Rolling Stone's 500 Greatest Albums of All Time: Album-by-Album Thread

Norman ****ing Rockwell!
I have a special attachment with this album because it was one of the first modern albums I listened to. Before I truly became obsessed with music, I was a bit of a rockist and only listened to select older artists like The Beatles and Elvis Costello. However, when I was in The Beach Boys server, I heard one person singing the praises of a certain album that released in 2019 by a singer named Lana Del Rey. Apparently it was an incredible album. Curious, I decided to listen to it even though I was not really into modern music at the time.

All of the modern conventions I was expecting to hear just weren’t there. Barely any digital instrumentation, no 808s drums, just pure magic. Even though I now don’t mind those things and in fact embrace them, back in 2019 I was oddly hostile towards all of those things. Aside from what wasn’t there, what floored me was Lana’s impeccable songwriting and the consistency in the tracklist. There wasn’t a single song that felt out of place.

Now, listening to this again as somebody who is into modern music, a lot of the shine has admittedly wore off. The fact that many of the songs have no electronic instrumentation no longer impresses me, and I can see that the tracklist should have been trimmed down. Despite this, I still love this album. Lana’s songwriting and lyricism are still some of the best I’ve heard, and the artsy instrumentation and melodies on songs like the title track, Mariner’s Apartment Complex, and The greatest are still top notch. The melancholic and sentimental lyrics on The greatest mixed with its wonderful guitar still get me emotional.

Don’t even get me started on Venice Bitch. That’s a song that only grew on me over time. It’s just a masterpiece in every sense of the word. The way the song progresses and grows in emotion over nine minutes, the heartbreaking melody during the “summer fades away” part, it truly feels like the sonic equivalent of the end of summer, and I love it.

Overall, this is an album that played a pivotal role in getting me into music as well as a crucial role in Lana’s discography. It was the album that proved to the world that she could make a focused and brilliant album. It’s just a shame that Chemtrails and Blue Banisters couldn’t follow through with that affirmation.

8/10

 

Norman Rockwell It's 'okay'. Sounds to me like a hybrid of late '60s Laurel Canyon dippiness and '90s Robbie Williams.

 

NORMAN F ROCKWELL (Lana Del Rey)
Lana Del Rey is one of the better modern artists and she is a worthy choice for a top 500 album. Unless I were limiting the number of albums I could choose by my favorite artists, I don't think this would make my list, but if I limited the number I could choose for each artist, she is someone I could make room for.
GRADE: B

My Current Top 50+ Albums:
1. THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY (The Kinks)
2. SOMETHING ELSE (The Kinks)
3. ALL THINGS MUST PASS (George Harrison)
4. NUGGETS (Various Artists)
5. RAM (Paul & Linda McCartney)
6. BETWEEN THE BUTTONS (Rolling Stones)
7. GREATEST HITS (Sly & the Family Stone)
8. THE CARS (The Cars)
9. RADIO CITY (Big Star)
10. #1 RECORD (Big Star)
11. ODELAY (Beck)
12. COSMO'S FACTORY (CCR)
13. ROCKEY TO RUSSIA (Ramones)
14. DOOKIE (Green Day)
15. LET IT BE (The Beatles)
16. ANTHOLOGY (The Temptations)
17. EVERYBODY KNOWS THIS IS NOWHERE (Neil Young)
18. ANTHOLOGY (Diana Ross & the Supremes)
19. YOUNG GIFTED AND BLACK (Aretha Franklin)
20. THE STOOGES (The Stooges)
21. SURREALISTIC PILLOW (Jefferson Airplane)
22. MY AIM IS TRUE (Elvis Costello)
23. SOMETHING/ANYTHING (Todd Rundgren)
24. BROTHERS IN ARMS (Dire Straits)
25. CLOSE TO THE EDGE (Yes)
26. PROUNCED LENHERD SKINNERD (Lynryd Skynryd)
27. ELEPHANT (The White Stripes)
28. ABRAXAS (Santana)
29. MOVING PICTURES (Rush)
30. KING OF THE DELTA BLUES SINGERS (Robert Johnson)
31. DICTIONARY OF SOUL (Otis Redding)
22. SOME GIRLS (Rolling Stones)
33. CURRENTS (Tame Impala)
34. BEACH BOYS TODAY (The Beach Boys)
35. ELVIS PRESLEY (Elvis Presley)
36. BO DIDDLEY/GO BO DIDDLEY (Bo Diddley)
37. PARKLIFE (Blur)
38. SIAMESE DREAM (Smashing Pumpkins)
39. LIVE AT LEEDS (The Who)
40. NORMAN R ROCKWELL (Lana Del Rey)
41. 19 LOVE SONGS (Magnetic Fields)
42, LUCINDA WILLIAMS (Lucinda Williams)
43. HEART LIKE A WHEEL (Linda Rondstadt)
44. PAUL SIMON (Paul Simon)
45. LIKE A PRAYER (Madonna)
46. SHERYL CROW (Sheryl Crow)
47. BACK TO MONO (Phil Spector w/various artists)
48. NICK OF TIME (Bonnie Raitt)
49. THE ANTHOLOGY (Muddy Waters)
50. PRESENTING THE FABULOUS RONETTES (Ronettes)
51. MOANING IN THE MOONLIGHT (Howlin Wolf)
52. MORE SONGS ABOUT BUILDING AND FOOD (Talking Heads)
53. ANOTHER GREEN WORLD (Brian Eno)
54. A RUSH OF BLOOD TO THE HEAD (Coldplay)
55. MODERN VAMPIRES OF THE CITY (Vampire Weekend)

I'm increasing the number of albums on my list and won't make further cuts until I reach 60.

 

Norman Effing Rockwell
B+
One of those newer albums that I think is very good, but nevertheless not worth the gushing praise received in critics circles.
However, I probably would not have heard it at all, had it not gotten so much attention over the last few years, so I guess for that I'm glad.

 

Lana del Rey - this elicits full curmudgeon response from me, in other words it sound to my ears like aliens doing a bad imitation of earth music. Maybe it should, that's just life and time marches on and I'm not supposed to get it. Maybe, but I still don't like it.

 

320. X - Los Angeles (1980)
Producer: Ray Manzarek

Los Angeles is the debut studio album by American rock band X, released on April 26, 1980, by Slash Records. It was produced by ex-Doors keyboardist Ray Manzarek and includes a cover of the 1967 Doors song "Soul Kitchen".

Critical Reception
AllMusic 5/5
Christgau's Record Guide A−
Entertainment Weekly A
Pitchfork 8.5/10
The Rolling Stone Album Guide 4.5/5
Spin Alternative Record Guide 9/10
Uncut 4.5/5

Audience Reception
79/100 from 144 users, #64 for 1980 - AlbumOfTheYear.org
8.8/10 from 1,216 users - AllMusic
3.76/5 from 5,332 users, #33 for 1980, #2,619 overall - RateYourMusic.com

 

LOS ANGELAS (X)
Plenty of hype around this, but it is pretty average punk rock to me. I can think of a lot of other albums in this genre I'd have in my top 500 ahead of this.
GRADE: C+

My Current Top 50+ Albums:
1. THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY (The Kinks)
2. SOMETHING ELSE (The Kinks)
3. ALL THINGS MUST PASS (George Harrison)
4. NUGGETS (Various Artists)
5. RAM (Paul & Linda McCartney)
6. BETWEEN THE BUTTONS (Rolling Stones)
7. GREATEST HITS (Sly & the Family Stone)
8. THE CARS (The Cars)
9. RADIO CITY (Big Star)
10. #1 RECORD (Big Star)
11. ODELAY (Beck)
12. COSMO'S FACTORY (CCR)
13. ROCKEY TO RUSSIA (Ramones)
14. DOOKIE (Green Day)
15. LET IT BE (The Beatles)
16. ANTHOLOGY (The Temptations)
17. EVERYBODY KNOWS THIS IS NOWHERE (Neil Young)
18. ANTHOLOGY (Diana Ross & the Supremes)
19. YOUNG GIFTED AND BLACK (Aretha Franklin)
20. THE STOOGES (The Stooges)
21. SURREALISTIC PILLOW (Jefferson Airplane)
22. MY AIM IS TRUE (Elvis Costello)
23. SOMETHING/ANYTHING (Todd Rundgren)
24. BROTHERS IN ARMS (Dire Straits)
25. CLOSE TO THE EDGE (Yes)
26. PROUNCED LENHERD SKINNERD (Lynryd Skynryd)
27. ELEPHANT (The White Stripes)
28. ABRAXAS (Santana)
29. MOVING PICTURES (Rush)
30. KING OF THE DELTA BLUES SINGERS (Robert Johnson)
31. DICTIONARY OF SOUL (Otis Redding)
22. SOME GIRLS (Rolling Stones)
33. CURRENTS (Tame Impala)
34. BEACH BOYS TODAY (The Beach Boys)
35. ELVIS PRESLEY (Elvis Presley)
36. BO DIDDLEY/GO BO DIDDLEY (Bo Diddley)
37. PARKLIFE (Blur)
38. SIAMESE DREAM (Smashing Pumpkins)
39. LIVE AT LEEDS (The Who)
40. NORMAN R ROCKWELL (Lana Del Rey)
41. 19 LOVE SONGS (Magnetic Fields)
42, LUCINDA WILLIAMS (Lucinda Williams)
43. HEART LIKE A WHEEL (Linda Rondstadt)
44. PAUL SIMON (Paul Simon)
45. LIKE A PRAYER (Madonna)
46. SHERYL CROW (Sheryl Crow)
47. BACK TO MONO (Phil Spector w/various artists)
48. NICK OF TIME (Bonnie Raitt)
49. THE ANTHOLOGY (Muddy Waters)
50. PRESENTING THE FABULOUS RONETTES (Ronettes)
51. MOANING IN THE MOONLIGHT (Howlin Wolf)
52. MORE SONGS ABOUT BUILDING AND FOOD (Talking Heads)
53. ANOTHER GREEN WORLD (Brian Eno)
54. A RUSH OF BLOOD TO THE HEAD (Coldplay)
55. MODERN VAMPIRES OF THE CITY (Vampire Weekend)

I'm increasing the number of albums on my list and won't make further cuts until I reach 60.

 

Los Angeles Karaoke 'punk'. Laughable rubbish.

 

Los Angeles
B+
One of many albums on this list that I think is very good, but not great, and which would not make my own list.

 

X/Los Angeles – No reservations about this one, it’s a rockabilly-infused punk classic. X music was a pivotal part of my late high school and college years, and this is the band at its most raw and urgent. I wore the grooves out of Los Angeles, and still love it to this day. Their next three albums were great too, and they were awesome live. This has an outside chance of making my final Top 10, and if it misses, it won’t be by much. 5/5

Top 10:
1. Los Angeles - X
2. The Cars - Cars
3. Mothership Connection – Parliament
4. Beauty And The Beat – Go-Go's
5. The Wild, The Innocent & The E Street Shuffle – Bruce Springsteen
6. Something/Anything? – Todd Rundgren
7. More Songs About Buildings And Food – Talking Heads
8. Another Green World – Brian Eno
9. All Things Must Pass – George Harrison
10. Mingus Ah Um – Charles Mingus

 

#322 Elvis Presley - From Elvis in Memphis
This falls into the same category as the debut album recently featured, where I feel there is too much balladeering/romanticism. As a non-aficionado of Elvis, it has surprised me just how comparatively little hip-shaking rock 'n' roll has featured on these albums. Or perhaps that is just a misconception based on first impressions. Either way, I'm in no rush to listen again.

#321 Lana Del Rey - Norman F Rockwell
I have a cool respect for Lana Del Rey. She is an interesting artist but at times her effortless 'faded Hollywood grandeur' schtick feels a little too contrived. Born to Die is my preferred album of hers and also contains my favourite song (Summertime Sadness). However, I essentially enjoy mostly all of her albums. This is a good one with some real highlights, one being Venice Bitch.

#320 X - Los Angeles
Yes! In my punk pantheon, X sit on Mount Rushmore alongside the Sex Pistols, Clash and Dead Boys. Los Angeles is in my top half-dozen punk albums alongside the debuts from those other three bands, plus the Dead Boys' sophomore effort and the debut from Dead Kennedys.

Your Phone's Off the Hook is a great opening to this album, before Johnny Hit and Run Paulene comes hurtling in. That is one of the most downright vicious punk tracks recorded, in the same vein as the Pistols' Bodies, and has the chutzpah to come in on an unexpected rockabilly riff for good measure. There is not a weak track on this album, rock solid consistency from opening yowl to last. That rockabilly influence gives X a distinctive sound, sets them apart from many other punk bands of the era. As do the tandem vocals of Doe and Cervenka, both pleasingly ragged.

Their next three albums are excellent, with Under the Big Black Sun in particular nearly reaching the same lofty heights. I really enjoy the Live at the Whisky a Go-Go live album and thought their most recent album, Alphabetland, was a solid late-career return to form.

X marks the spot. The no.1 spot.

 

"X" by Los Angeles is a great album, lots of attitude. And being from SoCal it will always hold a special place in my punk album collection

 

Seems to be taking a long time to get a new album on here. Bumping this back to the top.

 

319. The Stone Roses - The Stone Roses (1989)
Producer: John Leckie, Peter Hook on Elephant Stone

The Stone Roses is the eponymous debut studio album by English rock band the Stone Roses. It was recorded mostly at Battery Studios in London with producer John Leckie from June 1988 to February 1989 and released in May of that year by Silvertone Records.


Despite not being an immediate success, the album grew popular alongside the band's high-profile concert performances, which also helped establish them as fixtures of the Madchester and baggycultural scenes. The record's critical standing also improved significantly in later years, with The Stone Roses now considered to be one of the greatest albums of all time. It was voted number 11 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000). It has sold over four million copies worldwide.

Background
Based in Manchester, where the so-called Madchester movement was centred, The Stone Roses formed in 1983. Between their formation and the release of their debut album, the band had gone through different names and line-ups, trying out different sounds,[2] and released several singles on several different labels. They recorded their self-titled debut album with John Leckie, a producer who had worked with Pink Floyd on Meddle.[3] The recording took place primarily at Battery Studios in London, with additional sessions at Konk, Coconut Grove Studios in Stockport, and Rockfield Studios in Wales.[4] Leckie said that the band were "very well rehearsed" and that they "didn't seem to feel any pressure other than that they were a band making their first album and didn't want to lose the opportunity to make it good. So there wasn't any pressure to prove themselves – they knew they were good."

Music and Lyrics
According to writers Sean Sennett and Simon Groth, the Stone Roses "virtually invented 'Madchester' and built a template for Brit-pop" with their debut album.[5] The record has been associated with rave culture and dance music, although Angus Batey from The Quietus argued that it was a 1960s-inspired jangle pop album featuring little or no influence of dance beats or grooves, with the exception of "Fools Gold".[6] According to Stephen Thomas Erlewine, the rhythm section of bassist Maniand drummer Reni played in a manner that was merely suggestive of dance rhythms, while Ian Brown dispassionately sang lyrics expressing arrogant sentiments such as "I Wanna Be Adored" and "I Am the Resurrection".[7] In the opinion of Spincritic Andrew Unterberger, it sounded more like "an exercise in rock classicism", featuring accessible melodies like those of the Beatles and resonant guitars similar to the Byrds, along with "the cheeky (and quintessentially British) humor of the Smiths" and "the self-fulfilling arrogance of the Sex Pistols".[8] The melody for the song "Elizabeth My Dear" was appropriated from the English traditional ballad "Scarborough Fair".

Critical Reception
AllMusic 5/5
The Daily Telegraph 5/5
Encyclopedia of Popular Music 5/5
Mojo 5/5
Pitchfork 10/10
Q 5/5
Rolling Stone 4/5
Spin 10/10
Spin Alternative Record Guide 9/10
Uncut 5/5

Audience Reception
87/100 from 859 users, #3 for 1989, #200 overall - AlbumOfTheYear.org
9.3/10 from 2,297 users - AllMusic
4.3/5 from 634 users, #2 for 1989, #136 overall - Musicboard
3.99/5 from 18,460 users, #3 for 1989, #232 overall - RateYourMusic.com

 

Anything that speaks to the 500 best albums and mentions Harry NoStyles at even 9899788 is a waste of everyone's time

 

I'd be happy if we went back to one per day for these. I know it was well-meaning to change, but IMO it hasn't accomplished anything.

 

Seriously, the previous results should negate the worthiness of posting these album summaries. RS is and has been a joke for a long, long while.

 

Stone Roses Except for The Smiths (plus Jesus & Mary Chain's debut) I'd more or less lost interest in any post-early'80s music that wasn't way out on the margins. Then, just as they were breaking apart, another Manchester band struck creative gold with a stunningly poptastic debut album. They hoover up all the best bits of popdom, atop a jingle jangle Byrdsian foundation, creating their own shimmering indie 'terrace' stamp. It kicks off with a double whammy - Adored & Drum - and, apart from the rubbish 'backwards' track, it's one gem after another until we reach the final pulsing Resurrection. Along with The La's debut, Stone Roses set the template for indie bands throughout the '90s.It's a pity the band then crashed & burned creatively.

1. Suicide - s/t
2. Ramones - Rocket To Russia
3. Elvis Presley - s/t
4. Stone Roses - s/t
5. Black Sabbath - s/t
6. Stooges - s/t
7. Dylan - John Wesley Harding
8. Who - Live At Leeds (original LP)
9. Roberta Flack - First Take
10 Sonic Youth - Goo
11 Various - Nuggets
12 X-Ray Spex - Germfree Adolescents
13 LCD Soundsystem - Silver
14 Elvis Presley - In Memphis
15 Raincoats - s/t
16 Pet Shop Boys - Actually
17 Nine Inch Nails - Pretty Hate Machine
18 Paul & Linda - Ram
19 Arctic Monkeys - AM
20 Toots & Maytals - Funky Kingston

 

Stone Roses
A-
An excellent debut, which at the time presaged a lot more for the band than what they ultimately delivered, insofar as a career. I think of it more of as a 90s album than 80s album; possibly because in the U.S. hardly anybody heard of them until 1990.

 

THE STONE ROSES (The Stone Roses)
Yet another one of those bands that was much bigger in the UK than the US. I had heard of them long before I ever heard a single song by them. My brother put "I Wanna Be Adored" on a mix tape for me and I liked that so I checked out the rest of the album and concluded that song was the highlight. The album is OK, but not top 500 material to me. If "I Wanna Be Adored" turns up in the song countdown it would make my current list, but the album doesn't crack my current list.
GRADE: C+

My Current Top 50+ Albums:
1. THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY (The Kinks)
2. SOMETHING ELSE (The Kinks)
3. ALL THINGS MUST PASS (George Harrison)
4. NUGGETS (Various Artists)
5. RAM (Paul & Linda McCartney)
6. BETWEEN THE BUTTONS (Rolling Stones)
7. GREATEST HITS (Sly & the Family Stone)
8. THE CARS (The Cars)
9. RADIO CITY (Big Star)
10. #1 RECORD (Big Star)
11. ODELAY (Beck)
12. COSMO'S FACTORY (CCR)
13. ROCKEY TO RUSSIA (Ramones)
14. DOOKIE (Green Day)
15. LET IT BE (The Beatles)
16. ANTHOLOGY (The Temptations)
17. EVERYBODY KNOWS THIS IS NOWHERE (Neil Young)
18. ANTHOLOGY (Diana Ross & the Supremes)
19. YOUNG GIFTED AND BLACK (Aretha Franklin)
20. THE STOOGES (The Stooges)
21. SURREALISTIC PILLOW (Jefferson Airplane)
22. MY AIM IS TRUE (Elvis Costello)
23. SOMETHING/ANYTHING (Todd Rundgren)
24. BROTHERS IN ARMS (Dire Straits)
25. CLOSE TO THE EDGE (Yes)
26. PROUNCED LENHERD SKINNERD (Lynryd Skynryd)
27. ELEPHANT (The White Stripes)
28. ABRAXAS (Santana)
29. MOVING PICTURES (Rush)
30. KING OF THE DELTA BLUES SINGERS (Robert Johnson)
31. DICTIONARY OF SOUL (Otis Redding)
22. SOME GIRLS (Rolling Stones)
33. CURRENTS (Tame Impala)
34. BEACH BOYS TODAY (The Beach Boys)
35. ELVIS PRESLEY (Elvis Presley)
36. BO DIDDLEY/GO BO DIDDLEY (Bo Diddley)
37. PARKLIFE (Blur)
38. SIAMESE DREAM (Smashing Pumpkins)
39. LIVE AT LEEDS (The Who)
40. NORMAN R ROCKWELL (Lana Del Rey)
41. 19 LOVE SONGS (Magnetic Fields)
42, LUCINDA WILLIAMS (Lucinda Williams)
43. HEART LIKE A WHEEL (Linda Rondstadt)
44. PAUL SIMON (Paul Simon)
45. LIKE A PRAYER (Madonna)
46. SHERYL CROW (Sheryl Crow)
47. BACK TO MONO (Phil Spector w/various artists)
48. NICK OF TIME (Bonnie Raitt)
49. THE ANTHOLOGY (Muddy Waters)
50. PRESENTING THE FABULOUS RONETTES (Ronettes)
51. MOANING IN THE MOONLIGHT (Howlin Wolf)
52. MORE SONGS ABOUT BUILDING AND FOOD (Talking Heads)
53. ANOTHER GREEN WORLD (Brian Eno)
54. A RUSH OF BLOOD TO THE HEAD (Coldplay)
55. MODERN VAMPIRES OF THE CITY (Vampire Weekend)

I'm increasing the number of albums on my list and won't make further cuts until I reach 60.

 

The list is the result of votes taken by a large group of people who are involved with or care about music.

"Rolling Stone" didn't compile the list.

 

Stone Roses/The Stone Roses – Los Angeles deserved a longer stay at my top spot, but we’ve finally reached an album that will unequivocally be there at the end for me. On my very informal Top 10 albums of all time, this fluctuates between #7 or #8, but there are times where it could easily be number one. It’s astonishing to me how many hooks, great melodies and intoxicating rhythms are packed into one record. Just when I imagine the album can’t get any better, the next song proves me wrong. And to end it with the utterly audacious “I Am The Resurrection” is the cherry on top. After so many great songs, placing something like that at the end could deep six the album right there, but it works perfectly. This album makes nary a wrong step, it’s just fantastic. Huge 5/5

Top 10:
1. The Stone Roses – Stone Roses
2. Los Angeles - X
3. The Cars - Cars
4. Mothership Connection – Parliament
5. Beauty And The Beat – Go-Go's
6. The Wild, The Innocent & The E Street Shuffle – Bruce Springsteen
7. Something/Anything? – Todd Rundgren
8. More Songs About Buildings And Food – Talking Heads
9. Another Green World – Brian Eno
10. All Things Must Pass – George Harrison

 

I’m returning to posting once a day unless there are any objections.
318. Janet - The Velvet Rope (1997)
Producer: Janet, Jimmy Jam and Terry Lewis

The Velvet Rope is the sixth studio album by American singer Janet Jackson. The album was released on October 7, 1997, through Virgin Records. Prior to its release, she renegotiated her contract with Virgin for US$80 million, the largest recording contract in history at that time.

Upon experiencing an emotional breakdown, Jackson began facing a long-term case of depression. She in turn developed her new record as a concept album, using introspection as its theme. Its title is a metaphor for emotional boundaries, as well as an allusion to an individual's need to feel special. Its lyrics address subject matter such as depression, self-worth, social networking, and domestic violence. It also encompasses themes of sexuality, including BDSM, sexual orientation and same-sex relationships. Due to its sexually explicit content, the album reinforced Jackson's public image as a sex symbol and as one of the most erotic vocalists of the 1990s. Its incorporation of social issues regarding sexual orientation and combating homophobia also established her reputation as a gay icon and received the GLAAD Media Award for Outstanding Music.

The record was co-written and co-produced by Jackson, her then-husband René Elizondo Jr., Jimmy Jam and Terry Lewis, with additional contributions by various songwriters. Songs on the album also include British violinist Vanessa-Mae, Canadian singer-songwriter Joni Mitchell and American rapper Q-Tip as featured artists. Its composition fuses various genres, including pop, R&B, trip hop, folk, jazz, rock and electronic music. Considered to be Jackson's most mature recording, it is regarded as a template for pop artists transitioning to a darker or rebellious sound and as a precursor to the development of alternative R&B.

The Velvet Rope became Jackson's fourth consecutive album to top the Billboard 200. It also reached the top of charts in Denmark and the top five in major markets such as Australia, Canada, France, and Germany. The album was certified triple platinum by the Recording Industry Association of America (RIAA) and has sold an estimated eight million copies worldwide. Of the six singles released from the project, "Got 'til It's Gone" won the 1998 Grammy Award for Best Music Video, "Together Again" became an international number-one hit, and "I Get Lonely" became Jackson's 18th consecutive top-ten single on the US Billboard Hot 100, making her the only female artist in history to achieve that feat. The Velvet Rope Tour, in support of the album, drew critical acclaim for its theatricality, as well as controversy for its depictions of domestic violence and bondage.

Background
Jackson's first compilation album, Design of a Decade: 1986–1996, was released in 1995. It peaked at number three on the Billboard 200.[1] The lead single, "Runaway", became the first song by a female artist to debut within the top ten of the Hot 100, reaching number three.[2][3] Design of a Decade 1986/1996 was certified double platinum by the RIAA and sold ten million copies worldwide.[4]The release marked the fulfillment of Jackson's contractual obligations to Virgin Records. As a result, she became subject to an industry bidding war between various parties, including Virgin, Bertelsmann, DreamWorks, Sony Music, Time Warner, and The Walt Disney Company, who attempted to sign her jointly with PolyGram. She ultimately renewed her contract with Virgin for $80 million—the largest recording contract in history at that time and a breakthrough she achieved for the second time in her career.[5][6] The contract surpassed the recording industry's then-unparalleled $60 million contracts earned by Michael Jackson and Madonna.

Recording
The album was produced by Jackson with Jimmy Jam and Terry Lewis, as well as René Elizondo Jr. Its initial stages began following her Janet World Tour, recording intermittently over two years.[10] The process stalled due to various issues facing Jackson, including depression, body dysmorphia, anorexia, and self-hatred.[10] As a result, Jackson spontaneously canceled sessions, appearing constantly troubled, as Jam commented, "That was a tough album to make for her. There were times when she would not show up at the studio for five or six days in a row".[23][11]

She returned to the studio in January 1997, embarking on a six-and-a-half month recording process.[23] Its production was adjusted towards Jackson's lyrics and vocal suggestions, using an altered technique from prior sessions.[24]Attempting to push pop music in an alternate direction, the record was described as "a triumph of the spirit, a declaration of joy and healing that comes from examining the past while energizing the present, [...] exploring the mysteries of sexuality even as it addresses the problems of prejudice".[25]Explaining the concept and the writing of The Velvet Rope, she stated:

Singing these songs has meant digging up pain that I buried a long time ago. It's been hard and sometimes confusing, but I've had to do it. I've been burying pain my whole life. It's like kicking dirt under the carpet. At some point there's so much dirt you start to choke. Well, I've been choking. My therapy came in writing these songs. Then I had to find the courage to sing them or else suffer the consequences — a permanent case of the blues.​

Themes and Lyrics
The album gained media attention for its explicit themes and exploration of homosexuality, suggested as a "queer-studies thesis."[33][34][35] Singapore law officials banned the album due to its lyrics supporting homosexuality.[36] "Free Xone" speaks of gay, lesbian and bisexual pairings, as Jackson protests discrimination.[31] "Together Again" recalls a departed friend lost to AIDS.[34] Her cover of Rod Stewart's "Tonight's the Night" suggests losing her virginity to another woman, also alluding to bisexuality.[35] Media attention led Stewart to announce "that's an original song by Janet Jackson" when performed in concerts.[37] In response to criticism, Jackson said, "I have a lot of gay friends, men and women, and that's why I did it. I knew people would say I was gay, and I didn't care."[18]She also stated, "I caught a lot of hell for that... religious groups have been upset with me for certain songs on the album, but it’s not going to stop me from writing what I feel inside."[38] Media reports of Jackson involved in intimate relationships with dancers Tina Landon and Shawnette Heard surfaced following its release, although denied.[39]

The album's "most startling" song was considered "What About", in which Jackson violently confronts domestic abuse.[40] Jackson stated, "I think it's important to let others know that certain things that you may have experienced in your life, and that they're not alone, and that you understand what they're going through, and that they can make it through."[41] Joel Lyans included it among "The New Soundtrack of Social Consciousness", writing, "Here, Janet does what she does best: demonstrates a coy and shy demeanor before ripping into a confident and empowered voice for those who are afraid to speak up and speak out about a situation that plagues millions of women."[42] Several media reports related its theme with President Bill Clinton's infidelity to Hillary Clinton with Monica Lewinsky.[37] Jackson clarified it to be about her own experience, saying, "President Clinton? People have said that to me. They say 'this is his song'," comparing the situation with her song "This Time" inaccurately related to O. J. Simpsonand Nicole Brown Simpson due to its subject matter.[37]

Jackson's progression into advanced erotic content was criticized, though she defended her material.[43]J. D. Considine praised Jackson's focus on intercourse "as if it were simply a fact of life", noting her concern with "the emotional component of sex, rather than the act itself."

Packaging and Title
The Velvet Rope was titled as a metaphor for the emotional barricade preventing others from revealing their innermost thoughts; in comparison to the velvet rope used at film premieres and award shows, prohibiting access from spectators.[28] It also served as a metaphor for the barriers separating different classes of society.[61] It was based on various events throughout her adolescence and early adulthood, resurfacing after attempted escapism.[15]

The album's artwork was photographed by Ellen von Unwerth, with additional photos by Mario Testino.[17]The cover depicts Jackson lowering her head amidst a crimson backdrop, symbolizing remorse.[62]"Janet" is faintly embossed in a pixelated block formation. Jackson stated, "The shot we used on the cover shows me just looking down, and that's what the album was about, looking inward".[17] MTV Newsregarded the artwork as iconic and an influence on various artists.[63] Its internal artwork depicts Jackson's piercings and tattoos, also displaying her hands tied in bondage and latex attire, exhibiting fetishism.[64] A particular photo of Jackson wearing a latex ensemble with her nipple piercing peering through an opening gained notoriety for its explicit nature.[14] The photo also shows Jackson pricking her body with an ice pick.[14][64]

Upon its release, Jackson unveiled an edgier image, flaunting hennaed red hair and tattoos on her neck, wrist, foot, back, and lower thigh; also acquiring nipple, septum, and labia piercings.[65] The transition was considered to risk alienation, though she was commended as "a master at surprising and shocking her public".[65] Jackson used a variation of the Akan Sankofa symbol throughout its artwork and imagery; representing the motif "You cannot move into the future until you learn from your past".[66]She tattooed the symbol onto her wrist. Jackson's tattoo artist later stated, "I have a lot of people who fly in from all over the world to get something that has to do with Janet’s sacred tattoos... She's an inspiration to a lot of people, and when they see something on Janet that helps her be strong, they want that strength as well".

Critical Reception
AllMusic 2.5/5
Chicago Tribune 2.5/4
Entertainment Weekly A
The Guardian 3/5
Los Angeles Times 4/4
Rolling Stone 3.5/5
The Rolling Stone Album Guide 4/5
Slant Magazine 4.5/5
USA Today 4/4
The Village Voice A−

Audience Reception
87/100 from 508 users, #12 for 1997, #256 overall - AlbumOfTheYear.org
8.5/10 from 467 users - AllMusic
4.5/5 from 514 users, #2 for 1997, #33 overall - Musicboard
3.95/5 from 4,251 users, #15 for 1997, #584 overall - RateYourMusic.com

 

THE VELVET ROPE (Janet Jackson)
I'm not sure I'd have any Janet Jackson in my own top 500 albums, but if I did RHYTHM NATION and CONTROL would be the choices. I find this a rather odd choice. I don't really remember much talk about this album at all. I had to look up what singles were on it to get a sense of the time it came out. Listened to a bit of some of the songs I didn't know. Nothing jumped out at me.
GRADE: C

My Current Top 50+ Albums:
1. THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY (The Kinks)
2. SOMETHING ELSE (The Kinks)
3. ALL THINGS MUST PASS (George Harrison)
4. NUGGETS (Various Artists)
5. RAM (Paul & Linda McCartney)
6. BETWEEN THE BUTTONS (Rolling Stones)
7. GREATEST HITS (Sly & the Family Stone)
8. THE CARS (The Cars)
9. RADIO CITY (Big Star)
10. #1 RECORD (Big Star)
11. ODELAY (Beck)
12. COSMO'S FACTORY (CCR)
13. ROCKEY TO RUSSIA (Ramones)
14. DOOKIE (Green Day)
15. LET IT BE (The Beatles)
16. ANTHOLOGY (The Temptations)
17. EVERYBODY KNOWS THIS IS NOWHERE (Neil Young)
18. ANTHOLOGY (Diana Ross & the Supremes)
19. YOUNG GIFTED AND BLACK (Aretha Franklin)
20. THE STOOGES (The Stooges)
21. SURREALISTIC PILLOW (Jefferson Airplane)
22. MY AIM IS TRUE (Elvis Costello)
23. SOMETHING/ANYTHING (Todd Rundgren)
24. BROTHERS IN ARMS (Dire Straits)
25. CLOSE TO THE EDGE (Yes)
26. PROUNCED LENHERD SKINNERD (Lynryd Skynryd)
27. ELEPHANT (The White Stripes)
28. ABRAXAS (Santana)
29. MOVING PICTURES (Rush)
30. KING OF THE DELTA BLUES SINGERS (Robert Johnson)
31. DICTIONARY OF SOUL (Otis Redding)
22. SOME GIRLS (Rolling Stones)
33. CURRENTS (Tame Impala)
34. BEACH BOYS TODAY (The Beach Boys)
35. ELVIS PRESLEY (Elvis Presley)
36. BO DIDDLEY/GO BO DIDDLEY (Bo Diddley)
37. PARKLIFE (Blur)
38. SIAMESE DREAM (Smashing Pumpkins)
39. LIVE AT LEEDS (The Who)
40. NORMAN R ROCKWELL (Lana Del Rey)
41. 19 LOVE SONGS (Magnetic Fields)
42, LUCINDA WILLIAMS (Lucinda Williams)
43. HEART LIKE A WHEEL (Linda Rondstadt)
44. PAUL SIMON (Paul Simon)
45. LIKE A PRAYER (Madonna)
46. SHERYL CROW (Sheryl Crow)
47. BACK TO MONO (Phil Spector w/various artists)
48. NICK OF TIME (Bonnie Raitt)
49. THE ANTHOLOGY (Muddy Waters)
50. PRESENTING THE FABULOUS RONETTES (Ronettes)
51. MOANING IN THE MOONLIGHT (Howlin Wolf)
52. MORE SONGS ABOUT BUILDING AND FOOD (Talking Heads)
53. ANOTHER GREEN WORLD (Brian Eno)
54. A RUSH OF BLOOD TO THE HEAD (Coldplay)
55. MODERN VAMPIRES OF THE CITY (Vampire Weekend)

I'm increasing the number of albums on my list and won't make further cuts until I reach 60.

 

Velvet Rope I listened to a few tracks. I was bored stiff. Miss.