Indeed, Highway to Hell is much the better album. That's the one that should've been on the list, but then a couple of hundred places lower.
PLASTIC ONO BAND (John Lennon) I have an interesting relationship with this album. I have always been a huge Beatles fan, but when I first heard this sometime mid 70's, I didn't like it. I then came to appreciate it more than I actually like it. I have since come to like most of it, though it is flawed. I still think Mother was a terrible choice for a single (it did nothing in the US), L though I do like all the song except the screaming at the end. Love should have been the single. Working Class Hero and God are great! Remember is a good song. Hold On John shows there is optimism on the album. Look At Me and Isolation start out like classics, but are missing a little something (Paul's middle 8 perhaps?). Well Well Well and I Found Out I still don't care for. So what does that all add up to? A top 500 album, but not something I would put in my top 100. I go back and forth as to whether this or IMAGINE is my #1 Lennon solo album (actually a combination of Lennon's DOUBLE FANTASY and MILK AND HONEY songs would be better than either). I'll put it just ahead of IMAGINE for now. GRADE: B+ BACK IN BLACK (ACDC) I consider this as their best album, though HIGHWAY TO HELL is also worthy of consideration. The high points of this album are excellent hard rock, though some of the filler is less interesting. I can find a spot for this in my top 500, though certainly not this high. GRADE: B+ My Current Top 100+ Albums: 1. THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY (The Kinks) 2. ODYSSEY AND ORACLE (The Zombies) 3. PIPER AT THE GATES OF DAWN (Pink Floyd) 4. BRIDGE OVER TROUBLED WATER (Simon & Garfunkel) 5. TOMMY (The Who) 6. MURMUR (REM) 7. SOMETHING ELSE (The Kinks) 8. ALL THINGS MUST PASS (George Harrison) 9. NUGGETS (Various Artists) 10. DEJA VU (Crosby, Stills, Nash, & Young) 11. MODERN LOVERS (Modern Lovers) 12. THE JOSHUA TREE (U2) 13. RAM (Paul & Linda McCartney) 14. BETWEEN THE BUTTONS (Rolling Stones) 15. AUTOMATIC FOR THE PEOPLE (REM) 16. THE DOORS (The Doors) 17. A HARD DAYS NIGHT (The Beatles) 18. THE WHO SELL OUT (The Who) 19. DAMN THE TORPEDOES (Tom Petty & the Heartbreakers) 20, PARALLEL LINES (Blondie) 21. HOTEL CALIFORNIA (The Eagles) 22. THE CARS (The Cars) 23. FULL MOON FEVER (Tom Petty) 24. GOODBYE YELLOW BRICK ROAD (Elton John) 25. RADIO CITY (Big Star) 26. #1 RECORD (Big Star) 27. ODELAY (Beck) 28. COSMO'S FACTORY (CCR) 29. WISH YOU WERE HERE (Pink Floyd) 30. MEET THE BEATLES (The Beatles) 31. ROCKET TO RUSSIA (Ramones) 32. DOOKIE (Green Day) 33. THE B 52'S (The B 52's) 34. THIS YEAR'S MODEL (Elvis Costello) 35. IS THIS IT? (The Strokes) 36. EVERY PICTURE TELLS A STORY (Rod Stewart) 37. FOREVER CHANGES (Love) 38. BORN IN THE USA (Bruce Springsteen) 39. CAR WHEELS ON A GRAVEL ROAD (Lucinda Williams) 40. HELP (The Beatles) 41. AMERICAN BEAUTY (Grateful Dead) 42. LET IT BE (The Beatles) 43. WEEZER (Weezer) 44. THE CLASH (The Clash) 45. COURT AND SPARK (Joni Mitchell) 46. STAND (Sly & the Family Stone) 47. MOONDANCE (Van Morrison) 48. ANTHOLOGY (The Temptations) 49. EVERYBODY KNOWS THIS IS NOWHERE (Neil Young) 50. ANTHOLOGY (Diana Ross & the Supremes) 51. YOUNG GIFTED AND BLACK (Aretha Franklin) 52. SWEET BABY JAMES (James Taylor) 53. 20 GOLDEN GREATS (Buddy Holly) 54. HERES LITTLE RICHARD (Little Richard) 55. THE DEFINITIVE COLLECTION (Abba) 56. HOUSES OF THE HOLY (Led Zeppelin) 57. AMERICAN IDIOT (Green Day) 58. BEGGARS BANQUET (Rolling Stones) 59. THE STRANGER (Billy Joel) 60. VELVET UNDERGROUND (Velvet Underground) 61. THE STOOGES (The Stooges) 62. SURREALISTIC PILLOW (Jefferson Airplane) 63. MY AIM IS TRUE (Elvis Costello) 64. PLASTIC ONO BAND (John Lennon) 65. SOMETHING/ANYTHING (Todd Rundgren) 66. BROTHERS IN ARMS (Dire Straits) 67. CLOSE TO THE EDGE (Yes) 68. IMAGINE (John Lennon) 69. THE PRETENDERS (The Pretenders) 70. PINK MOON (Nick Drake) 71. PROUNCED LENHERD SKINNERD (Lynryd Skynryd) 72. 1999 (Prince & the Revolution) 73. BACK IN BLACK (ACDC) 74. ELEPHANT (The White Stripes) 75. UNPLUGGED IN NEW YORK CITY (Nirvana) 76. ABRAXAS (Santana) 77. PORTRAIT OF A LEGEND (Sam Cooke) 78. WILLY AND THE POOR BOYS (Creedence Clearwater Revival) 79. BRINGING IT ALL BACK HOME (Bob Dylan) 80. STORIES FROM THE CITY (PJ Harvey) 81. MOVING PICTURES (Rush) 82. KING OF THE DELTA BLUES SINGERS (Robert Johnson) 83. DICTIONARY OF SOUL (Otis Redding) 84. SOME GIRLS (Rolling Stones) 85. DISRAELI GEARS (Cream) 86. LED ZEPPELIN II (Led Zeppelin) 87. LAYLA AND OTHER ASSORTED LOVE SONGS (Derek & the Dominoes) 88. ACHTUNG BABY (U2) 89. CURRENTS (Tame Impala) 90. BEACH BOYS TODAY (The Beach Boys) 91. ELVIS PRESLEY (Elvis Presley) 92. BO DIDDLEY/GO BO DIDDLEY (Bo Diddley) 93. PARKLIFE (Blur) 94. MUSIC FROM BIG PINK (The Band) 95. AFTER THE GOLD RUSH (Neil Young) 96. WHITE LIGHT/WHITE HEAT (Velvet Underground) 97. SIAMESE DREAM (Smashing Pumpkins) 98. LIVE AT LEEDS (The Who) 99. RUST NEVER SLEEPS (Neil Young) 100. CALIFORNICATION (Red Hot Chili Peppers) 101. CROSBY, STILLS & NASH (Crosby, Stills, & Nash) 102. TEN (Pearl Jam) 103. THE WALL (Pink Floyd) 104. A NIGHT AT THE OPERA (Queen) Other worthy albums: ANOTHER GREEN WORLD (Brian Eno), TEA FOR THE TILLERMAN (Cat Stevens), EITHER/OR (Elliot Smith), OTIS BLUE (Otis Redding), ELECTRIC WARRIOR (T-Rex), COAT OF MANY COLORS (Dolly Parton), CAN'T BUY A THRILL (Steely Dan), WHAT'S THE STORY MORNING GLORY (Oasis), METALLICA (Metallica), LIVE AT FOLSOM PRISON (Johnny Cash), FREEWHEELIN BOB DYLAN (Bob Dylan), SHE'S SO UNUSUAL (Cyndi Lauper), HEADHUNTERS (Herbie Hancock), JOHN PRINE (John Prine), THE MARSHALL MATHERS ALBUM (Eminem), MORE SONGS ABOUT BUILDING AND FOOD (Talking Heads), MOANING IN THE MOONLIGHT (Howlin Wolf), THE BIRTH OF SOUL (Ray Charles), HEAVEN OF LAS VEGAS (Cocteau Twins), 40 GREATEST HITS (Hank Williams), THE ANTHOLOGY (Muddy Waters), PRESENTING THE FABULOUS RONETTES (Ronettes), NICK OF TIME (Bonnie Raitt), SHERYL CROW (Sheryl Crow), BACK TO MONO (Phil Spector w/various artists), THE IMMACULATE COLLECTION (Madonna), HONKY CHATEAU (Elton John), SO (Peter Gabriel), PAUL SIMON (Paul Simon)., MR. TAMBOURINE MAN (The Byrds), CONTROL (Janet Jackson), HEART LIKE A WHEEL (Linda Rondstadt), STICKY FINGERS (The Rolling Stones), LIVE AT THE FILLMORE EAST (The Allman Brothers), LUCINDA WILLIAMS (Lucinda Williams), 69 LOVE SONGS (Magnetic Fields), NORMAN F ROCKWELL (Lana Del Rey), AXIS/BOLD AS LOVE (Jimi Hendrix), HUNKY DORY (David Bowie)
Surely the staunchest of AC/DC fans couldn’t say Johnson is a good singer. But despite being nowhere near as good as Bon Scott, his voice fits the music - in the studio at least. All the live stuff I’ve heard he was diabolical. It says something when Axl Rose did a better job when he filled in for a while… Good shout on HtH, but Let There Be Rock and Powerage are the top dogs for me.
More shifting sands... IN 88. David Bowie - Hunky Dory (1971) 5/5 86. The Doors - The Doors (1967) 5/5 OUT 426. Lucinda Williams - Lucinda Williams (1988) 5/5 282. Frank Sinatra - In the Wee Small Hours (1955) 5/5 418. Dire Straits - Brothers in Arms (1985) 5/5 413. Creedence Clearwater Revival - Cosmo’s Factory (1970) 5/5 409. Grateful Dead - Workingman’s Dead (1970) 5/5 407. Neil Young - Everybody Knows This is Nowhere (1969) 5/5 396. Todd Rundgren - Something/Anything? (1972) 5/5 368. George Harrison - All Things Must Pass (1970) 5/5 334. Santana - Abraxas (1970) 5/5 330. The Rolling Stones - Aftermath (1966) 5/5 298. Tom Petty - Full Moon Fever (1989) 5/5 297. Peter Gabriel - So (1986) 5/5 278. Led Zeppelin - Houses of the Holy (1973) 5/5 268. Randy Newman - Sail Away (1972) 5/5 264. Pink Floyd - Wish You Were Here (1975) 5/5 259. Janis Joplin - Pearl (1971) 5/5 258. Joni Mitchell - The Hissing of Summer Lawns (1975) 5/5 256. Tracy Chapman - Tracy Chapman (1988) 5/5 251. Elton John - Honky Château (1972) 5/5 232. John Coltrane - Giant Steps (1960) 5/5 231. Tom Petty - Damn the Torpedoes (1979) 5/5 226. Derek and the Dominos - Layla and Other Assorted Love Songs (1970) 5/5 220. Crosby, Stills, Nash, and Young - Déjà Vu (1970) 5/5 215. Grateful Dead - American Beauty (1970) 5/5 205. Cat Stevens - Tea for the Tillerman (1970) 5/5 200. Sade - Diamond Life (1984) 5/5 195. Leonard Cohen - Songs of Leonard Cohen (1967) 5/5 190. The Who - Tommy (1969) 5/5 188. T. Rex - Electric Warrior (1971) 5/5 185. The Rolling Stones - Beggars’ Banquet (1968) 5/5 182. James Taylor - Sweet Baby James (1970) 5/5 181. Bob Dylan - Bringing it All Back Home (1965) 5/5 161. Crosby, Stills & Nash - Crosby, Stills & Nash 5/5 150. Bruce Springsteen - Nebraska (1982) 5/5 142. Bruce Springsteen - Born in the U.S.A. (1984) 5/5 140. Bob Marley and the Wailers - Catch a Fire (1973) 5/5 135. U2 - The Joshua Tree (1987) 5/5 133. Joni Mitchell - Hejira (1976) 5/5 120. Van Morrison - Moondance (1970) 5/5 123. Led Zeppelin - Led Zeppelin II (1969) 5/5 124. U2 - Achtung Baby (1991) 5/5 118. The Eagles - Hotel California (1976) 5/5 110. Joni Mitchell - Court and Spark (1974) 5/5 109. Lou Reed - Transformer (1972) 5/5 105. The Allman Brothers - At Filmore East (1971) 5/5 101. Led Zeppelin - Led Zeppelin (1969) 5/5 98. Lucinda Williams - Car Wheels on a Gravel Road (1998) 5/5 96. R.E.M. - Automatic for the People (1992) 5/5 91. Bruce Springsteen - Darkness on the Edge of Town (1978) 5/5 90. Neil Young - After the Gold Rush (1970) 5/5 88. David Bowie - Hunky Dory (1971) 5/5 86. The Doors - The Doors (1967) 5/5
83. Dusty Springfield - Dusty in Memphis (1969) Producer: Jerry Wexler, Arif Mardin, Tom Dowd Dusty in Memphis is the fifth studio album by English singer Dusty Springfield. Initial sessions were recorded at American Sound Studio in Memphis, while Springfield's final vocals and the album's orchestral parts were recorded at Atlantic Records' New York City studios. The album was released on 18 January 1969 in the United States by Atlantic Records, and Philips Records distributed the record outside the U.S. Springfield worked on the album with a team of musicians and producers that included Jerry Wexler, Arif Mardin, Tom Dowd, conductor Gene Orloff, backing vocalists the Sweet Inspirations, bassist Tommy Cogbill, and guitarist Reggie Young. Dusty in Memphis sold poorly upon its initial release, despite featuring one of Springfield's top-10 UK hits, "Son of a Preacher Man". It has since been generally acclaimed as her best work and one of the greatest albums of all time. Music critic Robert Christgaucalled it "the all-time rock-era torch record"[2] and included it in his "Basic Record Library" of 1950s and 1960s recordings, published in Christgau's Record Guide: Rock Albums of the Seventies (1981).[3] In 2001, it was inducted into the Grammy Hall of Fame.[4] In 2020, the album was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".[5][6] In its official press release, the library stated that despite its modest sales when first released, "over time, Dusty in Memphis grew in stature to become widely recognized as an important album by a woman in the rock era." Writing and Recording Hoping to reinvigorate her career and boost her credibility[citation needed], Springfield signed with Atlantic Records, at the time the label of one of her soul music idols, Aretha Franklin. Springfield signed with Atlantic on the condition that she work with the label's chief producer and co-owner Jerry Wexler. For their initial album project, Wexler provided Springfield with dozens of song demo recordings, and the two decided on a program of 11 songs, primarily in the pop genre. Eight of the songs were composed by New York and Los Angeles-based songwriters who at the time were associated with the "Brill Building Sound". However, the album's best-known track, "Son of a Preacher Man", was not among these, and was originally written with the idea of submitting it to Aretha Franklin. (Franklin cut her own version of the song in 1969 after Springfield's single reached the #10 position in the Billboard Hot 100.) "Preacher Man" was musically and thematically closer to classic Southern soul, as was another of the album's cuts, "Breakfast in Bed". Farthest from the soul genre on the album was Michel Legrand's "The Windmills of Your Mind", which Springfield resisted and Wexler insisted upon. Wexler and Springfield's idea for the album was to record the pop compositions with Southern soul's rhythmic feel, a combination that other producers had tried successfully at American Sound Studios with acts like The Box Tops and Merrilee Rush. The Memphis sessions were supervised by Wexler, fellow Atlantic producer Arif Mardin, and Atlantic engineer Tom Dowd. Performing with Springfield were back-up singers the Sweet Inspirations and members of an informal group of American Sound Studios studio musicians known as the Memphis Boys, which included guitarist Reggie Young and bassist Tommy Cogbill.[7] In addition to their pop session work, The Memphis Boys had previously backed soul musicians Wilson Pickett, Joe Tex, Bobby Womack, and King Curtis. Recording engineer Terry Manning, who was hired on assignment to write a piece on the sessions for the New Musical Express, attended and ended up assisting Dowd, along with Ed Kollis. The songs were written by, among others, Gerry Goffin and Carole King, Barry Mann and Cynthia Weil, Randy Newman, and Burt Bacharach and Hal David.[8] The recording was a challenge for Wexler. In his book Rhythm and the Blues, Wexler wrote that out of all the songs that were initially submitted to Springfield for consideration, "she approved exactly zero." For her, he continued, "to say yes to one song was seen as a lifetime commitment."[9] Springfield disputed this, saying she did choose two: "Son of a Preacher Man" and "Just a Little Lovin'".[10] He was surprised, given Dusty's talent, by her apparent insecurity. Springfield later attributed her initial unease to a very real anxiety about being compared with the soul greats who had recorded in the same studios. Eventually Dusty's final vocals were recorded in New York.[11] Additionally, Springfield stated that she had never before worked with just a rhythm track, and that it was the first time she had worked with outside producers, having self-produced her previous recordings (something for which she never took credit).[10] During the Memphis sessions in November 1968, Springfield suggested to the heads of Atlantic Records that they should sign the newly formed Led Zeppelin group. She knew the band's bass player John Paul Jones, who had backed her in concerts before. Without having ever seen them and largely on Dusty's advice,[12] the record company signed the group with a $143,000 advance. Critical Reception AllMusic 5/5 Encyclopedia of Popular Music 5/5 Entertainment Weekly A Music Story 5/5 MusicHound Rock 4/5 Q 3/5 Rolling Stone 4/5 The Rolling Stone Album Guide 5/5 Sputnikmusic 4.5/5 Audience Reception 83/100 from 172 users, #27 for 1969 - AlbumOfTheYear 9.1/10 from 773 users - AllMusic 4/5 from 47 users - Musicboard 3.85/5 from 4,691 users, #27 for 1969, #1,132 overall - RateYourMusic
1. Van Morrison - Moondance 2. The Smiths - The Queen is Dead 3. Neil Young - After the Gold Rush 4. Tom Petty - Wildflowers 5. The Stone Roses - The Stone Roses 6. Bruce Springsteen - Darkness on the Edge of Town 7. Dire Straits - Brothers in Arms 8. R.E.M - Murmur 9. Bruce Springsteen - Born in the USA 10. The Rolling Stones - Sticky Fingers 11. U2 - The Joshua Tree 12. The Eagles - Hotel California 13. Pink Floyd - Wish You Were Here 14. Elton John - Goodbye Yellow Brick Road 15. Simon and Garfunkel - Bridge Over Troubled Water 16. Peter Gabriel - So 17. Bruce Springsteen - Nebraska 18. Neil Young - Everybody Knows This is Nowhere 19. Taylor Swift - Red 20. The Doors - The Doors 21. David Bowie - Hunky Dory 22. The Rolling Stones - Some Girls 23. The Strokes - Is This it 24. Tracy Chapman - Tracy Chapman 25. Pulp - Different Class 26. Neil Young - On the Beach 27. Bob Dylan - The Freewheelin' 28. R.E.M - Automatic For the People 29. Crosby, Stills, Nash and Young - Deja Vu 30. The Band - Music From the Big Pink
83. Dusty Springfield - Dusty in Memphis (1969) 3/5 I just never quite totally embraced this album...
82. Sly and the Family Stone - There’s a Riot Goin' On Producer: Sly Stone There's a Riot Goin' On (sometimes referred to as Riot) is the fifth studio album by American funk and soul band Sly and the Family Stone. It was recorded from 1970 to 1971 at Record Plant Studios in Sausalito, California and released later that year on November 1 by Epic Records.[7] The recording was dominated by band frontman/songwriter Sly Stone during a period of escalated drug use and intra-group tension. With the album, Sly and the Family Stone departed from the optimistic sound of their previous music and explored a darker, more challenging sound, employing edgy funk rhythms, primitive drum machines, extensive overdubbing, and a dense mix. Conceptually and lyrically, There's a Riot Goin' On embraced apathy, pessimism, and disillusionment with both Stone's fame and 1960s counterculture amid a turbulent political climate in the United States at the turn of the 1970s, influenced by the decline of the civil rights movement and the rise of the Black Power movement. The album's title was originally planned to be Africa Talks to You, but it changed in response to Marvin Gaye's album What's Going On (1971), released six months before Riot.[8] A commercial success, There's a Riot Goin' On topped the Billboard Pop Album and Soul Album charts, while its lead single "Family Affair" reached number-one on the Pop Singles chart.[9][10] The album was eventually certified platinum by the Recording Industry Association of America (RIAA) for sales of at least one million copies in the US.[11] Originally released to mixed reviews, the album has since been praised as one of the greatest and most influential recordings of all time, having impacted the funk, jazz-funk, and hip hop genres in particular. Background Having achieved great success with their 1969 album Stand! and performance at Woodstock, Sly & the Family Stone were due to have submitted an album of new recordings to Epic Records by 1970. However, Sly Stone missed several recording deadlines, worrying CBS executive Clive Davis, and a Greatest Hits album was released in an eighteen-month stretch during which the band released no new material, except for the single "Thank You (Falettinme Be Mice Elf Agin)". Relationships within the band were deteriorating, with friction between the Stone brothers and bassist Larry Graham.[15] Epic executives requested more product from the band,[18] and the Black Panther Party, with which Stone had become associated, was demanding he make his music more militant and reflective of the black power movement, that he replace drummer Greg Errico and saxophonist Jerry Martini with black instrumentalists, and replace manager David Kapralik.[18][19] After moving to Los Angeles, California in late 1969 Stone and his bandmates began to use cocaine and PCP heavily rather than recording music. During this time Sly & the Family Stone released only one single, "Thank You (Falettinme Be Mice Elf Agin)" / "Everybody Is a Star", issued in December 1969.[20] Although "Star" was a positive song in the vein of their previous hit "Everyday People" (1968), "Thank You" featured a darker political theme.[21] By 1970, Stone had become erratic and moody, missing nearly a third of the band's concert dates.[22][23] He hired streetwise friends Hamp "Bubba" Banks and J.B. Brown as his personal managers, and they enlisted gangsters Edward "Eddie Chin" Elliott and Mafioso J.R. Valtrano as his bodyguards. Stone assigned these individuals to handle his business dealings, find drugs and protect him from those he considered enemies, among them his own bandmates and staff.[24] A rift developed between Sly and the rest of the band, which led to drummer Gregg Errico's departure in early 1971.[25] Speculation arose as to the release of new studio material. In a December 24, 1970 article for Rolling Stone magazine, journalist Jon Landau wrote: The man from Epic tells me that Sly hasn't recorded much lately. His last album of new material was released well over a year ago and even 'Thank You', his last single, is old by now. Greatest Hits was released only as a last resort in order to get something salable into the record stores. It was a necessary release and stands as the final record of the first chapter in Sly & the Family Stone's career. Whatever the reasons for his recording abstinence, I hope it ends soon so that he can get back to making new music and we can get back to listening to it.[26] Stone's intention of a darker, more conceptual work was influenced by drug use and the events that writer Miles Marshall Lewis called "the death of the sixties"; political assassinations, police brutality, the decline of the civil rights movement and social disillusionment.[27] According to The Austin Chronicle, "slowed down, [Sly's] quest for post-stardom identity mirrored black America's quest for post-Sixties purpose." Recording and Production Sly Stone mostly worked on There's a Riot Goin' On alone in a studio that he had built for himself at The Plant Studios, also known as The Record Plant, in Sausalito, California, or at his home studio in the loft of his Bel Air mansion. He would often lie down in the bed and record his vocals with a wireless microphone system.[29] According to the other Family Stone members, most of the album was performed by him alone, overdubbing and sometimes using a drum machine to lay down beats,[29] namely the Maestro Rhythm King MRK-2, which featured preset rhythms.[30] Stone felt that the rhythm box made unrealistic sounds if used as designed, so he resorted to overdubbing the drum sounds manually,[29] contributing to the dense mix.[30] Other band members contributed by overdubbing alone with Sly instead of playing together as before. For "Family Affair" and some other tracks Stone enlisted several other musicians including Billy Preston, Ike Turner, and Bobby Womack instead of his bandmates, and several female vocalists mostly omitted from the final mix. The album's muddy, gritty sound was due in part to this overdubbing and erasing and mixing techniques nearly drowned out undubbed sounds. Miles Marshall Lewis stated, "Never before on a Sly and the Family Stone album were songs open to so much interpretation, and even more so, dripping with cynicism. On the other hand you can hardly hear what he's saying for most of the album. Like Radiohead's Kid A (2000) or even the Rolling Stones' Exile on Main St. (1972) more recent to the time, a murkiness in the mix of the record inhibits complete comprehension of the words."[29] In the fall of 1971 Stone delivered the final mixes to the CBS Records offices, relieving the worried Davis.[31] CBS issued "Family Affair" as the first single, the band's first in nearly two years.[31] A somber, electric piano-based record sung by Sly (in a low, relaxed tone) and sister Rose Stone, it became their fourth and final number-one pop hit.[32] It is one of the earliest hit recordings to use a drum machine – a slightly earlier Sly Stone production, Little Sister's "Somebody's Watching You", was also among the first.[29] Critical Reception AllMusic 5/5 Christgau's Record Guide A+ Encyclopedia of Popular Music 5/5 The Guardian 4/5 PopMatters 8/10 Q 4/5 Rolling Stone 5/5 The Rolling Stone Album Guide 5/5 Stylus Magazine A Uncut 5/5 Audience Reception 84/100 from 346 users, #27 for 1971 - AlbumOfTheYear 9.1/10 from 1,078 users - AllMusic 4.3/5 from 108 users - Musicboard 3.94/5 from 9,483 users, #19 for 1971, #402 overall - RateYourMusic
There's A Riot Going On Drug-addled dystopia writ large. The fuggy claustrophobia of everything falling apart; internally & externally. Sly's last hoorah before the cracks turn into a chasm. It's marvellous.
82. Sly and the Family Stone - There’s a Riot Goin' On 3/5 There are only a couple of artists where I am primarily interested in their greatest hits. Sly is one of those...
Spent a big chunk of last night thinking about what to say about Dusty in Memphis without turning it into a book. Suffice to say it's a great singer singing (mostly) great songs with a great session band. Any one of these elements would make it worth at least hearing. That said it's not going to be for everyone and was famously only a very modest seller at the time despite being a critics' favorite by an established star and containing a mid-sized hit. I's even go so far to say that although I fully think it belongs on this list, I find her next album Brand New Me to be even better, maybe my favorite album done at Sigma Sound in Philly. I also prefer Shelby Lynne's tribute to Dusty Just a Little Lovin' which is one of the very few albums from the 21st century I'd even consider for my list. The session guys loved it, which is saying something for a band that worked with Elvis and for one week had played on fully one quarter of the Hot 100.
Dusty in Memphis A Another album that I'm so glad for published critics polls to give people exposure to things to maybe just take chances on, because this is pretty far outside my normal wheelhouse for music. But, I found a CD for cheap once about 20 years ago, remembered that I'd seen this in a few polls, and took a flyer on it. I've since gotten a few other of her albums, but this one is just magical - everything went right here.
There's a Riot Goin' On A Neither are things you want to play on a regular basis, but I view this similarly to Plastic Ono Band but will take Riot any day. Updated A list: Allman Brothers - At Fillmore East B52s – B52s The Band - The Band Beach Boys – Wild Honey Beastie Boys – Check Your Head Beastie Boys - Paul's Boutique Beck – Odelay Big Star - #1 Record Bjork – Post Bjork – Homogenic David Bowie - Low Buzzcocks – Singles Going Steady The Byrds – Sweetheart of the Rodeo Can – Ege Bamyasi The Cars – The Cars Johnny Cash – At Folsom Prison The Clash- The Clash Sam Cooke – Live at the Harlem Square Club Elvis Costello - This Year's Model Creedence Clearwater Revival – Cosmo’s Factory Creedence Clearwater Revival – Willy & the Poor Boys D’Angelo – Black Messiah Daft Punk – Random Access Memories Miles Davis - Bitches Brew De La Soul - 3 Feet High and Rising De La Soul – De La Soul is Dead Derek & The Dominos - Layla DJ Shadow - Entroducing Bob Dylan – Love & Theft Bob Dylan – Bringing it All Back Home Brian Eno – Another Green World Flying Burrito Bros – Gilded Palace of Sin Funkadelic - Maggot Brain Gang of Four – Entertainment! Ghostface Killah – Supreme Clientele Grateful Dead – American Beauty GZA – Liquid Swords Husker Du – New Day Rising Ice Cube – Amerikkka’s Most Wanted Isley Brothers – 3+3 J Dilla – Donuts Joy Division – Unknown Pleasures Kinks – Something Else Kinks – Village Green Preservation Society Fela Kuti – Expensive Sh!t Kendrick Lamar – DAMN. Kendrick Lamar - good kid, m.A.A.d city Led Zeppelin - Led Zeppelin LCD Soundsystem – Sound of Silver Los Lobos – How with the Wolf Survive Madvillain - Madvillainy Bob Marley - Catch a Fire Massive Attack – Mezzanine Massive Attack – Blue Lines Curtis Mayfield – Curtis Metallica - Master of Puppets Minutemen – Double Nickels on the Dime Joni Mitchell - Court and Spark Van Morrison - Moondance Motorhead – Ace of Spades Harry Nilsson – Nilsson Schmilsson Notorious BIG – Life after Death Frank Ocean - Channel Orange Parliament – Mothership Connection Pavement – Crooked Rain Pavement – Wowee Zowee Pavement – Slanted & Enchanted Pink Floyd – Wish You Were Here Pixies - Doolittle Portishead - Dummy Pretenders - Pretenders Public Enemy – Fear of a Black Planet Pulp - Different Class R.E.M. - Murmur R.E.M. - Automatic For the People Radiohead – In Rainbows Radiohead – The Bends Raekwon – Only Built 4 Cuban Linx Ramones – Rocket to Russia Rhianna – Anti Rolling Stones - Sticky Fingers Rolling Stones – Beggar’s Banquet Rush – Moving Pictures Paul Simon – Paul Simon Sly & the Family Stone - There's a Riot Goin' On Sonic Youth – Daydream Nation Dusty Springfield - Dusty in Memphis Steely Dan- Can’t Buy a Thrill Rod Stewart - Every Picture Tells a Story Stooges - Raw Power Television - Marquee Moon U2 - Achtung Baby Vampire Weekend – Modern Vampires of the City Various – Indestructible Beat of Soweto Velvet Underground - Velvet Underground Lucinda Williams - Car Wheels on a Gravel Road Neil Young- Everybody Knows This is Nowhere Neil Young - After the Gold Rush Neil Young – On the Beach Neil Young – Tonight’s the Night Neil Young- Rust Never Sleeps
81. Beyoncé - Beyoncé (2013) Producers: 40 Ammo Beyoncé Boots Detail Jerome Harmon Caroline Polachek Ryan Tedder The-Dream The Order Timbaland Justin Timberlake Key Wane Pharrell Williams Beyoncé (often stylized in all caps) is the fifth studio album by American singer Beyoncé. The record was released on December 13, 2013, by Parkwood Entertainment and Columbia Records. Developed as a "visual album", its songs are accompanied by non-linear short films that illustrate the musical concepts conceived during production. Its dark, intimate subject material includes feminist themes of sex, monogamous love, and relationship issues, inspired by Beyoncé's desire to assert her full creative freedom. The album's initial recording began in New York City, where Beyoncé invited producers and songwriters to live with her for a month. During extensive touring the following year, the album changed as she conceived of creating a visual accompaniment to its songs and resumed recording sessions with electronic producer and rock musician Boots. Their collaboration led to more sonically experimentalmaterial, which combined contemporary R&B with electronic and soul music. Throughout this period, the album's songs and videos were composed in strict secrecy as Beyoncé devised an unexpected release. Beyoncé was released digitally on the iTunes Storewithout prior announcement or promotion, and debuted at number one on the US Billboard 200, earning Beyoncé her fifth consecutive number-one album on the chart. The album sold over 617,000 copies in the United States and 828,773 copies worldwide in its first three days of sales, becoming the fastest-selling album in the history of the iTunes Store up to that point.[2] According to the International Federation of the Phonographic Industry (IFPI), Beyoncé was globally the tenth-best-selling album of 2013.[3] The album was reissued in November 2014 as part of a platinum edition, along with an extended play of new songs, and has sold over 5 million copies worldwide. Part of the album was promoted on The Mrs. Carter Show World Tourduring the 2014 legs. Beyoncé received widespread acclaim from critics upon release who praised its production, exploration of sexuality, vocal performance, as well as the album's surprise release strategy which was subsequently replicated by many artists. Background and Development Following the release of her fourth studio album 4(2011), Beyoncé gave birth to her first child, Blue Ivyon January 7, 2012.[6] Just four months after labor, she pursued a three-night residency at Revel Atlantic City's Ovation Hall, entitled Revel Presents: Beyoncé Live.[7][nb 1] The choice to hold concerts so soon was purposeful; Beyoncé intended to demonstrate to mothers that they need not halt their careers despite having had children.[9] Most of the summer following the residency was spent in The Hamptons, New York, where she took time out from the public to spend time with her daughter and to begin sessions for her next album.[10] She resumed work in early 2013, performing "The Star-Spangled Banner" at President Barack Obama's second inauguration and headlining the Super Bowl XLVII halftime show, where there were expectations she would debut new music, although these rumors never materialized.[11] She also released a self-directed autobiographical documentary in February, entitled Life Is But a Dream. In March 2013, a two-part hip hop track entitled "Bow Down/I Been On" was released onto Beyoncé's SoundCloud account.[13] "Bow Down", produced by Hit-Boy, was written after Beyoncé woke up one morning with a chant stuck in her head, feeling angry and defensive.[12][14] This was melded with a Timbaland-produced second half "I Been On" that makes prominent use of a pitch-distorted vocal as a homage to the Houston hip hop scene.[15][nb 3]Michael Cragg of The Guardian described the song as "brilliantly odd", commending its loud, abrasive production,[13] while Pitchfork's Lindsay Zoladz noted the song's assertiveness and believed it served as an introduction of what was to come.[15]"Bow Down/I Been On" was perceived as a significant departure from Beyoncé's existing catalogue, particularly for its aggressive nature.[13][15] The song's atmosphere and its controversial "Bow down, bitches" refrain drew a mixed reaction from those who questioned whether the lyric was aimed at women or merely a moment of braggadocio.[12][17] Beyoncé clarified after the album's release, where elements of "Bow Down" appear on the track "Flawless", that the song and its refrain were intended as a statement of female empowerment.[12] Neither Beyoncé or her representatives commented on the release of "Bow Down/I Been On", and many journalists questioned the nature of its release in the context of the release of her upcoming album.[15]Further confusion was created when portions of other tracks "Grown Woman" and "Standing on the Sun" were used for television advertising campaigns, with a similar lack of explanation as to their purpose.[18] Through much of 2013, the media intermittently reported that the album was delayed or scrapped, with one story alleging Beyoncé had scrapped fifty songs in favor of starting again. In July 2013, a spokesperson for Beyoncé denied speculation that her album had been delayed, stating there was no official release date to begin with and that when a date is set, it would be announced via an official press release.[19] There was considerable confusion among music journalists and fans as Beyoncé engaged in extensive touring, while not discussing the album or its release. Audience Reception 83/100 from 1,771 users, #18 for 2013 - AlbumOfTheYear 7.8/10 from 821 users - AllMusic 4.3/5 from 1,367 users, #6 for 2014, #219 overall - Musicboard 3.41/5 from 5,893 users, #312 for 2013 - RateYourMusic
Beyonce B+ I didn't pay much attention to Beyonce's music until this came out. Several of her albums in the 2010s got rave reviews so I checked all of them out. I don't get the "great album" status that this has attained, but I can say that I do enjoy a number of the singles from it and very much appreciate its artistic ambitions.
BEYONCE There are dozens of people accredited with this assemblage. It's a factory line record, with absolutely nothing to say beyond "buy me". Store next to the cans of baked beans. Miss.
I love your reviews, but this one is objectively false. Having a lot of collaboration does not equal "assembly line" and this was about the enlistment of artistic collaboration, not sending song sketches through an assembly line process of finishing. Was Something/Anything a factory line record?
DUSTY IN MEMPHIS (Dusty Springfield) I love "Son Of A Preacher Man" and it gets a spot in my top 500 songs. This is a good album. Perhaps overrated. I certainly wouldn't have it this high, but I think it can sneak into the lower regions of my top albums list. GRADE: B+ THERE'S A RIOT GOING ON (Sly & the Family Stone) Continuing the perhaps overrated theme. This one got a lot of hype, but I think STAND is a much better overall album. RIOT makes my other worthy albums list. GRADE: B BEYONCE (Beyonce) I consider Beyonce a singles artist. I would not include any album of hers beyond a greatest hits. GRADE: C+ My Current Top 100+ Albums: 1. THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY (The Kinks) 2. ODYSSEY AND ORACLE (The Zombies) 3. PIPER AT THE GATES OF DAWN (Pink Floyd) 4. BRIDGE OVER TROUBLED WATER (Simon & Garfunkel) 5. TOMMY (The Who) 6. MURMUR (REM) 7. SOMETHING ELSE (The Kinks) 8. ALL THINGS MUST PASS (George Harrison) 9. NUGGETS (Various Artists) 10. DEJA VU (Crosby, Stills, Nash, & Young) 11. MODERN LOVERS (Modern Lovers) 12. THE JOSHUA TREE (U2) 13. RAM (Paul & Linda McCartney) 14. BETWEEN THE BUTTONS (Rolling Stones) 15. AUTOMATIC FOR THE PEOPLE (REM) 16. THE DOORS (The Doors) 17. A HARD DAYS NIGHT (The Beatles) 18. THE WHO SELL OUT (The Who) 19. DAMN THE TORPEDOES (Tom Petty & the Heartbreakers) 20, PARALLEL LINES (Blondie) 21. HOTEL CALIFORNIA (The Eagles) 22. THE CARS (The Cars) 23. FULL MOON FEVER (Tom Petty) 24. GOODBYE YELLOW BRICK ROAD (Elton John) 25. RADIO CITY (Big Star) 26. #1 RECORD (Big Star) 27. ODELAY (Beck) 28. COSMO'S FACTORY (CCR) 29. WISH YOU WERE HERE (Pink Floyd) 30. MEET THE BEATLES (The Beatles) 31. ROCKET TO RUSSIA (Ramones) 32. DOOKIE (Green Day) 33. THE B 52'S (The B 52's) 34. THIS YEAR'S MODEL (Elvis Costello) 35. IS THIS IT? (The Strokes) 36. EVERY PICTURE TELLS A STORY (Rod Stewart) 37. FOREVER CHANGES (Love) 38. BORN IN THE USA (Bruce Springsteen) 39. CAR WHEELS ON A GRAVEL ROAD (Lucinda Williams) 40. HELP (The Beatles) 41. AMERICAN BEAUTY (Grateful Dead) 42. LET IT BE (The Beatles) 43. WEEZER (Weezer) 44. THE CLASH (The Clash) 45. COURT AND SPARK (Joni Mitchell) 46. STAND (Sly & the Family Stone) 47. MOONDANCE (Van Morrison) 48. ANTHOLOGY (The Temptations) 49. EVERYBODY KNOWS THIS IS NOWHERE (Neil Young) 50. ANTHOLOGY (Diana Ross & the Supremes) 51. YOUNG GIFTED AND BLACK (Aretha Franklin) 52. SWEET BABY JAMES (James Taylor) 53. 20 GOLDEN GREATS (Buddy Holly) 54. HERES LITTLE RICHARD (Little Richard) 55. THE DEFINITIVE COLLECTION (Abba) 56. HOUSES OF THE HOLY (Led Zeppelin) 57. AMERICAN IDIOT (Green Day) 58. BEGGARS BANQUET (Rolling Stones) 59. THE STRANGER (Billy Joel) 60. VELVET UNDERGROUND (Velvet Underground) 61. THE STOOGES (The Stooges) 62. SURREALISTIC PILLOW (Jefferson Airplane) 63. MY AIM IS TRUE (Elvis Costello) 64. PLASTIC ONO BAND (John Lennon) 65. SOMETHING/ANYTHING (Todd Rundgren) 66. BROTHERS IN ARMS (Dire Straits) 67. CLOSE TO THE EDGE (Yes) 68. IMAGINE (John Lennon) 69. THE PRETENDERS (The Pretenders) 70. PINK MOON (Nick Drake) 71. PROUNCED LENHERD SKINNERD (Lynryd Skynryd) 72. 1999 (Prince & the Revolution) 73. BACK IN BLACK (ACDC) 74. ELEPHANT (The White Stripes) 75. UNPLUGGED IN NEW YORK CITY (Nirvana) 76. ABRAXAS (Santana) 77. PORTRAIT OF A LEGEND (Sam Cooke) 78. WILLY AND THE POOR BOYS (Creedence Clearwater Revival) 79. BRINGING IT ALL BACK HOME (Bob Dylan) 80. STORIES FROM THE CITY (PJ Harvey) 81. MOVING PICTURES (Rush) 82. KING OF THE DELTA BLUES SINGERS (Robert Johnson) 83. DICTIONARY OF SOUL (Otis Redding) 84. SOME GIRLS (Rolling Stones) 85. DISRAELI GEARS (Cream) 86. LED ZEPPELIN II (Led Zeppelin) 87. LAYLA AND OTHER ASSORTED LOVE SONGS (Derek & the Dominoes) 88. ACHTUNG BABY (U2) 89. CURRENTS (Tame Impala) 90. BEACH BOYS TODAY (The Beach Boys) 91. ELVIS PRESLEY (Elvis Presley) 92. BO DIDDLEY/GO BO DIDDLEY (Bo Diddley) 93. PARKLIFE (Blur) 94. MUSIC FROM BIG PINK (The Band) 95. AFTER THE GOLD RUSH (Neil Young) 96. WHITE LIGHT/WHITE HEAT (Velvet Underground) 97. SIAMESE DREAM (Smashing Pumpkins) 98. LIVE AT LEEDS (The Who) 99. RUST NEVER SLEEPS (Neil Young) 100. CALIFORNICATION (Red Hot Chili Peppers) 101. CROSBY, STILLS & NASH (Crosby, Stills, & Nash) 102. TEN (Pearl Jam) 103. THE WALL (Pink Floyd) 104. DUSTY IN MEMPHIS (Dusty Springfield) 105. A NIGHT AT THE OPERA (Queen) Other worthy albums: ANOTHER GREEN WORLD (Brian Eno), TEA FOR THE TILLERMAN (Cat Stevens), EITHER/OR (Elliot Smith), OTIS BLUE (Otis Redding), ELECTRIC WARRIOR (T-Rex), COAT OF MANY COLORS (Dolly Parton), CAN'T BUY A THRILL (Steely Dan), WHAT'S THE STORY MORNING GLORY (Oasis), METALLICA (Metallica), LIVE AT FOLSOM PRISON (Johnny Cash), FREEWHEELIN BOB DYLAN (Bob Dylan), SHE'S SO UNUSUAL (Cyndi Lauper), HEADHUNTERS (Herbie Hancock), JOHN PRINE (John Prine), THE MARSHALL MATHERS ALBUM (Eminem), MORE SONGS ABOUT BUILDING AND FOOD (Talking Heads), MOANING IN THE MOONLIGHT (Howlin Wolf), THE BIRTH OF SOUL (Ray Charles), HEAVEN OF LAS VEGAS (Cocteau Twins), 40 GREATEST HITS (Hank Williams), THE ANTHOLOGY (Muddy Waters), PRESENTING THE FABULOUS RONETTES (Ronettes), NICK OF TIME (Bonnie Raitt), SHERYL CROW (Sheryl Crow), BACK TO MONO (Phil Spector w/various artists), THE IMMACULATE COLLECTION (Madonna), HONKY CHATEAU (Elton John), SO (Peter Gabriel), PAUL SIMON (Paul Simon)., MR. TAMBOURINE MAN (The Byrds), CONTROL (Janet Jackson), HEART LIKE A WHEEL (Linda Rondstadt), STICKY FINGERS (The Rolling Stones), LIVE AT THE FILLMORE EAST (The Allman Brothers), LUCINDA WILLIAMS (Lucinda Williams), 69 LOVE SONGS (Magnetic Fields), NORMAN F ROCKWELL (Lana Del Rey), AXIS/BOLD AS LOVE (Jimi Hendrix), HUNKY DORY (David Bowie), THERE'S A RIOT GOING ON (Sly & the Family Stone)
80. The Sex Pistols - Never Mind the Bollocks Here’s the Sex Pistols (1977) Producer: Chris Thomas, Bill Price Never Mind the Bollocks, Here's the Sex Pistols is the only studio album by English punk rock band the Sex Pistols, released on 28 October 1977 by Virgin Records in the UK and on 11 November 1977 by Warner Bros. Records in the US. The album has influenced many bands and musicians, and the industry in general. In particular, the album's raw energy, and Johnny Rotten's sneering delivery and "half-singing", are often considered game-changing. It is frequently listed as the most influential punk album, and one of the greatest and most important albums of all time. The band's internal relationships were always volatile, and the lineup saw changes during the recording of the album. Original bass guitarist Glen Matlock left the band early in the recording process, and while he is credited as a co-writer on all but two of the tracks, he only performed bass and backing vocals on one track, "Anarchy in the U.K." Recording sessions continued with a new bass player, Sid Vicious, who is credited on two of the songs written by the band after he joined. While Vicious's bass playing appeared on two tracks, his lack of skill on the instrument meant that many of the tracks were recorded with guitarist Steve Jones playing bass instead. Drummer Paul Cook, Jones and singer Rotten appear on every track. The various recording sessions were led alternately by Chris Thomas or Bill Price, and sometimes both together, but as the songs on the final albums often combined mixes from different sessions, or were poorly documented who was present in the recording booth at the time, each song is jointly credited to both producers. By the time of its release, the Sex Pistols were already controversial, having spoken profanity on live TV, been fired from two record labels, and been banned from playing live in some parts of Britain. The album title added to that controversy, with some people finding the word "bollocks" offensive. Many record stores refused to carry it and some record charts refused to list its title, showing just a blank space instead. Due in part to its notoriety, and in spite of many sales bans at major retailers, the album debuted at number one on the UK Album Charts. It achieved advance orders of 125,000 copies after a week of its release and went gold only a few weeks later, on 17 November. It remained a best-seller for nearly a year, spending 48 weeks in the top 75.[1] The album has also been certified platinum by the RIAA. It has seen several reissues, the latest in 2017. Writing John Lydon, Steve Jones and Paul Cook wrote the album's 12 tracks between August of 1975 and June of 1976, with Glen Matlock acting as a co-writer on most of the tracks, written before his departure in February of 1977, and Sid Vicious co-writing the two written after his entry into the group. The first track written by the group was 'Pretty Vacant,'[2][3] and by their November 6th, 1975 concert at Central Saint Martins College of Art and Design they had written 'Seventeen', which closed their set.[4] The next day the group performed at The Holborn Central School of Art and debuted 'Pretty Vacant' and 'Submission'.[5] On the 21st, they debuted the song 'New York'.[6] By February 1976, the group had gained traction[7] and debuted the song 'Problems' for their second encore on February 14th. Their setlists at this time were becoming more filled with their material[8] and less reliant on covers, as their earlier shows had been. By April 3rd, they were playing 'No Feelings' in concert,[9] and on July 20th, debuted 'Anarchy In the U.K', which was seemingly influenced by Vivienne Westwood and Jamie Reid,[10] the latter of which had begun creating publicity material for the group that Spring.[11] By August 14th the group were performing 'Liar' live. Critical Reception AllMusic 5/5 Christgau's Record Guide A Classic Rock 10/10 Encyclopedia of Popular Music 5/5 The Guardian 5/5 Mojo 5/5 Q 5/5 The Rolling Stone Album Guide 5/5 Spin Alternative Record Guide 10/10 Uncut 8/10 Audience Reception 78/100 from 779 users, #80 for 1977 - AlbumOfTheYear 8.8/10 from 3,557 users - AllMusic 3.8/5 from 199 users - Musicboard 3.58/5 from 18,150 users, #113 for 1977, #5,890 overall - RateYourMusic