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 | Rank: 351 Album: 1 of 50 Artist: Neil Young & Crazy Horse Title: Rust Never Sleeps Released: 1979-06-22 Tracks: 9 Duration: 38:26 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 My My, Hey Hey (Out of the Blue) (03:47) 2 Thrasher (05:40) 3 Ride My Llama (02:30) 4 Pocahontas (03:24) 5 Sail Away (03:50) 6 Powderfinger (05:30) 7 Welfare Mothers (03:49) 8 Sedan Delivery (04:39) 9 Hey Hey, My My (Into the Black) (05:12) |
| Rust Never Sleeps : Allmusic album Review : Rust Never Sleeps, its aphoristic title drawn from an intended advertising slogan, was an album of new songs, some of them recorded on Neil Youngs 1978 concert tour. His strongest collection since Tonights the Night, its obvious antecedent was Bob Dylans Bringing It All Back Home, and, as Dylan did, Young divided his record into acoustic and electric sides while filling his songs with wildly imaginative imagery. The leadoff track, "My My, Hey Hey (Out of the Blue)" (repeated in an electric version at albums end as "Hey Hey, My My [Into the Black]" with slightly altered lyrics), is the most concise and knowing description of the entertainment industry ever written; it was followed by "Thrasher," which describes Youngs parallel artistic quest in an extended metaphor that also reflected the albums overall theme -- the inevitability of deterioration and the challenge of overcoming it. Young then spent the rest of the album demonstrating that his chief weapons against rusting were his imagination and his daring, creating an archetypal album that encapsulated his many styles on a single disc with great songs -- in particular the remarkable "Powderfinger" -- unlike any he had written before. | ||
 | Rank: 352 Album: 2 of 50 Artist: Dire Straits Title: Brothers in Arms Released: 1985-05-14 Tracks: 9 Duration: 55:11 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 So Far Away (05:11) 2 Money for Nothing (08:26) 3 Walk of Life (04:09) 4 Your Latest Trick (06:33) 5 Why Worry (08:31) 6 Ride Across the River (06:58) 7 The Man’s Too Strong (04:40) 8 One World (03:40) 9 Brothers in Arms (06:59) |
| Brothers in Arms : Allmusic album Review : Brothers in Arms brought the atmospheric, jazz-rock inclinations of Love Over Gold into a pop setting, resulting in a surprise international best-seller. Of course, the success of Brothers in Arms was helped considerably by the clever computer-animated video for "Money for Nothing," a sardonic attack on MTV. But what kept the record selling was Mark Knopflers increased sense of pop songcraft -- "Money for Nothing" had an indelible guitar riff, "Walk of Life" is a catchy up-tempo boogie variation on "Sultans of Swing," and the melodies of the bluesy "So Far Away" and the down-tempo, Everly Brothers-style "Why Worry" were wistful and lovely. Dire Straits had never been so concise or pop-oriented, and it wore well on them. Though they couldnt maintain that consistency through the rest of the album -- only the jazzy "Your Latest Trick" and the flinty "Ride Across the River" make an impact -- Brothers in Arms remains one of their most focused and accomplished albums, and in its succinct pop sense, its distinctive within their catalog. [In 2005 Mercury released a 20th anniversary limited edition version of Brothers in Arms in the Hybrid/SACD format.] | ||
 | Rank: 353 Album: 3 of 50 Artist: Kanye West Title: My Beautiful Dark Twisted Fantasy Released: 2010-11-22 Tracks: 13 Duration: 1:08:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Dark Fantasy (04:40) 2 Gorgeous (05:57) 3 Power (04:52) 4 All of the Lights (interlude) (01:02) 5 All of the Lights (04:59) 6 Monster (06:18) 7 So Appalled (06:38) 8 Devil in a New Dress (05:52) 9 Runaway (09:08) 10 Hell of a Life (05:27) 11 Blame Game (07:49) 12 Lost in the World (04:16) 13 Who Will Survive in America (01:38) |
| My Beautiful Dark Twisted Fantasy : Allmusic album Review : As fatiguing as it is invigorating, as cold-blooded as it is heart-rending, as haphazardly splattered as it is meticulously sculpted, My Beautiful Dark Twisted Fantasy is an extraordinarily complex 70-minute set of songs. Listening to it, much like saying or typing its title, is a laborious process. In some ways, it’s the culmination of Kanye Wests first four albums, but it does not merely draw characteristics from each one of them. The 13 tracks, eight of which are between five and nine minutes in length, sometimes fuse them together simultaneously. Consequently, the sonic and emotional layers are often difficult to pry apart and enumerate. Nothing exemplifies its contrasting elements and maniacal extravagance as much as “All of the Lights.” Rattling, raw, synthetic toms are embellished with brass, woodwinds, and strings. It’s a celebration of fame (“Fast cars, shooting stars”) and a lament of its consequences (“Restraining order/Can’t see my daughter”). Its making involved 42 people, including not one but two French horn players and over a dozen high-profile vocalists, only some of which are perceptible. At once, the song features one of the year’s most rugged beats while supplying enough opulent detail to make Late Registration collaborator Jon Brions head spin. “Blame Game” chills more than anything off 808s & Heartbreak. Sullen solo-piano Aphex Twin plays beneath morose cello; with a chorus from John Legend, a dejected, embittered West -- whose voice toggles between naturally clear-sounding and ominously pitched-down as it pans back and forth -- tempers wistfully-written, maliciously-delivered lines like “Been a long time since I spoke to you in a bathroom, ripping you up, fuckin’ and chokin’ you” with untreated and distinctively pained confessions like “I can’t love you this much.” The contrast in “Devil in a New Dress,” featuring Rick Ross, is of a different sort; a throwback soul production provided by the Smokey Robinson-sampling Bink, it’s as gorgeous as any of West’s own early work, yet it’s marred by an aimless instrumental stretch, roughly 90 seconds in length, that involves some incongruent electric guitar flame-out. Even less explicable is the last third of the nine-minute “Runaway,” when West blows into a device and comes out sounding something like a muffled, bristly version of Robert Fripps guitar. The only thing that remains unchanged is West’s lyrical accuracy; for every rhyme that stuns, there’s one deserving of mockery from any given contestant off the The White Rapper Show. As the ego and ambition swells, so does the appeal, the repulsiveness, and -- most importantly -- the ingenuity. Whether loved or loathed, fully enjoyed or merely admired, this album should be regarded as a deeply fascinating accomplishment. | ||
 | Rank: 354 Album: 4 of 50 Artist: Billy Joel Title: 52nd Street Released: 1978-10-13 Tracks: 9 Duration: 40:27 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Big Shot (04:03) 2 Honesty (03:52) 3 My Life (04:44) 4 Zanzibar (05:12) 5 Stiletto (04:41) 6 Rosalinda’s Eyes (04:41) 7 Half a Mile Away (04:08) 8 Until the Night (06:36) 9 52nd Street (02:26) |
| 52nd Street : Allmusic album Review : Once The Stranger became a hit, Billy Joel quickly re-entered the studio with producer Phil Ramone to record the follow-up, 52nd Street. Instead of breaking from the sound of The Stranger, Joel chose to expand it, making it more sophisticated and somewhat jazzy. Often, his moves sounded as if they were responses to Steely Dan -- indeed, his phrasing and melody for "Zanzibar" is a direct homage to Donald Fagen circa The Royal Scam, and it also boasts a solo from jazz great Freddie Hubbard à la Steely Dan -- but since Joel is a working-class populist, not an elitist college boy, he never shies away from big gestures and melodies. Consequently, 52nd Street unintentionally embellishes the Broadway overtones of its predecessor, not only on a centerpiece like "Stiletto," but when hes rocking out on "Big Shot." That isnt necessarily bad, since Joels strong suit turns out to be showmanship -- he dazzles with his melodic skills and his enthusiastic performances. He also knows how to make a record. Song for song, 52nd Street might not be as strong as The Stranger, but there are no weak songs -- indeed, "Honesty," "My Life," "Until the Night," and the three mentioned above are among his best -- and they all flow together smoothly, thanks to Ramones seamless production and Joels melodic craftsmanship. Its remarkable to think that in a matter of three records, Joel had hit upon a workable, marketable formula -- one that not only made him one of the biggest-selling artists of his era, but one of the most enjoyable mainstream hitmakers. 52nd Street is a testament to that achievement. | ||
 | Rank: 355 Album: 5 of 50 Artist: The Yardbirds Title: Having a Rave Up Released: 1965 Tracks: 21 Duration: 1:14:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Mr. You’re a Better Man Than I (03:19) 2 Evil Hearted You (02:25) 3 I’m a Man (02:38) 4 Still I’m Sad (02:59) 5 Heart Full of Soul (02:29) 6 Train Kept A-Rollin’ (03:26) 7 Smokestack Lightning (live) (05:35) 8 Respectable (live) (05:35) 9 I’m a Man (live) (04:31) 10 Here ’Tis (live) (05:10) 11 Shapes of Things (02:26) 12 New York City Blues (04:19) 13 Jeff’s Blues (03:04) 14 Someone to Love, Part 1 (02:24) 15 Someone to Love, Part 2 (04:18) 16 Like Jimmy Reed Again (03:04) 17 Chris Number (02:23) 18 What Do You Want (03:11) 19 Here ’Tis (03:49) 20 Here ’Tis (version for RSG) (04:06) 21 Stroll On (02:44) |
| Having a Rave Up : Allmusic album Review : In its original U.S. vinyl release, this album, comprised of several singles and B-sides plus excerpts off of Five Live Yardbirds, was one of the best LPs of the entire British Invasion, ranking on a par with the greatest mid-60s work of the Beatles and the Rolling Stones; it was also just a step away from being a best-of the Yardbirds as well. No collection has ever outdone the sheer compactness and high quality of Having a Rave Up. | ||
 | Rank: 356 Album: 6 of 50 Artist: Randy Newman Title: 12 Songs Released: 1970-02 Tracks: 12 Duration: 29:51 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Have You Seen My Baby? (02:34) 2 Let’s Burn Down the Cornfield (03:05) 3 Mama Told Me Not to Come (02:12) 4 Suzanne (03:07) 5 Lover’s Prayer (01:58) 6 Lucinda (02:44) 7 Underneath the Harlem Moon (01:53) 8 Yellow Man (02:23) 9 Old Kentucky Home (02:39) 10 Rosemary (02:10) 11 If You Need Oil (02:59) 12 Uncle Bob’s Midnight Blues (02:01) |
| 12 Songs : Allmusic album Review : On his debut album, Randy Newman sounded as if he was still getting used to the notion of performing his own songs in the studio (despite years of cutting songwriting demos), but apparently he was a pretty quick study, and his second long-player, 12 Songs, was a striking step forward for Newman as a recording artist. While much of Randy Newman was heavily orchestrated, 12 Songs was cut with a small combo (Ry Cooder and Clarence White take turns on guitar), leaving a lot more room for Newmans Fats Domino-gone-cynical piano and the bluesier side of his vocal style, and Randy sounds far more confident and comfortable in this context. And Newmans second batch of songs were even stronger than his first (no small accomplishment), rocking more and grooving harder but losing none of their intelligence and careful craft in the process. "Have You Seen My Baby?" and "Mama Told Me Not to Come" are a pair of sly, updated New Orleans-style rockers (both of which would be much-covered in the coming years); "Lets Burn Down the Cornfield" and "Suzanne" are subtly ominous tales of love and sex; "Yellow Man" was an early meditation on one of Newmans favorite themes, the absurdity of racial prejudice (which he would also glance at in his straight-but-twisted cover of "Underneath the Harlem Moon"); and "My Old Kentucky Home" is a hilarious and quite uncharitable look at life in the deep South (another theme that would pop up in his later work). Newmans humor started getting more acidic with 12 Songs, but here even his most mordant character studies boast a recognizable humanity, which often make his subjects both pitiable and all the more loathsome. Superb material brilliantly executed, 12 Songs was Randy Newmans first great album, and is still one of his finest moments on record. | ||
 | Rank: 357 Album: 7 of 50 Artist: The Rolling Stones Title: Between the Buttons Released: 1967-01-20 Tracks: 12 Duration: 38:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Let’s Spend the Night Together (03:38) 2 Yesterday’s Papers (02:04) 3 Ruby Tuesday (03:18) 4 Connection (02:10) 5 She Smiled Sweetly (02:45) 6 Cool, Calm & Collected (04:14) 7 All Sold Out (02:17) 8 My Obsession (03:18) 9 Who’s Been Sleeping Here? (03:51) 10 Complicated (03:12) 11 Miss Amanda Jones (02:44) 12 Something Happened to Me Yesterday (04:54) |
| Between the Buttons : Allmusic album Review : The Rolling Stones 1967 recordings are a matter of some controversy; many critics felt that they were compromising their raw, rootsy power with trendy emulations of the Beatles, Kinks, Dylan, and psychedelic music. Approach this album with an open mind, though, and youll find it to be one of their strongest, most eclectic LPs, with many fine songs that remain unknown to all but Stones devotees. The lyrics are getting better (if more savage), and the arrangements more creative, on brooding near-classics like "All Sold Out," "My Obsession," and "Yesterdays Papers." "She Smiled Sweetly" shows their hidden romantic side at its best, while "Connection" is one of the records few slabs of conventionally driving rock. The best tracks on the American edition were the two songs that gave the group a double-sided number one in early 1967: the lustful "Lets Spend the Night Together" and the beautiful, melancholy "Ruby Tuesday," which is as melodic as anything Mick Jagger and Keith Richards would ever write. | ||
 | Rank: 358 Album: 8 of 50 Artist: Miles Davis Title: Sketches of Spain Released: 1960 Tracks: 5 Duration: 41:23 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia AlbumCover | 1 Concierto de Aranjuez (16:22) 2 Will O the Wisp (03:50) 3 The Pan Piper (04:00) 4 Saeta (04:59) 5 Solea (12:10) |
 | Rank: 359 Album: 9 of 50 Artist: Elton John Title: Honky Château Released: 1972-05-19 Tracks: 10 Duration: 45:11 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Honky Cat (05:13) 2 Mellow (05:32) 3 I Think I’m Going to Kill Myself (03:35) 4 Susie (Dramas) (03:25) 5 Rocket Man (04:42) 6 Salvation (03:58) 7 Slave (04:21) 8 Amy (04:03) 9 Mona Lisas and Mad Hatters (05:00) 10 Hercules (05:21) |
| Honky Château : Allmusic album Review : Considerably lighter than Madman Across the Water, Honky Chateau is a rollicking collection of ballads, rockers, blues, country-rock, and soul songs. On paper, it reads like an eclectic mess, but it plays as the most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote. The skittering boogie of "Honky Cat" and the light psychedelic pop of "Rocket Man" helped send Honky Chateau to the top of the charts, but what is truly impressive about the album is the depth of its material. From the surprisingly cynical and nasty "I Think Im Going to Kill Myself" to the moving ballad "Mona Lisas and Mad Hatters," John is at the top of his form, crafting immaculate pop songs with memorable melodies and powerful hooks. While Taupins lyrics arent much more comprehensible than before, John delivers them with skill and passion, making them feel more substantial than they are. But what makes Honky Chateau a classic is the songcraft, and the way John ties disparate strands of roots music into distinctive and idiosyncratic pop -- its one of the finest collections of mainstream singer/songwriter pop of the early 70s. | ||
 | Rank: 360 Album: 10 of 50 Artist: Buzzcocks Title: Singles Going Steady Released: 1979-09-25 Tracks: 16 Duration: 47:53 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 Orgasm Addict (02:02) 2 What Do I Get? (02:55) 3 I Don’t Mind (02:18) 4 Love You More (01:49) 5 Ever Fallen in Love (With Someone You Shouldn’t’ve) (02:41) 6 Promises (02:36) 7 Everybody’s Happy Nowadays (03:12) 8 Harmony in My Head (03:07) 9 What Ever Happened To? (02:14) 10 Oh Shit! (01:36) 11 Autonomy (03:43) 12 Noise Annoys (02:51) 13 Just Lust (03:02) 14 Lipstick (02:37) 15 Why Can’t I Touch It? (06:34) 16 Something’s Gone Wrong Again (04:30) |
 | Rank: 361 Album: 11 of 50 Artist: OutKast Title: Stankonia Released: 2000-10-23 Tracks: 24 Duration: 1:13:17 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Intro (01:10) 2 Gasoline Dreams (03:35) 3 I’m Cool (interlude) (00:42) 4 So Fresh, So Clean (04:00) 5 Ms. Jackson (04:30) 6 Snappin’ & Trappin’ (04:20) 7 D.F. (interlude) (00:27) 8 Spaghetti Junction (03:57) 9 Kim & Cookie (interlude) (01:13) 10 I’ll Call Before I Come (04:18) 11 B.O.B. (05:04) 12 Xplosion (04:09) 13 Good Hair (interlude) (00:15) 14 We Luv Deez Hoez (04:10) 15 Humble Mumble (04:51) 16 Drinkin’ Again (interlude) (00:24) 17 ? (01:29) 18 Red Velvet (03:53) 19 Cruisin’ in the ATL (interlude) (00:19) 20 Gangsta Shit (04:41) 21 Toilet Tisha (04:25) 22 Slum Beautiful (04:08) 23 Pre‐Nump (interlude) (00:27) 24 Stankonia (Stanklove) (06:50) |
| Stankonia : Allmusic album Review : Stankonia was OutKasts second straight masterstroke, an album just as ambitious, just as all-over-the-map, and even hookier than its predecessor. With producers Organized Noize playing a diminished role, Stankonia reclaims the duos futuristic bent. Earthtone III (Andre, Big Boi, Mr. DJ) helms most of the backing tracks, and while the live-performance approach is still present, theres more reliance on programmed percussion, otherworldly synthesizers, and surreal sound effects. Yet the results are surprisingly warm and soulful, a trippy sort of techno-psychedelic funk. Every repeat listen seems to uncover some new element in the mix, but most of the songs have such memorable hooks that its easy to stay diverted. The immediate dividends include two of 2000s best singles: "B.O.B." is the fastest of several tracks built on jittery drumnbass rhythms, but Andre and Big Boi keep up with awe-inspiring effortlessness. "Ms. Jackson," meanwhile, is an anguished plea directed at the mother of the mother of an out-of-wedlock child, tinged with regret, bitterness, and affection. Its sensitivity and social awareness are echoed in varying proportions elsewhere, from the Public Enemy-style rant "Gasoline Dreams" to the heartbreaking suicide tale "Toilet Tisha." But the group also returns to its roots for some of the most testosterone-drenched material since their debut. Then again, OutKast doesnt take its posturing too seriously, which is why they can portray women holding their own, or make bizarre boasts about being "So Fresh, So Clean." Given the variety of moods, it helps that the album is broken up by brief, usually humorous interludes, which serve as a sort of reset button. It takes a few listens to pull everything together, but given the immense scope, its striking how few weak tracks there are. Its no wonder Stankonia consolidated OutKasts status as critics darlings, and began attracting broad new audiences: its across-the-board appeal and ambition overshadowed nearly every other pop album released in 2000. | ||
 | Rank: 362 Album: 12 of 50 Artist: The Smashing Pumpkins Title: Siamese Dream Released: 1993-07-26 Tracks: 13 Duration: 1:02:16 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Cherub Rock (04:58) 2 Quiet (03:41) 3 Today (03:20) 4 Hummer (06:57) 5 Rocket (04:06) 6 Disarm (03:17) 7 Soma (06:39) 8 Geek U.S.A. (05:13) 9 Mayonaise (05:49) 10 Spaceboy (04:28) 11 Silverfuck (08:43) 12 Sweet Sweet (01:38) 13 Luna (03:20) |
| Siamese Dream : Allmusic album Review : While Gish had placed the Smashing Pumpkins on the "most promising artist" list for many, troubles were threatening to break the band apart. Singer/guitarist/leader Billy Corgan was battling a severe case of writers block and was in a deep state of depression brought on by a relationship in turmoil; drummer Jimmy Chamberlin was addicted to hard drugs; and bassist DArcy and guitarist James Iha severed their romantic relationship. The sessions for their sophomore effort, Siamese Dream, were wrought with friction -- Corgan eventually played almost all the instruments himself (except for percussion). Some say strife and tension produces the best music, and it certainly helped make Siamese Dream one of the finest alt-rock albums of all time. Instead of following Nirvanas punk rock route, Siamese Dream went in the opposite direction -- guitar solos galore, layered walls of sound courtesy of the albums producers (Butch Vig and Corgan), extended compositions that bordered on prog rock, plus often reflective and heartfelt lyrics. The four tracks that were selected as singles became alternative radio standards -- the anthems "Cherub Rock," "Today," and "Rocket," plus the symphonic ballad "Disarm" -- but as a whole, Siamese Dream proved to be an incredibly consistent album. Such compositions as the red-hot rockers "Quiet" and "Geek U.S.A." were standouts, as were the epics "Hummer," "Soma," and "Silverfuck," plus the soothing sounds of "Mayonaise," "Spaceboy," and "Luna." After the difficult recording sessions, Corgan stated publicly that if Siamese Dream didnt achieve breakthrough success, he would end the band. He didnt have to worry for long -- the album debuted in the Billboard Top Ten and sold more than four million copies in three years. Siamese Dream stands alongside Nevermind and Superunknown as one of the decades finest (and most influential) rock albums. | ||
 | Rank: 363 Album: 13 of 50 Artist: New Order Title: Substance 1987 Released: 1987-08-17 Tracks: 24 Duration: 2:26:52 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Ceremony (04:23) 2 Everything’s Gone Green (05:30) 3 Temptation (06:59) 4 Blue Monday (07:28) 5 Confusion (04:43) 6 Thieves Like Us (06:36) 7 Perfect Kiss (08:02) 8 Subculture (04:48) 9 Shellshock (06:28) 10 State of the Nation (06:32) 11 Bizarre Love Triangle (Remixed by Shep Pettibone) (06:44) 12 True Faith (05:53) 1 In a Lonely Place (06:16) 2 Procession (04:28) 3 Mesh (03:25) 4 Hurt (06:58) 5 The Beach (07:19) 6 Confused (instrumental) (07:38) 7 Lonesome Tonight (05:11) 8 Murder (03:55) 9 Thieves Like Us (instrumental) (06:57) 10 Kiss of Death (07:02) 11 Shame of the Nation (07:54) 12 1963 (05:33) |
| Substance 1987 : Allmusic album Review : Substance is a double-disc set collecting New Orders singles, including several songs that were never available on the groups albums, at least in these versions. While there are a couple of re-recordings of earlier singles, most of Substance consists of 12" single mixes designed for danceclub play. Arguably, these 12" mixes represent New Orders most groundbreaking and successful work, since they expanded the notion of what a rock & roll band, particularly an indie rock band, could do. Substance collects the best of their remixes, and in the process it showcases not only the groups musical innovations, but also their songwriting prowess -- "Temptation," "Blue Monday," "Bizarre Love Triangle," and "True Faith" are some of the finest pop songs of the 80s. Although it is a double-disc set, Substance isnt overly long. Instead it offers a perfect introduction to New Order, while providing collectors with an invaluable collection of singles. | ||
 | Rank: 364 Album: 14 of 50 Artist: The Doors Title: L.A. Woman Released: 1971-04 Tracks: 10 Duration: 48:42 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 The Changeling (04:21) 2 Love Her Madly (03:19) 3 Been Down So Long (04:41) 4 Cars Hiss by My Window (04:12) 5 L.A. Woman (07:51) 6 L’America (04:37) 7 Hyacinth House (03:11) 8 Crawling King Snake (05:00) 9 The WASP (Texas Radio and the Big Beat) (04:15) 10 Riders on the Storm (07:11) |
| L.A. Woman : Allmusic album Review : The final album with Jim Morrison in the lineup is by far their most blues-oriented, and the singers poetic ardor is undiminished, though his voice sounds increasingly worn and craggy on some numbers. Actually, some of the straight blues items sound kind of turgid, but thats more than made up for by several cuts that rate among their finest and most disturbing work. The seven-minute title track was a car-cruising classic that celebrated both the glamour and seediness of Los Angeles; the other long cut, the brooding, jazzy "Riders on the Storm," was the group at its most melodic and ominous. It and the far bouncier "Love Her Madly" were hit singles, and "The Changeling" and "LAmerica" count as some of their better little-heeded album tracks. An uneven but worthy finale from the original quartet. | ||
 | Rank: 365 Album: 15 of 50 Artist: Rage Against the Machine Title: Rage Against the Machine Released: 1992-11-06 Tracks: 13 Duration: 1:10:44 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Bombtrack (04:04) 2 Killing in the Name (05:14) 3 Take the Power Back (05:37) 4 Settle for Nothing (04:48) 5 Bullet in the Head (05:09) 6 Know Your Enemy (04:55) 7 Wake Up (06:04) 8 Fistful of Steel (05:31) 9 Township Rebellion (05:24) 10 Freedom (06:06) 11 Bombtrack (live, Minneapolis, 4/5/93 at 1st Avenue) (05:56) 12 Bullet in the Head (live) (05:44) 13 Take the Power Back (live, Vancouver, BC, 4/11/93 at 86th Street Music Hall) (06:09) |
| Rage Against the Machine : Allmusic album Review : Probably the first album to successfully merge the seemingly disparate sounds of rap and heavy metal, Rage Against the Machines self-titled debut was groundbreaking enough when released in 1992, but many would argue that it has yet to be surpassed in terms of influence and sheer brilliance -- though countless bands have certainly tried. This is probably because the uniquely combustible creative relationship between guitar wizard Tom Morello and literate rebel vocalist Zack de la Rocha could only burn this bright, this once. While the formers roots in 80s heavy metal shredding gave rise to an inimitable array of six-string acrobatics and rhythmic special effects (few of which anyone else has managed to replicate), the latter delivered meaningful rhymes with an emotionally charged conviction that suburban white boys of the ensuing nu-metal generation could never hope to touch. As a result, syncopated slabs of hard rock insurrection like "Bombtrack," "Take the Power Back," and "Know Your Enemy" were as instantly unforgettable as they were astonishing. Yet even they paled in comparison to veritable clinics in the art of slowly mounting tension such as "Settle for Nothing," "Bullet in the Head," and the particularly venomous "Wake Up" (where Morello revises Led Zeppelins "Kashmir" riff for his own needs) -- all of which finally exploded with awesome power and fury. And even listeners who were unable (or unwilling) to fully process the bands unique clash of muscle and intellect were catered to, as RATM were able to convey their messages through stubborn repetition via the fundamental challenge of "Freedom" and their signature track, "Killing in the Name," which would become a rallying cry of disenfranchisement, thanks to its relentlessly rebellious mantra of "Fuck you, I wont do what you tell me!" Ultimately, if theres any disappointment to be had with this near-perfect album, its that it still towers above subsequent efforts as the unequivocal climax of Rage Against the Machines vision. As such, it remains absolutely essential. | ||
 | Rank: 366 Album: 16 of 50 Artist: Johnny Cash Title: American Recordings Released: 1994-04-26 Tracks: 13 Duration: 41:52 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Delia’s Gone (02:17) 2 Let the Train Blow the Whistle (02:15) 3 The Beast in Me (02:45) 4 Drive On (02:23) 5 Why Me Lord (02:20) 6 Thirteen (02:29) 7 Oh, Bury Me Not (Introduction: A Cowboy’s Prayer) (03:52) 8 Bird on a Wire (04:01) 9 Tennessee Stud (02:54) 10 Down There by the Train (05:34) 11 Redemption (03:03) 12 Like a Soldier (02:50) 13 The Man Who Couldn’t Cry (05:01) |
| American Recordings : Allmusic album Review : Johnny Cash was in the unenviable position of being a living legend who was beloved by fans of classic country music without being able to interest anyone in his most recent work when he was signed to Rick Rubins American Recordings label in 1994. Rubin, best known for his work with edgy rockers and hip-hop acts, opted to produce Cashs first album for American, and as he tried to brainstorm an approach that would introduce Cash to a new audience, he struck upon a brilliant idea -- doing nothing. For American Recordings, Rubin simply set up some recording equipment in Cashs Tennessee cabin and recorded him singing a set of songs accompanied only by his acoustic guitar. The result is an album that captured the glorious details of Johnny Cashs voice and allowed him to demonstrate just how emotionally powerful an instrument he possessed. While Rubin clearly brought some material to Cash for these sessions -- its hard to imagine he would have recorded tunes by Glenn Danzig or Tom Waits without a bit of prodding -- Cash manages to put his stamp on every tune on this set, and he also brought some excellent new songs to the table, including the Vietnam veterans memoir "Drive On," the powerful testimony of faith "Redemption," and a sly but moving recollection of his wild younger days, "Like a Soldier." American Recordings became a critical sensation and a commercial success, though it was overrated in some quarters simply because it reminded audiences that one of Americas greatest musical talents was still capable of making compelling music, something he had never stopped doing even if no one bothered to listen. Still, American Recordings did something very important -- it gave Cash a chance to show how much he could do with a set of great songs and no creative interference, and it afforded him the respect hed been denied for so long, and the result is a powerful and intimate album that brought the Man in Black back to the spotlight, where he belonged. | ||
 | Rank: 367 Album: 17 of 50 Artist: Madonna Title: Ray of Light Released: 1998-02-23 Tracks: 13 Duration: 1:06:50 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Drowned World / Substitute for Love (05:08) 2 Swim (05:00) 3 Ray of Light (05:20) 4 Candy Perfume Girl (04:36) 5 Skin (06:21) 6 Nothing Really Matters (04:26) 7 Sky Fits Heaven (04:47) 8 Shanti / Ashtangi (04:29) 9 Frozen (06:12) 10 The Power of Good‐Bye (04:12) 11 To Have and Not to Hold (05:22) 12 Little Star (05:18) 13 Mer Girl (05:31) |
| Ray of Light : Allmusic album Review : Returning to pop after a four-year hiatus, Madonna enlisted respected techno producer William Orbit as her collaborator for Ray of Light, a self-conscious effort to stay abreast of contemporary trends. Unlike other veteran artists who attempted to come to terms with electronica, Madonna was always a dance artist, so its no real shock to hear her sing over breakbeats, pulsating electronics, and blunted trip-hop beats. Still, its mildly surprising that it works as well as it does, largely due to Madonna and Orbits subtle attack. Theyve reined in the beats, tamed electronicas eccentricities, and retained her flair for pop melodies, creating the first mainstream pop album that successfully embraces techno. Sonically, its the most adventurous record she has made, but its far from inaccessible, since the textures are alluring and the songs have a strong melodic foundation, whether its the swirling title track, the meditative opener, "Substitute for Love," or the ballad "Frozen." For all of its attributes, theres a certain distance to Ray of Light, born of the carefully constructed productions and Madonnas newly mannered, technically precise singing. It all results in her most mature and restrained album, which is an easy achievement to admire, yet not necessarily an easy one to love. | ||
 | Rank: 368 Album: 18 of 50 Artist: Eagles Title: Eagles Released: 1972-06-01 Tracks: 10 Duration: 37:17 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Take It Easy (03:31) 2 Witchy Woman (04:13) 3 Chug All Night (03:17) 4 Most of Us Are Sad (03:37) 5 Nightingale (04:08) 6 Train Leaves Here This Morning (04:12) 7 Take the Devil (04:02) 8 Earlybird (03:01) 9 Peaceful Easy Feeling (04:18) 10 Tryin’ (02:54) |
| Eagles : Allmusic album Review : Balance is the key element of the Eagles self-titled debut album, a collection that contains elements of rock & roll, folk, and country, overlaid by vocal harmonies alternately suggestive of doo wop, the Beach Boys, and the Everly Brothers. If the group kicks up its heels on rockers like "Chug All Night," "Nightingale," and "Tryin," it is equally convincing on ballads like "Most of Us Are Sad" and "Train Leaves Here This Morning." The album is also balanced among its members, who trade off on lead vocal chores and divide the songwriting such that Glenn Frey, Bernie Leadon, and Randy Meisner all get three writing or co-writing credits. (Fourth member Don Henley, with only one co-writing credit and two lead vocals, falls a little behind, while Jackson Browne, Gene Clark, and Jack Tempchin also figure in the writing credits.) The albums overall balance is worth keeping in mind because it produced three Top 40 hit singles (all of which turned up on the massively popular Eagles: Their Greatest Hits 1971-1975) that do not reflect that balance. "Take It Easy" and "Peaceful Easy Feeling" are similar-sounding mid-tempo folk-rock tunes sung by Frey that express the same sort of laid-back philosophy, as indicated by the word "easy" in both titles, while "Witchy Woman," a Henley vocal and co-composition, initiates the bands career-long examination of supernaturally evil females. These are the songs one remembers from Eagles, and they look forward to the eventual dominance of the band by Frey and Henley. But the complete album from which they come belongs as much to Leadons country-steeped playing and singing and to Meisners melodic rock & roll feel, which, on the release date, made it seem a more varied and consistent effort than it did later, when the singles had become overly familiar. | ||
 | Rank: 369 Album: 19 of 50 Artist: The Smiths Title: Louder Than Bombs Released: 1987-03-16 Tracks: 24 Duration: 1:12:51 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Is It Really So Strange? (03:04) 2 Sheila Take a Bow (02:42) 3 Shoplifters of the World Unite (02:58) 4 Sweet and Tender Hooligan (03:35) 5 Half a Person (03:36) 6 London (02:06) 7 Panic (02:20) 8 Girl Afraid (02:48) 9 Shakespeare’s Sister (02:09) 10 William, It Was Really Nothing (02:11) 11 You Just Haven’t Earned It Yet, Baby (03:23) 12 Heaven Knows I’m Miserable Now (03:35) 13 Ask (03:17) 14 Golden Lights (02:39) 15 Oscillate Wildly (03:27) 16 These Things Take Time (02:23) 17 Rubber Ring (03:48) 18 Back to the Old House (03:04) 19 Hand in Glove (03:15) 20 Stretch Out and Wait (02:44) 21 Please Please Please Let Me Get What I Want (01:52) 22 This Night Has Opened My Eyes (03:40) 23 Unloveable (03:56) 24 Asleep (04:10) |
| Louder Than Bombs : Allmusic album Review : A compilation of singles, B-sides, album tracks, and BBC sessions assembled for the American market, Louder Than Bombs is an overlong and unfocused collection that nevertheless boasts a wealth of brilliant material. Since Hatful of Hollow was unavailable in the U.S. at the time of the release of Louder Than Bombs, this compilation contains large chunks of that album, as well as several cuts from The Smiths, which makes the record a little redundant for most Smiths fans. Also, Louder Than Bombs contains some of the worst material the group ever recorded, including the bland instrumental "Oscillate Wildly" and a cover of Twinkles "Golden Light." Excluding all of this material, the remainder of the record is brilliant. The singles "Shakespeares Sister," "Panic," "Ask," "Shoplifters of the World Unite," and "Sheila Take a Bow" are all definitive, as are the elegiac "Unloveable," "Asleep," "Stretch Out and Wait," and "Half a Person," which are all unavailable anywhere else (excluding the British counterpart to Louder Than Bombs, The World Wont Listen). Furthermore, the sneering, bouncing pop of "You Just Havent Earned It Yet, Baby" and the bizarre travelogue of "Is It Really So Strange?" are two other essential songs not available anywhere else. Though The World Wont Listen is a more concise collection, Louder Than Bombs is a necessary purchase for any Smiths fan. | ||
 | Rank: 370 Album: 20 of 50 Artist: Mott the Hoople Title: Mott Released: 1973-07-20 Tracks: 9 Duration: 43:19 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples AlbumCover | 1 All the Way From Memphis (05:01) 2 Whizz Kid (03:23) 3 Hymn for the Dudes (05:22) 4 Honaloochie Boogie (02:44) 5 Violence (04:50) 6 Drivin’ Sister (03:51) 7 Ballad of Mott the Hoople (March 26, 1972 Zurich) (05:24) 8 I’m a Cadillac / El Camino Dolo Roso (07:49) 9 I Wish I Was Your Mother (04:50) |
 | Rank: 371 Album: 21 of 50 Artist: Arctic Monkeys Title: Whatever People Say I Am, That’s What I’m Not Released: 2006-01-23 Tracks: 13 Duration: 41:02 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 The View From the Afternoon (03:38) 2 I Bet You Look Good on the Dancefloor (02:53) 3 Fake Tales of San Francisco (02:57) 4 Dancing Shoes (02:21) 5 You Probably Couldn’t See for the Lights but You Were Staring Straight at Me (02:10) 6 Still Take You Home (02:53) 7 Riot Van (02:14) 8 Red Light Indicates Doors Are Secured (02:23) 9 Mardy Bum (02:55) 10 Perhaps Vampires Is a Bit Strong But… (04:28) 11 When the Sun Goes Down (03:20) 12 From the Ritz to the Rubble (03:13) 13 A Certain Romance (05:31) |
| Whatever People Say I Am, That’s What I’m Not : Allmusic album Review : Breathless, hyperbolic praise was piled upon the Arctic Monkeys and their debut album, Whatever People Say I Am, Thats What Im Not, an instant phenomenon without peer. Within the course of a year, the band rose from the ranks of an Internet phenomenon to the biggest band in the U.K., all on the strength of early demos circulated on the web as MP3s. Those demos built the band a rabid fan base before the Monkeys had released a record, even before they played more than a handful of gigs. In effect, the group performed a complete run around the industry, avoiding conventional routes toward stardom, which paid off in spades. When Whatever People Say I Am hit the streets in January 2006, it sold a gob-smacking 118,501 copies within its first week of release, which not only made it the fastest-selling U.K. debut ever, but sold more than the rest of the Top 20 combined -- a remarkable achievement by any measure. Last time such excitement surrounded a new British guitar band it was a decade earlier, as Brit-pop hit overdrive with the release of Oasis 1994 debut, Definitely Maybe. All four members of the Arctic Monkeys were a little bit shy of their tenth birthday at the time, a bit young to be sure, but old enough to have Oasis be their first favorite band. So, its little surprise that the Gallaghers laddism -- celebrating nights out fueled by lager and loud guitars -- is the bedrock foundation of the Arctic Monkeys, just the way as it has been for most British rock bands since the mid-90s. Their true ground zero though, is 2001, the year the Strokes stormed British consciousness with their debut, Is This It. The Arctic Monkeys borrow heavily from the Strokes stylized ennui, adding an equal element of the Libertines shambolic neo-classicist punk, undercut by a hint of dance-punk learned from Franz Ferdinand. But where the Strokes, the Libertines, and Franz all knowingly reference the past, this Sheffield quartet is only concerned with the now, piecing together elements of their favorite bands as lead singer/songwriter Alex Turner tells stories from their lives, mainly hookups on the dancefloor and underage drinking, balanced by the occasional imagined tragic tales of prostitution and the music industry. Whatever People Say I Am captures the band mashing up the Strokes and the Libertines at will, jamming too many angular riffs into too short a space, tearing through the songs as quickly as possible. But where the Strokes camouflaged their songwriting skills with a laconic, take-it-or-leave-it sexiness, and where the Libertines mythologized England with a junkie poeticism, the Arctic Monkeys at their heart are simple, everyday lads, lacking any sense of sex appeal or romanticism, or even the desire for either. Nor do they harbor much menace, either in their tightly wound music or in how Turner spits out his words. Also, the dry production, sounding for all the world like an homage to Is This It -- all clanking guitars and clattering drums, with most of the energy coming from the groups sloppy call-and-response backing vocals -- keeps things ever immediate. In a way, Whatever People Say I Am is an ideal album for the age of Information Overload: nearly every track here is stuffed with riffs and words, and just when its about to sort itself out, it stops short. Instead of relying on a digital cut-and-paste clamor, lead singer and lyricist Alex Turner is a natural storyteller, chronicling a very specific time and place. Like Weller or Ian Dury before him, hes captured his era in stark, vivid terms; he may not transcend his time, but he embodies it fully. | ||
 | Rank: 372 Album: 22 of 50 Artist: The Police Title: Reggatta de Blanc Released: 1979-10-05 Tracks: 11 Duration: 42:02 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Message in a Bottle (04:51) 2 Reggatta de Blanc (03:07) 3 It’s Alright for You (03:14) 4 Bring on the Night (04:17) 5 Deathwish (04:16) 6 Walking on the Moon (05:02) 7 On Any Other Day (02:59) 8 The Bed’s Too Big Without You (04:27) 9 Contact (02:39) 10 Does Everyone Stare (03:47) 11 No Time This Time (03:20) |
| Reggatta de Blanc : Allmusic album Review : By 1979s Reggatta de Blanc (translation: White Reggae), nonstop touring had sharpened the Polices original blend of reggae-rock to perfection, resulting in breakthrough success. Containing a pair of massive hit singles -- the inspirational anthem "Message in a Bottle" and the spacious "Walking on the Moon" -- the album also signaled a change in the bands sound. Whereas their debut got its point across with raw, energetic performances, Reggatta de Blanc was much more polished production-wise and fully developed from a songwriting standpoint. While vigorous rockers did crop up from time to time ("Its Alright for You," "Deathwish," "No Time This Time," and the Grammy-winning instrumental title track), the material was overall much more sedate than the debut -- "Bring on the Night," "The Beds Too Big Without You," and "Does Everyone Stare." Also included was one of Stewart Copelands two lead vocal appearances on a Police album, the witty "On Any Other Day," as well as one of the bands most eerie tracks, "Contact." With Reggatta de Blanc, many picked Sting and company to be the superstar band of the 80s, and the Police would prove them correct on the bands next release. | ||
 | Rank: 373 Album: 23 of 50 Artist: Jefferson Airplane Title: Volunteers Released: 1969-11 Tracks: 10 Duration: 44:31 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 We Can Be Together (05:47) 2 Good Shepherd (04:22) 3 The Farm (03:13) 4 Hey Fredrick (08:34) 5 Turn My Life Down (02:56) 6 Wooden Ships (06:25) 7 Eskimo Blue Day (06:34) 8 A Song for All Seasons (03:29) 9 Meadowlands (01:04) 10 Volunteers (02:04) |
| Volunteers : Allmusic album Review : Controversial at the time, delayed because of fights with the record company over lyrical content and the original title (Volunteers of America), Volunteers was a powerful release that neatly closed out and wrapped up the 60s. Here, the Jefferson Airplane presents itself in full revolutionary rhetoric, issuing a call to "tear down the walls" and "get it on together." "We Can Be Together" and "Volunteers" bookend the album, offering musical variations on the same chord progression and lyrical variations on the same theme. Between these politically charged rock anthems, the band offers a mix of words and music that reflect the competing ideals of simplicity and getting "back to the earth," and overthrowing greed and exploitation through political activism, adding a healthy dollop of psychedelic sci-fi for texture. Guitarist Jorma Kaukonens beautiful arrangement of the traditional "Good Shepherd" is a standout here, and Jerry Garcias pedal steel guitar gives "The Farm" an appropriately rural feel. The bands version of "Wooden Ships" is much more eerie than that released earlier in the year by Crosby, Stills & Nash. Oblique psychedelia is offered here via Grace Slicks "Hey Frederick" and ecologically tinged "Eskimo Blue Day." Drummer Spencer Dryden gives an inside look at the state of the band in the country singalong "A Song for All Seasons." The musical arrangements here are quite potent. Nicky Hopkins distinctive piano highlights a number of tracks, and Kaukonens razor-toned lead guitar is the recordings unifying force, blazing through the mix, giving the album its distinctive sound. Although the political bent of the lyrics may seem dated to some, listening to Volunteers is like opening a time capsule on the end of an era, a time when young people still believed music had the power to change the world. | ||
 | Rank: 374 Album: 24 of 50 Artist: Roxy Music Title: Siren Released: 1975 Tracks: 9 Duration: 42:22 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Love Is the Drug (04:07) 2 End of the Line (05:14) 3 Sentimental Fool (06:14) 4 Whirlwind (03:36) 5 She Sells (03:39) 6 Could It Happen to Me? (03:36) 7 Both Ends Burning (05:15) 8 Nightingale (04:10) 9 Just Another High (06:28) |
| Siren : Allmusic album Review : Abandoning the intoxicating blend of art rock and glam-pop that distinguished Stranded and Country Life, Roxy Music concentrate on Bryan Ferrys suave, charming crooner persona for the elegantly modern Siren. As the disco-fied opener "Love Is the Drug" makes clear, Roxy embrace dance and unabashed pop on Siren, weaving them into their sleek, arty sound. It does come at the expense of their artier inclinations, which is part of what distinguished Roxy, but the end result is captivating. Lacking the consistently amazing songs of its predecessor, Siren has a thematic consistency that works in its favor, and helps elevate its best songs -- "Sentimental Fool," "Both Ends Burning," "Just Another High" -- as well as the album itself into the realm of classics. | ||
 | Rank: 375 Album: 25 of 50 Artist: Jackson Browne Title: Late for the Sky Released: 1974-09 Tracks: 8 Duration: 41:07 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia AlbumCover | 1 Late for the Sky (05:38) 2 Fountain of Sorrow (06:51) 3 Farther On (05:19) 4 The Late Show (05:13) 5 The Road and the Sky (03:06) 6 For a Dancer (04:44) 7 Walking Slow (03:53) 8 Before the Deluge (06:20) |
 | Rank: 376 Album: 26 of 50 Artist: Björk Title: Post Released: 1995-06-09 Tracks: 11 Duration: 46:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Army of Me (03:54) 2 Hyper‐Ballad (05:21) 3 The Modern Things (04:10) 4 It’s Oh So Quiet (03:38) 5 Enjoy (03:57) 6 You’ve Been Flirting Again (02:29) 7 Isobel (05:47) 8 Possibly Maybe (05:06) 9 I Miss You (04:03) 10 Cover Me (02:06) 11 Headphones (05:40) |
| Post : Allmusic album Review : After Debuts success, the pressure was on Björk to surpass that albums creative, tantalizing electronic pop. She more than delivered with 1995s Post; from the menacing, industrial-tinged opener, "Army of Me," its clear that this album is not simply Debut redux. The songs production and arrangements -- especially those of the epic, modern fairy tale "Isobel" -- all aim for, and accomplish, more. Post also features Debut producer Nellee Hooper, 808 States Graham Massey, Howie B, and Tricky, who help Björk incorporate a spectrum of electronic and orchestral styles into songs like "Hyperballad," which sounds like a love song penned by Aphex Twin. Meanwhile, the bristling beats on the volatile, sensual "Enjoy" and the fragile, weightless ballad "Possibly Maybe" nod to trip-hop without being overwhelmed by it. As on Debut, Björk finds new ways of expressing timeworn emotions like love, lust, and yearning in abstractly precise lyrics like "Since you went away/Im wearing lipstick again/I suck my tongue in remembrance of you," from "Possibly Maybe." But Posts emotional peaks and valleys are more extreme than Debuts. "I Miss You"s exuberance is so animated, it makes perfect sense that Ren & Stimpys John Kricfalusi directed the songs video. Likewise, "Its Oh So Quiet" -- which eventually led to Björks award-winning turn as Selma in Dancer in the Dark -- is so cartoonishly vibrant, it could have been arranged by Warner Bros. musical director Carl Stalling. Yet Björk sounds equally comfortable with an understated string section on "Youve Been Flirting Again." "Headphones" ends the album on an experimental, hypnotic note, layering Björks vocals over and over till they circle each other atop a bubbling, minimal beat. The work of a constantly changing artist, Post proves that as Björk moves toward more ambitious, complex music, she always surpasses herself. | ||
 | Rank: 377 Album: 27 of 50 Artist: John Lee Hooker Title: The Ultimate Collection: 1948–1990 Released: 1991-11-19 Tracks: 31 Duration: 1:44:40 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Teachin’ the Blues (03:27) 2 Boogie Chillen’ (03:09) 3 Sally Mae (03:12) 4 Let Your Daddy Ride (02:40) 5 Crawling King Snake (03:01) 6 Weeping Willow Boogie (02:50) 7 Hobo Blues (03:03) 8 Huckle Up Baby (02:50) 9 I’m in the Mood (03:07) 10 John L’s House Rent Boogie (03:02) 11 No More Doggin’ (02:48) 12 I Need Some Money (02:27) 13 Frisco Blues (02:45) 14 Dimples (02:14) 15 It Serves Me Right (03:38) 16 Bottle Up and Go (02:28) 1 Boom Boom (02:31) 2 Big Legs, Tight Skirt (02:20) 3 You Know, I Know (04:05) 4 One Bourbon, One Scotch, One Beer (03:06) 5 Let’s Go Out Tonight (07:12) 6 I Cover the Waterfront (04:04) 7 She’s Mine (Keep Your Hands to Yourself) (02:24) 8 Back Biters and Syndicators (02:51) 9 Think Twice Before You Go (02:06) 10 Shake It Baby (04:08) 11 I’m Bad Like Jesse James (05:20) 12 Peavine (05:08) 13 Burning Hell (03:58) 14 Terraplane Blues (02:56) 15 I’m in the Mood (05:36) |
 | Rank: 378 Album: 28 of 50 Artist: Oasis Title: (What’s the Story) Morning Glory? Released: 1995-10-02 Tracks: 12 Duration: 50:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Hello (03:21) 2 Roll With It (03:59) 3 Wonderwall (04:19) 4 Don’t Look Back in Anger (04:48) 5 Hey Now! (05:41) 6 [untitled] (00:44) 7 Some Might Say (05:28) 8 Cast No Shadow (04:51) 9 She’s Electric (03:40) 10 Morning Glory (05:03) 11 [untitled] (00:39) 12 Champagne Supernova (07:27) |
| (What’s the Story) Morning Glory? : Allmusic album Review : If Definitely Maybe was an unintentional concept album about wanting to be a rock & roll star, (Whats the Story) Morning Glory? is what happens after the dreams come true. Oasis turns in a relatively introspective second record, filled with big, gorgeous ballads instead of ripping rockers. Unlike Definitely Maybe, the production on Morning Glory is varied enough to handle the range in emotions; instead of drowning everything with amplifiers turned up to 12, there are strings, keyboards, and harmonicas. This expanded production helps give Noel Gallaghers sweeping melodies an emotional resonance that he occasionally cant convey lyrically. However, that is far from a fatal flaw; Gallaghers lyrics work best in fragments, where the images catch in your mind and grow, thanks to the music. Gallagher may be guilty of some borrowing, or even plagiarism, but he uses the familiar riffs as building blocks. This is where his genius lies: Hes a thief and doesnt have many original thoughts, but as a pop/rock melodicist hes pretty much without peer. Likewise, as musicians, Oasis are hardly innovators, yet they have a majestic grandeur in their sound that makes ballads like "Wonderwall" or rockers like "Some Might Say" positively transcendent. Alan White does add authority to the rhythm section, but the most noticeable change is in Liam Gallagher. His voice sneered throughout Definitely Maybe, but on Morning Glory his singing has become more textured and skillful. He gives the lyric in the raging title track a hint of regret, is sympathetic on "Wonderwall," defiant on "Some Might Say," and humorous on "Shes Electric," a bawdy rewrite of "Digsys Diner." It might not have the immediate impact of Definitely Maybe, but Morning Glory is just as exciting and compulsively listenable. | ||
 | Rank: 379 Album: 29 of 50 Artist: TLC Title: CrazySexyCool Released: 1994-11-15 Tracks: 17 Duration: 1:01:19 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Intro‐lude (01:04) 2 Creep (04:26) 3 Kick Your Game (04:14) 4 Diggin’ on You (04:14) 5 Case of the Fake People (04:04) 6 CrazySexyCool (interlude) (01:42) 7 Red Light Special (05:04) 8 Waterfalls (04:40) 9 Intermission‐lude (00:43) 10 Let’s Do It Again (04:16) 11 If I Was Your Girlfriend (04:36) 12 Sexy (interlude) (01:35) 13 Take Our Time (04:34) 14 Can I Get a Witness (interlude) (02:56) 15 Switch (03:30) 16 Sumthin’ Wicked This Way Comes (04:28) 17 [untitled] (05:07) |
| CrazySexyCool : Allmusic album Review : On their second album, TLC downplay their overt rap connections, recording a smooth, seductive collection of contemporary soul reminiscent of both Philly soul and Prince, powered by new jack and hip-hop beats. Lisa Lopes contributes the occasional rap, but the majority of CrazySexyCool belongs to Tionne Watkins and Rozonda Thomas. While they arent the most accomplished vocalists -- they have a tendency to be just slightly off-key -- the material they sing is consistently strong. As the cover of Princes "If I Was Your Girlfriend" indicates, TLC favor erotic, midtempo funk. Yet the group removes any of the psychosexual complexities of Princes songs, leaving a batch of sexy material that just sounds good, especially the hit singles. Both "Creep" and "Red Light Special" have a deep groove that accentuates the slinky hooks, but its "Waterfalls," with its gently insistent horns and guitar lines and instantly memorable chorus, that ranks as one of the classic R&B songs of the 90s. | ||
 | Rank: 380 Album: 30 of 50 Artist: Toots & The Maytals Title: Funky Kingston Released: 1973 Tracks: 8 Duration: 37:14 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Sit Right Down (04:44) 2 Pomp and Pride (04:32) 3 Louie Louie (05:47) 4 I Can’t Believe (03:32) 5 Redemption Song (04:13) 6 Daddy’s Home (05:48) 7 Funky Kingston (04:56) 8 It Was Written Down (03:40) |
| Funky Kingston : Allmusic album Review : Toots & the Maytals first LP for Chris Blackwell was originally released in the early 70s, and it includes solid sides like "Pomp and Pride," a whacked-out restructuring of Richard Berrys "Louie, Louie," and the wonderful title track, "Funky Kingston." Blackwell reissued a bulked-up version of Funky Kingston in the mid-70s on his Mango subsidiary, adding in the immortal "Pressure Drop," the brilliant "Time Tough," and a reimagining of John Denvers "Country Roads" (simply called "Country Road"), to make a much better and stronger set. | ||
 | Rank: 381 Album: 31 of 50 Artist: The Beach Boys Title: The Smile Sessions Released: 2011-10-28 Tracks: 28 Duration: 1:19:20 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Our Prayer (01:05) 2 Gee (00:51) 3 Heroes and Villains (04:52) 4 Do You Like Worms (Roll Plymouth Rock) (03:35) 5 I’m in Great Shape (00:28) 6 Barnyard (00:48) 7 My Only Sunshine (The Old Master Painter / You Are My Sunshine) (01:55) 8 Cabin Essence (03:30) 9 Wonderful (02:04) 10 Look (Song for Children) (02:31) 11 Child Is Father of the Man (02:10) 12 Surf’s Up (04:12) 13 I Wanna Be Around / Workshop (01:23) 14 Vega‐Tables (03:49) 15 Holidays (02:32) 16 Wind Chimes (03:06) 17 The Elements: Fire (Mrs. O’Leary’s Cow) (02:35) 18 Love to Say Dada (02:32) 19 Good Vibrations (04:15) 20 You’re Welcome (01:08) 21 Heroes and Villains (stereo mix) (04:53) 22 Heroes and Villains Sections (stereo mix) (07:16) 23 Vega‐Tables (demo) (01:49) 24 He Gives Speeches (01:13) 25 SMiLE Backing Vocals Montage (08:29) 26 Surf’s Up 1967 (solo version) (03:48) 27 Psycodelic Sounds: Brian Falls Into a Piano (01:30) 28 Capitol Smile Promo (01:01) |
| The Smile Sessions : Allmusic album Review : Goodbye surfing, hello God! The title of Jules Siegels 1967 magazine feature on Brian Wilson and the Beach Boys sums up how well the group was outliving the early-60s beach fad -- and revolutionizing pop music in the process. During 1966, the twin shots of Pet Sounds in May and "Good Vibrations" in October announced first that the group had entered the vanguard of pop music and then, not content with mere critical praise, seized control of the singles charts with a chart-topper as catchy as it was complex and costly to record. Early on, though, "Good Vibrations" had actually been slated to appear on Pet Sounds, which reveals the long odds on whether Wilson could ever finish an entire album of his pocket symphonies (at least, in the time frame of a label circa 1966). Nevertheless, beginning in August of 1966, he began planning a new album project, first called Dumb Angel and later SMiLE. Working from the ideas in his head, he and his studio musicians and bandmates recorded continually during late 1966 and early 1967, putting down hours of tape during dozens of sessions. He labored over every note and, more than that, every tone, often asking his musicians or the Beach Boys themselves to revise when the results didnt match his conception of the music going on inside his head. Such care and control produced music that was far beyond Pet Sounds, and when the impressionistic themes and lyrics of collaborator Van Dyke Parks were added, SMiLE began shaping up as the most unique LP ever produced by a pop group. That much is perfectly clear after listening to Capitols release of The SMiLE Sessions, the first official SMiLE release ever. (As most music fans know, the album was never completed, although elements of the whole have trickled out ever since.) Each version of the SMiLE Sessions set begins with a re-creation of what a mono release of SMiLE could have sounded like, with a track listing patterned after Wilson’s 2004 recording, Brian Wilson Presents SMiLE. Each version also includes some SMiLE sessions in stereo, in order to hear Wilsons working method in the studio. Peeling away the layers from these tracks, several instruments at a time, reveals more of the musics magnificence, how each element combined in ingenious ways to become the songs that have entranced Beach Boys fans over the years. The sessions and studio chatter also reveal how much of the SMiLE sessions were a family affair; far from the previous conception of Wilson holed away in the studio with a coterie of handpicked musicians, virtually all of the Beach Boys make themselves heard with suggestions and contributions both vocal and instrumental (and beside the infamous credits of Paul McCartney, even Brians wife Marilyn, a singer in her own right, is heard on backing vocals). Its difficult to object to anything about The SMiLE Sessions, considering the time and care invested into the entire package (which becomes yet more lavish with the varying Deluxe Editions available). Still, Brian Wilsons 2004 re-creation of SMiLE hangs over this set, and not just because SMiLE lost much of its mystery and taboo after Wilson re-recorded it. The choice to studiously re-create his 2004 rendition may have eased the burden of a difficult and controversial compiling process -- although thousands of hours still had to be spent compiling these sessions -- but it also forced principal reissue producers Mark Linett and Alan Boyd into giving listeners a version of SMiLE that wasnt in stereo, even though roughly 80 percent of the tracks were available that way. (For the record, the liner notes state that mono was used because that would have been Wilsons original choice in 1967, and also because not enough of the basic tracks were available in stereo.) As it stands here, having a full SMiLE album in mono and a collection of sessions in stereo immediately positions The SMiLE Sessions as something less than a true bootleg beater -- which will undoubtedly lead fans back to extra-legal means (at least, any time they want to hear a virtual mixdown of these glorious recordings in true stereo). Quibbles aside, everything about this package is richly detailed, immensely pleasing, and overall a wonderful experience. All of the CD editions include copious bonus tracks, such as nine minutes of a cappella vocals ("SMiLE Backing Vocals Montage"), whose beauty and fragility will help listeners realize that the Beach Boys obsessed just as much over their vocalizing as their music. Deluxe editions add essays from several angles, reminiscences from those who were there, and original artwork and photos from the period. True, no one will ever know what effect a SMiLE release in spring 1967 would have had on music or pop culture, and with the music so circular and the lyrics so obtuse, its likely that SMiLE would have become merely a curio of psychedelic excess rather than a work that transformed culture. But regardless, it shows Brian Wilsons mastery of pure studio sonics and his ability to not only create distinctive pop music, but give it great beauty as well. Those qualities have inspired musicians for decades, and its clear they will continue to do so. [The SMiLE Sessions is available in several different editions, all of which begin with a re-creation of what a mono release of SMiLE could have sounded like. The two-CD packages add one disc of sessions tracks, while the Deluxe Edition box set includes a total of five CDs, two LPs, and two 7" singles -- including the one disc and double-LP of SMiLE in mono, three discs of SMiLE sessions in stereo, and one disc of sessions from the "Good Vibrations" single. The Deluxe Edition box set also features a 2 x 3 poster and a 60-page hardcover book, all packaged inside a three-dimensional shadow box lid.] | ||
 | Rank: 382 Album: 32 of 50 Artist: The Modern Lovers Title: The Modern Lovers Released: 1976-08 Tracks: 17 Duration: 1:02:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Roadrunner (04:06) 2 Astral Plane (03:00) 3 Old World (04:00) 4 Pablo Picasso (04:21) 5 She Cracked (02:55) 6 Hospital (05:32) 7 Someone I Care About (03:40) 8 Girl Friend (03:55) 9 Modern World (03:42) 10 Dignified and Old (02:29) 11 I’m Straight (04:18) 12 Government Center (02:03) 13 I Wanna Sleep in Your Arms (02:32) 14 Dance With Me (04:27) 15 Someone I Care About (alternative version) (02:58) 16 Modern World (alternative version) (03:16) 17 Roadrunner (alternative version) (04:55) |
| The Modern Lovers : Allmusic album Review : Compiled of demos the band recorded with John Cale in 1973, The Modern Lovers is one of the great proto-punk albums of all time, capturing an angst-ridden adolescent geekiness which is married to a stripped-down, minimalistic rock & roll derived from the art punk of the Velvet Underground. While the sound is in debt to the primal three-chord pounding of early Velvet Underground, the attitude of Jonathan Richman and the Modern Lovers is a million miles away from Lou Reeds jaded urban nightmares. As he says in the classic two-chord anthem "Roadrunner," Richman is in love with the modern world and rock & roll. Hes still a teenager at heart, which means hes not only in love with girls he cant have, but also radios, suburbs, and fast food, and it also means hell crack jokes like "Pablo Picasso was never called an asshole...not like you." "Pablo Picasso" is the classic sneer, but "She Cracked" and "Im Straight" are just as nasty, made all the more edgy by the Modern Lovers amateurish, minimalist drive. But beneath his adolescent posturing, Richman is also nakedly emotional, pleading for a lover on "Someone I Care About" and "Girl Friend," or romanticizing the future on "Dignified and Old." That combination of musical simplicity, driving rock & roll, and gawky emotional confessions makes The Modern Lovers one of the most startling proto-punk records -- it strips rock & roll to its core and establishes the rock tradition of the geeky, awkward social outcast venting his frustrations. More importantly, the music is just as raw and exciting now as when it was recorded in 1973, or when it was belatedly released in 1976. | ||
 | Rank: 383 Album: 33 of 50 Artist: Talking Heads Title: More Songs About Buildings and Food Released: 1978-07-21 Tracks: 11 Duration: 41:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia AlbumCover | 1 Thank You for Sending Me an Angel (02:11) 2 With Our Love (03:31) 3 The Good Thing (03:03) 4 Warning Sign (03:54) 5 The Girls Want to Be With the Girls (02:38) 6 Found a Job (04:59) 7 Artists Only (03:35) 8 I’m Not in Love (04:35) 9 Stay Hungry (02:40) 10 Take Me to the River (05:03) 11 The Big Country (05:32) |
 | Rank: 384 Album: 34 of 50 Artist: The Who Title: A Quick One Released: 1966-12-03 Tracks: 10 Duration: 32:18 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Run Run Run (02:43) 2 Boris the Spider (02:28) 3 I Need You (02:24) 4 Whiskey Man (02:58) 5 Cobwebs and Strange (02:31) 6 Happy Jack (02:12) 7 Dont Look Away (02:55) 8 See My Way (01:55) 9 So Sad About Us (03:01) 10 A Quick One, While Hes Away (09:09) |
| A Quick One : Allmusic album Review : The Whos second album is a less impressive outing than their debut, primarily because, at the urging of their managers, all four members penned original material (though Pete Townshend wrote more than anyone else). The pure adrenaline of My Generation also subsided somewhat as the band began to grapple with more complex melodic and lyrical themes, especially on the erratic mini-opera "A Quick One While Hes Away." Still, theres some great madness on Keith Moons instrumental "Cobwebs and Strange," and Townshend delivered some solid mod pop with "Run Run Run" and "So Sad About Us." John Entwistle was also revealed to be a writer of considerable talent (and a morbid bent) on "Whiskey Man" and "Boris the Spider." | ||
 | Rank: 385 Album: 35 of 50 Artist: Bob Dylan Title: “Love and Theft” Released: 2001-09-10 Tracks: 12 Duration: 57:30 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Tweedle Dee & Tweedle Dum (04:46) 2 Mississippi (05:21) 3 Summer Days (04:52) 4 Bye and Bye (03:16) 5 Lonesome Day Blues (06:05) 6 Floater (Too Much to Ask) (04:59) 7 High Water (for Charley Patton) (04:04) 8 Moonlight (03:23) 9 Honest With Me (05:49) 10 Po’ Boy (03:05) 11 Cry a While (05:05) 12 Sugar Baby (06:40) |
| “Love and Theft” : Allmusic album Review : Time Out of Mind was a legitimate comeback, Bob Dylans first collection of original songs in nearly ten years and a risky rumination on mortality, but its sequel, Love and Theft, is his true return to form, not just his best album since Blood on the Tracks, but the loosest, funniest, warmest record hes made since The Basement Tapes. There are none of the foreboding, apocalyptic warnings that permeated Time Out of Mind and even underpinned "Things Have Changed," his Oscar-winning theme to Curtis Hansons 2000 film Wonder Boys. Just as important, Daniel Lanois deliberately arty, diffuse production has retreated into the mist, replaced by an uncluttered, resonant production that gives Dylan and his ace backing band room to breathe. And they run wild with that liberty, rocking the house with the grinding "Lonesome Day Blues" and burning it down with the fabulously swinging "Summer Days." Theyre equally captivating on the slower songs, whether its the breezily romantic "Bye and Bye," the torch song "Moonlight," or the epic reflective closer, "Sugar Baby." Musically, Dylan hasnt been this natural or vital since he was with the Band, and even then, those records were never as relaxed and easy or even as hard-rocking as these. That alone would make Love and Theft a remarkable achievement, but theyre supported by a tremendous set of songs that fully synthesize all the strands in his music, from the folksinger of the early 60s, through the absurdist storyteller of the mid-60s, through the traditionalist of the early 70s, to the grizzled professional of the 90s. None of this is conscious, its all natural. Theres an ease to his writing and a swagger to his performance unheard in years -- hes cracking jokes and murmuring wry asides, telling stories, crooning, and swinging. Its reminiscent of his classic records, but hes never made a record thats been such sheer, giddy fun as this, and it stands proudly among his very best albums. | ||
 | Rank: 386 Album: 36 of 50 Artist: Steely Dan Title: Pretzel Logic Released: 1974-03-02 Tracks: 11 Duration: 34:01 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Rikki Don’t Lose That Number (04:32) 2 Night by Night (03:40) 3 Any Major Dude Will Tell You (03:08) 4 Barrytown (03:22) 5 East St. Louis Toodle‐Oo (02:49) 6 Parker’s Band (02:45) 7 Through With Buzz (01:34) 8 Pretzel Logic (04:32) 9 With a Gun (02:18) 10 Charlie Freak (02:44) 11 Monkey in Your Soul (02:33) |
| Pretzel Logic : Allmusic album Review : Countdown to Ecstasy wasnt half the hit that Cant Buy a Thrill was, and Steely Dan responded by trimming the lengthy instrumental jams that were scattered across Countdown and concentrating on concise songs for Pretzel Logic. While the shorter songs usually indicate a tendency toward pop conventions, thats not the case with Pretzel Logic. Instead of relying on easy hooks, Walter Becker and Donald Fagen assembled their most complex and cynical set of songs to date. Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay. Listen to how the albums hit single, "Rikki Dont Lose That Number," opens with a syncopated piano line that evolves into a graceful pop melody, or how the title track winds from a blues to a jazzy chorus -- Becker and Fagens craft has become seamless while remaining idiosyncratic and thrillingly accessible. Since the songs are now paramount, it makes sense that Pretzel Logic is less of a band-oriented album than Countdown to Ecstasy, yet it is the richest album in their catalog, one where the backhanded Dylan tribute "Barrytown" can sit comfortably next to the gorgeous "Any Major Dude Will Tell You." Steely Dan made more accomplished albums than Pretzel Logic, but they never made a better one. | ||
 | Rank: 387 Album: 37 of 50 Artist: Wu‐Tang Clan Title: Enter the Wu‐Tang: 36 Chambers Released: 1993-11-09 Tracks: 12 Duration: 58:24 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Bring da Ruckus (04:10) 2 Shame on a Nigga (02:57) 3 Clan in da Front (04:33) 4 Wu‐Tang: 7th Chamber (06:06) 5 Can It Be All So Simple / Intermission (06:53) 6 Da Mystery of Chessboxin’ (04:47) 7 Wu‐Tang Clan Ain’t Nuthing ta F’ Wit (03:36) 8 C.R.E.A.M. (04:12) 9 Method Man (05:50) 10 Protect Ya Neck (04:51) 11 Tearz (04:17) 12 Wu‐Tang: 7th Chamber, Part II / Conclusion (06:08) |
| Enter the Wu‐Tang: 36 Chambers : Allmusic album Review : Along with Dr. Dres The Chronic, the Wu-Tang Clans debut, Enter the Wu-Tang (36 Chambers), was one of the most influential rap albums of the 90s. Its spare yet atmospheric production -- courtesy of RZA -- mapped out the sonic blueprint that countless other hardcore rappers would follow for years to come. It laid the groundwork for the rebirth of New York hip-hop in the hardcore age, paving the way for everybody from Biggie and Jay-Z to Nas and Mobb Deep. Moreover, it introduced a colorful cast of hugely talented MCs, some of whom ranked among the best and most unique individual rappers of the decade. Some were outsized, theatrical personalities, others were cerebral storytellers and lyrical technicians, but each had his own distinctive style, which made for an album of tremendous variety and consistency. Every track on Enter the Wu-Tang is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references (everything from Voltron to Lucky Charms cereal commercials to Barbra Streisands "The Way We Were"), bizarre threats of violence, and a truly twisted sense of humor. Their off-kilter menace is really brought to life, however, by the eerie, lo-fi production, which helped bring the raw sound of the underground into mainstream hip-hop. Starting with a foundation of hard, gritty beats and dialogue samples from kung fu movies, RZA kept things minimalistic, but added just enough minor-key piano, strings, or muted horns to create a background ambience that works like the soundtrack to a surreal nightmare. There was nothing like it in the hip-hop world at the time, and even after years of imitation, Enter the Wu-Tang still sounds fresh and original. Subsequent group and solo projects would refine and deepen this template, but collectively, the Wu have never been quite this tight again. | ||
 | Rank: 388 Album: 38 of 50 Artist: Various Artists Title: The Indestructible Beat of Soweto Released: 1985 Tracks: 12 Duration: 45:50 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples AlbumCover | 1 Awungilobolele (03:50) 2 Holotelani (03:59) 3 Qhude Manikiniki (03:53) 4 Indoda Yejazi Elimnyama (03:55) 5 Emthonjeni Womculo (03:44) 6 Sobabamba (03:40) 7 Qhwahilahle (04:18) 8 Thululalele (03:40) 9 Sini Lindile (03:21) 10 Ngicabange Ngaqeda (03:03) 11 Joyce No. 2 (03:08) 12 Nansi Imali (05:15) |
 | Rank: 389 Album: 39 of 50 Artist: Don Henley Title: The End of the Innocence Released: 1989-06-27 Tracks: 10 Duration: 53:18 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 The End of the Innocence (05:16) 2 How Bad Do You Want It? (03:47) 3 I Will Not Go Quietly (05:43) 4 The Last Worthless Evening (06:04) 5 New York Minute (06:36) 6 Shangri-La (04:57) 7 Little Tin God (04:43) 8 Gimme What You Got (06:13) 9 If Dirt Were Dollars (04:34) 10 The Heart of the Matter (05:22) |
| The End of the Innocence : Allmusic album Review : Don Henley took some time before completing his highly anticipated third album, The End of the Innocence. Although he manages to duplicate much of the magic of his previous album, Henley has backed off of the synthesizers and expanded his musical palette. He uses background vocals to great effect, whether its the tragic ballad "New York Minute" (with vocal group Take 6) or the angry rocker "I Will Not Go Quietly" (with Axl Rose of Guns N Roses). His collaboration with Bruce Hornsby on the opening title track show a mature Henley singing about disillusionment over a beautiful piano riff that gives the song a timeless air of nostalgia. While he still tackles political issues and writes about small-town life in America, Henley also mixes in romantic ballads, including the closer "Heart of the Matter." In this epic song, Henley explores the emotional complexity of relationships and coming to terms with oneself during the aftermath. Throughout the album, he manages to balance being cynical yet hopeful, and his great melodies allow his poignant lyrics to penetrate. This album is highly recommended for those who like their pop music with a message. | ||
 | Rank: 390 Album: 40 of 50 Artist: The White Stripes Title: Elephant Released: 2003-03-19 Tracks: 14 Duration: 49:55 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Seven Nation Army (03:51) 2 Black Math (03:03) 3 There’s No Home for You Here (03:44) 4 I Just Don’t Know What to Do With Myself (02:46) 5 In the Cold, Cold Night (02:58) 6 I Want to Be the Boy to Warm Your Mother’s Heart (03:21) 7 You’ve Got Her in Your Pocket (03:40) 8 Ball and Biscuit (07:19) 9 The Hardest Button to Button (03:32) 10 Little Acorns (04:09) 11 Hypnotize (01:48) 12 The Air Near My Fingers (03:40) 13 Girl, You Have No Faith in Medicine (03:17) 14 Well It’s True That We Love One Another (02:43) |
| Elephant : Allmusic album Review : White Blood Cells may have been a reaction to the amount of fame the White Stripes had received up to the point of its release, but, paradoxically, it made full-fledged rock stars out of Jack and Meg White and sold over half a million copies in the process. Despite the White Stripes ambivalence, fame nevertheless seems to suit them: They just become more accomplished as the attention paid to them increases. Elephant captures this contradiction within the Stripes and their music; its the first album theyve recorded for a major label, and it sounds even more pissed-off, paranoid, and stunning than its predecessor. Darker and more difficult than White Blood Cells, the album offers nothing as immediately crowd-pleasing or sweet as "Fell in Love With a Girl" or "Were Going to Be Friends," but its more consistent, exploring disillusionment and rejection with razor-sharp focus. Chip-on-the-shoulder anthems like the breathtaking opener, "Seven Nation Army," which is driven by Meg Whites explosively minimal drumming, and "The Hardest Button to Button," in which Jack White snarls "Now were a family!" -- one of the best oblique threats since Black Francis sneered "Its educational!" all those years ago -- deliver some of the fiercest blues-punk of the White Stripes career. "Theres No Home for You Here" sets a girls walking papers to a melody reminiscent of "Dead Leaves and the Dirty Ground" (though the result is more sequel than rehash), driving the point home with a wall of layered, Queen-ly harmonies and piercing guitars, while the inspired version of "I Just Dont Know What to Do With Myself" goes from plaintive to angry in just over a minute, though the charging guitars at the end sound perversely triumphant. At its bruised heart, Elephant portrays love as a power struggle, with chivalry and innocence usually losing out to the power of seduction. "I Want to Be the Boy" tries, unsuccessfully, to charm a girls mother; "Youve Got Her in Your Pocket," a deceptively gentle ballad, reveals the darker side of the Stripes vulnerability, blurring the line between caring for someone and owning them with some fittingly fluid songwriting. The battle for control reaches a fever pitch on the "Fell in Love With a Girl"-esque "Hypnotize," which suggests some slightly underhanded ways of winning a girl over before settling for just holding her hand, and on the show-stopping "Ball and Biscuit," seven flat-out seductive minutes of preening, boasting, and amazing guitar prowess that ranks as one the bands most traditionally bluesy (not to mention sexy) songs. Interestingly, Megs star turn, "In the Cold, Cold Night," is the closest Elephant comes to a truce in this struggle, her kitten-ish voice balancing the songs slinky words and music. While the album is often dark, its never despairing; moments of wry humor pop up throughout, particularly toward the end. "Little Acorns" begins with a sound clip of Detroit newscaster Mort Crims Second Thoughts radio show, adding an authentic, if unusual, Motor City feel. It also suggests that Jack White is one of the few vocalists who could make a lyric like "Be like the squirrel" sound cool and even inspiring. Likewise, the showy "Girl, You Have No Faith in Medicine" -- on which White resembles a garage rock snake-oil salesman -- is probably the only song featuring the word "acetaminophen" in its chorus. "Its True That We Love One Another," which features vocals from Holly Golightly as well as Meg White, continues the Stripes tradition of closing their albums on a lighthearted note. Almost as much fun to analyze as it is to listen to, Elephant overflows with quality -- its full of tight songwriting, sharp, witty lyrics, and judiciously used basses and tumbling keyboard melodies that enhance the bands powerful simplicity (and the excellent "The Air Near My Fingers" features all of these). Crucially, the White Stripes know the difference between fame and success; while they may not be entirely comfortable with their fame, theyve succeeded at mixing blues, punk, and garage rock in an electrifying and unique way ever since they were strictly a Detroit phenomenon. On these terms, Elephant is a phenomenal success. | ||
 | Rank: 391 Album: 41 of 50 Artist: Jackson Browne Title: The Pretender Released: 1976-11 Tracks: 8 Duration: 35:27 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia AlbumCover | 1 The Fuse (05:49) 2 Your Bright Baby Blues (06:05) 3 Linda Paloma (04:06) 4 Here Come Those Tears Again (03:34) 5 The Only Child (03:44) 6 Daddys Tune (03:37) 7 Sleeps Dark and Silent Gate (02:37) 8 The Pretender (05:52) |
 | Rank: 392 Album: 42 of 50 Artist: The Beatles Title: Let It Be Released: 1970-05-08 Tracks: 12 Duration: 35:03 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Two of Us (03:36) 2 Dig a Pony (03:54) 3 Across the Universe (03:47) 4 I Me Mine (02:26) 5 Dig It (00:50) 6 Let It Be (04:03) 7 Maggie Mae (00:40) 8 I’ve Got a Feeling (03:37) 9 One After 909 (02:53) 10 The Long and Winding Road (03:38) 11 For You Blue (02:32) 12 Get Back (03:07) |
| Let It Be : Allmusic album Review : The only Beatles album to occasion negative, even hostile reviews, there are few other rock records as controversial as Let It Be. First off, several facts need to be explained: although released in May 1970, this was not their final album, but largely recorded in early 1969, way before Abbey Road. Phil Spector was enlisted in early 1970 to do some post-production work, but did not work with the band as a unit, as George Martin and Glyn Johns had on the sessions themselves; Spectors work was limited to mixing and some overdubs. And, although his use of strings has generated much criticism, by and large he left the original performances to stand as is: only "The Long and Winding Road" and (to a lesser degree) "Across the Universe" and "I Me Mine" get the wall-of-sound layers of strings and female choruses. Although most of the album, then, has a live-in-the-studio feel, the main problem was that the material wasnt uniformly strong, and that the Beatles themselves were in fairly lousy moods due to inter-group tension. All that said, the album is on the whole underrated, even discounting the fact that a sub-standard Beatles record is better than almost any other groups best work. McCartney in particular offers several gems: the gospelish "Let It Be," which has some of his best lyrics; "Get Back," one of his hardest rockers; and the melodic "The Long and Winding Road," ruined by Spectors heavy-handed overdubs (the superior string-less, choir-less version was finally released on Anthology Vol. 3). The folky "Two of Us," with John and Paul harmonizing together, was also a highlight. Most of the rest of the material, by contrast, was going through the motions to some degree, although there are some good moments of straight hard rock in "Ive Got a Feeling" and "Dig a Pony." As flawed and bumpy as it is, its an album well worth having, as when the Beatles were in top form here, they were as good as ever. | ||
 | Rank: 393 Album: 43 of 50 Artist: M.I.A. Title: Kala Released: 2007-08-08 Tracks: 15 Duration: 57:02 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Bamboo Banga (04:58) 2 Birdflu (03:25) 3 Boyz (03:27) 4 Jimmy (03:29) 5 Hussel (04:25) 6 Mango Pickle Down River (03:54) 7 20 Dollar (04:34) 8 World Town (03:54) 9 The Turn (03:52) 10 XR2 (04:21) 11 Paper Planes (03:24) 12 Come Around (03:54) 13 Far Far (03:25) 14 Big Branch (02:45) 15 What I Got (03:15) |
| Kala : Allmusic album Review : Kala and Arular are similar in that they are both wildly vigorous and wholly enjoyable albums, generous with blunt-force beats, flurries of percussion, riotous vocals (with largely inconsequential lyrics), and fearless stylistic syntheses that seem to view music from half of the planets countries as potential source material. But Kala nearly makes Arular seem tame in comparison, magnifying most of its predecessors qualities as it remains bracingly adventurous. While it certainly sounds like a second M.I.A. album, nothing about it is stagnant. Made in piecemeal fashion while located in several countries, Kala involves a few co-producers: U.K. "dirty house" producer Switch is the primary collaborator, while Baltimore club don Blaqstarr, Diplo, and Timbaland assist M.I.A. on one or a couple tracks each. Further variety is added vocally, not only through M.I.A.s numerous modes, but also through feature spots from Nigerian MC Afrikan Boy and a crew of young Aborigine rappers. Roughly half the album -- including the opening three-track sequence, which incorporates Jonathan Richmans "Roadrunner," samples from two Tamil-language film soundtracks, squawking chickens, (what sounds like) yelping children, and clustered rhythmic devices that boom, stab, clap, rattle, twitter, and sometimes even prance -- is more intense than anything on Arular. The tracks are so full of chaos and jagged noise that it is disarming to reach the relatively relaxed material, especially the two tracks that resemble actual songs. "Jimmy" is a rather faithful cover, willfully chintzy strings and all, of a flirtatiously lovelorn neo-disco number from the 80s Bollywood film Disco Dancer. "Paper Planes" has a sing-songy float to it, aided by the Clashs "Straight to Hell," though it also appropriates Wreckx-N-Effects "Rump Shaker" while replacing "zoom-a-zoom-zoom-zoom" and "boom-boom" with sounds from shotguns and cash registers. Like the remainder of the albums best moments, it recalls the late Lizzy Mercier Descloux, another artist who made thrilling music by mixing cultures with respectful irreverence. Perhaps some of Arulars detractors knew M.I.A. was capable of this all along. | ||
 | Rank: 394 Album: 44 of 50 Artist: Randy Newman Title: Good Old Boys Released: 1974-09 Tracks: 12 Duration: 33:53 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Rednecks (03:10) 2 Birmingham (02:47) 3 Marie (03:10) 4 Mr. President (Have Pity on the Working Man) (02:47) 5 Guilty (02:34) 6 Louisiana 1927 (02:58) 7 Every Man a King (01:02) 8 Kingfish (02:45) 9 Naked Man (03:12) 10 A Wedding in Cherokee County (03:10) 11 Back on My Feet Again (03:23) 12 Rollin (02:52) |
| Good Old Boys : Allmusic album Review : Randy Newmans songwriting often walks a narrow line between intelligent satire and willful cruelty, and that line was never finer than on the album Good Old Boys. Newman had long displayed a fascination with the American South, and Good Old Boys was a song cycle where he gave free reign to his most imaginative (and venomous) thoughts on the subject. The albums scabrous opening cut, "Rednecks," is guaranteed to offend practically anyone with its tale of a slow-witted, willfully (and proudly) ignorant Southerner obsessed with "keeping the n-----s down." "A Wedding in Cherokee County" is more polite but hardly less mean-spirited, in which an impotent hick marries a circus freak; if the songs melody and arrangement werent so skillful, it would be hard to imagine anyone bothering with this musical geek show. But elsewhere, Good Old Boys displays a very real compassion for the blighted history of the South, leavened with a knowing wit. "Birmingham" is a funny but humane tale of working-class Alabamians, "Louisiana 1927" and "Kingfish" are intelligent and powerfully evocative tales of the deep South in the depths of the Great Depression, and "Rollin" is cheerful on the surface and troubling to anyone willing to look beneath it. Musically, Newman dives deep into his influences in Southern soul and also adds potent country accents (with the help of Al Perkins pedal-steel guitar) while dressing up his songs in typically expert string and horn arrangements. And Newman assumes each character, either brave or foolish, with the skill of a gifted actor, giving even his most loathsome characters enough depth that theyre human beings, despite their flaws. Good Old Boys is one of Newmans finest albums; its also one of his most provocative and infuriating, and thats probably just the way he wanted it. | ||
 | Rank: 395 Album: 45 of 50 Artist: LCD Soundsystem Title: Sound of Silver Released: 2007-03-07 Tracks: 9 Duration: 55:55 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Get Innocuous! (07:11) 2 Time to Get Away (04:11) 3 North American Scum (05:25) 4 Someone Great (06:25) 5 All My Friends (07:37) 6 Us v Them (08:29) 7 Watch the Tapes (03:55) 8 Sound of Silver (07:07) 9 New York, I Love You but You’re Bringing Me Down (05:35) |
| Sound of Silver : Allmusic album Review : Compared to the first LCD Soundsystem album, Sound of Silver is less silly, funnier, less messy, sleeker, less rowdy, more fun, less distanced, more touching. It is just as linked to James Murphys record collection, with traces of post-punk, disco, Krautrock, and singer/songwriter schlubs, but the references are evidently harder to pin down; the number of names dropped in the reviews published before its release must triple the amount mentioned throughout "Losing My Edge." Theres even some confusion as to which version of David Bowie is lurking around. One clearly evident aspect of the album is that Murphy has streamlined his sound. All the jagged frays have been removed, replaced by a slightly tidier approach that is more direct and packs more punch. Murphy comes across as a fully naturalized producer of dance music -- especially on "Get Innocuous!" -- as opposed to a product of 90s indie rock who has made a convincing switch-up. And yet, the albums best song is sad, should not be played in any club, and it at least matches the work of any active songwriter who has been praised. "Someone Great," a bittersweet pop song built on swelling synthesizers and a dual vocal-and-glockenspiel melody, could definitely be about a devastating breakup ("To tell the truth I saw it coming/The way you were breathing"), at least until "Youre smaller than my wife imagined/Surprised you were human," which could mean the song either took a turn for the absurd or is about the death (and funeral) of a loved one. Either way, it is the most moving song Murphy has made, and it only helps further the notion that he should be considered a great songwriter, not simply a skilled musician with a few studio tricks and the occasional clever quip. The closer, "New York, I Love You But Youre Bringing Me Down," seals it: "New York, youre perfect, oh please dont change a thing/Your mild billionaire mayors now convinced hes a king/And so the boring collect -- I mean all disrespect/In the neighborhood bars Id once dreamt I would drink." If he keeps it up, hell be writing songs for Pixar by 2020. | ||
 | Rank: 396 Album: 46 of 50 Artist: Roxy Music Title: For Your Pleasure Released: 1973 Tracks: 8 Duration: 42:16 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Do the Strand (04:02) 2 Beauty Queen (04:41) 3 Strictly Confidential (03:48) 4 Editions of You (03:51) 5 In Every Dream Home a Heartache (05:29) 6 The Bogus Man (09:21) 7 Grey Lagoons (04:13) 8 For Your Pleasure (06:51) |
| For Your Pleasure : Allmusic album Review : On Roxy Musics debut, the tensions between Brian Eno and Bryan Ferry propelled their music to great, unexpected heights, and for most of the groups second album, For Your Pleasure, the band equals, if not surpasses, those expectations. However, there are a handful of moments where those tensions become unbearable, as when Eno wants to move toward texture and Ferry wants to stay in more conventional rock territory; the nine-minute "The Bogus Man" captures such creative tensions perfectly, and its easy to see why Eno left the group after the album was completed. Still, those differences result in yet another extraordinary record from Roxy Music, one that demonstrates even more clearly than the debut how avant-garde ideas can flourish in a pop setting. This is especially evident in the driving singles "Do the Strand" and "Editions of You," which pulsate with raw energy and jarring melodic structures. Roxy also illuminate the slower numbers, such as the eerie "In Every Dream Home a Heartache," with atonal, shimmering synthesizers, textures that were unexpected and innovative at the time of its release. Similarly, all of For Your Pleasure walks the tightrope between the experimental and the accessible, creating a new vocabulary for rock bands, and one that was exploited heavily in the ensuing decade. | ||
 | Rank: 397 Album: 47 of 50 Artist: Massive Attack Title: Blue Lines Released: 1991-04-08 Tracks: 18 Duration: 1:29:49 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Safe From Harm (05:19) 2 One Love (04:48) 3 Blue Lines (04:21) 4 Be Thankful for What You’ve Got (04:09) 5 Five Man Army (06:04) 1 Unfinished Sympathy (05:08) 2 Daydreaming (04:14) 3 Lately (04:26) 4 Hymn of the Big Wheel (06:22) 1 Safe From Harm (05:19) 2 One Love (04:48) 3 Blue Lines (04:21) 4 Be Thankful for What You’ve Got (04:09) 5 Five Man Army (06:04) 6 Unfinished Sympathy (05:08) 7 Daydreaming (04:14) 8 Lately (04:26) 9 Hymn of the Big Wheel (06:22) |
| Blue Lines : Allmusic album Review : The first masterpiece of what was only termed trip-hop much later, Blue Lines filtered American hip-hop through the lens of British club culture, a stylish, nocturnal sense of scene that encompassed music from rare groove to dub to dance. The album balances dark, diva-led club jams along the lines of Soul II Soul with some of the best British rap (vocals and production) heard up to that point, occasionally on the same track. The opener "Safe from Harm" is the best example, with diva vocalist Shara Nelson trading off lines with the groups own monotone (yet effective) rapping. Even more than hip-hop or dance, however, dub is the big touchstone on Blue Lines. Most of the productions arent quite as earthy as youd expect, but the influence is palpable in the atmospherics of the songs, like the faraway electric piano on "One Love" (with beautiful vocals from the near-legendary Horace Andy). One track, "Five Man Army," makes the dub inspiration explicit, with a clattering percussion line, moderate reverb on the guitar and drums, and Andys exquisite falsetto flitting over the chorus. Blue Lines isnt all darkness, either -- "Be Thankful for What Youve Got" is quite close to the smooth soul tune conjured by its title, and "Unfinished Sympathy" -- the groups first classic production -- is a tremendously moving fusion of up-tempo hip-hop and dancefloor jam with slow-moving, syrupy strings. Flaunting both their range and their tremendously evocative productions, Massive Attack recorded one of the best dance albums of all time. | ||
 | Rank: 398 Album: 48 of 50 Artist: ZZ Top Title: Eliminator Released: 1983-03-23 Tracks: 11 Duration: 45:09 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Gimme All Your Lovin’ (03:59) 2 Got Me Under Pressure (04:01) 3 Sharp Dressed Man (04:14) 4 I Need You Tonight (06:17) 5 I Got the Six (02:54) 6 Legs (04:33) 7 Thug (04:18) 8 TV Dinners (03:50) 9 Dirty Dog (04:05) 10 If I Could Only Flag Her Down (03:40) 11 Bad Girl (03:15) |
| Eliminator : Allmusic album Review : ZZ Top had reached the top of the charts before, but that didnt make their sudden popularity in 1983 any more predictable. It wasnt that they were just popular -- they were hip, for Gods sake, since they were one of the only AOR favorites to figure out to harness the stylish, synthesized grooves of new wave, and then figure out how to sell it on MTV. Of course, it helped that they had songs that deserved to be hits. With "Gimme All Your Lovin," "Sharp Dressed Man," and "Legs," they had their greatest set of singles since the heady days of Tres Hombres, and the songs that surrounded them werent bad either -- they would have been singles on El Loco, as a matter of fact. The songs alone would have made Eliminator one of ZZ Tops three greatest albums, but their embrace of synths and sequencers made it a blockbuster hit, since it was the sound of the times. Years later, the sound of the times winds up sounding a bit stiff. Its still an excellent ZZ Top album, one of their best, yet it sounds like a mechanized ZZ Top thanks to the unflaggingly accurate grooves. Then again, thats part of the albums charm -- this is new wave blues-rock, glossed up for the video, looking as good as the omnipresent convertible on the cover and sounding as irresistible as Reaganomics. Not the sort the old-school fans or blues-rock purists will love, but ZZ Top never sounded as much like a band of its time as they did here. | ||
 | Rank: 399 Album: 49 of 50 Artist: Tom Waits Title: Rain Dogs Released: 1985 Tracks: 19 Duration: 54:04 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Singapore (02:45) 2 Clap Hands (03:48) 3 Cemetery Polka (01:46) 4 Jockey Full of Bourbon (02:47) 5 Tango Till They’re Sore (02:51) 6 Big Black Mariah (02:43) 7 Diamonds & Gold (02:32) 8 Hang Down Your Head (02:33) 9 Time (03:56) 10 Rain Dogs (02:57) 11 Midtown (instrumental) (01:03) 12 9th & Hennepin (01:56) 13 Gun Street Girl (04:37) 14 Union Square (02:24) 15 Blind Love (04:20) 16 Walking Spanish (03:07) 17 Downtown Train (03:53) 18 Bride of Rain Dog (instrumental) (01:09) 19 Anywhere I Lay My Head (02:47) |
| Rain Dogs : Allmusic album Review : With its jarring rhythms and unusual instrumentation -- marimba, accordion, various percussion -- as well as its frequently surreal lyrics, Rain Dogs is very much a follow-up to Swordfishtrombones, which is to say that it sounds for the most part like The Threepenny Opera being sung by Howlin Wolf. The chief musical difference is the introduction of guitarist Marc Ribot, who adds his noisy leads to the general cacophony. But Rain Dogs is sprawling where its predecessor had been focused: Tom Waits lyrics here sometimes are imaginative to the point of obscurity, seemingly chosen to fit the rhythms rather than for sense. In the course of 19 tracks and 54 minutes, Waits sometimes goes back to the more conventional music of his earlier records, which seems like a retreat, though such tracks as the catchy "Hang Down Your Head," "Time," and especially "Downtown Train" (frequently covered and finally turned into a Top Ten hit by Rod Stewart five years later) provide some relief as well as variety. Rain Dogs cant surprise as Swordfishtrombones had, and in his attempt to continue in the direction suggested by that album, Waits occasionally borders on the chaotic (which may only be to say that, like most of his records, this one is uneven). But much of the music matches the earlier album, and there is so much of it that that is enough to qualify Rain Dogs as one of Waits better albums. | ||
 | Rank: 400 Album: 50 of 50 Artist: The Temptations Title: Anthology: The Best of The Temptations Released: 1995 Tracks: 27 Duration: 1:17:18 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 The Way You Do the Things You Do (02:40) 2 I’ll Be in Trouble (02:56) 3 The Girls Alright With Me (02:52) 4 Girl (Why You Wanna Make Me Blue) (02:17) 5 My Girl (02:45) 6 It’s Growing (02:58) 7 What Love Has Joined Together (02:57) 8 Who’s Lovin’ You (02:57) 9 Since I Lost My Baby (02:51) 10 You’ve Got to Earn It (02:40) 11 Nobody but You (02:24) 12 My Baby (03:02) 13 Don’t Look Back (02:52) 14 Ol’ Man River (live) (04:50) 15 Get Ready (02:39) 16 Ain’t Too Proud to Beg (02:33) 17 You’ll Lose a Precious Love (02:28) 18 Beauty Is Only Skin Deep (02:23) 19 (I Know) I’m Losing You (02:28) 20 All I Need (03:18) 21 You’re My Everything (03:11) 22 (Loneliness Made Me Realize) Its You That I Need (02:38) 23 I Wish It Would Rain (02:49) 24 I Could Never Love Another (After Loving You) (03:34) 25 Please Return Your Love to Me (02:24) 26 Lullaby of Love (02:19) 27 The Impossible Dream (03:24) |
| Anthology: The Best of The Temptations : Allmusic album Review : A definitive overview of the Temptations career at Motown, Anthology was first released on LP in 1973, revamped in 1986, and updated once again for the CD era in 1995, with modern remastering technology and new packaging. The 1995 version tinkers with the selections a bit, appends a few later singles released after the original issue, and adds a few extra, lesser-known items from their earlier years, including the previously unreleased "Lullaby of Love." Since its difficult to encapsulate the Temptations accomplishments on just one disc -- they remained consistent and viable hitmakers well into the 70s, totally reinventing their sound in the process -- Anthology should really be considered the best available summation of their career. The two discs split up the Tempts two major phases pretty neatly. Kicking off with their breakthrough hit "The Way You Do the Things You Do," the first disc covers their years as the epitome of the Motown sound, while the second sums up their transformation into a funky psychedelic soul outfit at the close of the 60s. All the key hits are here, including a few major R&B-chart smashes that were left off The Ultimate Collection; plus, the liner notes offer a detailed history of the group, right down to listings of every lead singer on each individual track. It all makes for a tremendous package and an amazing 2 1/2 hours of music. Anthology is the ideal choice for any listener who wants to dig deeper than the single-disc Ultimate Collection, but doesnt want to spring for the five-disc Emperors of Soul box; unfortunately, as of early 2003, it had gone out of print again. | ||