ILM's Now For Something Completely Different... 70s Album Poll Results! Top 100 Countdown!

that Goblin "album" is on allmusic, as an image only. It's an unrelated movie poster. I tried to figure out what was actually intended, and all I could come up with is a possible greatest hits from 1979.

xp, that above cd is from much later.

The cd is from later obv, but it covers music from 1975 (i.e. Profondo Rosso) onwards

485    Cabaret Voltaire - Extended Play    436  Points  4  Votes
http://upload.wikimedia.org/wikipedia/en/b/bd/Cabaret_Voltaire-Extended_Play.jpg
RYM Ranked #18 for 1978 , #1162 overall

What is Be-Bop Deluxe like? Kinda wish I could've been arsed to vote but well, I suppose I couldn't be arsed. Looks like you guys did a good job of the tracks poll though. Maybe I would've broken the tie on the Vibrators.

I don't know how I forgot to vote for Cab Voltaire. Hopefully Mix-Up will place a lot higher.

484    Tonto's Exploding Head Band - Zero Time    439 Points   6  Votes
http://www.silverdisc.com/images/4/4753314800427.jpg
RYM #566 for 1971

review
by Jim Brenholts

Zero Time is one of the first -- and perhaps best of -- all electronic albums. Robert Margouleff and Malcolm Cecil, under the alias of T.O.N.T.O.'s Expanding Head Band, created this analog marvel on T.O.N.T.O. -- "The Original New Timbral Orchestra." The pristine synth washes are crisp and clear. Margouleff and Cecil forged a new sound with a digital feeling. Oddly, this instrument was embraced and used extensively by Motown artists. Steve Hillage used it on Motivation Radio, and Devo used it quite often. (Cecil produced and engineered a number of their albums.) The rest of the rock & roll community ignored it. For historical purposes, this rare and collectible album is essential. For musical integrity, it still stands the test of time and is essential. It is a classic with no real peers, but it will appeal to fans of Mother Mallard's Portable Masterpiece Company, Jean Michel Jarre, Tangerine Dream, Wendy Carlos, and Fripp & Eno in terms of its uniqueness and legacy.

http://open.spotify.com/artist/1EAuonSn6FGXejwZS6EU9Z

Are you ready for some funk?

483    Fela Kuti - Roforofo Fight    441 Points  4  Votes
http://2.bp.blogspot.com/-Y-JMAu-xy1w/TdJiXdM0cHI/AAAAAAAABZ0/rpK83Y--Ssc/s1600/Fela%2BKuti%2B-%2BRoforofo%2BFight.jpg
RYM #22 for 1972 , #540 overall
http://open.spotify.com/album/6F9klNzRwcs3yk40DEUh3l

review
[-] by Thom Jurek

This is essentially a CD reissue of Fela Kuti's 1972 album Roforofo Fight, with the addition of two previously unreleased tracks from the same era. It's true that Kuti's early-'70s records tend to blur together with their similar groupings of four lengthy Afro-funk jazz cuts. In their defense, it must be said that while few artists can pull off similar approaches time after time and continue to make it sound fresh, Kuti is one of them. Each of the four songs on Roforofo Fight clocks in at 12 to 17 minutes, and there's a slight slide toward more '70s-sounding rhythms in the happy-feet beats of the title track, and the varied, yet rock-solid drums in "Go Slow." There's just a hint of reggae in "Trouble Sleep Yanga Wake Am," in the pace, vocal delivery, ethereal keyboards, and lilting yet dramatic minor melodic lines. The James Brown influence is strongly heard in the lean, nervous guitar strums of "Question Jam Answer," and the horns cook in a way that they might have had Brown been more inclined to let his bands go into improvisational jams. The two bonus tracks -- "Shenshema" (from 1972) and "Ariya" (from 1973) -- comprised the segment of the CD titled "Fela Singles" a curious phrase given that they were previously unreleased. "Shenshema" is a nine-minute cut that is heavy on go-go-like percussion and cool, responsive chants from the band. The ten-minute "Ariya" is a real discovery, its urgent spy theme-like melody and Kuti's haunting, driven vocals making it a highlight even relative to the generally high quality of his recordings during this period. The same set was remastered and licensed to the venerable Wrasse Records label. The package is deluxe, in a slipcase. There is a biographical essay included and notes on individual songs by Mabinuori Idowu, the author of the excellent biography Fela, Why Blackman Carry Shit.

First Fela of the poll. I doubt it will be the last!

Known about the Tonto's record since forever but am only just listening now. It's great! Some nice synth tones there. This is possibly slightly off-putting, but it makes me think of really chewy toffee - I think it's the really slow-moving thick rubbery core with all this sweet sugary drool squelching all around about it.

482   The New York Dolls - Too Much Too Soon    442 Points   4  Votes
http://covers.box.sk/newsimg/dvdmov/max1156707326-front-cover.jpg
RYM #131 for 1974 , #4734 overall
http://open.spotify.com/album/7fSPQODyyLrutYRPIPxgR9

review
[-] by Stephen Thomas Erlewine

After the clatter of their first album failed to bring them a wide audience, the New York Dolls hired producer Shadow Morton to work on the follow-up, Too Much Too Soon. The differences are apparent right from the start of the ferocious opener, "Babylon." Not only are the guitars cleaner, but the mix is dominated by waves of studio sound effects and female backing vocals. Ironically, instead of making the Dolls sound safer, all the added frills emphasize their gleeful sleaziness and reckless sound. the Dolls sound on the verge of falling apart throughout the album, as Johnny Thunders and Syl Sylvain relentlessly trade buzz-saw riffs while David Johansen sings, shouts, and sashays on top of the racket. Band originals -- including the bluesy raver "It's Too Late," the noisy girl-group pop of "Puss N' Boots," and the Thunders showcase "Chatterbox" -- are rounded out by obscure R&B and rock & roll covers tailor-made for the group. Johansen vamps throughout Leiber & Stoller's "Bad Detective," Archie Bell's "(There's Gonna Be A) Showdown," the Cadets "Stranded in the Jungle," and Sonny Boy Williamson's "Don't Start Me Talkin'," yet it's with grit and affection -- he really means it, man! The whole record collapses with the scathing "Human Being," on which a bunch of cross-dressing misfits defiantly declare that it's OK that they want too many things, 'cause they're human beings, just like you and me. Three years later, the Sex Pistols failed to come up with anything as musically visceral and dangerous. Perhaps that's why the Dolls never found their audience in the early '70s: Not only were they punk rock before punk rock was cool, but they remained weirder and more idiosyncratic than any of the bands that followed. And they rocked harder, too.

Acclaimed: #918

The legendary Shadow Morton produced the second album; though the results don't match Rundgren's, the Dolls come roaring through nonetheless. There are fewer originals, but the songs they covered have never been the same. "Stranded in the Jungle," "Showdown," "Bad Detective" and "Don't Start Me Talking," reflecting the band's live repertoire at the time, affirm the Dolls' R&B roots. -- Trouser Press

I'm sure I wont be the only one surprised at that low placing. Still dont think its anywhere near as good as the 1st though.

Glad to have heard this Tonto record, this is really good. Was stuff like Klaus Schulze nommed for this poll?

I wanted to but think Balls vetoed it? I think his compromise for allowing it was to be the krautROCK end of krautrock.

I shoulda sneaked in one tbh

roforofo fight has one of my favorite fela jams: "trouble sleep yanga wake am". it's a relative slow jam by fela standards, but it's awesome

480    Tony Allen - No Accomodation For Lagos    445 Points   4  Votes
http://www.recordsale.de/cdpix/t/tony_allen_plays_with_afrika_70-no_accomodation_for_lagos(1).jpg
RYM Ranked #198 for 1979

review
[-] by Marisa Brown

Tony Allen, drummer for Fela Kuti's band Africa 70 and one of the innovators of Afro-beat, has spent much of his solo career exploring other genres, melding them with his distinct percussion style and showing its, and therefore his, diversity. In Lagos No Shaking, however, Allen returns -- literally and musically -- to where he first started. Recorded during ten days in June 2005 in Nigeria's largest city and Allen's hometown, the album is pure Afro-beat, drawing from Kuti's sax players Baba Ani and Show Boy and local singers Fatai Rolling Dollar and Yinka Davies, among others, to complete his band. And what results is a good -- even great at moments -- album, and while it might not take you back completely to the days of Kuti's dominance, it's a lot closer to it that any other contemporary recording. The two guitars, one on rhythm and one on choppy, tinny riffs, and a bass -- probably the actual funkiest instrument on the album -- work in and out of the polyrhythms that Allen and percussionist Yinka Ogunye create as the foundation of the songs. The horns -- sharp and brassy yet slightly muted, just like they should be -- fill in when necessary, generating movement while everything else stays relatively mellow and controlled. Not that Lagos No Shaking is a relaxed record: there's still plenty of punch and swing in the arrangements, but it doesn't have the biting sarcasm and provocativeness that Kuti's music had, focusing more on feeling and continuity instead. Still, it moves, and it moves well. The band is always tight, with thoughtful, interesting grooves, and when Rolling Dollar adds his world-weary vocals, it's almost impossible not to be transported to a hot, bustling Nigerian street. "Ise Nla," the album's opener, is fun and busy, while in "Aye Le," despite its rolling horns, there's a melancholy in the scratchy vocals as he sings about the hardships of life, and the percussion and voice version of the traditional "Awa Na Re" is stunningly profound in its simplicity, the two sounds working together to bring the best out of the others without compromising their own importance. There's a genuine warmth to everything in Lagos No Shaking that comes from Allen's dexterous hands, a sincerity, and soul that can't be faked or duplicated, proving very much why he is such an important figure in Afro-beat, and why his albums should absolutely be listened to.

oh that was a tie with this:

Tonto!

Recorded during ten days in June 2005 in Nigeria's largest city and Allen's hometown, the album is pure Afro-beat

?

480    Flower Travellin' Band - Anywhere    445  Points  4   Votes
http://4.bp.blogspot.com/-IED63-ftLbM/UEGyK8xt-TI/AAAAAAAAAnQ/wtm1CAVIk9Y/s1600/flower-travellin-band-anywhere.-180g-vinyl-lp-with-original-artwork-and-insert-708-p.jpg
RYM #707 for 1970
http://open.spotify.com/album/64SOkCNwrVJUEtdX5ZwJvl

review
[-] by Eduardo Rivadavia

Best known for its iconic, quite frankly hilarious cover art -- featuring the four bandmembers riding three motorcycles, Easy Rider-style, only buck naked (gulp!) -- the Flower Travellin' Band's 1970 debut album, Anywhere, unfortunately isn't as original where the actual music is concerned. That's because, with the exception of its minute-long, book-ending solo harmonica workouts, Anywhere was a covers album! And the second of its kind, technically speaking, following 1969's Challenge, which was recorded by the then simply named the Flowers with two different singers tackling Western rock and pop hits of the day by Janis Joplin, Cream, Hendrix, and the Jefferson Airplane. Come time for Anywhere, new singer Akira "Joe" Yamanaka had joined guitarist Hideki Ishima, bassist Joji "George" Wada, and drummer Jun Kowzuki in the newly renamed Flower Travellin' Band, and though they hadn't yet found time to come up with any original material, their often radical reworkings of the songs they covered almost qualified them as such. This is especially true of their 15-minute improvisation on Muddy Waters' "Louisiana Blues," which they render virtually unrecognizable while introducing numerous themes of the band' own devising; and, to a lesser degree, their extended jam on King Crimson's "21st Century Schizoid Man," which breaks off into quite the freak-out halfway through. And, while not as engaging from a creativity standpoint, the band's relatively straightforward take on Black Sabbath's eponymous tune (surely the first time anyone covered the Sabs on record) comes off uniquely idiosyncratic enough, as does their mostly clumsy stab at the enduring folk ballad "House of the Rising Sun," which unfortunately falls apart due to Ishima's exaggerated and often off-pitch octave leaps, and distractingly accented pronunciations ("...rouse of the lising sun," etc.). In sum, a curious listening experience to say the least. But those familiar with the group's subsequent masterpiece, Satori, will recognize all of these elements as building blocks for that album's unique mixture of progressive daring, psychedelic eccentricity, and muscular, heavy rock austerity. Those who haven't heard Satori, on the other hand, will see little point in bothering with Anywhere's covers, no matter how interesting...unless they find it impossible to resist with that legendary cover photo, that is.

yeah it's a review for a different album xp

If you dig: Hard Rock, Blues Rock, Black Sabbath. Their covers of "Black Sabbath" and King Crimson's "21st Century Schizoid Man" are worth mentioning, bu the best track in the album is the cover to Muddy Waters' "Louisiana Blues" which incorporates traditional Blues with strong Japanese influences...The cover art was outrageous this time as well and is quite possibly the coolest ever to grant an LP... -- R. Chelled

late to this but: NEW YORK DOLLS <3 <3 It's like angry, garagey KISS without the corny come-ons. Johansen is one of my favorite frontmen ever, so much attitude. Goddamn they were the shit.

TMTS is awesome! I like the first album a lot because it's so noisy but TMTS is a better album overall for me personally

479    Mother's Finest - Mother's Finest    448 Points   3   Votes
http://cps-static.rovicorp.com/3/JPG_500/MI0003/283/MI0003283685.jpg?partner=allrovi.com
RYM #324 for 1976
http://open.spotify.com/album/2u7SLLZRvtRIPcKnYjMj0H

review
[-] by Eduardo Rivadavia

Macon, Georgia's answer to Sly & the Family Stone, Mother's Finest spent the first half of the ‘70s vying for work in bars and clubs across the American Southeast -- every last one of which probably possessed an unsigned local resident Southern rock act. And though they even got as far as releasing an oft-forgotten 1972 album that pleased neither their label RCA nor themselves, Mother's Finest would only be properly "discovered" by Epic Records staff producer Tom Werman (Cheap Trick, Ted Nugent, etc.) several years later. By then, Mother's Finest had evolved into a fierce live proposition, armed with an explosive combination of urban funk and heavy rock, and this goes a long way toward explaining why this self-titled second try from 1976 frequently sounds like Sly Stone being infected with a welcome case of Nugent's "Cat Scratch Fever." For proof, listeners need look no further than the snarling riffs of first single "Fire," but they may just want to stick around ‘til the iron-soul powerhouse "My Baby" rolls around, and probably even through to the very last crash of album closer "Rain," since there is very little filler to be found in between. That first single, for example, may have stalled at number 93 on the American pop charts, but that's difficult to understand once Mother's Finest's co-lead vocal team of Joyce "Baby Jean" Kennedy (as fiery as Tina Turner, as soulful as Chaka Khan) and her hubby Glenn Murdock (no slouch himself) start going toe to toe. Not to be outdone, the band's instrumental contributors proceed to stretch their wings to the fullest on an epic jam named "Give You All the Love (Inside of Me)," showcasing funky strums and crunchy chords from Hendrix-inspired guitarist Moses Mo, pulsing clavinet from keyboard player Mike Keck, and double-trouble rhythm mastery courtesy of bassist Jerry "Wyzard" Seay and drummer Barry "B.B. Queen" Borden. Another highlight is the confrontational "Niggizz Can't Sang Rock & Roll," which at the time managed to ruffle feathers on both sides of the racial divide, and featured Murdock displaying just as much passion and virtually as many vocal chops as his better half. Unfortunately, widespread success would continue to elude Mother's Finest despite this album's many strengths -- perhaps because their songs were ultimately built to pay bigger dividends on-stage than on the radio, perhaps simply due to bad timing -- and thus a star-crossed, uneven career would follow. But for those able to appreciate where the band and its unique musical vision were coming from, it doesn't get much better than this singular LP. [Rock Candy's reissue includes two bonus tracks recorded live in 1979.]

478    Shuggie Otis - Freedom Flight    449 Points   4  Votes
http://fonkadelica.com/blog/wp-content/uploads/2012/11/Freedom_Flight_1.jpg
RYM #244 for 1971
http://open.spotify.com/album/7suTZDEkiDpzkouw300noM

review
[-] by Thom Jurek

1971's Freedom Flight is perhaps, in its own way, every bit as adventurous and regal as Shuggie Otis' masterpiece, Inspiration Information. Produced by Shuggie's father, R&B legend Johnny Otis, the album features seven stellar, genre bending cuts, most of which were written or co-written by Shuggie. Oh yes, he was 15 was the time. Shuggie not only arranged the date, he played everything from guitars and bass organ to various percussion instruments. Additional musicians include Wilton Felder, Stix Hooper, Aynsley Dunbar, Preston Love, George Duke, and a trio of backing vocalists -- Clydie King, Venetta Field, and Shirley Matthews -- all of whom would grace Bob Dylan's Street Legal a few years later. In addition, Johnny employed a full string section for these sessions. Upon listening to Freedom Flight, the influence of Jimi Hendrix is everywhere. Not so much in Shuggie's playing, but in its texture and production. He and Johnny had obviously spent a lot of time listening to Axis: Bold As Love and Electric Ladyland. In addition, the recordings of Taj Mahal, Fred McDowell, and Frank Zappa figure in here, too. Freedom Flight boasts Shuggie's single greatest composition: "Strawberry Letter 23," a monster platinum single for the Brothers Johnson. But it's Shuggie's version that stands the test of time best. It's slower, much more baroque and paisley than the cover. The tenderness in Shuggie's voice as he intones the lyrics is a real draw. "Me And My Woman," is one of the funkiest blues tunes ever recorded, with its dirty keyboard bassline that George Clinton stole wholesale three years later. In addition, two long instrumental works that end the album, "Purple" (just try to convince someone that Prince didn't listen to this tune in particular, and this album in general, over and over again before forming his aesthetic), and the title tracks are visionary and expansive with jaw-droppingly virtuoso guitar playing that is so tastefully, soulfully, and elegantly executed it' still hard to believe after all these decades that a 15 year old ever played them: Stevie Ray Vaughan had nothing on Shuggie. Freedom Flight is just as important as Inspiration Information. It's a bit rawer, not quite as lush, but it is every bit as visionary and groundbreaking.

Better album than Inspiration Information, imo

This Tony Allen/Africa 70 is cool. here's the spotify link btw. doesn't show up under a search for Tony Allen for some reason.
http://open.spotify.com/album/3Z7ezuax5xSnfEbeEuYFkh

Cover of that Shuggie Otis album always reminds me of John Cale's Vintage Violence - same font, same general layout. Good record anyhow.

477    Destroy All Monsters - 1974 1976    451 Points   4  Votes
http://3.bp.blogspot.com/_US3OpuvDhiI/TVGTA9Koo4I/AAAAAAAAAHY/KZAZMwaCqXU/s1600/cover2.jpg

review
[-] by Ned Raggett

Who knows what exactly prompted it, but one of the most unlikely box sets/multi-disc collections ever put out surfaced in 1994 courtesy of a co-release between Thurston Moore's Ecstatic Peace! and Byron Coley's Father Yod label -- and even got distribution via Warner Bros. at that! Covering the years in question, 1974-76 is an exhaustive three-disc overview of Destroy All Monsters' little-known early days, when the original core quartet were doing music for themselves and nobody else and punk was an incipient scene no matter where one looked. Given that the Asheton years are the ones most people would know, it's thrilling to hear what was going on before he came along -- while the Stooges were an admitted influence on the band, it was merely one of many. Kelley assembled the package, providing the collage of band-created artwork and an informative history of the group, its ties to Ann Arbor, and the desire of the four to do something well beyond the surrounding milieu of post-hippie/frat row life in the town. Given that everything was recorded on cheap tape using often broken or run-down equipment, the sound is still quite good. The three discs clearly show that the band definitely had the same "try anything, screw the rules, and what is supposed to be quality" approach that fellow acts like Pere Ubu, Suicide, and Chrome were coming up with, only steering even further away from what rock was supposed to be. The inclusion of some free jazz guest performers from the area isn't surprising at all, squalling sax and other brass popping up here and there. With a rhythm box providing the percussion and everything from traditional guitars and bass to any number of appliances providing the other sounds, along with Niagara's alternately sassy and sweet singing and other odd spoken word bits, the end result is woozy weirdness of high quality. The occasional cover surfaces -- "Mack the Knife," "These Boots Are Made for Walkin'" -- but otherwise it's all original, from the bad movie snippets to the drones and murky hooks throughout. Some of the Asheton tracks surface towards the end, and okay enough rock they are too, but it's the real band material that needs to be heard, and now finally can be, in spades.

Damn, still never heard that either. How available is it these days?

476    Johnny "Guitar" Watson - Ain't That A Bitch    452 Points   5  Votes
http://image.lyricspond.com/image/j/artist-johnny-guitar-watson/album-aint-that-a-bitch/cd-cover.jpg
RYM #432 for 1976

review
by Bill Dahl

Obviously, the storming funk workout that gives this 1977 gold album its title is the album's principal draw (it's been covered countless times, but never duplicated). As was his wont by this time, the multitalented Watson plays everything except drums and horns.

wrong review

review
[-] by Stephen Cook

Coming out of Houston's fertile blues scene with Albert Collins and Johnny Copeland, Johnny "Guitar" Watson trod the same route to fame that his peers did in the latter half of the '50s and for most of the '60s. Unlike Collins and Copeland, though, Watson found his biggest success as a funkster in the '70s. And lest one thinks of an aging blues legend embarrassing himself aping the innovations of George Clinton and Sly Stone, Watson found a singular groove by slicking up his already urbane blues style with lots of tasty horn arrangements, plenty of fat basslines, and wah-wah-issue guitar licks. The latter element, of course, was to be expected from a virtuoso such as Watson. And whether reeling off one of his subtle solos or blending in with the band, the reborn blues star was never less than compelling. Ain't That a Bitch, from 1976, heralded Watson's new funk era with plenty of guitar treats and one of the best batch of songs he ever cooked up. The variety here is stunning, ranging from the calypso-based blues swinger "I Need It" to the quiet storm soul ballad "Since I Met You Baby." In between, Watson goes widescreen with the comic book funk of "Superman Lover" and eases into an after-hours mood on the organ-driven jazz and blues gem "I Want to Ta-Ta You Baby." Besides the fine Watson roundups on the Rhino and Charly labels, Ain't That a Bitch works beautifully as a first-disc choice for newcomers, especially those who want to hear the '70s funk material.

http://open.spotify.com/album/2p9rPoWItqbpjcmM1xOiz5

TIE
474    Faces - First Step    455  Points  4 Votes
http://2.bp.blogspot.com/_a_oAl0zeNEg/TEV6DxqDOAI/AAAAAAAABXE/lTPXc4dkq7c/s1600/First+Step.jpg
RYM #470 for 1970

review
[-] by Stephen Thomas Erlewine

The notorious sloppiness of the Faces was apparent on their debut, almost moreso on the cover than on the music, as the group was stilled billed as the Small Faces on this 1970 debut although without Steve Marriott in front, and with Rod Stewart and Ron Wood in tow, they were no longer Small. They were now larger than life, or at least mythic, because it's hard to call an album that concludes with a riotous ode to a hand-me-down suit as larger than life. That was the charm of the Faces, a group who always seemed like the boys next door made good, no matter where next door was. Part of the reason they seemed so relatable was that legendary messiness - after all, it's hard not to love somebody if they so openly displayed their flaws - but on their debut, it was hard not to see the messiness as merely the result of the old Faces getting accustomed to the new guys. Fresh from their seminal work with Jeff Beck, Rod and Ron bring a healthy dose of Beck's powerful bastardized blues, bracingly heard on the opening cover of "Wicked Messenger," but there's a key difference here; without Beck's guitar genius, this roar doesn't sound quite so titanic, it hits in the gut. That can also be heard and Rod and Woody's "Around the Plynth," or "Three Button Hand Me Down," which is ragged rocking at its finest. Combine that with Ronnie Lane and Ian McLagan finding their ways as songwriters in the wake of the Small Faces' mod implosion, and this goes in even more directions. Lane unveils his gentle, folky side on "Stone," McLagan kicks in "Looking Out the Window" and "Three Button Hand Me Down." All these are moments that are good, often great, but the record doesn't quite gel, yet that doesn't quite matter. the Faces is a band that proves that sometimes loose ends are as great as tidiness, that living in the moment is what's necessary, and this First Step is a record filled with individual moments, each one to be savored.

474    The Runaways - Queens of Noise    455 Points   4 Votes
http://24.media.tumblr.com/tumblr_m5xlnixWJh1r19b3po1_500.jpg
#515 for 1977

review
by Alex Henderson

The Runaways didn't compromise a bit on their outstanding sophomore effort, Queens of Noise. Melodic yet tough and aggressive, this is hard rock that pulls no punches either musically or lyrically. Classics like "Neon Angels (On the Road to Ruin)," "Take It or Leave It," and "I Love Playing with Fire" wouldn't have been shocking coming from Aerosmith or Kiss, but suburban adolescent girls singing openly and honestly about casual sex, intoxication, and wild all-night parties was certainly radical for 1977. Joan Jett and Cherie Currie articulated the thoughts and feelings of the "bad girls" Kiss and countless others were describing, and they didn't hesitate to say that yes, women fantasized about sex. "Johnny Guitar" is a fine vehicle for guitarist/singer Lita Ford, who had solid chops before she was old enough to vote. Queens of Noise would be Currie's last album with the groundbreaking band.

473    Smegma - Glamour Girl 1941    458 Points,  3  Votes
http://outofprint-store1.s3.amazonaws.com/store%2Fproduction%2Fwww.outofprint.be%2Farticle%2Fimage%2F34820_1_914.jpg
RYM #491 for 1979

472    Iron Maiden - The Soundhouse Tapes    459 Points 3 Votes
http://3.bp.blogspot.com/_v0woHQ_nl68/TOPr_FxhZdI/AAAAAAAAAyY/rw_2o2-GPRI/s1600/iron_maiden_1979_the_soundhouse_tapes_front.jpg

review
[-] by Eduardo Rivadavia

Reviewing a demo recording may seem like a completely pointless exercise. But when the demo in question is influential enough that the average fan knows it by name, its humble intentions transcend beyond the normal bounds of an imperfect pre-career statement. Such is the case for Iron Maiden's legendary Soundhouse Tapes, which became one of the linchpins of the then-emerging New Wave of British Heavy Metal upon its release in November 1979. Recorded nearly a year earlier and named after one of the group's regular early haunts, the rough recordings gave sympathetic DJs clamoring for Iron Maiden material something to spin while the band still waited for a well-deserved record deal to materialize. Containing three early day live favorites ("Iron Maiden," "Invasion," and "Prowler"), the original 7" vinyl's initial 5,000 unit pressing sold out via mail order in less than a week and offered conclusive proof of the band's potential appeal to EMI, which subsequently rewarded them with an impressive five-album deal. The rest, as they say, is history, and while quite impossible to find in its original pressing, occasional re-releases have kept Soundhouse Tapes' legend alive and well over the years. [When Sony Music reissued the entire Iron Maiden catalog (for the third time) in 2002 using a slipcase, mini-LP package, avid fans who purchased six titles were given the chance to remit the stickers inside, along with a check for six dollars and 66 cents (get it?) to receive their very own copy of Soundhouse Tapes on CD.]

Faces! I'm flyyyyiiinnng

471    Thin Lizzy - Bad Reputation    460 Points   3   Votes
http://distro.todestrieb.co.uk/images/large/covers12/thinlizzy-badreputation_LRG.jpg
RYM #62 for 1977 , #3080 overall
http://open.spotify.com/album/2fF9jiuJYCq1jMpmNewzYi

review
[-] by Stephen Thomas Erlewine

If Thin Lizzy got a bit too grand and florid on Johnny the Fox, they quickly corrected themselves on its 1977 follow-up, Bad Reputation. Teaming up with legendary producer Tony Visconti, Thin Lizzy managed to pull off a nifty trick of sounding leaner and tougher than they did on Johnny, yet they also had a broader sonic palette. Much of this is due, of course, to Visconti, who always had a flair for subtle dramatics that never called attention to themselves, and he puts this to use in dramatic effect here, to the extent that Lizzy sound stripped down to their bare bones, even when they have horns pushing them forward on "Dancing in the Moonlight" or when overdubbed vocals pile up on the title track. Of course, they were stripped down to a trio for most of this record: guitarist Brian Robertson (who'd injured his hand) had to sit out on most of the recording, but Scott Gorham's double duty makes his absence unnoticeable. Plus, this is pure visceral rock & roll, the hardest and heaviest that Thin Lizzy ever made, living up to the promise of the title track. And, as always, a lot of this has to do with Phil Lynott's writing, which is in top form whether he's romanticizing "Soldiers of Fortune" or heading down the "Opium Trail." It adds up to an album that rivals Jailbreak as their best studio album.

Impressive result for Smegma!

^ creepy tape fuckery btw, guess most people know them from the NWW list?

470    Magma - Köhntarkösz    461 Points   3  Votes
http://3.bp.blogspot.com/_WWIy23PK7tM/TJulmC09aKI/AAAAAAAAKao/8pkgOu0EUiw/s1600/cover.jpg
RYM #53 for 1974 , #1808 overall

review
[-] by Dominique Leone

Magma's famed "Kobaian" saga took a detour with this 1974 release. Drummer Christian Vander's band had heretofore specialized in a brand of progressive rock that had more in common with the Teutonic grandeur of Richard Wagner than the Baroque ornamentation of Yes or Gentle Giant. Kohntarkosz witnessed a change in sound to something altogether stranger, yet by many accounts, more conventionally beautiful. Vander is on record as saying he was worried that other artists had been "stealing" his ideas (most notably, Mike Oldfield, who had been a studio visitor during the sessions for Mekanik Destruktiw Kommanoh), and that may have been the impetus for the new direction. This album emphasized smoother, more textural arrangements than previous Magma efforts. The cyclical themes in the two-part title suite, along with the trance-inducing repetition of the group vocals, were a far cry from the controlled martial fury of earlier records. However, the lengthy solo jam in "Kohntarkosz, Pt. 2" demonstrates that Magma was hardly married to convoluted themes and languages; the band could work up an improvisational fire with the best fusion bands. Jannick Top's "Ork Alarm" is a short piece featuring aggressive cello and guttural vocals that is perhaps out of place on this album; Vander's gorgeous "Coltrane Sundia," an homage to the late jazz legend, ends Kohntarkosz on a solemn, peaceful note. Although the definitive version of the title suite is found on 1975's Magma Live, this record stands alongside the best Magma studio releases.

Yaaay Runaways! I only voted for 20 things so expect me to yaaay for them all.

Anyone want more tonight?

Sorry I was out!! What a great stretch of records!

469    Khan - Space Shanty    463 Points,   5 Votes
http://3.bp.blogspot.com/-Rty8bcqTY7M/Tv8H3yWQnxI/AAAAAAAAACM/R-xtrrT8puk/s1600/Khan-Space-Shanty-397468.jpg
RYM #70 for 1972 , #2043 overall
http://open.spotify.com/album/3H1Al8EeGuAeAMje8Bng1g

review
by Richie Unterberger

Almost stereotypically overreaching early-'70s progressive rock; quasi-operatic vocals, spinning guitar solos, lengthy suite-like tracks on the order of "Stargazers" and "Hollow Stone (incl. Escape of the Space Pilots)." The highlight is Stewart's effervescent organ work during the gentle and meditative passages.

I'll take more but if you want to stop you can.

I love the sleeve artwork of Space Shanty