The 250 Greatest Albums in Rock 'N Roll History

Mookie · Joined: 26 Jun 2003 Posts: 6284 Location: The Alamo

200. Stevie Wonder – Talking Book (1972)

Someone once asked Stevie Wonder which album was better, “Innervisions” or “Talking Book”, and he said that “Talking Book” had a collection of better songs, but “Innervisions” was more thematically coherent and flowing. And he is absolutely right, the best songs on this album are just incredible, from clavinet-driven songs in “Superstition” to a sweet romantic song as you will ever hear in “You Are The Sunshine of My Life”. And those are just the #1 singles of the album; there just isn’t a weak song on this album. And what’s more impressive is the final touches Stevie Wonder somehow made for some of the songs on this album, like Jeff Beck’s unforgettable appearance in “Looking for another Pure Love” and his multi-part vocal harmony in “I Believe”. What an incredible closer!

Superstition

199. Tim Buckley – Goodbye and Hello (1967)

In less than one year after releasing his debut album, Tim Buckley had topped his incredible self-titled album with this outstanding effort. Though he hadn’t grown much older in age, certainly his musical intelligence had matured in a way where his lyrics were far more poetic and his vocals were more emotional and haunting at the same time.

He also managed to leave behind the premature tag of a folk artist he got with more experimentation on the arrangements and an incredible use of the range his vocals gave him.

However this album wasn’t mainly a collection of good songs, which it is, but it’s also Buckley’s ultimate statement; it is a fabulous album recorded in the middle of 1967 (the afterglow of Sgt. Pepper’s) this album might be inspired by Pepper’s exploratory spirit.

This album also continues to see the co-writing partnership of Tim Buckley and lyricist Larry Beckett, yet 5 of the finest songs are solely written by Tim Buckley, in “Carnival Song” he shows the full range of his voice as he shifts from sonorous baritone to a chilling falsetto, in “Pleasant Street” he really lets his voice go allowing it to soar and swoop, sending shivers down your spine, this really is the rollercoaster’s highest point it is really a wonderful song which displays the talents of Tim as a lyricist, singer and guitarist.

All in all probably one of the finest albums of his incredible career, maybe the best but undoubtedly his most important, bridging the gap from his early folk and psychedelic attempts, to his later experimental recordings, another album you might want to check out is “Happy Sad” my favorite album of his, but not as important or as great in every area as this incredible masterpiece.

Pleasant Street

198. Roy Harper - Stormcock (1971)

Roy Harper achieved some success with the release of this album, although he had already written great powerful folk albums like his debut “Sophisticated Beggar” and his 1969 somewhat concept album “Folkjokeopus”, however this was Harper at his best, this sound was a new genre, a genre that hadn’t been invented or explored before, it was a progressive-folk experience. The album itself only has 4 songs, most of them telling long stories, and the rest just showcasing his incredible voice and his great guitar skills.

The title of the album “Stormcock” is another name for the mistle thrush bird species, and they are known for singing their loud melodious songs from trees, rooftops, or any other elevated perch, often during bad weather or at night. The perfect metaphor for Harper himself.

Hors d'Oeuvres

197. The Who – My Generation (1965)

How about this for a debut album? And the best part about it was that it was released in 1965. So what? You may be thinking. Well, for one, there wasn’t this kind of music back in ’65. The Who blended the traditional British Invasion R&B with their own signature power style that will make them famous for the next 4 decades. Whatever I wrote about them individually on their second release applies to this album as well, the most powerful guitars and drums that had been captured on an LP to this date are heard here. And for the bass, that’s the best part, so revolutionary, fast, powerful and harmonic at the same time, John changed the way the instrument will always be used, and the solo on "My Generation" may be the first bass solo of all-time, and he nailed it! Roger does some of his best signing with the band, and as leader and front-man he will be even greater!

“The Who” may have never matched the intensity and influence of this record or they may have, but this wasn’t on of their top three as far as albums are concerned. They will provide some of the most exciting, most influential and most successful music for their next 8 years or so. Just wait, and you’ll see.

My Generation
The Kids Are Alright
The Ox

196. Steely Dan – Aja (1977)

Walter Becker and Donald [Swearing is not permitted at Clublakers. You must edit this post prior to submitting.]’s obsession with perfection of recording details and music composition reached a new level with this record. “Aja” named after a Korean friend of the band, became the band’s most successful record, and it was well deserved.

This album is very ambitious and sophisticated, the album is so good, the highlight of it could be any song. The opening track “Black Cow” is a great song with great trumpet and sax works. “Aja” arguably the best song of the album, features lyrics only Becker and [Swearing is not permitted at Clublakers. You must edit this post prior to submitting.] could write, sardonic, often senseless yet entertaining. The music is a whole different topic; the drumming by session player Steve Gadd are one of the most accurate, powerful, intense and great drumming performances of all-time. “Deacon Blues” may be the most famous of all the tracks, used by the University of Alabama, this song may have the catchiest and best chorus of all the album.

Overall the album has the Steely Dan signature sound, however more advanced and more incredible than ever before, they also didn’t feature a signature rock song or folk ballad like they usually did in “Can’t Buy a Thrill” or “Pretzel Logic” however this is by far the band’s masterpiece, and most complete recording.

Deacon Blues
_________________
Do you like music?
Then visit my thread and discuss...The 250 Greatest Albums of All-Time

Hammerofthegods32 · Joined: 07 Oct 2007 Posts: 848 Location: VALHALLA

Wow, CL won't even allow you to type "Fagen". It's his name for f's sake! disagree

_________________

____________________HAMMER'S HEAVENLY HONEYS____________________
Adriana Lima Keeley Hazell Lucy Pinder Petra Nemcova Evangeline Lilly
Misa Campo Sofia Vergara Jennifer Ellison Dania Ramirez Katharine McPhee

Mookie · Joined: 26 Jun 2003 Posts: 6284 Location: The Alamo

Mookie · Joined: 26 Jun 2003 Posts: 6284 Location: The Alamo

195. The Beatles – Help! (1965)

Released in 1965 it was The Beatles most advanced effort to date, containing some of their most recognized and successful songs, this was also the soundtrack for the film with the same name. Right away you can listen to the major improvement and maturity on some of the songs, like on McCartney’s “The Night Before” or the Dylan influenced John track “You’ve Got to Hide Your Love Away”, also “I Need You” George’s song. The first side of the LP is very diverse, strong and exciting, closed by “Ticket to Ride” mainly a Lennon song and a #1 hit in its own right, it features a heavy organ riff that holds the song together, plus a rather different approach taken by Ringo in the drumming, somewhat orchestrated by McCartney.

The 2nd Side of the album is just as good, “Act Naturally” a cover song sung by Ringo is a good “country” song to add yet another genre to the album, “It’s Only Love” a Lennon composition that makes us remember those days when we were 13 years old, and also a highlight on this side is McCartney’s country-bluegrass-folk song “I've Just Seen a Face”, one of his great underrated collaborations as a Beatle. Also of course on this album there’s McCartney’s ballad “Yesterday” the most covered song of all-time. That alone is enough to consider this one great influential record. And the thing I love about this album is how they close with a Larry Williams rock song “Dizzy Miss Lizzy”, going back to their roots.

You've Got To Hide Your Love Away

194. Randy Newman – Sail Away (1972)

This is the great example of a record with a purpose, Randy Newman shows his ability with musical satire; the title track tells a story of slave traders looking to recruit innocent Africans. “Old Man” is another great song about an elderly man being rejected by his son, with incredible arrangements, this was Randy Newman at his very best!

“Political Science” is another one of those songs that only Randy could’ve written, talks about the history, politics and culture of the American country, narrated to perfection and very optimistic. “Burn On” is a personal favorite, you can literally picture every little detail narrated and described; a song about Cleveland.

Randy Newman wrote and performed great albums, including “12 songs” which has a different sound, It is typically recognized as a rock album, and many argue that his 1974 album “Good Old Boys” could perhaps be his greatest effort, however the importance and timing of this record is what makes it superior to the rest of his material, and to this day remains a great record for music lovers.

Old Man

193. Ritchie Valens – Ritchie Valens (1959)

I bet you that you weren’t expecting this album, this high. However I dare you to tell me why this album shouldn’t be placed here. It is one of the most influential recording in Rock and Roll history and one of the best 1950’s albums period. Most tracks were written by Ritchie Valens, some of them he wrote when he was 16, and the remainder of the tracks he finished as a 17 year old. He also took one of the greatest Mexican traditional songs in “La Bamba” and absolutely made it his own and even turned it into a rock and roll song, now some people even credit that song to him, that’s how much of an impact he created.

Considering that, and the fact that the only 3 singles in his short but outstanding career were #1 hits; “Come On, Let's Go”, “Donna” and of course “La Bamba” it’s hard to go against his 1959 debut.
However not very long after this album was released; a couple of weeks to be exact, Ritchie was killed in an airplane along with Buddy Holly and “The Big Bopper” Richardson, he was only 17 years old, and God only knows how much talent Ritchie had.

La Bamba

192. Pink Floyd – Meddle (1971)

When you listen to “The Dark Side of the Moon” and its progressive genius, it is hard to imagine it just came out of nowhere. And indeed it didn’t, albums like “Atom Heart Mother” and of course this one “Meddle” laid the ground for that incredible masterpiece, however, even if Dark Side of the Moon would have never been, “Meddle” is really the closest Pink Floyd album that has such great beauty and rare obscurity in the same album.

“One of These Days” is the perfect choice for opening track, still relying on some psychedelic sounds, not as much as their debut “The Piper At The Gates Of Dawn” but just enough to add that exquisite touch. Of course the next two songs; “A Pillow of Winds” and “Fearless” not only feature great guitar work by David Gilmour, but they also showcase his incredible vocals, he really is the voice of the band. And speaking of “Fearless”, it almost sounds as a predecessor to “The Wall’s” “Hey You”, and a siccesor to “Atom Heart’s Mother’s” “If” it’s so beautiful and so accomplished. It could be the biggest and most successful work on the whole album apart from “Echoes”, and of course we have to talk about “Echoes”’ some consider it and describe it as Pink Floyd’s first true progressive attempt, however in their previous 1970 previously mentioned “Atom’s Heart Mother” they did have a successful attempt, with “Atom Heart Mother Suite” and another not so progressive, but just long enough to be considered so in “Alan's Psychedelic Breakfast”. They may be closer to Syd’s “Interstellar Overdrive”, but they are also very close to true progressive works.

Fearless

191. The Byrds – Mr. Tambourine Man (1965)

This debut album may be one of the most accomplished albums in rock, distinguished by the vocal harmonies of Gene Clark, David Crosby and Roger McGuinn, and also of course McGuinn’s 12-string electric Rickenbacker guitar playing which would be the signature sound of the band for their early period, and arguably their best period.

The title track was written of course by Bob Dylan, however the second track “I'll Feel a Whole Lot Better” was an original Gene Clark composition, and a very good one. At this point in music, they were the best vocal group in rock, they practiced their sound for hours and hours, and they featured one of the sweetest signing harmonization voices. “The Bells of Rhymney” is a perfect example of what I mean, they close the song with an amazing display of vocalization.

Another quality this album possesses is the great balance of original material and the well chosen cover songs, mostly coming from the pen of Mr. Bob Dylan. But some of the original highlights include “You Won't Have to Cry”, “Here Without You”, “It's No Use” and of course “I'll Feel a Whole Lot Better”, thi whole album is a great piece of music, it could bring tears to my eyes, from the Rickenbacker sound, to David Crosby’s voice, to the perfect interpretation of “Mr. Tambourine Man”, this is just a complete package.

Mr. Tambourine Man The Byrds
_________________
Do you like music?
Then visit my thread and discuss...The 250 Greatest Albums of All-Time

Chicano · Guest

Hammerofthegods32 · Joined: 07 Oct 2007 Posts: 848 Location: VALHALLA

YES!!! Meddle is one of the most amazing albums ever made. That's the one that I recommend to people who have only heard DSotM, WYWH and the Wall. Echoes is an experience to behold by all. Definitely one of the Floyd's crowning achievements. One of these Days, Pillow of Winds, Fearless and San Tropez are also among their best. Luckily Seamus is a short song. man10

The Live at Pompeii version (called Mademoiselle Knobs) is better.
_________________

____________________HAMMER'S HEAVENLY HONEYS____________________
Adriana Lima Keeley Hazell Lucy Pinder Petra Nemcova Evangeline Lilly
Misa Campo Sofia Vergara Jennifer Ellison Dania Ramirez Katharine McPhee

TJLakerFan · Posted: Sun Mar 16, 2008 7:35 pm Post subject:

hype · Joined: 28 Nov 2004 Posts: 9201 Location: Costa Mesa, CA

Mookie · Joined: 26 Jun 2003 Posts: 6284 Location: The Alamo

190. Jim Croce – You Don’t Mess Around With Jim (1972)

Arguably the saddest story in rock and roll belongs to Jim Croce. One of the most incredible song writers of all time, but he always flew under the radar and never really got the recognition he deserved until after he died. Throughout most of his career he had to work a second job just to pay the bills, yet when you listen to his music it can move even the saddest and most pessimist of people. His lyrics are legendary, his riffs and choruses are now in popular culture, and his melodies are fresh; just like new. It’s like if somehow someone saved them in a time-proof bottle.

I may be biased here, but whoever grew up listening to Croce’s voice and guitar will understand why my heart is weak for him. And now about the album; it is simply great, arguably his best work along with “I Got a Name”. The arrangements are well recorded and written, the guitar work is incredible, sometimes even featuring picking technique, the lyrics are outstanding, and the occasional fast-paced songs like the title-track, really rock! The backing voices are so good you don’t even notice them, and overall the album is carefully assembled and very well thought. His first commercial work also proved to be a very successful one, and it’s hard not to buy a copy of this vinyl, it’s as good as they come!

Operator (That's Not The Way It Feels)

189. Jerry Lee Lewis – Live At The Star Club (1964)

To this day, 44 years after this live album was recorded, few artists have matched the intensity, power and excellence Jerry Lee Lewis achieved in this masterful performance. There’s little doubt in the minds of the many rock and roll fans that this is the definite live recording, it doesn’t lack anything and it contains everything you wanted out of rock and roll. The piano is impeccable, still at the same time--Lewis creates a mess out of the sound and comes up with an incredibly rich blend in every song. He is famous for his vocals, and you can see why, he is as powerful as Elvis ever was, and he is as loud as Aretha may have been, yet he is as original as Jerry Lee Lewis only is.

The mix of songs is so complete, it could be also released as a compilation, and the quality of the sound is superb, couldn’t have been improved in a studio recording. The band backing Jerry gets the job done throughout. The chants of”: “Jerry! Jerry!” between songs are emotional, and the ultimate result is unexpected, a true masterpiece for rock and roll. Play it once, play it loud, and it will get you, get you wanting for more!

Great Balls of Fire

190. The Who – The Who Sell Out (1967)

Arguably rock’s most original and daring concept albums ever made. If you are familiar with The Who’s work you could also notice how radically different it sounds from its predecessor “A Quick One”, it even has elements of pop every once in a while. And it can be said that some Glam is also incorporated. However, this is the “mods” ultimate statement, and not to mention Townshend’s diversity genius exhibited on this gem.

Musically speaking, Daltrey’s vocals are powerful, but very wide, meaning he could achieve anything Townshend and the band could ask for. Townshend’s guitar and sound isn’t as explosive as we are accustomed to, yet it is exquisite and catchy; ideally. Moon is at his usual best, with his occasional rage explosion and his perfectly timed fills. And Entwistle’s bass is so good and dominant, it is taken for granted.

However the idea behind this album wouldn’t be about rocking or dominating the stage, after all they had proved they can do that in their two previous releases. It was a mod statement with the simple but clever idea of sounding like a public service announcement, with no sequence whatsoever, it was meant to be random, catchy and original, and it was a success.

At the time, The Who was arguably the most famous ‘pure’ British rock and roll band, and they were getting paid to record quick and original ads for the radio. Brands like “Coca-Cola”, “Jaguar”, etc. And although these songs aren’t featured in the original release, you can find them in the expanded versions.

“I Can See for Miles” ends the very peculiar first side of the record in a very traditional Who manner. It is the ultimate “Who” track and can be recognized instantly by rock fans. And up till 1968, it was perhaps Who’s most popular release. Well, to give you and accurate number, to this date, it is The Who’s highest and most successful placing single. The second side however is the birth of the rock opera to it’s entirety. Unlike “A Quick One , While He’s Away” the entire side is dedicated to Townshend’s psychedelic experiment’s of the rock opera. Though the album opens with an incredible psychedelic track in “Armenia City in the Sky”, it closes with an even more incredible sequence of tracks that ultimately lead to the birth and success of “Tommy”. Yes, and also the reign of Pete Townshend as the king of rock and roll.

I Can See For Miles

187. Paul McCartney – Ram (1971)

Make no mistake about it, Paul McCartney wasn’t content or satisfied with his debut solo album. After Lennon launched his very successful “Plastic Ono Band” and Harrison answered with his “All Things Must Pass” effort, McCartney simply left his fans wanting for more; thirsty and disappointed about the debut. But obviously confident on McCartney’s abilities and potential. That’s why with “Ram” it is obvious, you can hear it, he utilizes the elements that had once made him sit on top of the world. Listen to “Too Many People” for example; there are some elements of “Rubber Soul” and “Revolver” trapped in it. You can sense Paul McCartney desperately trying to get out of his very short solo slump and of course succeeding at that. As every song goes by, the sound is more familiar and “McCartney-esque” if you will.

“Uncle Albert/Admiral Halsey” another great success of McCartney, it’s as if Abbey Road was only yesterday when instead it had been a couple years back. The blues rock of “Let it Be” is alive again with tracks like “Monkberry Moon Delight” and “Smile Away”. This album officially outplays his debut, it is no longer “amateur” it is now professional, every song every second proves the hard work behind it, and ultimately gives McCartney a delayed but very exciting birth as a solo singer.

Uncle Albert/Admiral Halsey

186. Paul Simon – Graceland (1986)

It is rare that an album so “contemporary” by a classic album gets the recognition this album gets. But that’s yet another reason why this album may be so genius. This album is not about Simon’s legacy or fame, as far as I’m concerned this album is not about Paul Simon. You could even scratch his name off the cover and write whoever’s and this album would still be as good and as unique.

The title of the album “Graceland” was inspired by a visit Paul Simon made to Elvis Presley’s estate in Memphis Tennessee. This album featured South African musicians, often cited as the greatest percussionists. And even Simon faced accusations that he had broken a cultural barrier at the dawn of “Graceland” back in the late 80’s, The United nations didn’t accept this accusations, supporting Paul Simon saying the album showcased African musical skills. As if he needed any help. I think this album speaks for itself, and if you don’t recognize this as one of the most improbable success stories in music, you better give it another listen, as it will not disappoint once it gets to you.

You Can Call Me Al
_________________
Do you like music?
Then visit my thread and discuss...The 250 Greatest Albums of All-Time

Mookie · Joined: 26 Jun 2003 Posts: 6284 Location: The Alamo

185. The Yardbirds - Five Live Yardbirds (1964)

This little five piece group also known as “The Yardbirds” was the most important pure-blues band to come out of England in the 1960’s, and this live album may have been the most important live album in the 1960’s. Eric “Slowhand” Clapton is a rising star in England yet he didn’t want to be a pop star, he wanted to play the blues, rock and roll, and jam with his own band, that’s why right after this release he unexpectedly quit the band to go play with John Mayall’s “Blues Breakers”.

The rest of the five piece band consisting of Chris Dreja (rhythm guitar), Jim McCarty (drums), Keith Relf (harmonica, vocals) and Paul “Sam” Samwell-Smith (bass guitar) is superb, the style and the energy never wears out, they pure rhythm and blues is delicately played to perfection, and even the harmonica which dominates big part of the record is a great result to the album. Of course Jim McCarty and Keith Refl went on to form Renaissance in the 1970’s with a very successful result.

Too Much Monkey Business

184. Mott The Hoople – All The Young Dudes (1972)

This album is truly the result of Bowie’s effort to keep the band together. He convinced the band that they should stick around longer and he also transformed their image and contributed the title track. The end result; “Mott The Hoople” became stars of the glam rock movement, along with the likes of T-Rex, Roxy Music, Alice Cooper, Queen and David Bowie himself.

Though the title track was a massive success, the rest of the compositions, mostly written by Ian Hunter are excellent. Make no mistake about it, this is not a one track album like most of the commercial stuff going on back then. This is a complete glam rock album, with some tracks as catchy as the title track and as energetic and bright as even T-Rex’s “The Slider”. Overall Ian Hunter isn’t Marc Bolan, and he cannot build his own creative rock opera like Bowie did, but honestly, who did?

All The Young Dudes

183. The New York Dolls – The New York Dolls (1973)

This album could be a masterpiece in many ways for many, but for me it lacks a very important piece, the lyrics. They aren’t about anything at all. While some of the tracks are powerful, fresh and catchy, those are the main qualities holding the whole recording together.

While it was a commercial success, and it is a critically acclaimed album by fans throughout rock and roll, it is one of those albums you easily love, but quickly forget. Don’t get me wrong, I love the sound, I like the riffs, and I enjoy the songs, it just doesn’t get to me the way other similar things going on back in the day did.

Personality Crisis

182. The Rolling Stones – Between The Buttons (1967)

Criticized upon its release, it was said that the Stones had been compromising their own personal sound to compete with the likes of The Kinks and even The Beatles. However with time and after giving it a few spins you will find that this is actually one of the Stones’ best efforts. They sometimes utilize the conventional sound that made them what they are like with “Miss Amanda Jones”, while other times they relied on their instinct rather than their mind, and a track like “She Smiled Sweetly” is a perfect example of this. The lyrics are sweet and romantic, the drums compliment and never lead, the organ takes the song and Mick’s vocals are powerful and soft. This is truly unlike anything they had released.

Although it wasn’t a very accurate preview of what was about to come in the Stones’ future, it is a very solid album, that diversified their repertoire greatly, “Something Happened To Me Yesterday” is a perfect example of this, it is very hard to find this kind of silliness from Mick and Keith in future albums, and that is exactly what stands out about this work, the uniqueness of it.

She Smiled Sweetly

181. Nico – Chelsea Girl (1967)

Nico’s sophomore album is as good and obscure as they come. Though it is often regarded as her first studio album, the truth is she recorded a very rare album in 1965 under the “Immediate” label, the same label that would later sign the “Small Faces” to a recording contract. Anyhow, back to the album; everything on this record is perfect, even if you aren’t a big fan of Nico or her avant-garde approach to music, or even of her voice, you will fall for the sound on this recording. Every instrument and little detail especially the string sections are recorded beautifully and perfect. She very rarely over-sings on the album, in fact she is very cautious with her vocals, she is perfectly tuned in her own way, and the song selection and personal arrangement is even greater.

The album also features the likes of Lou Reed, John Cale and Sterling Morrison who decidedly play this album unlike any of the previous Velvet Underground work, they instead opt to go unplugged, which is an important decision to the final work “Chelsea Girl” would become. Otherwise the traditional baroque chamber-folk wouldn’t have been present.
Jackson Browne also contributes with acoustic guitar and with three of his own compositions in; “The Fairest of the Seasons”, “These Days” and “Somewhere There's a Feather”, arguably the albums strongest tracks.

And also a very important and original thing about this album is that it doesn’t contain any percussion or bass. The whole rhythm section is led by strings and John Cale’s occasional organ. Pretty innovative wild stuff producer Tom Wilson came up with. Nico however hated the record and was very angry with the final result, back in 1981 she stated the following statement:

“I still cannot listen to it, because everything I wanted for that record, they took it away. I asked for drums, they said no. I asked for more guitars, they said no. And I asked for simplicity, and they covered it in flutes! [...] They added strings and – I didn't like them, but I could live with them. But the flute! The first time I heard the album, I cried and it was all because of the flute.”

Too bad because I don’t think Nico understood this album the way listeners do; a different, unique and experimental album, rather than a regular folk-rock album.

These days
_________________
Do you like music?
Then visit my thread and discuss...The 250 Greatest Albums of All-Time

Hammerofthegods32 · Joined: 07 Oct 2007 Posts: 848 Location: VALHALLA

Between the Buttons is one the Stones' most underrated albums. "Connection", "She Smiled Sweetly", "Complicated", "Miss Amanda Jones" and "Something Happened to Me Yesterday" are all far too overlooked.

I'm a sucker for Glam Rock so I of course love All the Young Dudes.

Glad to see some updates here. Been too long. jam2

_________________

____________________HAMMER'S HEAVENLY HONEYS____________________
Adriana Lima Keeley Hazell Lucy Pinder Petra Nemcova Evangeline Lilly
Misa Campo Sofia Vergara Jennifer Ellison Dania Ramirez Katharine McPhee

Mookie · Joined: 26 Jun 2003 Posts: 6284 Location: The Alamo

Mookie · Joined: 26 Jun 2003 Posts: 6284 Location: The Alamo

180. The Mothers Of Invention - We're Only In It For The Money (1968)

This comedic, avant-garde, experimental, strange album quietly ranks up high in my list, the obscurity, humor and bizarreness of Frank Zappa, and the rock and roll he comes up with is great, and in all his years as a rock star, if we want to call him that, not one album reaches a higher level than “We're Only In It For The Money”. From the famous mocking shot of “Sgt. Pepper’s” as the cover, to the absurdity in the lyrics in all of the tracks, this album is only suitable for those wanting to listen to something different, and not necessarily something bad. While traditional critics dislike and throw away this album. Adventurous listeners will save this album and play it until they memorize the unusually short tracks, impersonate the wild and cartoonish vocals and of course recognize that the music of the album overall is actually quite good.

While the instruments don’t necessarily dominate and take over the tracks in a regular “rock” type of way, the interesting and original experimentation of melodies and harmonies throughout the album actually makes this album an experimental and psychedelic experience unlike anything else released in 1968.

Tracks like “Who Needs The Peace Corps?”, “Concentration Moon”, “Mom & Dad” and of course “What's The Ugliest Part Of Your Body?” will actually even do justice to the cover. “Sgt. Pepper’s” worst nightmare might actually become a good dream after all.

What's The Ugliest Part Of Your Body

179. The Monks – Black Monk Time (1966)

I love obscurity in rock, I like it for bands to find unique sounds, I enjoy when musicians perform rather than imitate, and in 1966 it was easy for rock bands to emulate the traditional commercial sound.
And with The Monks, just by judging the cover you sense something else, something new. And that hunch actually is a good one; this incredibly powerful record is a collection of angry anthems.

This German band accidentally pioneered a new genre in rock; they invented or at least help invent a new variation in rock. The album has elements of Punk Rock ten years prior to Punk Rock even existing, it had anger and rebellion, it was dominated by heavy scratching riffs, and by choruses crowds loved to chant. Yet when you listen to the album, and it all finally comes together, you can actually hear a heavy organ dominating the rhythm section for most tracks, so the album has some traditional psychedelic-blues moments in it. Not bad for a German band to produce such a complete and great album basically coming out of nowhere.

Shut Up

178. David Crosby - If I Could Only Remember My Name (1971)

Following the incredible Crosby, Stills, Nash and Young “Déjà Vu” released of 1970, Stephen Still, Graham Nash and Neil Young went on to have highly successful solo careers and released very valuable albums in rock and roll history vault. But with David Crosby it was different, prior to 1989, exactly 19 years after “Déjà Vu”, he would only release one album, so it was make or break for him, just one shot for the big one, and he made the most of it. “If I Could Only Remember My Name” remains one of the most celebrated albums in rock. He never loses his consistent effective sound he pioneered from his days as a “Byrd”, his compositions are as powerful as that of “Almost Cut My Hair”, and his vocals are as sensitive and intense. A very strange and effective combination that helped David Crosby establish himself as one of the most important voices in rock and roll.

The all-star personnel in the album include names like Jerry Garcia, Joni Mitchell, Neil Young, Graham Nash, Grace Slick, among others. And the occasional psychedelic exploration in Crosby’s part, though not a highlight, it sculpts this album into a very provocative release.

Music is Love

177. Lou Reed – Berlin (1973)

Up until recently, critics and fans had never been good to this album. After the highly acclaimed sophomore masterpiece album of Lou Reed; “Transformer”, much was expected from Reed for his third release. Critics were already crowning him king of glam, and a dramatic master, fans had already forgotten about Bowie, and casual listeners were even tuning in for his upcoming work. Instead, Lou Reed as great as he is did the old 180 degree twist.

He did not deliver a powerful psychedelic glam experience, he didn’t write a powerful progressive piece, and of course he didn’t perform a collection of great songs like he did in “Transformer”. Instead he wrote what most people call the most depressing album in rock. A concept album and I might dare to call it a rock opera, so depressing it will eclipse even the great tragic albums of the era.

After all of that, it was easy to agree with everyone, Lou Reed had let down millions of people worldwide. But as time passed, and people gave this album more than just two tries, it quietly began ascending the charts of everybody’s minds. The songs here are as good as the ones on “Transformer”. The catchy choruses and riffs remain, and the tragic happiness of “Perfect Day’s” piano is carefully followed and improved. After all you can credit a lot solely to the piano showcased on “Berlin”.
Jack Bruce’s bass is surprisingly impressive; I could even dare and say this is the best bass he has ever played, especially in “Men of Good Fortune”, it sometimes even matches that played by Entwistle in “Quadrophenia” this very year.

Of course what would remain legendary about this album goes beyond musical. The second side of the album speaks for itself, but be careful here, do not listen to it when you are feeling sad, lonely and blue, it will carry you away, it will lead you into heroin, and it will make an alcoholic out of you. I don’t think there’s such a powerful side in a rock album, at least not in “Berlin’s” way. In “Caroline Says II” he constantly says “What is in her mind?” the string section of the song could be played on a movie after a tragic war, and it still wouldn’t be as sad as the whole meaning of this song. The very romantic piano and the incredible high bass also highlight this song, but the lyrics make the song. “It’s so cold in Alaska”, this is Lou Reed at his very best!

“The Kids” introductory acoustic almost out of tune guitar is beautiful. Reed’s raspy deep voice is unlike anything else, no other singer could perform this song with a better meaning or feeling to it. The acoustic sounding bass isn’t played by Jack Bruce, but it could very well be. It fills the quiet and depressing silences of the song accurately, and just as you thought the side couldn’t get any sadder, you the kids’ loud and heartbreaking screams just take you away. The song makes the perfect ending, with the same guitar that started it.

“The Bed” starts off like a Spanish crying song, and it is no different from such. The sweet vocals of Reed are almost sarcastic in a way that what he is saying doesn’t match his tone, yet you couldn’t sing it any better. The lyrics are arguably the most depressing of the whole album. “This is the place where she cut her wrists. That odd and fateful night, and I said, oh, oh, oh, oh, oh, oh, what a feeling”. And in previous centuries, great writers have achieved great success with their tragedies. And “Berlin” could very well be rock and roll’s ultimate tragedy. It could be that for this one release William Shakespeare reincarnated in Lou Reed’s body, and just like every great tragedy, this one has the imminent ending, death.

Caroline Says II

176. Leonard Cohen - Songs of Leonard Cohen (1967)

Leonard Cohen’s measure bar shouldn’t the same that one would use for most artists, in fact releases as solid and beautiful as this one you can count in one hand. His poetically radical approach was daring, but proved to be the difference. His debut album is so experimental while remaining very conservative at the same time. The man is writing about unfaithfulness the same year “the summer of love” was happening. Cohen is irresistible romantic and tragic. His metaphors are carefully written and his melodies are sung to fit the ear of every listener.

While his folk sound isn’t anything new, we have hear many artists use the same guitar and the same style, his final arrangements, details and backing vocals are sweet and nice.

This would be the first release of many great albums by Cohen, while perhaps not his best, it will also be the beginning of the great folk-rock movement that was about to come in rock music. And as he may not be a pioneer with his sound, his poems and daring explorations of the theme will be crucial in the genre.

Suzanne
_________________
Do you like music?
Then visit my thread and discuss...The 250 Greatest Albums of All-Time

Hammerofthegods32 · Joined: 07 Oct 2007 Posts: 848 Location: VALHALLA

Never heard of the Monks. Gotta check out more stuff by them.
_________________

____________________HAMMER'S HEAVENLY HONEYS____________________
Adriana Lima Keeley Hazell Lucy Pinder Petra Nemcova Evangeline Lilly
Misa Campo Sofia Vergara Jennifer Ellison Dania Ramirez Katharine McPhee

Mookie · Joined: 26 Jun 2003 Posts: 6284 Location: The Alamo

175. Booker T. & The MG’s – Green Onions (1962)

There isn’t a more revolutionary album for the R&B movement, than this 1962 debut album for Booker T. & The MG’s. Not only is the instrumental music thrilling and legendary, it is also a very important album that helped lead the music evolution of the late 1960’s. Many bands that one does not relate to this music were inspired by this so-called “Made in Memphis” recording, and especially the rhythm section of this masterpiece instrumental.

“Green Onions” is what it is. Booker T. Jones plays one of the most recognized organs of the decade, his riffs and organ lines are the standard for R&B instrumentals, his song writing is way more mature than what his age was at the time of recording and writing this album; seventeen! Not bad considering what this album went on to do for the next 46 years. “Steinberg’s” upright bass is so unique and solid; he would inspire a lot of great ones. “Al Jackson Jr.” plays great and fast paced drums throughout the recording, not a bad leader to follow for future and contemporary drummers of the era like; Watts, Starr, Moon, Avory, Jones [Kenney] etc. And then there’s Steve Cropper’s six string magic performance. Unlike any other “R&B” performance of the era. Especially the one heard on the title-track.

This is 35 minutes of excelling riffs, lines, tones and ‘improvisation’ flawlessness, and not only did this album passed the test of time; it has shattered any kind of timelines whatsoever. And if you are still uncertain about listening to this album; maybe you would like to play some of your “Small Faces”, “Who” “Kinks” or “Rolling Stones” records. And maybe then you would like to hear what inspired those artists to rule the ‘R&B –scene’ for years to come.

Green Onions

174. Can – Future Days (1973)

This West-Germany band formed in the late 1960’s is one of the most important krautrock bands to come out in the music scene. Three of their consecutive 71, 72 and 73 efforts “Tago Mago”, “Ege Bamyasi” and “Future Days” deserve the highest possible rating, and each album could make any top 250 albums list, however, this 1973 album “Future Days” remains the masterpiece amongst devoted “Can” fanatics. And it is hard to argue when the entire B-side is devoted to the incredible groundbreaking “Bel Air”. This album could easily be considered a progressive rock gem for its elements, sounds and ideas. However this remains a krautrock unique piece of classical music history.
Though at times hard to understand, slow to develop and strange to the ear and the eye, this lengthy well crafted musical experience ranks amongst rock’s all-time great works.

Jaki Liebezeit’s complex, and advanced drumming highlights the instrumental delicate form this album wants to take. However none of his attempts or the minimal vocal contributions from Japanese singer Damo Suzuki (which would be his last album with Can) would’ve been relevant if not for the radical and experimental keyboarding used to elevate the quality of the rest of the musical ambience.

Moonshake

173. The Mama’s and The Papa’s - If You Can Believe Your Eyes And Ears (1966)

If this American debut album didn’t take the world by surprise with its collection of fresh and adventurous material, then few albums would in the verge of Rock’s greatest year; 1967.
You didn’t have to look very hard to look for this album either. Surrounded by the controversial ‘toilet’ cover, it was quickly removed from stores and the label was forced to edit the original pressing. So if you happen to see the original vinyl out there someday, make sure you get it for me. You’ll get a good reward in return for it.

But enough about the pictures of the vinyl, let’s talk about the content found on the vinyl. “Monday, Monday” opens The Mama’s and The Papa’s career in great fashion, climbing the hot charts all the way to #1. And it would be hard to equal that success for the later releases, but the band would always remain flirting with the charts. And in fact, this album is so strong; the opening track may not be the strongest of the bunch. That title unanimously goes to “California Dreamin’”, an anthem that would fill the world with love and enthusiasm. Written by the Phillips couple; [John and Michelle].

This album not only remains in the hearts of everyone who lived back in that magical time, but as it is discovered by future generations, it is remembered and honored with great happiness and loyalty. Just the way “The Mama’s and The Papa’s” should be remembered after all their great success.

California Dreamin'

172. Pink Floyd – Animals (1977)

I would originally have recommended this album for ‘cultists’ only. However, it is hard to not recommend this piece to real music fans everywhere out there. How can this lyrical and musical ideal fusion not co-exist in my list? Well those questions can be erased, as I am officially including this record as one of the 250 greatest.

Credited almost entirely to Roger Waters (except “Dogs” to which he contributed with David Gilmour) this album can reflect almost anything to listeners. There are many theories surrounding the origin of this dark recording, and the message Waters wanted to deliver to listeners. However it is clear by the meaning of the lyrics that Roger Waters believed society was similar to animals, and while some of society’s worst are “Pigs” or “Dogs”, the rest are dismissed as “Sheep”.

The greatness of this album however is not entirely dictated by the great descriptions and analogies utilized by Waters lyrically. Musically David Gilmour dominates this entire project with one of the great guitar performances of the decade. The keyboard is rarely heard but very greatly appreciated when Wright does take lead and command. Mason’s drumming could be one of his most professional performances and Waters’ bass is on top of his game. I can’t think of a better album musically for Roger before “Animals” and after “The Piper at the gates of Dawn”.

Sheep

171. Caravan - For Girls Who Grow Plump In the Night (1973)

Another place in the ranking, another so called “Prog” piece. And say all you want about the “Progressive” movement, but without “Progressive Rock”, most of the music we love to listen to would have gone into a completely different direction. Not that the other genres in the Rock field are worse or bad, however, progressive musicians proved time after time, that they are true masters of their musical space. While there are great Punk albums, or Experimental works, few can match the musical quality of some of the progressive pieces such as this. “For Girls Who Grow Plump in the Night” is a true masterpiece in every sense of the word. |

After failing to achieve their goals and plans on their previous 1972 “Waterloo Lily”, this 1973 attempt not only matched their expectations, but it easily exceeded them; fans and writers both agree that this is the most complete album “Caravan” would had to offer on their extensive musical catalog.

Though not the musical prodigies some other bands featured, their wide and distinctive use of unique instruments gave them an unlikely edge versus their opponents. At times their music features folk and country sounds, while at others they include heavy organ riffs and great guitar work paralleling each other into exquisite perfection. Never entirely abandoning their Jazz elements and origins, yet it was evident that the band opted to create a more traditional rock sound with this work. Not to be ignored in this album is also the great orchestral arrangements and complements used throughout. An excellent addition to every collection, this album doesn’t get cheated.

The Dog, The Dog, He's At It Again
_________________
Do you like music?
Then visit my thread and discuss...The 250 Greatest Albums of All-Time

jlkr · Joined: 17 Jan 2006 Posts: 913 Location: Los Angeles

A friend of mine lived in the same house where that Mamas & Papas' bathtub cover was shot at. Of course the bathroom had long since been redecorated...

Anyway, keep it going.