem, however, in the brooding, meditative "I Am Waiting." | ||
 | Rank: 110 Album: 10 of 50 Artist: The Velvet Underground Title: Loaded Released: 1970-09 Tracks: 10 Duration: 39:12 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Who Loves the Sun (02:46) 2 Sweet Jane (03:16) 3 Rock & Roll (04:40) 4 Cool It Down (03:05) 5 New Age (04:40) 6 Head Held High (02:58) 7 Lonesome Cowboy Bill (02:44) 8 I Found a Reason (04:16) 9 Train Round the Bend (03:21) 10 Oh! Sweet Nuthin’ (07:23) |
| Loaded : Allmusic album Review : After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970; label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result, and with appropriate irony it turned out to be the first VU album that made any noticeable impact on commercial radio -- and also their swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purists Velvet Underground album. But while Lou Reed always wrote great rock & roll songs with killer hooks, on Loaded his tunes were at last given a polished but intelligent production that made them sound like the hits they should have been, and theres no arguing that "Sweet Jane" and "Rock and Roll" are as joyously anthemic as anything hes ever recorded. And if this release generally maintains a tight focus on the sunny side of the VUs personality (or would that be Reeds personality?), "New Age" and "Oh! Sweet Nuthin" prove he had hardly abandoned his contemplative side, and "Train Around the Bend" is a subtle but revealing metaphor for his weariness with the music business. Sterling Morrison once said of Loaded, "It showed that we could have, all along, made truly commercial sounding records," but just as importantly, it proved they could do so without entirely abandoning their musical personality in the process. Its a pity that notion hadnt occurred to anyone a few years earlier. | ||
 | Rank: 111 Album: 11 of 50 Artist: Radiohead Title: The Bends Released: 1995-03-08 Tracks: 33 Duration: 2:02:44 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Planet Telex (04:19) 2 The Bends (04:06) 3 High and Dry (04:17) 4 Fake Plastic Trees (04:50) 5 Bones (03:09) 6 (Nice Dream) (03:53) 7 Just (03:54) 8 My Iron Lung (04:36) 9 Bullet Proof..I Wish I Was (03:28) 10 Black Star (04:07) 11 Sulk (03:42) 12 Street Spirit (Fade Out) (04:12) 1 The Trickster (04:40) 2 Punchdrunk Lovesick Singalong (04:40) 3 Lozenge of Love (02:16) 4 Lewis (Mistreated) (03:19) 5 Permanent Daylight (02:49) 6 You Never Wash Up After Yourself (01:44) 7 Maquiladora (03:27) 8 Killer Cars (03:03) 9 India Rubber (03:26) 10 How Can You Be Sure? (04:21) 11 Fake Plastic Trees (acoustic) (04:42) 12 Bullet Proof..I Wish I Was (acoustic) (03:35) 13 Street Spirit (Fade Out) (acoustic) (04:25) 14 Talk Show Host (04:41) 15 Bishop’s Robes (03:25) 16 Banana Co. (02:21) 17 Molasses (02:27) 18 Just (03:45) 19 Maquiladora (03:30) 20 Street Spirit (Fade Out) (04:21) 21 Bones (03:02) |
| The Bends : Allmusic album Review : Pablo Honey in no way was adequate preparation for its epic, sprawling follow-up, The Bends. Building from the sweeping, three-guitar attack that punctuated the best moments of Pablo Honey, Radiohead create a grand and forceful sound that nevertheless resonates with anguish and despair -- its cerebral anthemic rock. Occasionally, the album displays its influences, whether its U2, Pink Floyd, R.E.M., or the Pixies, but Radiohead turn clichés inside out, making each song sound bracingly fresh. Thom Yorkes tortured lyrics give the album a melancholy undercurrent, as does the surging, textured music. But what makes The Bends so remarkable is that it marries such ambitious, and often challenging, instrumental soundscapes to songs that are at their cores hauntingly melodic and accessible. It makes the record compelling upon first listen, but it reveals new details with each listen, and soon it becomes apparent that with The Bends, Radiohead have reinvented anthemic rock. | ||
 | Rank: 112 Album: 12 of 50 Artist: The Mama’s and the Papa’s Title: If You Can Believe Your Eyes and Ears Released: 1966-02-28 Tracks: 12 Duration: 34:41 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Monday, Monday (03:25) 2 Straight Shooter (02:58) 3 Got a Feelin’ (02:51) 4 I Call Your Name (02:38) 5 Do You Wanna Dance (02:58) 6 Go Where You Wanna Go (02:29) 7 California Dreamin’ (02:40) 8 Spanish Harlem (03:20) 9 Somebody Groovy (03:16) 10 Hey Girl (02:29) 11 You Baby (02:21) 12 The “In” Crowd (03:12) |
| If You Can Believe Your Eyes and Ears : Allmusic album Review : In the spring of 1966, If You Can Believe Your Eyes and Ears represented a genuinely new sound, as fresh to listeners as the songs on Meet the Beatles had seemed two years earlier. Released just as "California Dreaming" was ascending the charts by leaps and bounds, it was the product of months of rehearsal in the Virgin Islands and John Phillips discovery of what one could do to build a polished recorded sound in the studio -- it embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time. "Monday, Monday" and "California Dreamin" are familiar enough to anyone whos ever listened to the radio, and "Go Where You Wanna Go" isnt far behind, in this version or the very similar rendition by the Fifth Dimension. But the rest is mighty compelling even to casual listeners, including the ethereal "Got a Feelin," the rocking "Straight Shooter" and "Somebody Groovy," the jaunty, torch song-style version of "I Call Your Name," and the prettiest versions of "Do You Wanna Dance" and "Spanish Harlem" that anyone ever recorded. If the material here has a certain glow that the Mamas & the Papas subsequent LPs lacked, that may be due in part to the extensive rehearsal and the exhilaration of their first experience in the studio, but also a result of the fact that it was recorded before the members personal conflicts began interfering with their ability to work together. The work was all spontaneous and unforced here, as opposed to the emotional complications that had to be overcome before their next sessions. | ||
 | Rank: 113 Album: 13 of 50 Artist: Joni Mitchell Title: Court and Spark Released: 1974-04 Tracks: 11 Duration: 36:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Court and Spark (02:46) 2 Help Me (03:22) 3 Free Man in Paris (03:02) 4 People’s Parties (02:15) 5 Same Situation (02:57) 6 Car on a Hill (03:02) 7 Down to You (05:38) 8 Just Like This Train (04:24) 9 Raised on Robbery (03:06) 10 Trouble Child (04:00) 11 Twisted (02:21) |
| Court and Spark : Allmusic album Review : Joni Mitchell reached her commercial high point with Court and Spark, a remarkably deft fusion of folk, pop, and jazz which stands as her best-selling work to date. While as unified and insightful as Blue, the album -- a concept record exploring the roles of honesty and trust in relationships, romantic and otherwise -- moves away from confessional songwriting into evocative character studies: the hit "Free Man in Paris," written about David Geffen, is a not-so-subtle dig at the machinations of the music industry, while "Raised on Robbery" offers an acutely funny look at the predatory environment of the singles bar scene. Much of Court and Spark is devoted to wary love songs: both the title cut and "Help Me," the records most successful single, carefully measure the risks of romance, while "Peoples Parties" and "The Same Situation" are fraught with worry and self-doubt (standing in direct opposition to the music, which is smart, smooth, and assured from the first note to the last). | ||
 | Rank: 114 Album: 14 of 50 Artist: Cream Title: Disraeli Gears Released: 1967-11-02 Tracks: 11 Duration: 33:33 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Strange Brew (02:49) 2 Sunshine of Your Love (04:12) 3 World of Pain (03:05) 4 Dance the Night Away (03:36) 5 Blue Condition (03:32) 6 Tales of Brave Ulysses (02:49) 7 SWLABR (02:34) 8 We’re Going Wrong (03:29) 9 Outside Woman Blues (02:27) 10 Take It Back (03:08) 11 Mother’s Lament (01:47) |
| Disraeli Gears : Allmusic album Review : Cream teamed up with producer Felix Pappalardi for their second album, Disraeli Gears, a move that helped push the power trio toward psychedelia and also helped give the album a thematic coherence missing from the debut. This, of course, means that Cream get further away from the pure blues improvisatory troupe they were intended to be, but it does get them to be who they truly are: a massive, innovative power trio. The blues still courses throughout Disraeli Gears -- the swirling kaleidoscopic "Strange Brew" is built upon a riff lifted from Albert King -- but its filtered into saturated colors, as it is on "Sunshine of Your Love," or its slowed down and blurred out, as it is on the ominous murk of "Tales of Brave Ulysses." Its a pure psychedelic move thats spurred along by Jack Bruces flourishing collaboration with Pete Brown. Together, this pair steers the album away from recycled blues-rock and toward its eccentric British core, for with the fuzzy freakout "Swlabr," the music hall flourishes of "Dance the Night Away," the swinging "Take It Back," and of course, the old music hall song "Mothers Lament," this is a very British record. Even so, this crossed the ocean and also became a major hit in America, because regardless of how whimsical certain segments are, Cream are still a heavy rock trio and Disraeli Gears is a quintessential heavy rock album of the 60s. Yes, its psychedelic trappings tie it forever to 1967, but the imagination of the arrangements, the strength of the compositions, and especially the force of the musicianship make this album transcend its time as well. | ||
 | Rank: 115 Album: 15 of 50 Artist: The Who Title: The Who Sell Out Released: 1967-12-16 Tracks: 23 Duration: 1:11:46 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Armenia City in the Sky (03:48) 2 Heinz Baked Beans (01:00) 3 Mary Anne With the Shaky Hand (02:29) 4 Odorono (02:34) 5 Tattoo (02:51) 6 Our Love Was (03:23) 7 I Can See for Miles (04:44) 8 I Can’t Reach You (03:03) 9 Medac (00:57) 10 Relax (02:41) 11 Silas Stingy (03:07) 12 Sunrise (03:06) 13 Rael 1 (05:45) 14 Rael 2 (01:28) 15 Glittering Girl (03:59) 16 Melancholia (03:22) 17 Someone’s Coming (02:40) 18 Jaguar (03:01) 19 Early Morning Cold Taxi (03:25) 20 Hall of the Mountain King (04:19) 21 Girl’s Eyes (03:50) 22 Mary Anne With the Shaky Hand (alternative version) (03:21) 23 Glow Girl (02:43) |
| The Who Sell Out : Allmusic album Review : Pete Townshend originally planned The Who Sell Out as a concept album of sorts that would simultaneously mock and pay tribute to pirate radio stations, complete with fake jingles and commercials linking the tracks. For reasons that remain somewhat ill defined, the concept wasnt quite driven to completion, breaking down around the middle of side two (on the original vinyl configuration). Nonetheless, on strictly musical merits, its a terrific set of songs that ultimately stands as one of the groups greatest achievements. "I Can See for Miles" (a Top Ten hit) is the Who at their most thunderous; tinges of psychedelia add a rush to "Armenia City in the Sky" and "Relax"; "I Cant Reach You" finds Townshend beginning to stretch himself into quasi-spiritual territory; and "Tattoo" and the acoustic "Sunrise" show introspective, vulnerable sides to the singer/songwriter that had previously been hidden. "Rael" was another mini-opera, with musical motifs that reappeared in Tommy. The album is as perfect a balance between melodic mod pop and powerful instrumentation as the Who (or any other group) would achieve; psychedelic pop was never as jubilant, not to say funny (the fake commercials and jingles interspersed between the songs are a hoot). [Subsequent reissues added over half a dozen interesting outtakes from the time of the sessions, as well as unused commercials, the B-side "Someones Coming," and an alternate version of "Mary Anne with the Shaky Hand."] | ||
 | Rank: 116 Album: 16 of 50 Artist: The Rolling Stones Title: Out of Our Heads Released: 1965-07-30 Tracks: 12 Duration: 29:37 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 She Said Yeah (01:36) 2 Mercy, Mercy (02:47) 3 Hitch Hike (02:26) 4 That’s How Strong My Love Is (02:26) 5 Good Times (02:00) 6 Gotta Get Away (02:07) 7 Talkin’ ’Bout You (02:32) 8 Cry to Me (03:10) 9 Oh Baby (02:10) 10 Heart of Stone (02:48) 11 The Under Assistant West Coast Promotion Man (03:09) 12 I’m Free (02:24) |
| Out of Our Heads : Allmusic album Review : In 1965, the Stones finally proved themselves capable of writing classic rock singles that mined their R&B/blues roots, but updated them into a more guitar-based, thoroughly contemporary context. The first enduring Jagger-Richards classics are here -- "The Last Time," its menacing, folky B-side "Play With Fire," and the riff-driven "Satisfaction," which made them superstars in the States and defined their sound and rebellious attitude better than any other single song. On the rest of the album, they largely opted for mid-60s soul covers, Marvin Gayes "Hitch Hike," Solomon Burkes "Cry to Me," and Sam Cookes "Good Times" being particular standouts. "Im All Right" (based on a Bo Diddley sound) showed their 1965 sound at its rawest, and there are a couple of fun, though derivative, bluesy originals in "The Spider and the Fly" and "The Under Assistant West Coast Promotion Man." | ||
 | Rank: 117 Album: 17 of 50 Artist: Derek and the Dominos Title: Layla and Other Assorted Love Songs Released: 1970-11 Tracks: 14 Duration: 1:17:12 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia AlbumCover | 1 I Looked Away (03:06) 2 Bell Bottom Blues (05:03) 3 Keep On Growing (06:22) 4 Nobody Knows You When You’re Down and Out (05:00) 5 I Am Yours (03:36) 6 Anyday (06:37) 7 Key to the Highway (09:40) 1 Tell the Truth (06:40) 2 Why Does Love Got to Be So Sad? (04:44) 3 Have You Ever Loved a Woman (06:55) 4 Little Wing (05:36) 5 It’s Too Late (03:49) 6 Layla (07:07) 7 Thorn Tree in My Garden (02:53) |
 | Rank: 118 Album: 18 of 50 Artist: Kanye West Title: Late Registration Released: 2005-03 Tracks: 23 Duration: 1:16:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Wake Up Mr. West (00:41) 2 Heard ’em Say (03:24) 3 Touch the Sky (03:57) 4 Gold Digger (03:28) 5 Skit #1 (00:33) 6 Drive Slow (04:33) 7 My Way Home (01:44) 8 Crack Music (04:31) 9 Roses (04:06) 10 Bring Me Down (03:19) 11 Addiction (04:27) 12 Skit #2 (00:31) 13 Diamonds From Sierra Leone (remix) (03:53) 14 We Major (07:29) 15 Skit #3 (00:24) 16 Hey Mama (05:05) 17 Celebration (03:18) 18 Skit #4 (01:19) 19 Gone (06:03) 20 Diamonds From Sierra Leone (03:58) 21 Back to Basics (01:39) 22 We Can Make It Better (03:52) 23 Late (03:50) |
| Late Registration : Allmusic album Review : And then, in a flash, Kanye was everywhere, transformed from respected producer to big-name producer/MC, throwing a fit at the American Music Awards, performing "Jesus Walks" at the Grammys, wearing his diamond-studded Jesus piece, appearing on the cover of Time, running his mouth 24/7. One thing that remains unchanged is Kanyes hunger, even though his head has swollen to the point where it could be separated from his body, shot into space, and considered a planet. Raised middle class, Kanye didnt have to hustle his way out of poverty, the number one key to credibility for many hip-hop fans, whether it comes to rapper turned rapping label presidents or suburban teens. And now that he has proved himself in another way, through his stratospheric success -- which also won him a gaggle of haters as passionate as his followers -- he doesnt want to be seen as a novelty whose ambitions have been fulfilled. On Late Registration, he finds himself backed into a corner, albeit as king of the mountain. Its a paradox, which is exactly what he thrives on. His follow-up to The College Dropout isnt likely to change the minds of the resistant. As an MC, Kanye remains limited, with all-too-familiar flows that werent exceptional to begin with (you could place a number of these rhymes over College Dropout beats). He uses the same lyrical strategies as well. Take lead single "Diamonds from Sierra Leone," in which he switches from boastful to rueful; more importantly, the conflict felt in owning blood diamonds will be lost on those who couldnt afford one with years of combined income. Even so, he can be tremendous as a pure writer, whether digging up uncovered topics (as on "Diamonds") or spinning a clever line ("Before anybody wanted K. Wests beats, me and my girl split the buffet at KFC"). The production approach, however, is rather different from the debut. Crude beats and drastically tempo-shifted samples are replaced with a more traditionally musical touch from Jon Brion (Fiona Apple, Aimee Mann), who co-produces with West on most of the tracks. (Ironically, the Just Blaze-helmed "Touch the Sky" tops everything laid down by the pair, despite its heavy reliance on Curtis Mayfields "Move on Up.") West and Brion are a good, if unlikely, match. Brions string arrangements and brass flecks add a new dimension to Wests beats without overshadowing them, and the results are neither too adventurous nor too conservative. While KRS-One was the first to proclaim, "I am hip-hop," Kanye West might as well be the first MC to boldly state, "I am pop." | ||
 | Rank: 119 Album: 19 of 50 Artist: Etta James Title: At Last! Released: 1960-11-15 Tracks: 14 Duration: 40:12 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 Anything to Say You’re Mine (02:35) 2 My Dearest Darling (03:02) 3 Trust in Me (03:00) 4 A Sunday Kind of Love (03:18) 5 Tough Mary (02:26) 6 I Just Want to Make Love to You (03:06) 7 At Last (03:01) 8 All I Could Do Was Cry (02:56) 9 Stormy Weather (03:08) 10 Girl of My Dreams (rendered as “Boy of My Dreams”) (02:25) 11 My Heart Cries (02:36) 12 Spoonful (02:50) 13 It’s a Cryin’ Shame (02:54) 14 If I Can’t Have You (02:51) |
 | Rank: 120 Album: 20 of 50 Artist: The Byrds Title: Sweetheart of the Rodeo Released: 1968-08-30 Tracks: 11 Duration: 32:09 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia AlbumCover | 1 You Ain’t Going Nowhere (02:35) 2 I Am a Pilgrim (03:39) 3 The Christian Life (Gram Parsons vocal version) (02:31) 4 You Don’t Miss Your Water (03:50) 5 You’re Still on My Mind (02:26) 6 Pretty Boy Floyd (02:37) 7 Hickory Wind (03:33) 8 One Hundred Years From Now (02:42) 9 Blue Canadian Rockies (02:04) 10 Life in Prison (02:47) 11 Nothing Was Delivered (03:23) |
 | Rank: 121 Album: 21 of 50 Artist: Sly & The Family Stone Title: Stand! Released: 1969-05-03 Tracks: 8 Duration: 41:38 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Stand! (03:08) 2 Don’t Call Me Nigger, Whitey (05:59) 3 I Want to Take You Higher (05:23) 4 Somebodys Watching You (03:21) 5 Sing a Simple Song (03:56) 6 Everyday People (02:22) 7 Sex Machine (13:48) 8 You Can Make It If You Try (03:38) |
| Stand! : Allmusic album Review : Stand! is the pinnacle of Sly & the Family Stones early work, a record that represents a culmination of the groups musical vision and accomplishment. Life hinted at this records boundless enthusiasm and blurred stylistic boundaries, yet everything simply gels here, resulting in no separation between the astounding funk, effervescent irresistible melodies, psychedelicized guitars, and deep rhythms. Add to this a sharpened sense of pop songcraft, elastic band interplay, and a flowering of Slys social consciousness, and the result is utterly stunning. Yes, the jams ("Dont Call Me Nigger, Whitey," "Sex Machine") wind up meandering ever so slightly, but theyre surrounded by utter brilliance, from the rousing call to arms of "Stand!" to the unification anthem "Everyday People" to the unstoppable "I Want to Take You Higher." All of it sounds like the Family Stone, thanks not just to the communal lead vocals but to the brilliant interplay, but each track is distinct, emphasizing a different side of their musical personality. As a result, Stand! winds up infectious and informative, invigorating and thought-provoking -- stimulating in every sense of the word. Few records of its time touched it, and Sly topped it only by offering its opposite the next time out. | ||
 | Rank: 122 Album: 22 of 50 Artist: Various Artists Title: The Harder They Come Released: 1972-07-07 Tracks: 12 Duration: 40:14 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 You Can Get It If You Really Want (02:43) 2 Draw Your Brakes (02:59) 3 Rivers of Babylon (04:17) 4 Many Rivers to Cross (03:02) 5 Sweet and Dandy (03:01) 6 The Harder They Come (03:43) 7 Johnny Too Bad (03:05) 8 007 (Shanty Town) (02:46) 9 Pressure Drop (03:44) 10 Sitting in Limbo (04:57) 11 You Can Get It If You Really Want (02:45) 12 The Harder They Come (03:07) |
| The Harder They Come : Allmusic album Review : In 1973, when the movie The Harder They Come was released, reggae was not on the radar screen of American pop culture. The soundtrack went a ways toward changing that situation. It is a collection of consistently excellent early reggae songs by artists who went on to thrive with reggaes increased popularity, and others for whom this is the most well-known vehicle. Jimmy Cliff is both the star of the movie and the headliner on the soundtrack. He contributes three excellent songs: the hymnal "Many Rivers to Cross," "You Can Get It If You Really Want," and "The Harder They Come" (the latter two are repeated at the end of the album, but you probably wanted to hear them again anyway). Interestingly, the better production values of his songs actually seems to detract from them when compared to the rougher, but less sanitized, mixes of the other tracks. All the songs on this collection are excellent, but some truly stand out. Toots & the Maytals deliver two high-energy songs with "Sweet and Dandy" and "Pressure Drop" (covered by the Clash among others). Scotty develops a mellow, loping groove on "Stop That Train" (not the same as the Wailers song by the same name) and the Slickers prove on "Johnny Too Bad" that you dont have to spout profanity or graphic violence to convey danger. The Harder They Come is strongly recommended both for the casual listener interested in getting a sense of reggae music and the more serious enthusiast. Collections dont come much better than this. | ||
 | Rank: 123 Album: 23 of 50 Artist: Run‐D.M.C. Title: Raising Hell Released: 1986 Tracks: 12 Duration: 39:51 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Peter Piper (03:23) 2 It’s Tricky (03:03) 3 My Adidas (02:47) 4 Walk This Way (05:11) 5 Is It Live (03:04) 6 Perfection (02:58) 7 Hit It Run (03:11) 8 Raising Hell (05:31) 9 You Be Illin’ (03:25) 10 Dumb Girl (03:32) 11 Son of Byford (00:27) 12 Proud to Be Black (03:14) |
| Raising Hell : Allmusic album Review : By their third album, Run-D.M.C. were primed for a breakthrough into the mainstream, but nobody was prepared for a blockbuster on the level of Raising Hell. Run-D.M.C. and King of Rock had established the crews fusion of hip-hop and hard rock, but that sound didnt blossom until Raising Hell, partially due to the presence of Rick Rubin as producer. Rubin loved metal and rap in equal measures and he knew how to play to the strengths of both, while slipping in commercial concessions that seemed sly even when they borrowed from songs as familiar as "My Sharona" (heard on "Its Tricky"). Along with longtime Run-D.M.C. producer Russell Simmons, Rubin blew down the doors of what hip-hop could do with Raising Hell because it reached beyond rap-rock and found all sorts of sounds outside of it. Sonically, there is simply more going on in this album than any previous rap record -- more hooks, more drum loops (courtesy of ace drum programmer Sam Sever), more scratching, more riffs, more of everything. Where other rap records, including Run-D.M.C.s, were all about the rhythm, this is layered with sounds and ideas, giving the music a tangible flow. But the brilliance of this record is that even with this increased musical depth, it still rocks as hard as hell, and in a manner that brought in a new audience. Of course, the cover of Aerosmiths "Walk This Way," complete with that bands Steven Tyler and Joe Perry, helped matters considerably, since it gave an audience unfamiliar with rap an entry point, but if it were just a novelty record, a one-shot fusion of rap and rock, Raising Hell would never have sold three million copies. No, the music was fully realized and thoroughly invigorating, rocking harder and better than any of its rock or rap peers in 1986, and years later, that sense of excitement is still palpable on this towering success story for rap in general and Run-D.M.C. in specific. | ||
 | Rank: 124 Album: 24 of 50 Artist: Moby Grape Title: Moby Grape Released: 1967-06 Tracks: 18 Duration: 47:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Hey Grandma (02:45) 2 Mr. Blues (02:01) 3 Fall on You (01:56) 4 8:05 (02:22) 5 Come in the Morning (02:16) 6 Omaha (02:46) 7 Naked, If I Want To (00:58) 8 Someday (02:43) 9 Aint No Use (01:33) 10 Sitting by the Window (02:46) 11 Changes (03:24) 12 Lazy Me (01:48) 13 Indifference (04:19) 14 Rounder (instrumental) (02:04) 15 Looper (02:38) 16 Indifference (02:47) 17 Bitter Wind (02:50) 18 Sweet Ride (Never Again) (05:56) |
| Moby Grape : Allmusic album Review : Moby Grapes career was a long, sad series of minor disasters, in which nearly anything that could have gone wrong did (poor handling by their record company, a variety of legal problems, a truly regrettable deal with their manager, creative and personal differences among the bandmembers, and the tragic breakdown of guitarist and songwriter Skip Spence), but their self-titled debut album was their one moment of unqualified triumph. Moby Grape is one of the finest (perhaps the finest) album to come out of the San Francisco psychedelic scene, brimming with great songs and fresh ideas while blessedly avoiding the pitfalls that pockmarked the work of their contemporaries -- no long, unfocused jams, no self-indulgent philosophy, and no attempts to sonically re-create the sound of an acid trip. Instead, Moby Grape built their sound around the brilliantly interwoven guitar work of Jerry Miller, Peter Lewis, and Skip Spence, and the clear, bright harmonies of all five members (drummer Don Stevenson and bassist Bob Mosely sang just as well as they held down the backbeat). As songwriters, Moby Grape blended straight-ahead rock & roll, smart pop, blues, country, and folk accents into a flavorful brew that was all their own, with a clever melodic sense that reflected the lysergic energy surrounding them without drowning in it. And producer David Rubinson got it all on tape in a manner that captured the bands infectious energy and soaring melodies with uncluttered clarity, while subtly exploring the possibilities of the stereo mixing process. "Omaha," "Fall on You," "Hey Grandma," and "8:05" sound like obvious hits (and might have been if Columbia hadnt released them as singles all at once), but the truth is there isnt a dud track to be found here, and time has been extremely kind to this record. Moby Grape is as refreshing today as it was upon first release, and if fate prevented the group from making a follow-up that was as consistently strong, for one brief shining moment Moby Grape proved to the world they were one of Americas great bands. While history remembers the Grateful Dead and Jefferson Airplane as being more important, the truth is neither group ever made an album quite this good. | ||
 | Rank: 125 Album: 25 of 50 Artist: Janis Joplin Title: Pearl Released: 1971-01 Tracks: 29 Duration: 2:15:18 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Move Over (03:43) 2 Cry Baby (03:58) 3 A Woman Left Lonely (03:29) 4 Half Moon (03:53) 5 Buried Alive in the Blues (02:27) 6 My Baby (03:45) 7 Me and Bobby McGee (04:31) 8 Mercedes Benz (01:47) 9 Trust Me (03:17) 10 Get It While You Can (03:26) 11 Happy Birthday, John (Happy Trails) (01:11) 12 Me and Bobby McGee (demo version) (04:46) 13 Move Over (alternate version) (04:27) 14 Cry Baby (alternate version) (04:58) 15 My Baby (alternate version) (03:59) 16 Pearl (instrumental) (04:27) 1 Tell Mama (06:47) 2 Half Moon (04:38) 3 Move Over (04:41) 4 Maybe (03:56) 5 Summertime (04:39) 6 Little Girl Blue (05:10) 7 That’s Rock ’n Roll (05:03) 8 Try (Just a Little Bit Harder) (09:11) 9 Kozmic Blues (05:29) 10 Piece of My Heart (05:21) 11 Cry Baby (06:31) 12 Get It While You Can (07:20) 13 Ball and Chain (08:15) |
| Pearl : Allmusic album Review : Janis Joplins second masterpiece (after Cheap Thrills), Pearl was designed as a showcase for her powerhouse vocals, stripping down the arrangements that had often previously cluttered her music or threatened to drown her out. Thanks also to a more consistent set of songs, the results are magnificent -- given room to breathe, Joplins trademark rasp conveys an aching, desperate passion on funked-up, bluesy rockers, ballads both dramatic and tender, and her signature song, the posthumous number one hit "Me and Bobby McGee." The unfinished "Buried Alive in the Blues" features no Joplin vocals -- she was scheduled to record them on the day after she was found dead. Its incompleteness mirrors Joplins career: Pearls power leaves the listener to wonder what else Joplin could have accomplished, but few artists could ask for a better final statement. | ||
 | Rank: 126 Album: 26 of 50 Artist: The Wailers Title: Catch a Fire Released: 1973-04-13 Tracks: 11 Duration: 44:17 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Concrete Jungle (04:14) 2 Slave Driver (02:54) 3 400 Years (02:46) 4 Stop That Train (03:56) 5 Baby We’ve Got a Date (Rock It Baby) (03:58) 6 Stir It Up (05:34) 7 Kinky Reggae (03:39) 8 No More Trouble (03:59) 9 Midnight Ravers (05:08) 10 High Tide or Low Tide (04:40) 11 All Day All Night (03:26) |
| Catch a Fire : Allmusic album Review : Catch a Fire was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the instrumentation was minimalistic in order to bring out the passionate, often politically charged lyrics. Much of the appeal of the album lies in its sincerity and sense of purpose -- these are streetwise yet disarmingly idealistic young men who look around themselves and believe they might help change the world through music. Marley sings about the current state of urban poverty ("Concrete Jungle") and connects the present to past injustices ("Slave Driver"), but he is a not a one-trick pony. He is a versatile songwriter who also excels at singing love songs such as his classic "Stir It Up." Peter Tosh sings the lead vocal on two of his own compositions -- his powerful presence and immense talent hint that he would eventually leave for his own successful solo career. More than anything else, however, this marks the emergence of Bob Marley and the international debut of reggae music. Marley would continue to achieve great critical and commercial success during the 1970s, but Catch a Fire is one of the finest reggae albums ever. This album is essential for any music collection. | ||
 | Rank: 127 Album: 27 of 50 Artist: The Byrds Title: Younger Than Yesterday Released: 1967-02-06 Tracks: 11 Duration: 28:13 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia AlbumCover | 1 So You Want to Be a Rock ’n’ Roll Star (02:06) 2 Have You Seen Her Face (02:27) 3 C.T.A.‐102 (02:30) 4 Renaissance Fair (01:54) 5 Time Between (01:55) 6 Everybody’s Been Burned (03:01) 7 Thoughts and Words (02:57) 8 Mind Gardens (03:29) 9 My Back Pages (03:10) 10 The Girl With No Name (01:52) 11 Why (02:46) |
 | Rank: 128 Album: 28 of 50 Artist: Iggy and The Stooges Title: Raw Power Released: 1973-02-07 Tracks: 19 Duration: 1:42:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Search and Destroy (03:29) 2 Gimme Danger (03:31) 3 Your Pretty Face Is Going to Hell (04:54) 4 Penetration (03:39) 5 Raw Power (04:21) 6 I Need Somebody (04:56) 7 Shake Appeal (03:02) 8 Death Trip (05:51) 1 Introduction (00:22) 2 Raw Power (05:46) 3 Head On (09:14) 4 Gimme Danger (07:57) 5 Search and Destroy (07:25) 6 I Need Somebody (06:15) 7 Heavy Liquid (07:40) 8 Cock in My Pocket (03:53) 9 Open Up and Bleed (10:22) 10 Doojiman (outtake) (04:03) 11 Head On (rehearsal performance) (05:39) |
| Raw Power : Allmusic album Review : In 1972, the Stooges were near the point of collapse when David Bowies management team, MainMan, took a chance on the band at Bowies behest. By this point, guitarist Ron Asheton and bassist Dave Alexander had been edged out of the picture, and James Williamson had signed on as Iggys new guitar mangler; Asheton rejoined the band shortly before recording commenced on Raw Power, but was forced to play second fiddle to Williamson as bassist. By most accounts, tensions were high during the recording of Raw Power, and the album sounds like the work of a band on its last legs -- though rather than grinding to a halt, Iggy & the Stooges appeared ready to explode like an ammunition dump. From a technical standpoint, Williamson was a more gifted guitar player than Asheton (not that that was ever the point), but his sheets of metallic fuzz were still more basic (and punishing) than what anyone was used to in 1973, while Ron Asheton played his bass like a weapon of revenge, and his brother Scott Asheton remained a powerhouse behind the drums. But the most remarkable change came from the singer; Raw Power revealed Iggy as a howling, smirking, lunatic genius. Whether quietly brooding ("Gimme Danger") or inviting the apocalypse ("Search and Destroy"), Iggy had never sounded quite so focused as he did here, and his lyrics displayed an intensity that was more than a bit disquieting. In many ways, almost all Raw Power has in common with the two Stooges albums that preceded it is its primal sound, but while the Stooges once sounded like the wildest (and weirdest) gang in town, Raw Power found them heavily armed and ready to destroy the world -- that is, if they didnt destroy themselves first. [After its release, Iggy was known to complain that David Bowies mix neutered the ferocity of the original recordings. In time it became conventional wisdom that Bowies mix spoiled a potential masterpiece, so much so that in 1997, when Columbia made plans to issue a new edition of Raw Power, they brought in Pop to remix the original tapes and (at least in theory) give us the "real" version wed been denied all these years. Then the world heard Pops painfully harsh and distorted version of Raw Power, and suddenly Bowies tamer but more dynamic mix didnt sound so bad, after all. In 2010, the saga came full-circle when Columbia released a two-disc "Legacy Edition" of the album that featured Bowies original mix in remastered form] | ||
 | Rank: 129 Album: 29 of 50 Artist: Talking Heads Title: Remain in Light Released: 1980-05-10 Tracks: 8 Duration: 40:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Born Under Punches (The Heat Goes On) (05:48) 2 Crosseyed and Painless (04:47) 3 The Great Curve (06:27) 4 Once in a Lifetime (04:20) 5 Houses in Motion (04:33) 6 Seen and Not Seen (03:24) 7 Listening Wind (04:43) 8 The Overload (06:00) |
| Remain in Light : Allmusic album Review : The musical transition that seemed to have just begun with Fear of Music came to fruition on Talking Heads fourth album, Remain in Light. "I Zimbra" and "Life During Wartime" from the earlier album served as the blueprints for a disc on which the group explored African polyrhythms on a series of driving groove tracks, over which David Byrne chanted and sang his typically disconnected lyrics. Remain in Light had more words than any previous Heads record, but they counted for less than ever in the sweep of the music. The albums single, "Once in a Lifetime," flopped upon release, but over the years it became an audience favorite due to a striking video, its inclusion in the bands 1984 concert film Stop Making Sense, and its second single release (in the live version) because of its use in the 1986 movie Down and Out in Beverly Hills, when it became a minor chart entry. Byrne sounded typically uncomfortable in the verses ("And you may find yourself in a beautiful house, with a beautiful wife/And you may ask yourself, well, how did I get here?"), which were undercut by the reassuring chorus ("Letting the days go by"). Even without a single, Remain in Light was a hit, indicating that Talking Heads were connecting with an audience ready to follow their musical evolution, and the album was so inventive and influential, it was no wonder. As it turned out, however, it marked the end of one aspect of the groups development and was their last new music for three years. | ||
 | Rank: 130 Album: 30 of 50 Artist: Television Title: Marquee Moon Released: 1977-02-08 Tracks: 8 Duration: 45:20 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 See No Evil (03:57) 2 Venus (03:53) 3 Friction (04:43) 4 Marquee Moon (09:58) 5 Elevation (05:09) 6 Guiding Light (05:35) 7 Prove It (05:03) 8 Torn Curtain (07:02) |
| Marquee Moon : Allmusic album Review : Marquee Moon is a revolutionary album, but its a subtle, understated revolution. Without question, it is a guitar rock album -- its astonishing to hear the interplay between Tom Verlaine and Richard Lloyd -- but it is a guitar rock album unlike any other. Where their predecessors in the New York punk scene, most notably the Velvet Underground, had fused blues structures with avant-garde flourishes, Television completely strip away any sense of swing or groove, even when they are playing standard three-chord changes. Marquee Moon is comprised entirely of tense garage rockers that spiral into heady intellectual territory, which is achieved through the groups long, interweaving instrumental sections, not through Verlaines words. That alone made Marquee Moon a trailblazing album -- its impossible to imagine post-punk soundscapes without it. Of course, it wouldnt have had such an impact if Verlaine hadnt written an excellent set of songs that conveyed a fractured urban mythology unlike any of his contemporaries. From the nervy opener, "See No Evil," to the majestic title track, there is simply not a bad song on the entire record. And what has kept Marquee Moon fresh over the years is how Television flesh out Verlaines poetry into sweeping sonic epics. | ||
 | Rank: 131 Album: 31 of 50 Artist: Black Sabbath Title: Paranoid Released: 1970-09-18 Tracks: 8 Duration: 41:48 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 War Pigs / Luke’s Wall (07:56) 2 Paranoid (02:48) 3 Planet Caravan (04:26) 4 Iron Man (05:55) 5 Electric Funeral (04:49) 6 Hand of Doom (07:08) 7 Rat Salad (02:30) 8 Jack the Stripper / Fairies Wear Boots (06:14) |
| Paranoid : Allmusic album Review : Paranoid was not only Black Sabbaths most popular record (it was a number one smash in the U.K., and "Paranoid" and "Iron Man" both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbaths signature sound -- crushingly loud, minor-key dirges loosely based on heavy blues-rock -- and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like "War Pigs" and "Iron Man" (which sports one of the most immediately identifiable riffs in metal history). The subject matter is unrelentingly, obsessively dark, covering both supernatural/sci-fi horrors and the real-life traumas of death, war, nuclear annihilation, mental illness, drug hallucinations, and narcotic abuse. Yet Sabbath makes it totally convincing, thanks to the crawling, muddled bleakness and bad-trip depression evoked so frighteningly well by their music. Even the qualities that made critics deplore the album (and the group) for years increase the overall effect -- the technical simplicity of Ozzy Osbournes vocals and Tony Iommis lead guitar vocabulary; the spots when the lyrics sink into melodrama or awkwardness; the lack of subtlety and the infrequent dynamic contrast. Everything adds up to more than the sum of its parts, as though the anxieties behind the music simply demanded that the band achieve catharsis by steamrolling everything in its path, including its own limitations. Monolithic and primally powerful, Paranoid defined the sound and style of heavy metal more than any other record in rock history. | ||
 | Rank: 132 Album: 32 of 50 Artist: Various Artists Title: Saturday Night Fever: The Original Movie Sound Track Released: 1977-11 Tracks: 17 Duration: 1:15:46 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Stayin’ Alive (04:45) 2 How Deep Is Your Love (04:03) 3 Night Fever (03:31) 4 More Than a Woman (03:17) 5 If I Can’t Have You (02:57) 6 A Fifth of Beethoven (03:03) 7 More Than a Woman (03:15) 8 Manhattan Skyline (04:43) 9 Calypso Breakdown (07:50) 1 Night on Disco Mountain (05:12) 2 Open Sesame (04:00) 3 Jive Talkin’ (03:44) 4 You Should Be Dancing (04:16) 5 Boogie Shoes (02:12) 6 Salsation (03:50) 7 K‐Jee (04:13) 8 Disco Inferno (10:50) |
| Saturday Night Fever: The Original Movie Sound Track : Allmusic album Review : Every so often, a piece of music comes along that defines a moment in popular culture history: Johann Strauss operetta Die Fledermaus did this in Vienna in the 1870s; Jerome Kerns Show Boat did it for Broadway musicals of the 1920s, and the Beatles Sgt. Peppers Lonely Hearts Club Band album served this purpose for the era of psychedelic music in the 1960s. Saturday Night Fever, although hardly as prodigious an artistic achievement as those precursors, was precisely that kind of musical phenomenon for the second half of the 70s. Ironically, before its release, the disco boom had seemingly run its course, primarily in Europe, and was confined mostly to black culture and the gay underground in America. Saturday Night Fever, as a movie and an album, plus a brace of hit singles off of it, suddenly made disco explode into mainstream, working- and middle-class America with a new immediacy and urgency, increasing its audience ten-fold overnight. The Bee Gees had written "Stayin Alive" (then called "Saturday Night"), "Night Fever," "How Deep Is Your Love," "If I Cant Have You," and "More Than a Woman" for what would have been the follow-up album to Children of the World, and they might well have enjoyed platinum-record status with that proposed album. Instead, Robert Stigwood asked them in early 1977 to contribute songs to the soundtrack of a movie that he was financing, a low-budget picture called Tribal Rites on a Saturday Night. More out of loyalty to him than any belief in the viability of the film, they obliged. The groups involvement even survived the decision by the original director, John Avildsen, that he didnt want their music in the film. Instead, Stigwood fired him and brought in the very talented but much more agreeable John Badham, the movies title was changed to Saturday Night Fever, the Bee Gees music stayed, and the result was the biggest-selling soundtrack album in history, a 25-million copy monster whose sales, even as a more expensive double-LP, dwarfed the multi-million units sold of Children of the World and Main Course. Strangely enough, for all of the fixation of the movie and its audience on dancing, the Bee Gees new songs were weighted equally toward ethereal ballads, which may be one reason for the soundtrack albums appeal -- it delivers what its audience expects, plus a "bonus" in the form of the soaring, lyrical romantic numbers that were, as with most ventures by the Gibb Brothers in this area, virtually irresistible. Despite the presence of other artists, Saturday Night Fever is virtually indispensable as a Bee Gees album, not just for the presence of an array of songs that were hits in their own right -- and which became the de facto soundtrack to a half-decade of pop culture history -- but because it offered the Gibb Brothers as composers as well as artists, with their work recorded by Yvonne Elliman ("If I Cant Have You"), and Tavares ("More Than a Woman"), and it placed their music alongside the work of Kool & the Gang and MFSB. In essence, the layout of the soundtrack was the culmination of everything theyd been moving toward since the Mr. Natural album. Even the presence of David Shires "Night on Disco Mountain" and "Salsation," and Walter Murphys "A Fifth of Beethoven," dont hurt, because these set a mood and a surrounding ambience for the Bee Gees material that makes it work even better. | ||
 | Rank: 133 Album: 33 of 50 Artist: Bruce Springsteen Title: The Wild, the Innocent & the E Street Shuffle Released: 1973-09-11 Tracks: 7 Duration: 46:48 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 The E Street Shuffle (04:29) 2 4th of July, Asbury Park (Sandy) (05:36) 3 Kitty’s Back (07:09) 4 Wild Billy’s Circus Story (04:47) 5 Incident on 57th Street (07:45) 6 Rosalita (Come Out Tonight) (07:03) 7 New York City Serenade (09:56) |
| The Wild, the Innocent & the E Street Shuffle : Allmusic album Review : Bruce Springsteen expanded the folk-rock approach of his debut album, Greetings from Asbury Park, N.J., to strains of jazz, among other styles, on its ambitious follow-up, released only eight months later. His chief musical lieutenant was keyboard player David Sancious, who lived on the E Street that gave the album and Springsteens backup group its name. With his help, Springsteen created a street-life mosaic of suburban society that owed much in its outlook to Van Morrisons romanticization of Belfast in Astral Weeks. Though Springsteen expressed endless affection and much nostalgia, his message was clear: this was a goodbye-to-all-that from a man who was moving on. The Wild, The Innocent & the E Street Shuffle represented an astonishing advance even from the remarkable promise of Greetings; the unbanded three-song second side in particular was a flawless piece of music. Musically and lyrically, Springsteen had brought an unruly muse under control and used it to make a mature statement that synthesized popular musical styles into complicated, well-executed arrangements and absorbing suites; it evoked a world precisely even as that world seemed to disappear. Following the personnel changes in the E Street Band in 1974, there is a conventional wisdom that this album is marred by production lapses and performance problems, specifically the drumming of Vini Lopez. None of that is true. Lopezs busy Keith Moon style is appropriate to the arrangements in a way his replacement, Max Weinberg, never could have been. The production is fine. And the albums songs contain the best realization of Springsteens poetic vision, which soon enough would be tarnished by disillusionment. He would later make different albums, but he never made a better one. The truth is, The Wild, The Innocent & the E Street Shuffle is one of the greatest albums in the history of rock & roll. | ||
 | Rank: 134 Album: 34 of 50 Artist: The Notorious B.I.G. Title: Ready to Die Released: 1994-09-13 Tracks: 19 Duration: 1:16:39 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia AlbumCover | 1 Intro (03:23) 2 Things Done Changed (03:57) 3 Gimme the Loot (04:45) 4 Machine Gun Funk (04:15) 5 Warning (03:40) 6 Ready to Die (04:24) 7 One More Chance (04:43) 8 Fuck Me (interlude) (01:31) 9 The What (03:57) 10 Juicy (05:02) 11 Everyday Struggle (05:19) 12 Me & My Bitch (04:00) 13 Big Poppa (04:11) 14 Respect (05:21) 15 Friend of Mine (03:28) 16 Unbelievable (03:43) 17 Suicidal Thoughts (02:50) 18 Who Shot Ya (05:19) 19 Just Playing (Dreams) (02:43) |
 | Rank: 135 Album: 35 of 50 Artist: Pavement Title: Slanted and Enchanted Released: 1992-04-30 Tracks: 14 Duration: 39:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Wikipedia Allmusic AlbumCover | 1 Summer Babe (Winter version) (03:16) 2 Trigger Cut / Wounded‐Kite at :17 (03:16) 3 No Life Singed Her (02:09) 4 In the Mouth a Desert (03:52) 5 Conduit for Sale! (02:52) 6 Zurich Is Stained (01:41) 7 Chesley’s Little Wrists (01:16) 8 Loretta’s Scars (02:55) 9 Here (03:56) 10 Two States (01:47) 11 Perfume‐V (02:09) 12 Fame Throwa (03:22) 13 Jackals, False Grails: The Lonesome Era (03:21) 14 Our Singer (03:09) |
| Slanted and Enchanted : Allmusic album Review : Listening to Slanted & Enchanted is like listening to a college radio station that you can barely tune in -- melodies are interrupted by shards of white noise, only to have a simple hook pull everything back into focus. On their first full-length album, Pavement constructed a cycle of gleeful guitar noise punctuated by fragments of melody floating in and out of the chaos. Aesthetically, the thin, noisy low-fidelity production is appealing and uncompromising, but what makes Slanted & Enchanted remarkable is the songwriting. Instead of disguising an underdeveloped sense of songcraft, the production embellishes and subverts the bands gift for unusual, catchy hooks. Surrounded by fuzzy, noisy guitars, white noise, and Stephen Malkmus languid vocals, the pure pop melodies of "Trigger Cut" and "Summer Babe" sound foreign, but the production gives context to the gorgeous melancholy of "Here" and the brooding "In the Mouth a Desert." Some listeners may initially find the lo-fi sound of the record inaccessible, but the sheer strength of Pavements songs settles in after a few plays. | ||
 | Rank: 136 Album: 36 of 50 Artist: Elton John Title: Greatest Hits Released: 1974-11-04 Tracks: 11 Duration: 47:58 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Your Song (04:01) 2 Daniel (03:53) 3 Honky Cat (05:13) 4 Goodbye Yellow Brick Road (03:15) 5 Saturday Night’s Alright For Fighting (04:54) 6 Rocket Man (04:42) 7 Bennie and the Jets (05:13) 8 Candle in the Wind (03:49) 9 Don’t Let the Sun Go Down on Me (05:37) 10 Border Song (03:22) 11 Crocodile Rock (03:56) |
| Greatest Hits : Allmusic album Review : Rarely has a greatest-hits collection been as effective as Elton Johns first compilation of Greatest Hits. Released at the end of 1974, after Goodbye Yellow Brick Road and Caribou had effectively established him as a superstar, Greatest Hits is exactly what it says it is -- it features every one of his Top Ten singles ("Your Song," "Rocket Man," "Honky Cat," "Crocodile Rock," "Daniel," "Goodbye Yellow Brick Road," "Bennie and the Jets," "Dont Let the Sun Go Down on Me"), plus the number 12 "Saturday Nights Alright for Fighting" and radio and concert favorite "Border Song." Despite the exclusion of a couple of lesser hits from this era, most notably "Levon" and "Tiny Dancer," Greatest Hits is a nearly flawless collection, offering a perfect introduction to Elton John and providing casual fans with almost all the hits they need. | ||
 | Rank: 137 Album: 37 of 50 Artist: The Replacements Title: Tim Released: 1985-07-01 Tracks: 17 Duration: 58:52 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Hold My Life (04:21) 2 I’ll Buy (03:25) 3 Kiss Me on the Bus (02:54) 4 Dose of Thunder (02:19) 5 Waitress in the Sky (02:02) 6 Swingin Party (03:51) 7 Bastards of Young (03:38) 8 Lay It Down Clown (02:24) 9 Left of the Dial (03:43) 10 Little Mascara (03:36) 11 Here Comes a Regular (05:06) 12 Cant Hardly Wait (outtake, acoustic) (03:52) 13 Nowhere Is My Home (04:01) 14 Cant Hardly Wait (outtake, electric) (03:09) 15 Kiss Me on the Bus (studio demo) (03:00) 16 Waitress in the Sky (alternate version) (02:00) 17 Here Comes a Regular (alternate version) (05:22) |
| Tim : Allmusic album Review : Moving to a major label was inevitable for the Replacements: they garnered too much acclaim and attention after Let It Be to stay on Twin/Tone, especially as the label faced the same distribution problems that plagued many indies in the mid-80s -- plus, the Mats crosstown rivals, Hüsker Dü, made the leap to the big leagues, paving the way for their own hop over to Sire. The Replacements may have left Twin/Tone behind but they werent quite ready to leave Minneapolis in the dust, choosing to record in their hometown with Tommy Erdelyi -- aka Tommy Ramone -- who gives the Mats a big, roomy sound without quite giving them gloss; compared to Let It Be, Tim is polished, but compared to many American underground rock records of the mid-80s (including those by the Ramones), its loose and kinetic. The production -- guitars that gained muscle, drums and vocals that gained reverb -- is the biggest surface difference, but there arent just changes in how the Replacements sound; what theyre playing is different too, as Paul Westerberg begins to turn into a self-aware songwriter. A large part of the charm of Let It Be was how it split almost evenly between ragged vulgarity and open-hearted rockers, with Westerbergs best songs betraying a startling, beguiling lack of affect. Thats not quite the case with Tim, as Westerberg consciously writes alienation anthems: the rallying cry of "Bastards of Young" and the college radio love letter "Left of the Dial," songs written with a larger audience in mind -- not a popular audience, but a collection of misfits across the nation, who huddled around Westerbergs raw, twitchy loneliness on "Swingin Party" and "Here Comes a Regular," or the urgent and directionless "Hold My Life." These songs are Westerberg at his confessional peak, but instead of undercutting this ragged emotion or hiding it away, as he did on the Twin/Tone albums, he pairs it with the exuberance of "Kiss Me on the Bus" -- an adolescent cousin to "I Will Dare" -- and channels his smart-ass comments into the terrifically cynical rockabilly shuffle "Waitress in the Sky." All this eats up so much oxygen that theres not much air left for any of the recklessness of the Twin/Tone LPs: theres no stumbling, no throwaway jokes, with even the twin rave-ups of "Dose of Thunder" and "Lay It Down Clown" straightened out, no matter how much Bob Stinson might try to pull them apart, which is perhaps the greatest indication that the Replacements were no longer the band they were just a couple years ago. Some Mats fans never got over this change, but something was gained in this loss: the Replacements turned into a deeper band on Tim, one that spoke, sometimes mumbled, to the hearts of losers and outcasts who lived their lives on the fringe. If Let It Be captured the spirit of the Replacements, then Tim captured their soul. | ||
 | Rank: 138 Album: 38 of 50 Artist: Dr. Dre Title: The Chronic Released: 1992-12-15 Tracks: 16 Duration: 1:02:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 The Chronic (intro) (01:57) 2 Fuck Wit Dre Day (And Everybody’s Celebratin’) (04:52) 3 Let Me Ride (04:21) 4 The Day the Niggaz Took Over (04:33) 5 Nuthin’ but a “G” Thang (03:58) 6 Deeez Nuuuts (05:06) 7 Lil’ Ghetto Boy (05:29) 8 A Nigga Witta Gun (03:52) 9 Rat‐Tat‐Tat‐Tat (03:48) 10 The $20 Sack Pyramid (02:53) 11 Lyrical Gangbang (04:04) 12 High Powered (02:44) 13 The Doctor’s Office (01:04) 14 Stranded on Death Row (04:47) 15 The Roach (The Chronic Outro) (04:36) 16 Bitches Ain’t Shit (04:47) |
| The Chronic : Allmusic album Review : With its stylish, sonically detailed production, Dr. Dres 1992 solo debut, The Chronic, transformed the entire sound of West Coast rap. Here Dre established his patented G-funk sound: fat, blunted Parliament-Funkadelic beats, soulful backing vocals, and live instruments in the rolling basslines and whiny synths. Whats impressive is that Dre crafts tighter singles than his inspiration, George Clinton -- hes just as effortlessly funky, and he has a better feel for a hook, a knack that improbably landed gangsta rap on the pop charts. But none of The Chronics legions of imitators were as rich in personality, and thats due in large part to Dres monumental discovery, Snoop Doggy Dogg. Snoop livens up every track he touches, sometimes just by joining in the chorus -- and if The Chronic has a flaw, its that his relative absence from the second half slows the momentum. There was nothing in rap quite like Snoops singsong, lazy drawl (as its invariably described), and since Dres true forte is the producers chair, Snoop is the signature voice. He sounds utterly unaffected by anything, no matter how extreme, which sets the tone for the albums misogyny, homophobia, and violence. The Rodney King riots are unequivocally celebrated, but the war wasnt just on the streets; Dre enlists his numerous guests in feuds with rivals and ex-bandmates. Yet The Chronic is first and foremost a party album, rooted not only in 70s funk and soul, but also that eras blue party comedy, particularly Dolemite. Its comic song intros and skits became prerequisites for rap albums seeking to duplicate its cinematic flow; plus, Snoop and Dres terrific chemistry ensures that even their foulest insults are cleverly turned. That framework makes The Chronic both unreal and all too real, a cartoon and a snapshot. No matter how controversial, it remains one of the greatest and most influential hip-hop albums of all time. | ||
 | Rank: 139 Album: 39 of 50 Artist: The Meters Title: Rejuvenation Released: 1974-07-03 Tracks: 11 Duration: 50:51 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 People Say (05:18) 2 Love Is for Me (03:55) 3 Just Kissed My Baby (04:43) 4 Whatcha Say (03:29) 5 Jungle Man (03:26) 6 Hey Pocky A-Way (04:06) 7 It Aint No Use (11:51) 8 Loving You Is on My Mind (03:19) 9 Africa (04:01) 10 People Say (single version) (03:11) 11 Hey Pocky A-Way (single version) (03:27) |
| Rejuvenation : Allmusic album Review : The title is a tip-off, as is the garish, blaxploitation-chic photo on the cover -- Rejuvenation, the Meters second album for Reprise, should be seen as a bit of a new beginning for the quintessential New Orleans funk group. Its not a clean beginning, since they were pointing in this direction on Cabbage Alley, but this is where their glistening, clear production, crisp performances, rock influences, and hard-edged funk coalesce into a sound distinct from their Josie recordings -- not better, just different. As such, this is the definitive Reprise album from the Meters, not just because the material is stronger (which admittedly is true), but because the performances are continually inspired and the production is professional but hits at a gut level, resulting in a first-class funk album. [Sundazeds 2000 reissue contains the single versions of "People Say" and "Hey Pocky-A-Way" as bonus tracks.] | ||
 | Rank: 140 Album: 40 of 50 Artist: Blondie Title: Parallel Lines Released: 1978-09-23 Tracks: 16 Duration: 56:39 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Hanging On the Telephone (02:22) 2 One Way or Another (03:29) 3 Picture This (02:56) 4 Fade Away and Radiate (04:00) 5 Pretty Baby (03:19) 6 I Know but I Don’t Know (03:54) 7 11:59 (03:20) 8 Will Anything Happen? (03:00) 9 Sunday Girl (03:06) 10 Heart of Glass (05:50) 11 I’m Gonna Love You Too (02:07) 12 Just Go Away (03:27) 13 Once I Had a Love (aka The Disco Song) (1978 version) (03:18) 14 Bang a Gong (Get It On) (05:30) 15 I Know but I Don’t Know (live) (04:35) 16 Hanging on the Telephone (02:21) |
| Parallel Lines : Allmusic album Review : Blondie turned to British pop producer Mike Chapman for their third album, on which they abandoned any pretensions to new wave legitimacy (just in time, given the decline of the new wave) and emerged as a pure pop band. But it wasnt just Chapman that made Parallel Lines Blondies best album; it was the bands own songwriting, including Deborah Harry, Chris Stein, and James Destris "Picture This," and Harry and Steins "Heart of Glass," and Harry and new bass player Nigel Harrisons "One Way or Another," plus two contributions from nonbandmember Jack Lee, "Will Anything Happen?" and "Hanging on the Telephone." That was enough to give Blondie a number one on both sides of the Atlantic with "Heart of Glass" and three more U.K. hits, but what impresses is the albums depth and consistency -- album tracks like "Fade Away and Radiate" and "Just Go Away" are as impressive as the songs pulled for singles. The result is state-of-the-art pop/rock circa 1978, with Harrys tough-girl glamour setting the pattern that would be exploited over the next decade by a host of successors led by Madonna. | ||
 | Rank: 141 Album: 41 of 50 Artist: B.B. King Title: Live at the Regal Released: 1965 Tracks: 10 Duration: 35:03 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Every Day I Have the Blues (03:09) 2 Sweet Little Angel (04:09) 3 It’s My Own Fault (03:09) 4 How Blue Can You Get? (03:34) 5 Please Love Me (03:01) 6 You Upset Me Baby (02:39) 7 Worry, Worry (06:23) 8 Woke Up This Mornin’ (01:44) 9 You Done Lost Your Good Thing Now (04:33) 10 Help the Poor (02:38) |
| Live at the Regal : Allmusic album Review : B.B. King is not only a timeless singer and guitarist, hes also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leaders cues with almost telepathic accuracy. Kings voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of "How Blue Can You Get," where the Chicago venue threatens to explode at Kings prompting. Of course, the masters guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, Kings lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance. Talking to the crowd, setting up the tunes with a vignette, King is the consummate entertainer. Live at the Regal is an absolutely necessary acquisition for fans of B.B. King or blues music in general. A high point, perhaps even the high point, for uptown blues. | ||
 | Rank: 142 Album: 42 of 50 Artist: Phil Spector Title: A Christmas Gift for You From Phil Spector Released: 1963 Tracks: 13 Duration: 34:51 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 White Christmas (02:56) 2 Frosty the Snowman (02:17) 3 The Bells of St. Mary (02:51) 4 Santa Claus Is Coming to Town (03:27) 5 Sleigh Ride (03:03) 6 Marshmallow World (02:28) 7 I Saw Mommy Kissing Santa Claus (02:42) 8 Rudolph the Red‐Nosed Reindeer (02:33) 9 Winter Wonderland (02:27) 10 Parade of the Wooden Soldiers (02:57) 11 Christmas (Baby Please Come Home) (02:46) 12 Here Comes Santa Claus (02:08) 13 Silent Night (02:10) |
| A Christmas Gift for You From Phil Spector : Allmusic album Review : Featuring Phil Spectors "Wall of Sound" in its prime and his early stable of artists, the Ronettes, Crystals, Darlene Love, and Bob B. Soxx & the Blue Jeans, A Christmas Gift for You From Phil Spector stands as inarguably the greatest Christmas record of all time. Spector believed he could produce a record for the holidays that would capture not only the essence of the Christmas spirit, but also be a pop masterpiece that would stand against any work these artists had already done. He succeeded on every level, with all four groups/singers recording some of their most memorable performances. This is the Christmas album by which all later holiday releases had to be judged, and it has inspired a host of imitators. | ||
 | Rank: 143 Album: 43 of 50 Artist: Dr. John, the Night Tripper Title: Gris-Gris Released: 1968-01-22 Tracks: 7 Duration: 33:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Gris‐Gris Gumbo Ya Ya (05:36) 2 Danse Kalinda Ba Doom (03:39) 3 Mama Roux (02:58) 4 Danse Fambeaux (04:55) 5 Croker Courtbullion (06:00) 6 Jump Sturdy (02:20) 7 I Walk on Guilded Splinters (07:37) |
| Gris-Gris : Allmusic album Review : Dr. Johns Gris-Gris is among the most enduring recordings of the psychedelic era; it sounds as mysterious and spooky in the 21st century as it did in 1968. It is the album where Mac Rebennack established a stage identity that has served him well. A respected studio ace in his native New Orleans, Rebennack was scuffling in L.A. Gris-Gris was his concept, an album that wove various threads of New Orleans music together behind the character of "Dr. John," a real voodoo root doctor from the 19th century. Harold Batiste, another ex-pat New Orleanian and respected arranger in Hollywood, scored him some free studio time left over from a Sonny & Cher session. They assembled a crack band of NOLA exiles and session players including saxophonist Plas Johnson, singers Jessie Hill and Shirley Goodman, and guitarist/mandolinist Richard "Didimus" Washington. Almost everyone played percussion. Gris-Gris sounds like a post-midnight ceremony recorded in the bayou swamp instead of L.A.s Gold Star Studio where Phil Spector cut hits. The atmosphere is thick, smoky, serpentine, foreboding. Rebennack inhabits his character fully, delivering Creole French and slang English effortlessly in the grain of his half-spoken, half-sung voice. He is high priest and trickster, capable of blessing, cursing, and conning. On the opening incantation "Gris-Gris Gumbo Ya Ya," Dr. John introduces himself as the "night tripper" and boasts of his medicinal abilities accompanied by wafting reverbed mandolins, hand drums, a bubbling bassline, blues harmonica, skeletal electric guitar, and a swaying backing chorus that blurs the line between gospel and soul. On "Danse Kalinda Boom," a calliope-sounding organ, Middle Eastern flute, Spanish-tinged guitars, bells, claves, congas, and drums fuel a wordless chorus in four-part chant harmony as a drum orgy evokes ceremonial rites. The sound of NOLA R&B comes to the fore in the killer soul groove of the breezy "Mama Roux." "Croker Courtboullion" is an exercise in vanguard jazz. Spectral voices, electric guitars, animal cries, flute, and moody saxophone solos and percussion drift in and out of the spacy mix. The sets masterpiece is saved for last, the nearly nearly eight-minute trance vamp in "I Walk on Gilded Splinters" (covered by everyone from Humble Pie, Cher, and Johnny Jenkins to Paul Weller and Papa Mali). Dr. John is brazen about the power of his spells in a slippery, evil-sounding boast. Congas, tom-toms, snaky guitar, and harmonica underscore his juju, while a backing chorus affirms his power like mambo priestesses in unison. A ghostly baritone saxophone wafts through the turnarounds. Droning blues, steamy funk, and loopy R&B are inseparably entwined in its groove. Remarkably, though rightfully considered a psychedelic masterpiece, there is little rock music on Gris-Gris. Its real achievement -- besides being a classic collection of startlingly deep tunes -- is that it brought New Orleans cultural iconographies and musical traits to the attention of an emergent rock audience. | ||
 | Rank: 144 Album: 44 of 50 Artist: N.W.A Title: Straight Outta Compton Released: 1988-08-08 Tracks: 17 Duration: 1:16:11 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Straight Outta Compton (04:17) 2 Fuck tha Police (05:45) 3 Gangsta Gangsta (05:36) 4 If It Ain’t Ruff (03:34) 5 Parental Discretion Iz Advised (05:16) 6 8 Ball (remix) (04:52) 7 Something Like That (03:35) 8 Express Yourself (04:25) 9 Compton’s n the House (remix) (05:20) 10 I Ain’t tha 1 (04:54) 11 Dopeman (remix) (05:20) 12 Quiet on tha Set (03:59) 13 Something 2 Dance 2 (03:24) 14 Express Yourself (extended mix) (04:42) 15 Bonus Beats (03:03) 16 Straight Outta Compton (extended mix) (04:53) 17 A Bitch Iz a Bitch (03:08) |
| Straight Outta Compton : Allmusic album Review : Straight Outta Compton wasnt quite the first gangsta rap album, but it was the first one to find a popular audience, and its sensibility virtually defined the genre from its 1988 release on. It established gangsta rap -- and, moreover, West Coast rap in general -- as a commercial force, going platinum with no airplay and crossing over with shock-hungry white teenagers. Unlike Ice-T, theres little social criticism or reflection on the gangsta lifestyle; most of the record is about raising hell -- harassing women, driving drunk, shooting it out with cops and partygoers. All of that directionless rebellion and rage produces some of the most frightening, visceral moments in all of rap, especially the amazing opening trio of songs, which threaten to dwarf everything that follows. Given the albums sheer force, the production is surprisingly spare, even a little low-budget -- mostly DJ scratches and a drum machine, plus a few sampled horn blasts and bits of funk guitar. Although they were as much a reaction against pop-friendly rap, Straight Outta Comptons insistent claims of reality ring a little hollow today, since it hardly ever depicts consequences. But despite all the romanticized invincibility, the force and detail of Ice Cubes writing makes the exaggerations resonate. Although Cube wrote some of his bandmates raps, including nearly all of Eazy-Es, each member has a distinct delivery and character, and the energy of their individual personalities puts their generic imitators to shame. But although Straight Outta Compton has its own share of posturing, it still sounds refreshingly uncalculated because of its irreverent, gonzo sense of humor, still unfortunately rare in hardcore rap. There are several undistinguished misfires during the second half, but they arent nearly enough to detract from the overall magnitude. Its impossible to overstate the enduring impact of Straight Outta Compton; as polarizing as its outlook may be, it remains an essential landmark, one of hip-hops all-time greatest. | ||
 | Rank: 145 Album: 45 of 50 Artist: Steely Dan Title: Aja Released: 1977-09-23 Tracks: 7 Duration: 39:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Black Cow (05:10) 2 Aja (08:00) 3 Deacon Blues (07:36) 4 Peg (03:57) 5 Home at Last (05:35) 6 I Got the News (05:07) 7 Josie (04:31) |
| Aja : Allmusic album Review : Steely Dan hadnt been a real working band since Pretzel Logic, but with Aja, Walter Becker and Donald Fagens obsession with sonic detail and fascination with composition reached new heights. A coolly textured and immaculately produced collection of sophisticated jazz-rock, Aja has none of the overt cynicism or self-consciously challenging music that distinguished previous Steely Dan records. Instead, its a measured and textured album, filled with subtle melodies and accomplished, jazzy solos that blend easily into the lush instrumental backdrops. But Aja isnt just about texture, since Becker and Fagens songs are their most complex and musically rich set of songs -- even the simplest song, the sunny pop of "Peg," has layers of jazzy vocal harmonies. In fact, Steely Dan ignores rock on Aja, preferring to fuse cool jazz, blues, and pop together in a seamless, seductive fashion. Its complex music delivered with ease, and although the duos preoccupation with clean sound and self-consciously sophisticated arrangements would eventually lead to a dead end, Aja is a shining example of jazz-rock at its finest. | ||
 | Rank: 146 Album: 46 of 50 Artist: Jefferson Airplane Title: Surrealistic Pillow Released: 1967-02 Tracks: 11 Duration: 34:44 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 She Has Funny Cars (03:12) 2 Somebody to Love (02:59) 3 My Best Friend (03:04) 4 Today (03:02) 5 Comin’ Back to Me (05:23) 6 3⁄5 of a Mile in 10 Seconds (03:44) 7 D.C.B.A.‐25 (02:39) 8 How Do You Feel (03:34) 9 Embryonic Journey (01:54) 10 White Rabbit (02:33) 11 Plastic Fantastic Lover (02:37) |
| Surrealistic Pillow : Allmusic album Review : The second album by Jefferson Airplane, Surrealistic Pillow was a groundbreaking piece of folk-rock-based psychedelia, and it hit like a shot heard round the world; where the later efforts from bands like the Grateful Dead, Quicksilver Messenger Service, and especially, the Charlatans, were initially not too much more than cult successes, Surrealistic Pillow rode the pop charts for most of 1967, soaring into that rarefied Top Five region occupied by the likes of the Beatles, the Rolling Stones, and so on, to which few American rock acts apart from the Byrds had been able to lay claim since 1964. And decades later the album still comes off as strong as any of those artists best work. From the Top Ten singles "White Rabbit" and "Somebody to Love" to the sublime "Embryonic Journey," the sensibilities are fierce, the material manages to be both melodic and complex (and it rocks, too), and the performances, sparked by new member Grace Slick on most of the lead vocals, are inspired, helped along by Jerry Garcia (serving as spiritual and musical advisor and sometimes guitarist). Every song is a perfectly cut diamond, too perfect in the eyes of the bandmembers, who felt that following the direction of producer Rick Jarrard and working within three- and four-minute running times, and delivering carefully sung accompaniments and succinct solos, resulted in a record that didnt represent their real sound. Regardless, they did wonderful things with the music within that framework, and the only pity is that RCA didnt record for official release any of the groups shows from the same era, when this material made up the bulk of their repertory. That way the live versions, with the bands creativity unrestricted, could be compared and contrasted with the record. The songwriting was spread around between Marty Balin, Slick, Paul Kantner, and Jorma Kaukonen, and Slick and Balin (who never had a prettier song than "Today," which hed actually written for Tony Bennett) shared the vocals; the whole album was resplendent in a happy balance of all of these creative elements, before excessive experimentation (musical and chemical) began affecting the bands ability to do a straightforward song. The group never made a better album, and few artists from the era ever did. | ||
 | Rank: 147 Album: 47 of 50 Artist: Crosby, Stills, Nash & Young Title: Déjà vu Released: 1970-03-11 Tracks: 10 Duration: 36:31 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Carry On (04:27) 2 Teach Your Children (02:55) 3 Almost Cut My Hair (04:31) 4 Helpless (03:40) 5 Woodstock (03:56) 6 Déjà vu (04:14) 7 Our House (03:01) 8 4 + 20 (02:08) 9 Country Girl: Whiskey Boot Hill – Down, Down, Down – “Country Girl” (I Think You’re Pretty) (05:14) 10 Everybody I Love You (02:21) |
| Déjà vu : Allmusic album Review : One of the most hotly awaited second albums in history -- right up there with those by the Beatles and the Band -- Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. There were also some obvious virtues in evidence -- the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Youngs presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Youngs contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartets version of Joni Mitchells "Woodstock," was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. "Carry On" worked as the albums opener when Stills "sacrificed" another copyright, "Questions," which comprised the second half of the track and made it more substantial. "Woodstock" and "Carry On" represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosbys "Almost Cut My Hair" was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds "Drug Store Truck Drivin Man," only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as "Mind Gardens," out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods. "Teach Your Children," the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nashs life, while "Our House" was his stylistic paean to the late-era Beatles and "4+20" was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed. And then there were Neil Youngs pieces, the exquisitely harmonized "Helpless" (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young -- even his seeming throwaway finale, "Everybody I Love You," was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didnt record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed. | ||
 | Rank: 148 Album: 48 of 50 Artist: Led Zeppelin Title: Houses of the Holy Released: 1973-03-28 Tracks: 8 Duration: 40:56 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 The Song Remains the Same (05:30) 2 The Rain Song (07:39) 3 Over the Hills and Far Away (04:50) 4 The Crunge (03:17) 5 Dancing Days (03:43) 6 D’yer Mak’er (04:22) 7 No Quarter (07:00) 8 The Ocean (04:33) |
| Houses of the Holy : Allmusic album Review : Houses of the Holy follows the same basic pattern as Led Zeppelin IV, but the approach is looser and more relaxed. Jimmy Pages riffs rely on ringing, folky hooks as much as they do on thundering blues-rock, giving the album a lighter, more open atmosphere. While the pseudo-reggae of "DYer Maker" and the affectionate James Brown send-up "The Crunge" suggest that the band was searching for material, they actually contribute to the musical diversity of the album. "The Rain Song" is one of Zeps finest moments, featuring a soaring string arrangement and a gentle, aching melody. "The Ocean" is just as good, starting with a heavy, funky guitar groove before slamming into an a cappella section and ending with a swinging, doo wop-flavored rave-up. With the exception of the rampaging opening number, "The Song Remains the Same," the rest of Houses of the Holy is fairly straightforward, ranging from the foreboding "No Quarter" and the strutting hard rock of "Dancing Days" to the epic folk/metal fusion "Over the Hills and Far Away." Throughout the record, the bands playing is excellent, making the eclecticism of Page and Robert Plants songwriting sound coherent and natural. | ||
 | Rank: 149 Album: 49 of 50 Artist: Santana Title: Santana Released: 1969-08 Tracks: 9 Duration: 37:01 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Waiting (04:06) 2 Evil Ways (03:56) 3 Shades of Time (03:13) 4 Savor (02:46) 5 Jingo (04:22) 6 Persuasion (02:36) 7 Treat (04:44) 8 You Just Don’t Care (04:37) 9 Soul Sacrifice (06:37) |
| Santana : Allmusic album Review : Before the arrival of Carlos Santanas eponymous band, the San Francisco rock scene drew the inspiration for its jam-oriented music mainly from blues, rock, and Eastern modalities. Santana added Latin music to the mix, forever changing the course of rock & roll history. On their groundbreaking debut album, the group mix Latin percussion with driving rock grooves. Santanas unique guitar style, alternately biting and liquid, vies with the multiple percussionists for the sonic focus. Unlike later efforts, Santanas first album features an abundance of loose, collective compositions based on a couple of simple riffs ("Jingo," "Soul Sacrifice"). This approach allows for Santana and his bandmates to flex their improvisational muscles to fine effect. The high-energy level on Santana is infectious -- the laid-back feel of other 60s San Francisco groups was clearly not for Carlos and co. | ||
 | Rank: 150 Album: 50 of 50 Artist: Bruce Springsteen Title: Darkness on the Edge of Town Released: 1978-06-02 Tracks: 10 Duration: 42:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Badlands (04:03) 2 Adam Raised a Cain (04:34) 3 Something in the Night (05:14) 4 Candy’s Room (02:48) 5 Racing in the Street (06:55) 6 The Promised Land (04:29) 7 Factory (02:19) 8 Streets of Fire (04:03) 9 Prove It All Night (04:00) 10 Darkness on the Edge of Town (04:30) |
| Darkness on the Edge of Town : Allmusic album Review : Coming three years, and one extended court battle, after the commercial breakthrough of Born to Run, Darkness on the Edge of Town was highly anticipated. Some attributed the albums embattled tone to Springsteens legal troubles, but it carried on from Born to Run, in which Springsteen had first begun to view his colorful cast of characters as "losers." On Darkness, he began to see them as the working class. One song was called "Factory," and in another, "Badlands," "you" work "neath the wheel / Till you get your facts learned." Those "facts" are that "Poor man wanna be rich / Rich man wanna be king / And a king aint satisfied / Till he rules everything." But Springsteens characters, some of whom he inhabited and sang for in the first person, had little and were in danger of losing even that. Their only hope for redemption lay in working harder -- "You gotta live it everyday," he sang in "Badlands," but you also, as another song noted, have to "Prove It All Night." And their only escape lay in driving. Springsteen presented these hard truths in hard rock settings, the tracks paced by powerful drumming and searing guitar solos. Though not as heavily produced as Born to Run, Darkness was given a full-bodied sound, with prominent keyboards and double-tracked vocals. Springsteens stories were becoming less heroic, but his musical style remained grand. Yet the sound, and the conviction in his singing, added weight to songs like "Racing in the Street" and the title track, transforming the pathetic into the tragic. But despite the rock & roll fervor, Darkness was no easy listen, and it served notice that Springsteen was already willing to risk his popularity for his principles. Indeed, Darkness was not as big a seller as Born to Run. And it presaged even starker efforts, such as Nebraska and The Ghost of Tom Joad. | ||