I noticed a Duttywine on here somewhere, that made me lol!
― Damo Suzuki's Parrot, Monday, 25 March 2013 18:42 (eleven years ago) link
98. THE WHO Who's Next (2091 Points, 13 Votes)RYM: #4 for 1971 , #53 overall | Acclaimed: #33 | RS: #28 | Pitchfork: #15http://cps-static.rovicorp.com/3/JPG_500/MI0001/537/MI0001537372.jpg?partner=allrovi.comhttp://open.spotify.com/album/3ipneUq3vZhmTXOFZMoHkfspotify:album:3ipneUq3vZhmTXOFZMoHkf
With its acoustic guitars and drumless bits, this triumph of hard rock is no more a pure hard rock album than Tommy. It's got more juice than Live at Leeds. And--are you listening, John Fogerty?--it uses the synthesizer to vary the power trio format, not to art things up. Given Peter Townshend's sharpness and compassion, even his out-front political disengagement--"I don't need to fight"--seems positive. The real theme, I think, is "getting in tune to the straight and narrow," and comes naturally to someone who's devoted a whole LP to the strictures of hit radio. Another sign of growth: the love songs. A -- R. ChristgauWho's Next, regardless of what you may have been led to believe to the contrary, is neither the soundtrack of the realization of Pete Townshend's apparently-aborted Hollywood dream, the greatest live album in the history of the universe, nor a, shudder, rock opera, but rather an old-fashioned long-player containing intelligently-conceived, superbly-performed, brilliantly-produced, and sometimes even exciting rock and roll.The musicianship is undisputably excellent, with Keith Moon thrashing and bashing more precisely than ever before on record, Entwistle dreaming up all manner of scrumptious melodic and rhythmic flourishes (listen especially to what he plays beneath the chorus of "Won't Get Fooled Again"), and Townshend, be it chunky acoustic rhythm, resounding monster chords of the classic sort, or cogent and lyrical soloes, playing with exemplary efficiency and taste.As for the album's production, Townshend has, with the able assistance of Glyn Johns in the dual role of engineer and co-producer, come up with one of the most masterfully-recorded rock records in recent memory. Whether so precise a sound as this record's becomes the Who is, at this point, less relevant than the consideration that they've now satisfied their curiosity about whether or not they could be recorded as crisply as, say, Thunderclap Newman.And with the long LP version of "Won't Get Fooled Again," an ingeniously-constructed panoramic view of methods of attack they've grown fondest of over the years, they've succeeded in committing to vinyl a comprehensive primer of basic Whostyle.Such dynamics! The beautiful quietly lyrical moments of such selections as "The Song Is Over," "Gettin' In Tune," and "Behind Blue Eyes" are juxtaposed with the thundering rock that is the marrow of those songs so that each is rendered even more poignant.To further frost the confection, Townshend wrings more than his money's worth out of his £14,000-worth of synthesizers, making, I daresay, shrewder -- at once more adventurous and better-integrated -- use of them than any rock experimenter before him.In "Baba O'Riley," for instance, he sets the stage for the band's dramatic entrance with a pre-recorded VCS3 part he obtained by programming certain of his vital statistics into a computer hooked up to the synthesizer, then treats the part as a drone while the song's two major chords are transposed over it, and later has the band playing against it (that is, piling a few gigantic chords on it while it keeps going "Meep-meep-meep-meep-meep...") to lead into a solo by guest fiddler Dave Arbus.Next, on "Bargain," he uses his ARP both as a solo instrument and as a backdrop to his own beautiful guitar solo.There's just so much to be astonished and delighted by on this album once you get used to its kinda chilly perfection...There's Roger Daltrey singing, "And I'm gonna 'chune' right in on you," during "Gettin' In Tune," which is so wonderous that it's enough to keep the listener's mind off the possibly unpleasant implications of "the straight and narrow" being what's been gotten in tune to.There's Daltrey bestowing an excellent dramatic reading (note especially his intonation of the word "vengeance") on interesting lyrics in front of the prettiest Who harmonies in ever so long in "Behind Blue Eyes."There's Imbecile's stupendously catchy and stupid "My Wife," which deals with the danger of being both married and fond of lazing about in the boozer until all hours. (What a pity that The Ox's pleasantly adenoidal voice is all but lost beneath the instruments -- "Can this be a result of jealousy on Townshend's part?" you'll long to know for sure).And, ultimately, there is "The Song Is Over," one of a few survivors on Next from the recently-aborted Bobby project, an un-utterably beautiful song in which Townshend sings exquisitely over a gentle piano background before and in between Daltrey charging in exhilaratingly over a hard part while breathtaking chord changes in the manner of the "Listening to you I hear the music..." refrain from Tommy. Definitely up there with "Rael" and "Pinball Wizard" and "I'm The Face" among their very best work is this one.And, just to make it clear to any cretins out there in Radioland that this is just a plain old-fashioned long-player, there are a couple of throwaways: The faintly pretty but negligible "Love Ain't For Keeping" (which most certainly does not deserve to succeed "Heaven And Hell" as the group's stage-opener, unless they play it live about ten trillion times harder than they do on record), and the faintly inane "Goin' Mobile," which celebrates the joys of, ho hum, being free to roam the highways and byways in one's trailer.And there you have it, chums, an album that, despite a degree of sober calculatedness that would prove fatal to a lesser group, ranks right up there with David Bowie's and Black Oak Arkansas's and Crazy Horse's and Procol Harum's and Alice Cooper's and Christopher Milk's as among the most wondrous of 1971. In view of the fact that Pete's resumed smashing shit out of his guitar at the end of performances and that they've hopefully now resolved all their anxieties about technique, it's eminently reasonable to assume that subsequent Who albums won't be no shrinking violets either. -- John Mendolsohn, RSIt is The Who's best-selling album -- and, in main man Pete Townshend's view, the finest. But it was born out of a crisis; Lifehouse, the follow-up to The Who's conceptual hit Tommy, had faltered after months of preparation because no one, bar its author, understood it. Ethan A. Russell's cover photo for Who's Nextpoked fun at 2001: A Space Odyssey, but served equally well as a comment on the band's own more grandiose ambitions (a rejected cover idea featured Keith Moon in a corset, with a riding crop).Humiliated, Townshend was persuaded to put the best songs on an album that told no story. Some were hard, such as "Bargain"; some were singalongs, such as "Getting In Tune"; and one -- bassist John Entwistle's droll "My Wife" -- was nothing to do with Lifehouse at all (the woman in question, said Entwistle, took it well: she did not come after him -- her lawyers did).Towering above all the rest were a trio of the finest hard rock anthems that ever erupted. "Baba O'Riley" -- its name a conflation of Townshend's guru Meher Baba and avant-garde composer Terry Riley -- is a sublime blend of synthesizer and slashing guitar. "Behind Blue Eyes" is poetry with an attitude. And "Won't Get Fooled Again" is simply a monster.All three were part of The Who's performance at the post-9/11 gig at Madison Square Garden, The Concert for New York. The night's most rapturously received set, it proved that the passing decades had diminished neither the singers nor the songs. -- Bruno MacDonald, 1001 Albums You Must Hear Before You Die
Who's Next, regardless of what you may have been led to believe to the contrary, is neither the soundtrack of the realization of Pete Townshend's apparently-aborted Hollywood dream, the greatest live album in the history of the universe, nor a, shudder, rock opera, but rather an old-fashioned long-player containing intelligently-conceived, superbly-performed, brilliantly-produced, and sometimes even exciting rock and roll.
The musicianship is undisputably excellent, with Keith Moon thrashing and bashing more precisely than ever before on record, Entwistle dreaming up all manner of scrumptious melodic and rhythmic flourishes (listen especially to what he plays beneath the chorus of "Won't Get Fooled Again"), and Townshend, be it chunky acoustic rhythm, resounding monster chords of the classic sort, or cogent and lyrical soloes, playing with exemplary efficiency and taste.
As for the album's production, Townshend has, with the able assistance of Glyn Johns in the dual role of engineer and co-producer, come up with one of the most masterfully-recorded rock records in recent memory. Whether so precise a sound as this record's becomes the Who is, at this point, less relevant than the consideration that they've now satisfied their curiosity about whether or not they could be recorded as crisply as, say, Thunderclap Newman.
And with the long LP version of "Won't Get Fooled Again," an ingeniously-constructed panoramic view of methods of attack they've grown fondest of over the years, they've succeeded in committing to vinyl a comprehensive primer of basic Whostyle.
Such dynamics! The beautiful quietly lyrical moments of such selections as "The Song Is Over," "Gettin' In Tune," and "Behind Blue Eyes" are juxtaposed with the thundering rock that is the marrow of those songs so that each is rendered even more poignant.
To further frost the confection, Townshend wrings more than his money's worth out of his £14,000-worth of synthesizers, making, I daresay, shrewder -- at once more adventurous and better-integrated -- use of them than any rock experimenter before him.
In "Baba O'Riley," for instance, he sets the stage for the band's dramatic entrance with a pre-recorded VCS3 part he obtained by programming certain of his vital statistics into a computer hooked up to the synthesizer, then treats the part as a drone while the song's two major chords are transposed over it, and later has the band playing against it (that is, piling a few gigantic chords on it while it keeps going "Meep-meep-meep-meep-meep...") to lead into a solo by guest fiddler Dave Arbus.
Next, on "Bargain," he uses his ARP both as a solo instrument and as a backdrop to his own beautiful guitar solo.
There's just so much to be astonished and delighted by on this album once you get used to its kinda chilly perfection...
There's Roger Daltrey singing, "And I'm gonna 'chune' right in on you," during "Gettin' In Tune," which is so wonderous that it's enough to keep the listener's mind off the possibly unpleasant implications of "the straight and narrow" being what's been gotten in tune to.
There's Daltrey bestowing an excellent dramatic reading (note especially his intonation of the word "vengeance") on interesting lyrics in front of the prettiest Who harmonies in ever so long in "Behind Blue Eyes."
There's Imbecile's stupendously catchy and stupid "My Wife," which deals with the danger of being both married and fond of lazing about in the boozer until all hours. (What a pity that The Ox's pleasantly adenoidal voice is all but lost beneath the instruments -- "Can this be a result of jealousy on Townshend's part?" you'll long to know for sure).
And, ultimately, there is "The Song Is Over," one of a few survivors on Next from the recently-aborted Bobby project, an un-utterably beautiful song in which Townshend sings exquisitely over a gentle piano background before and in between Daltrey charging in exhilaratingly over a hard part while breathtaking chord changes in the manner of the "Listening to you I hear the music..." refrain from Tommy. Definitely up there with "Rael" and "Pinball Wizard" and "I'm The Face" among their very best work is this one.
And, just to make it clear to any cretins out there in Radioland that this is just a plain old-fashioned long-player, there are a couple of throwaways: The faintly pretty but negligible "Love Ain't For Keeping" (which most certainly does not deserve to succeed "Heaven And Hell" as the group's stage-opener, unless they play it live about ten trillion times harder than they do on record), and the faintly inane "Goin' Mobile," which celebrates the joys of, ho hum, being free to roam the highways and byways in one's trailer.
And there you have it, chums, an album that, despite a degree of sober calculatedness that would prove fatal to a lesser group, ranks right up there with David Bowie's and Black Oak Arkansas's and Crazy Horse's and Procol Harum's and Alice Cooper's and Christopher Milk's as among the most wondrous of 1971. In view of the fact that Pete's resumed smashing shit out of his guitar at the end of performances and that they've hopefully now resolved all their anxieties about technique, it's eminently reasonable to assume that subsequent Who albums won't be no shrinking violets either. -- John Mendolsohn, RS
It is The Who's best-selling album -- and, in main man Pete Townshend's view, the finest. But it was born out of a crisis; Lifehouse, the follow-up to The Who's conceptual hit Tommy, had faltered after months of preparation because no one, bar its author, understood it. Ethan A. Russell's cover photo for Who's Nextpoked fun at 2001: A Space Odyssey, but served equally well as a comment on the band's own more grandiose ambitions (a rejected cover idea featured Keith Moon in a corset, with a riding crop).Humiliated, Townshend was persuaded to put the best songs on an album that told no story. Some were hard, such as "Bargain"; some were singalongs, such as "Getting In Tune"; and one -- bassist John Entwistle's droll "My Wife" -- was nothing to do with Lifehouse at all (the woman in question, said Entwistle, took it well: she did not come after him -- her lawyers did).
Towering above all the rest were a trio of the finest hard rock anthems that ever erupted. "Baba O'Riley" -- its name a conflation of Townshend's guru Meher Baba and avant-garde composer Terry Riley -- is a sublime blend of synthesizer and slashing guitar. "Behind Blue Eyes" is poetry with an attitude. And "Won't Get Fooled Again" is simply a monster.
All three were part of The Who's performance at the post-9/11 gig at Madison Square Garden, The Concert for New York. The night's most rapturously received set, it proved that the passing decades had diminished neither the singers nor the songs. -- Bruno MacDonald, 1001 Albums You Must Hear Before You Die
review[-] by Stephen Thomas ErlewineMuch of Who's Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy. There's no discernable theme behind these songs, yet this album is stronger than Tommy, falling just behind Who Sell Out as the finest record the Who ever cut. Townshend developed an infatuation with synthesizers during the recording of the album, and they're all over this album, adding texture where needed and amplifying the force, which is already at a fever pitch. Apart from Live at Leeds, the Who have never sounded as LOUD and unhinged as they do here, yet that's balanced by ballads, both lovely ("The Song Is Over") and scathing ("Behind Blue Eyes"). That's the key to Who's Next -- there's anger and sorrow, humor and regret, passion and tumult, all wrapped up in a blistering package where the rage is as affecting as the heartbreak. This is a retreat from the '60s, as Townshend declares the "Song Is Over," scorns the teenage wasteland, and bitterly declares that we "Won't Get Fooled Again." For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic basslines that are as captivating as his "My Wife" is funny. This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming. That is what the Who was about, not the rock operas, and that's why Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art -- this, even with its pretensions, is rock & roll.
Much of Who's Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy. There's no discernable theme behind these songs, yet this album is stronger than Tommy, falling just behind Who Sell Out as the finest record the Who ever cut. Townshend developed an infatuation with synthesizers during the recording of the album, and they're all over this album, adding texture where needed and amplifying the force, which is already at a fever pitch. Apart from Live at Leeds, the Who have never sounded as LOUD and unhinged as they do here, yet that's balanced by ballads, both lovely ("The Song Is Over") and scathing ("Behind Blue Eyes"). That's the key to Who's Next -- there's anger and sorrow, humor and regret, passion and tumult, all wrapped up in a blistering package where the rage is as affecting as the heartbreak. This is a retreat from the '60s, as Townshend declares the "Song Is Over," scorns the teenage wasteland, and bitterly declares that we "Won't Get Fooled Again." For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic basslines that are as captivating as his "My Wife" is funny. This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming. That is what the Who was about, not the rock operas, and that's why Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art -- this, even with its pretensions, is rock & roll.
― Algerian Goalkeeper, Monday, 25 March 2013 18:50 (eleven years ago) link
No cries of too low?
― Algerian Goalkeeper, Monday, 25 March 2013 18:58 (eleven years ago) link
Next one up is going to get someone REALLY excited I think
― Algerian Goalkeeper, Monday, 25 March 2013 18:59 (eleven years ago) link
97. POPOL VUH Coeur de Verre/Herz aus Glas (2098 Points, 18 Votes, 1 #1)RYM: #176 for 1977http://cps-static.rovicorp.com/3/JPG_500/MI0001/640/MI0001640298.jpg?partner=allrovi.com
Subsequent releases on Brain (and Egg) tended to blend all these aspects, going through a purely instrumental phase, until Djong and Renate returned in 1979. During this era Popol Vuh had scored a number of Herzog films, although the albums billed as HERZ AUS GLAS (aka COEUR DE VERRE - the album I discovered Popol Vuh with) and NOSFERATU were not really soundtrack albums. These were embellished releases featuring the music from the films along with other material, hence the reason why NOSFERATU is also known as ON THE WAY TO A LITTLE WAY. These albums are some of the finest music to emerge from Germany in the mid to late-1970's, full of innovation, and mostly the vehicle of the extremely talented Daniel Fichelscher. -- Cosmic Egg
review[-] by Thom JurekOne of several soundtracks Florian Fricke composed for the films of Werner Herzog, Coeur de Verre (Heart from Glass, 1976) is one of the true masterpieces from Popol Vuh. Utilizing East Indian classical music as its starting point, Fricke and Daniel Fichelscher (guitars and percussion), with help from Alois Gromer on sitar and flutist Mattias Tippelskirch, have recorded one of the most blissed-out works in the band's history. Fricke's concentration on nearly painfully slowly developing themes (yes, even slower than usual) is tempered by the sheer reliance on transcendent euphoria in the processional tempos. The purposeful control of dynamics is necessary because of the deep emotional and spiritual connotations in the music. Composed to the images on the screen, the original version of "Sing, for Song Drives Away the Wolves" and the redone "Geimenschaft" appear here and close the album. Indeed they are its highlights, but that is only after a buildup that demands release after 45 minutes. Many would argue for one of the choral vocal works like Hosianna Mantra or Sei Still, Wisse ICH BIN as the band's flat-out masterpiece, but in its purely instrumental incarnation this one is unquestionably Popol Vuh's watermark. There is so much beauty here, it tenderly breaks the heart over and over again, seemingly effortlessly.
One of several soundtracks Florian Fricke composed for the films of Werner Herzog, Coeur de Verre (Heart from Glass, 1976) is one of the true masterpieces from Popol Vuh. Utilizing East Indian classical music as its starting point, Fricke and Daniel Fichelscher (guitars and percussion), with help from Alois Gromer on sitar and flutist Mattias Tippelskirch, have recorded one of the most blissed-out works in the band's history. Fricke's concentration on nearly painfully slowly developing themes (yes, even slower than usual) is tempered by the sheer reliance on transcendent euphoria in the processional tempos. The purposeful control of dynamics is necessary because of the deep emotional and spiritual connotations in the music. Composed to the images on the screen, the original version of "Sing, for Song Drives Away the Wolves" and the redone "Geimenschaft" appear here and close the album. Indeed they are its highlights, but that is only after a buildup that demands release after 45 minutes. Many would argue for one of the choral vocal works like Hosianna Mantra or Sei Still, Wisse ICH BIN as the band's flat-out masterpiece, but in its purely instrumental incarnation this one is unquestionably Popol Vuh's watermark. There is so much beauty here, it tenderly breaks the heart over and over again, seemingly effortlessly.
― Algerian Goalkeeper, Monday, 25 March 2013 19:00 (eleven years ago) link
http://open.spotify.com/album/772tHE8yr3RImw6rzqfgGQspotify:album:772tHE8yr3RImw6rzqfgGQ
spotify links ^ it's the second disc in the set
― Mordy, Monday, 25 March 2013 19:03 (eleven years ago) link
I'm saving my "TOO LOW!" for Live At Leeds.
But it's great to see this in the top 100, at least.
― Darth Magus (Tarfumes The Escape Goat), Monday, 25 March 2013 19:06 (eleven years ago) link
The excitement will be later I suppose
Need to move on..
― Algerian Goalkeeper, Monday, 25 March 2013 19:15 (eleven years ago) link
96. APHRODITE'S CHILD 666 (2115 Points, 19 Votes)RYM: #112 for 1972 , #3496 overallhttp://cps-static.rovicorp.com/3/JPG_500/MI0002/793/MI0002793641.jpg?partner=allrovi.comhttp://open.spotify.com/album/4MB7X1urqItzKWFI73dyhbspotify:album:4MB7X1urqItzKWFI73dyhb
reviewby Steven McDonaldAn amazingly bombastic concept album about the Apocalypse of St. John seen as a rock spectacle. Demis Roussos wails the lyrics in a frantically operatic falsetto, while the band pound fiercely through Vangelis' furiously complex music. It certainly has its moments, but the entire set eventually becomes too overwhelming to sit through.
An amazingly bombastic concept album about the Apocalypse of St. John seen as a rock spectacle. Demis Roussos wails the lyrics in a frantically operatic falsetto, while the band pound fiercely through Vangelis' furiously complex music. It certainly has its moments, but the entire set eventually becomes too overwhelming to sit through.
This was an ultimate freakout album in its time -- a weird amalgam of group chants, Moog excursions, obligatory pop and narrations with Vangelis Papathanassiou on keyboards. Despite the moments of absolutely flat pop (one track per side) it barely affects the flow of the rest of this mind-bending and bad trip-inducing potpourri. Recorded under the influence of “SAHLEP”(!), it begins with “The System,” all steam hammer effects over chants until Silver Koulouris’ “Pinball Wizard” guitar introduces “Babylon” and the emergence of Aphrodite’s Child’s inner power trio -- a trip regrettably underrepresented here as ambient instrumentals abound: “The Four Horsemen” is all tinkling chimes and deep echo; “The Lamb” is an instrumental with blaring bouzouki-type keyboards, while “Aegean Sea” is all twinkling stars over a moonless Mediterranean until Lucas Sideras’ huge drum kit cracks open a fissure with Koulouris’ distorto guitar. Chimes appear out of the brief and barely audible “The Waking Beast” as a distant voice wails mournfully in Greek continues over a low synthesizer drone when “The Marching Beast” bursts in at ten times the volume with oscillating keyboard runs and punctuated by a ridiculous Tull-like flute trill. What follows is “The Battle of The Locusts” / “Do It.” A narrator intones the title in double echo, and it’s Ash Ra Tempel meets Santana in a burn out that gets persistently interrupted by the announcer as though he’s giving a play-by-play on the sidelines. But the Apocalypse will not be televised, but only represented by magnificent power trio rocking out to their highest extreme and Silver Koulouris goes for it via an angry mass of wah wah at the end.Side three begins with a ringmaster ripping down the curtain of reality as percussion and horn play out a persistent beat while Roussos scats his lid off. He continues with his “ba ba/ba baba/ba baba baba” scat until you feel he must be freaking flying into oblivion from all the repetition. Then an out of control moog swirl-out and thundering drums turn everything inside out with the careening “The Wedding of the Lamb.” Narration turns up and with a ridiculously halting manner pronounces, “That...was...the...wedding...of...the...Lamb” as the drums dim. He returns to announce “Now...comes...the...capture...of...the...beast...” and it’s all haunted house clinking chains to prove it. What follows is the unforgettable highlight: “Infinity.” Irene Papas commits to vinyl a terrifying vocal repetition of “I am/ to come/I am to come at once.” It may not seem like much but brother, Papas’ range extends from the here to Pluto, beyond and back again: whispering turns to braying to barking to screaming as she shivers, pants, sighs, cries, with hysterical 2-megaton orgasms, ending in a final operatic rendition that provides all-too-welcome light relief.Side four is almost totally taken up with the nearly 20-minute instrumental, “All The Seats Were Occupied.” Snippets of songs from the past three sides are scattered all over this sprawling piece and sometimes three or four get superimposed over each other. The quiet “Affenstunde”-type moog against Koulouris’ spindly guitar and randomly hit toms opens the track, but after everything is tied together by an exquisite drum roll it all falls into place. Braying sax and kazoo join the fray, and then the snippets start flying fast and furious. It gets hectic as congas, saxes and raga guitar are added to a West Coast jam, only to rock out like a royal shitstorm. More overdubs appear and even drown out Aphrodite’s Child on occasion, but then Koulouris sets off a perfect descending surf riff, igniting the power trio as chaotic additional instrumentation cloud everything. It gets SUPER bombastic here, and then more overdubs from “Infinity,” “Seven Bowls,” who cares – they’re too many of them until halted in its tracks by a sudden silence to reveal the last narrator breaking in to say: “All the seats were occupied.” Whoa: shrieking sax blares, the band kicks it out and Papas’ moans from “Infinity” break down the last ultimate fuck in the universe as the drums get kicked over. Right on. The Seth Man, April 2000
Side three begins with a ringmaster ripping down the curtain of reality as percussion and horn play out a persistent beat while Roussos scats his lid off. He continues with his “ba ba/ba baba/ba baba baba” scat until you feel he must be freaking flying into oblivion from all the repetition. Then an out of control moog swirl-out and thundering drums turn everything inside out with the careening “The Wedding of the Lamb.” Narration turns up and with a ridiculously halting manner pronounces, “That...was...the...wedding...of...the...Lamb” as the drums dim. He returns to announce “Now...comes...the...capture...of...the...beast...” and it’s all haunted house clinking chains to prove it. What follows is the unforgettable highlight: “Infinity.” Irene Papas commits to vinyl a terrifying vocal repetition of “I am/ to come/I am to come at once.” It may not seem like much but brother, Papas’ range extends from the here to Pluto, beyond and back again: whispering turns to braying to barking to screaming as she shivers, pants, sighs, cries, with hysterical 2-megaton orgasms, ending in a final operatic rendition that provides all-too-welcome light relief.
Side four is almost totally taken up with the nearly 20-minute instrumental, “All The Seats Were Occupied.” Snippets of songs from the past three sides are scattered all over this sprawling piece and sometimes three or four get superimposed over each other. The quiet “Affenstunde”-type moog against Koulouris’ spindly guitar and randomly hit toms opens the track, but after everything is tied together by an exquisite drum roll it all falls into place. Braying sax and kazoo join the fray, and then the snippets start flying fast and furious. It gets hectic as congas, saxes and raga guitar are added to a West Coast jam, only to rock out like a royal shitstorm. More overdubs appear and even drown out Aphrodite’s Child on occasion, but then Koulouris sets off a perfect descending surf riff, igniting the power trio as chaotic additional instrumentation cloud everything. It gets SUPER bombastic here, and then more overdubs from “Infinity,” “Seven Bowls,” who cares – they’re too many of them until halted in its tracks by a sudden silence to reveal the last narrator breaking in to say: “All the seats were occupied.” Whoa: shrieking sax blares, the band kicks it out and Papas’ moans from “Infinity” break down the last ultimate fuck in the universe as the drums get kicked over. Right on. The Seth Man, April 2000
Coeur de Verre is really great, can't remember my ballot but on current listening this would no.1 with a bullet.
― Damo Suzuki's Parrot, Monday, 25 March 2013 19:22 (eleven years ago) link
be
I was surprised more Popul Vuh albums were not nominated (especially since Coeur de Verre, good as it is, is less rock-oriented than some of the others).
― Brad C., Monday, 25 March 2013 19:26 (eleven years ago) link
yay, 666. one of my faves. I didn't do a ranked ballot but it would have been pretty high on my list
― wk, Monday, 25 March 2013 19:28 (eleven years ago) link
95. MARS The Complete Studio Recordings NYC 1977-1978 (2124 Points, 15 Votes, 1 #1)RYM: #205 for 2003 , #4486 overallhttp://thizzfacedisco.files.wordpress.com/2010/03/mars-the-complete-stud-450101.jpg
Major-label flunky that he was, Eno sold them out--one of their No New York tunes could be "I Wanna Be Your Dog" told by an imbecile, signifying nothing. Arto Lindsay is more steadfast--at this Christmas 1978 session he reveals his eternal CBGB billmates as the skronk nightmare of DNA's dreams. The voices are mixed-back exclamations and yowls. The guitars are all sludge, bang, and buzz--no chords, no timing, no articulation, maybe an upsurge occasionally. The drummer's job is to destroy any rudiment of a beat. Noise won't get much purer than this--I don't think. C+ -- R. ChristgauYour hair on cars/your arms detach/your eyes fly by/your torso in wax." With those immortal words Mars caterwauled into the hearts of noise lovers everywhere, marking the quartet's four-song appearance on No New York with an absolutely total lack of musical ability. (All the other bands on the Eno-produced compilation contained at least one member who could play in the traditional sense.) A bunch of New York art types who formed a band when that was considered a cool New York art type thing to do, Mars was pretty impressive if for nothing else than singleness of purpose. Often sounding like a screeching subway car driven by a jabbering, convulsive castrato, Mars' constantly revulsed stance made the rest ofNo New York's I-hate-sex crowd seem like a bunch of rank sensualists by comparison. Arto Lindsay recorded a 1978 CBGB set that comprises the 1980 12-inch EP; a few years later, Jim (Foetus) Thirlwell compiled and remixed the No New York tracks, all but one of the five EP songs and the group's single. The resultant 78 is all the Mars you need. -- Trouser Press
Your hair on cars/your arms detach/your eyes fly by/your torso in wax." With those immortal words Mars caterwauled into the hearts of noise lovers everywhere, marking the quartet's four-song appearance on No New York with an absolutely total lack of musical ability. (All the other bands on the Eno-produced compilation contained at least one member who could play in the traditional sense.) A bunch of New York art types who formed a band when that was considered a cool New York art type thing to do, Mars was pretty impressive if for nothing else than singleness of purpose. Often sounding like a screeching subway car driven by a jabbering, convulsive castrato, Mars' constantly revulsed stance made the rest ofNo New York's I-hate-sex crowd seem like a bunch of rank sensualists by comparison. Arto Lindsay recorded a 1978 CBGB set that comprises the 1980 12-inch EP; a few years later, Jim (Foetus) Thirlwell compiled and remixed the No New York tracks, all but one of the five EP songs and the group's single. The resultant 78 is all the Mars you need. -- Trouser Press
― Algerian Goalkeeper, Monday, 25 March 2013 19:30 (eleven years ago) link
here's throbbing gristle - DOA: the third and final report
http://youtu.be/H46uvYbaPRg
― unprepared guitar (Edward III), Monday, 25 March 2013 19:33 (eleven years ago) link
Anyone playing catch up or who just joined us can post about previous entries at any time. All discussion is welcome!
― Algerian Goalkeeper, Monday, 25 March 2013 19:38 (eleven years ago) link
<6 <6 <6
― emil.y, Monday, 25 March 2013 19:38 (eleven years ago) link
Jim (Foetus) Thirlwell compiled and remixed the No New York tracks, all but one of the five EP songs and the group's single. The resultant 78 is all the Mars you need. -- Trouser Press
prefer the original mixes tbrr
― unprepared guitar (Edward III), Monday, 25 March 2013 19:45 (eleven years ago) link
94. MC5 High Time (2144 Points, 17 Votes, 1 #1)RYM: #135 for 1971, #3586 overallhttp://cps-static.rovicorp.com/3/JPG_500/MI0002/445/MI0002445941.jpg?partner=allrovi.comhttp://open.spotify.com/album/78DZmvvzz57tWpOMcgVjTNspotify:album:78DZmvvzz57tWpOMcgVjTN
At its best, this combines the anarchic energy of John Sinclair's album with the pop control of Jon Landau's album. "Sister Anne" is a passionate farewell to a Catholic boyhood, and the jazz climax, however ill-conceived sonically (the horns sound funny after all those guitars), gets where it's going, fast. Mistake: "Miss X," an atrocious fuck-me-babe ballad. Some things they'll never learn. B+ -- R. ChristgauIt seems almost too perfectly ironic that now, at a time in their career when most people have written them off as either dead or dying, the MC5 should power back into action with the first record that comes close to telling the tale of their legendary reputation and attendant charisma. This may appear particularly surprising, given the fact that the group's live performances have been none too cosmic of late, but then the old saw is that you can't keep a good band down, and it's never been more forcefully put than here.Which is not to say that High Time is a perfect album, by any means. Most of side two, with the exception of a lovely little chorus run in Fred Smith's "Over and Over," doesn't hang together exceptionally well. A large part of the songs seem incomplete, written around chord progressions that quickly wear thin and words that display the lower edge of the school of right-on lyrics. Rob Tyner's "Future Now" (despite a knockout bass line) is the greatest offender in this case, and though there are some nice moves toward free-form sound on sound toward the end, nothing ultimately is developed or carried through. Wayne Kramer's "Poison" is a little better, opening with a lightning-like series of guitar exchanges, but when Rob comes in spitting words like "Nature, and Peace," one is reminded of nothing so much as the Chambers Brothers on a particularly V-signed night. Things come to a crashing finale with "Skunk (Somely Speaking)," which moves well for its first half of good ol' kick-em-out rock, and then dies a tragicomic death with the addition of some out-of-place horns.But if the second side leaves much to be desired, side one is a no-bones classic. "Sister Anne," about a nun who "don't give a damn about re-vo-lu-tion/She's a liberated woman, she got her solution," is a top-flight piece of work in the old tradition. The MC5, whatever you might have felt were their other (sometimes glaring) faults, always knew how to play those I-IV-V progressions like nobody's business, and they're at their finest here. The song is put together like a charm, with a great kicking piano and a long soaring coda that carries you without a hitch into a bizarre Salvation Army instrumental at the end. Good shit, any way you look at it, and if there was ever a suspicion that the MC5 would never learn their way around the recording studio, let it be quietly put to rest now."Sister Anne" is only the beginning. "Baby Won't Ya" takes on where the Salvation Army leaves off, all rollicking choruses and guitar breaks. Rob's voice sounds strong and sure throughout, and when he hits the line about how "A lovely senorita took me by the hand. She said 'whoo baby, won't ya be my man'," it's easily worth another notch on the volume dial. From there, it's tossed to Wayne and "Miss X," a ragingly beautiful cut, helped along by a massive organ, incredible vocals, and a superb arrangement.The capper, though, is saved for Dennis Thompson: his "Gotta Keep Movin'" not only defines the MC5 in the way that all of us would have liked to remember them throughout the past dismal year, but also manages to pull in every trick that literally made them the most exciting band in America for a brief and glorious time. It's all there the precise breaks, the madly screaming dual guitars, the fanatic drive and energy. Make no mistake, they shovel it out as good as it ever gets, and that's pretty damn good indeed.For this, we can only praise the Lord and pass the ammunition. -- Lenny Kaye, RSThe main factor missing from the MC5's repertoire after their second album was their revolutionary stance. No longer immature troublemakers on the brink of starting a riot, Rob Tyner summed up their new demeanor by saying, "We're still pretty crazy, but not quite like we used to be". Indeed they weren't, for heroin use became a problem within the band. As Kramer stated, "it became an activity that was time consuming, and all of a sudden, it just became easier to get high". With their popularity dwindling, the Five decided to head for Europe, where they had almost legendary status. Even though it ended up being that, "the English were expecting white hot revolutionaries and got refried American hot rod music replete with Led Zeppelin licks", the band did end up finishing their third, and final, album.Titled High Time,the album was a step back to the days of their first album, capturing the full intensity of the band once again. Still, while the album received much critical acclaim, High Time failed to improve the MC5's muddled sales record, and failed to win a niche in the top 200. Because of poor sales, Atlantic ended up dropping the band, which continued to suffer from drug problems and a lack of the unity which had been present a year before. Also, in late 1970, it was revealed that the band had filed for bankruptcy. To this, Pete Andrews, manager of the SRC band/recording complex responded, "I'm not surprised. The last I heard, they were $80,000 in debt. They weren't dealing fairly with promoters and agents, and I guess nobody would book them. They've kind of declined in popularity in the area anyway".Scrounging for whatever success or recognition they could muster up, the band again returned to Europe. In the beginning, they were well received, with one critic stating, "the MC5 let loose an hour of sheer goodness" and "the audience was nearly caught with it's trousers down" -- Ian Fines, Perfect Sound Forever
It seems almost too perfectly ironic that now, at a time in their career when most people have written them off as either dead or dying, the MC5 should power back into action with the first record that comes close to telling the tale of their legendary reputation and attendant charisma. This may appear particularly surprising, given the fact that the group's live performances have been none too cosmic of late, but then the old saw is that you can't keep a good band down, and it's never been more forcefully put than here.Which is not to say that High Time is a perfect album, by any means. Most of side two, with the exception of a lovely little chorus run in Fred Smith's "Over and Over," doesn't hang together exceptionally well. A large part of the songs seem incomplete, written around chord progressions that quickly wear thin and words that display the lower edge of the school of right-on lyrics. Rob Tyner's "Future Now" (despite a knockout bass line) is the greatest offender in this case, and though there are some nice moves toward free-form sound on sound toward the end, nothing ultimately is developed or carried through. Wayne Kramer's "Poison" is a little better, opening with a lightning-like series of guitar exchanges, but when Rob comes in spitting words like "Nature, and Peace," one is reminded of nothing so much as the Chambers Brothers on a particularly V-signed night. Things come to a crashing finale with "Skunk (Somely Speaking)," which moves well for its first half of good ol' kick-em-out rock, and then dies a tragicomic death with the addition of some out-of-place horns.
But if the second side leaves much to be desired, side one is a no-bones classic. "Sister Anne," about a nun who "don't give a damn about re-vo-lu-tion/She's a liberated woman, she got her solution," is a top-flight piece of work in the old tradition. The MC5, whatever you might have felt were their other (sometimes glaring) faults, always knew how to play those I-IV-V progressions like nobody's business, and they're at their finest here. The song is put together like a charm, with a great kicking piano and a long soaring coda that carries you without a hitch into a bizarre Salvation Army instrumental at the end. Good shit, any way you look at it, and if there was ever a suspicion that the MC5 would never learn their way around the recording studio, let it be quietly put to rest now.
"Sister Anne" is only the beginning. "Baby Won't Ya" takes on where the Salvation Army leaves off, all rollicking choruses and guitar breaks. Rob's voice sounds strong and sure throughout, and when he hits the line about how "A lovely senorita took me by the hand. She said 'whoo baby, won't ya be my man'," it's easily worth another notch on the volume dial. From there, it's tossed to Wayne and "Miss X," a ragingly beautiful cut, helped along by a massive organ, incredible vocals, and a superb arrangement.
The capper, though, is saved for Dennis Thompson: his "Gotta Keep Movin'" not only defines the MC5 in the way that all of us would have liked to remember them throughout the past dismal year, but also manages to pull in every trick that literally made them the most exciting band in America for a brief and glorious time. It's all there the precise breaks, the madly screaming dual guitars, the fanatic drive and energy. Make no mistake, they shovel it out as good as it ever gets, and that's pretty damn good indeed.
For this, we can only praise the Lord and pass the ammunition. -- Lenny Kaye, RS
The main factor missing from the MC5's repertoire after their second album was their revolutionary stance. No longer immature troublemakers on the brink of starting a riot, Rob Tyner summed up their new demeanor by saying, "We're still pretty crazy, but not quite like we used to be". Indeed they weren't, for heroin use became a problem within the band. As Kramer stated, "it became an activity that was time consuming, and all of a sudden, it just became easier to get high". With their popularity dwindling, the Five decided to head for Europe, where they had almost legendary status. Even though it ended up being that, "the English were expecting white hot revolutionaries and got refried American hot rod music replete with Led Zeppelin licks", the band did end up finishing their third, and final, album.Titled High Time,the album was a step back to the days of their first album, capturing the full intensity of the band once again. Still, while the album received much critical acclaim, High Time failed to improve the MC5's muddled sales record, and failed to win a niche in the top 200. Because of poor sales, Atlantic ended up dropping the band, which continued to suffer from drug problems and a lack of the unity which had been present a year before. Also, in late 1970, it was revealed that the band had filed for bankruptcy. To this, Pete Andrews, manager of the SRC band/recording complex responded, "I'm not surprised. The last I heard, they were $80,000 in debt. They weren't dealing fairly with promoters and agents, and I guess nobody would book them. They've kind of declined in popularity in the area anyway".
Scrounging for whatever success or recognition they could muster up, the band again returned to Europe. In the beginning, they were well received, with one critic stating, "the MC5 let loose an hour of sheer goodness" and "the audience was nearly caught with it's trousers down" -- Ian Fines, Perfect Sound Forever
review[-] by Mark DemingMC5 were nearing the end of their long and bumpy trail when they cut High Time in 1971, and it was widely ignored upon initial release. While it lacks the flame-thrower energy and "off the man!" politics of Kick Out the Jams or the frantic pace and "AM Radio of the People" sound of Back in the USA, High Time sounds like MC5's relative equivalent to the Velvet Underground's Loaded, their last and most accessible album, but still highly idiosyncratic and full of well-written, solidly played tunes. Fred Smith's "Sister Anne" and "Skunk (Sonically Speaking)" bookend the album with a pair of smart, solidly performed hard rockers (bolstered by fine horn charts), and Wayne Kramer's "Poison" ranks with the best songs he brought to the band (he later revived it for his solo album The Hard Stuff). For a group that was apparently on the verge of collapse, MC5 approach this material with no small amount of skill and enthusiasm, and Geoffrey Haslam's production gives the band a big, punchy sound that suits them better than the lean, trebly tone of Back in the USA. It's interesting to imagine what MC5's history might have been like if High Time had been their first or second album rather than their last; while less stridently political than their other work, musically it's as uncompromising as anything they ever put to wax and would have given them much greater opportunities to subvert America's youth if the kids had ever had the chance to hear it.
MC5 were nearing the end of their long and bumpy trail when they cut High Time in 1971, and it was widely ignored upon initial release. While it lacks the flame-thrower energy and "off the man!" politics of Kick Out the Jams or the frantic pace and "AM Radio of the People" sound of Back in the USA, High Time sounds like MC5's relative equivalent to the Velvet Underground's Loaded, their last and most accessible album, but still highly idiosyncratic and full of well-written, solidly played tunes. Fred Smith's "Sister Anne" and "Skunk (Sonically Speaking)" bookend the album with a pair of smart, solidly performed hard rockers (bolstered by fine horn charts), and Wayne Kramer's "Poison" ranks with the best songs he brought to the band (he later revived it for his solo album The Hard Stuff). For a group that was apparently on the verge of collapse, MC5 approach this material with no small amount of skill and enthusiasm, and Geoffrey Haslam's production gives the band a big, punchy sound that suits them better than the lean, trebly tone of Back in the USA. It's interesting to imagine what MC5's history might have been like if High Time had been their first or second album rather than their last; while less stridently political than their other work, musically it's as uncompromising as anything they ever put to wax and would have given them much greater opportunities to subvert America's youth if the kids had ever had the chance to hear it.
― Algerian Goalkeeper, Monday, 25 March 2013 19:45 (eleven years ago) link
Heart of Glass!! I was the #1 (obvs I guess) . The only other album of theirs I think would have fit is LT-LN, and for some reason this one was considered more rockin'. Seriously this album has the best pacing of any album I can think of. The songs by themselves are amazing, but they're a fragment of the album as a whole. It's seriously some of the most beautiful, evocative, even explosive music I have ever heard. Even though I have listened to it a million times, I'm still not sick of it. Hooray for Popol Vuh, #97!! "Transcendent euphoria" = I agree.
― and that sounds like a gong-concert (La Lechera), Monday, 25 March 2013 19:46 (eleven years ago) link
Delayed reaction but we got there!
― Algerian Goalkeeper, Monday, 25 March 2013 19:49 (eleven years ago) link
I flip flop between High Times & Back in the USA, but they're both so great and still criminally underrated imo.
― wk, Monday, 25 March 2013 19:49 (eleven years ago) link
Now YAY HIGH TIME
"babes in arms" is my fave mc5 album.
― Old Boy In Network (Michael B), Monday, 25 March 2013 19:54 (eleven years ago) link
With their popularity dwindling, the Five decided to head for Europe, where they had almost legendary status
Was reading a bit about this tour a while back. Hearing that the MC5 played a free festival in Worthing (a crumbly old seaside town near here that's mostly full of retired people) almost broke my brain a little.
― acid in the style of tenpole tudor (NickB), Monday, 25 March 2013 19:56 (eleven years ago) link
ashamed to admit I only know Kick Out the Jams, will have to rectify that
― Neil S, Monday, 25 March 2013 19:57 (eleven years ago) link
That is shameful!
― Algerian Goalkeeper, Monday, 25 March 2013 20:00 (eleven years ago) link
93. GOBLIN Suspiria (2170 Points, 18 Votes)RYM: #13 for 1977 , #676 overallhttp://cps-static.rovicorp.com/3/JPG_500/MI0001/485/MI0001485143.jpg?partner=allrovi.comhttp://open.spotify.com/album/66X1aX8OnQZROjTlxHWYtgspotify:album:66X1aX8OnQZROjTlxHWYtg
review[-] by Tim DiGravinaGoblin's score to Dario Argento's Suspiria is a timeless, horrifying ride into crazed vibes and buzzing progressive rock. Billed as The Complete Original Motion Picture Soundtrack, this edition goes a bit overboard in its four redundant extra tracks. Before those final additions, Goblin kicks out the jazz-rock jams with cool aplomb and creates a number of genuinely unnerving compositions. Argento fans will swoon being able to hear Suspiria's terror centerpieces "Suspiria," "Witch," and "Sighs." "Suspiria" might contain some dated keyboard work, but the music rings like a demonic version of the score to The Exorcist. A wicked voice chants and hums along to the melody, before the song takes a prog rock departure nearly three minutes in. The song turns into something that Trans Am or their contemporaries might concoct on a better day; in that sense, Goblin's music is ahead of its time. "Witch" is equally creepy; it's the song that acts as the background to the movie's demented opening sequence. The song is as cinematic in its scope as Argento's brutal visuals. "Sighs" might one of the scariest songs ever recorded. Sounding like a throbbing didgeridoo nightmare, it's a monument to tension and suspense. On the remainder of the album, Goblin mostly strives for a cool jazz-rock hybrid. Suspiria works best for fans of the film, who will appreciate the terror of the songs more than newcomers who haven't experienced Argento's darkest creation. The score is as enjoyable removed from the movie as it is attached. Suspiria is quite an achievement, as a scary soundtrack and as a vibe-heavy rock album.
Goblin's score to Dario Argento's Suspiria is a timeless, horrifying ride into crazed vibes and buzzing progressive rock. Billed as The Complete Original Motion Picture Soundtrack, this edition goes a bit overboard in its four redundant extra tracks. Before those final additions, Goblin kicks out the jazz-rock jams with cool aplomb and creates a number of genuinely unnerving compositions. Argento fans will swoon being able to hear Suspiria's terror centerpieces "Suspiria," "Witch," and "Sighs." "Suspiria" might contain some dated keyboard work, but the music rings like a demonic version of the score to The Exorcist. A wicked voice chants and hums along to the melody, before the song takes a prog rock departure nearly three minutes in. The song turns into something that Trans Am or their contemporaries might concoct on a better day; in that sense, Goblin's music is ahead of its time. "Witch" is equally creepy; it's the song that acts as the background to the movie's demented opening sequence. The song is as cinematic in its scope as Argento's brutal visuals. "Sighs" might one of the scariest songs ever recorded. Sounding like a throbbing didgeridoo nightmare, it's a monument to tension and suspense. On the remainder of the album, Goblin mostly strives for a cool jazz-rock hybrid. Suspiria works best for fans of the film, who will appreciate the terror of the songs more than newcomers who haven't experienced Argento's darkest creation. The score is as enjoyable removed from the movie as it is attached. Suspiria is quite an achievement, as a scary soundtrack and as a vibe-heavy rock album.
iirc "Gold" is the only essential thing on there that you can't get elsewhere right?
― wk, Monday, 25 March 2013 20:01 (eleven years ago) link
alright, a real Goblin album!
"Praise the lord and pass the ammunition"! I think I like Lenny Kaye's reviews better than Lester Bangs'.
The MC5 documentary, A True Testimonial was originally completed way back in 2002, and made it to a few festivals and theaters before it was pulled due to legal B.S. with members and filmmaker. So it's still not available on DVD, but it's floating around out there.
― Fastnbulbous, Monday, 25 March 2013 20:02 (eleven years ago) link
theres a few different recordings of tracks. it sounds grungier than the albums too.
― Old Boy In Network (Michael B), Monday, 25 March 2013 20:03 (eleven years ago) link
Actually, not that anyone cares probably here's the poster from that Worthing festival that the MC5 were at, there's more than a few other names from this poll on there:http://www.ukrockfestivals.com/phuncity-poster3.jpg
The best thing is the associated SciFi conference though - William Burroughs & JG Ballard on the bill. Far out!
― acid in the style of tenpole tudor (NickB), Monday, 25 March 2013 20:04 (eleven years ago) link
Hey there we go!!!
― Everybody wants a piece of the (Viceroy), Monday, 25 March 2013 20:05 (eleven years ago) link
as much as I love the MC5, my impression of Wayne Kramer has been forever tainted by walking into Rhino Records in 1997 and seeing his band playing a cover of MMMBop to a mostly empty store.
― wk, Monday, 25 March 2013 20:06 (eleven years ago) link
Haha! He was the suavest fucking guy ever though in his prime though right?
― acid in the style of tenpole tudor (NickB), Monday, 25 March 2013 20:07 (eleven years ago) link
― wk, Monday, March 25, 2013 4:01 PM (7 minutes ago) Bookmark Flag Post Permalink
It's got the 45 version of "Looking at You," which trounces the one on Back in the U.S.A. Also has "I Just Don't Know," another essential early 45. Don't think either of these have been reissued anywhere else. Oh, and and "I Can Only Give You Everything," their first release.
― Darth Magus (Tarfumes The Escape Goat), Monday, 25 March 2013 20:12 (eleven years ago) link
I think those are all on '66 Breakout
― wk, Monday, 25 March 2013 20:12 (eleven years ago) link
maybe some different takes & mixes between these comps though. not sure. I started with babes & arms but never listened to it after I got the albums so it's been a long time
― wk, Monday, 25 March 2013 20:14 (eleven years ago) link
Ah, OK, I don't have that one. Good to know.
xp
― Darth Magus (Tarfumes The Escape Goat), Monday, 25 March 2013 20:14 (eleven years ago) link
92. FELA KUTI Zombie (2178 Points, 18 Votes)RYM: #14 for 1977 , #399 overall | Acclaimed: #1133 | Pitchfork: #90http://cps-static.rovicorp.com/3/JPG_500/MI0001/615/MI0001615390.jpg?partner=allrovi.comhttp://open.spotify.com/album/1Gs6iohznUttOXNjQcAqINspotify:album:1Gs6iohznUttOXNjQcAqIN
Fela Anikulapo Kuti is a Nigerian pianist-saxophonist who makes real fusion music--if James Brown's stuff is Afro-American, he is Amer-African. No U.S. percussion ensemble would distinguish between first and second conga, but Fela's harmonic, melodic, and improvisational ideas are all adapted from Afro-American (which means part European) models. His sax style recalls the honkers, but it's more staccato, more complex rhythmically. Not only that, there are lyrics, in English, with crib sheet--very political, very associative, explicitly antibook. A- -- R. ChristgauZombie, Fela Anikualapo Kuti's first stateside release, embodies the qualities that make him Nigeria's most popular musician and most notorious dissident folk hero. While the two roles are, of course, intertwined, the former is probably the one most accessible to Americans. Fela's mixture of jazz-rock instrumentation and West African percussion (a combination he terms "Afro-beat") is less a fusion than a rough and tenuous cohesion, but what results is original and exciting.The story behind the title cut provides a context for understanding Fela's latter role. The lyrics to "Zombie" satirize, through call-and-response chanting, the robot-like obedience of the Nigerian military. When a group of soldiers heard the song, they burned down Fela's communal estate, beating many of his small army of bodyguards and raping the women with whom he lived. Fela was subsequently jailed, martyrized in a sensational trial and released. He now claims to be running for president in Nigeria's first national elections next year. "Everything Scatter" is an after-the fact account of the clash at Fela's estate once again mocking the government. (Fela has since been barred from performing in Nigeria.) Unfortunately, some of the lyrics are incomprehensible because of the regional dialect ("wuru-wuro for dem back"?), and much of the subtlety and humor is lost. "Monkey Banana" pokes fun at the upwardly mobile aspirations of many black Nigerians, but once again the nuances of meaning are obscured.As with reggae, one must accept the political overtones of this music to fully enjoy it, though Fela's are secular and considerably more sardonic than most reggae compositions. Like many reggae musicians, Fela and Afrika 70 smoke inordinate amounts of marijuana, which may partially be responsible for the music's pleasant temporal laxity. Thus, Zombie is a real challenge to listeners of American pop. -- Michael Duffey, RS
Zombie, Fela Anikualapo Kuti's first stateside release, embodies the qualities that make him Nigeria's most popular musician and most notorious dissident folk hero. While the two roles are, of course, intertwined, the former is probably the one most accessible to Americans. Fela's mixture of jazz-rock instrumentation and West African percussion (a combination he terms "Afro-beat") is less a fusion than a rough and tenuous cohesion, but what results is original and exciting.
The story behind the title cut provides a context for understanding Fela's latter role. The lyrics to "Zombie" satirize, through call-and-response chanting, the robot-like obedience of the Nigerian military. When a group of soldiers heard the song, they burned down Fela's communal estate, beating many of his small army of bodyguards and raping the women with whom he lived. Fela was subsequently jailed, martyrized in a sensational trial and released. He now claims to be running for president in Nigeria's first national elections next year.
"Everything Scatter" is an after-the fact account of the clash at Fela's estate once again mocking the government. (Fela has since been barred from performing in Nigeria.) Unfortunately, some of the lyrics are incomprehensible because of the regional dialect ("wuru-wuro for dem back"?), and much of the subtlety and humor is lost. "Monkey Banana" pokes fun at the upwardly mobile aspirations of many black Nigerians, but once again the nuances of meaning are obscured.
As with reggae, one must accept the political overtones of this music to fully enjoy it, though Fela's are secular and considerably more sardonic than most reggae compositions. Like many reggae musicians, Fela and Afrika 70 smoke inordinate amounts of marijuana, which may partially be responsible for the music's pleasant temporal laxity. Thus, Zombie is a real challenge to listeners of American pop. -- Michael Duffey, RS
review[-] by Sam SamuelsonZombie was the most popular and impacting record that Fela Anikulopo Kuti and Africa 70 would record -- it ignited the nation to follow Fela's lead and antagonize the military zombies that had the population by the throat. Fela is direct and humorous in his attack as he barks out commands to the soldiers like: "Attention! Double up! Fall In! Fall out! Fall down! Get ready!" Meanwhile, his choir responds with "Zombie!" in between each statement. Since the groove was so absolutely contagious, it took the nation by storm: People in the street would put on a blank stare and walk with hands affront proclaiming "Zombie!" whenever they would see soldiers. If "Zombie" caught the attention of the populous it also cought the attention of the authority figures -- this would cause devastating personal and professional effects as the Nigerian government came down on him with absolute brute force not long after the release of this record. Also included are "Monkey Banana," a laid-back groove that showcases drummer Tony Allen's mastery of the Afro-beat, and "Everything Scatter," a standard mid-tempo romp. Both songs are forgetful in relation to "Zombie," but this is still an essential disc to own for the title track alone.
Zombie was the most popular and impacting record that Fela Anikulopo Kuti and Africa 70 would record -- it ignited the nation to follow Fela's lead and antagonize the military zombies that had the population by the throat. Fela is direct and humorous in his attack as he barks out commands to the soldiers like: "Attention! Double up! Fall In! Fall out! Fall down! Get ready!" Meanwhile, his choir responds with "Zombie!" in between each statement. Since the groove was so absolutely contagious, it took the nation by storm: People in the street would put on a blank stare and walk with hands affront proclaiming "Zombie!" whenever they would see soldiers. If "Zombie" caught the attention of the populous it also cought the attention of the authority figures -- this would cause devastating personal and professional effects as the Nigerian government came down on him with absolute brute force not long after the release of this record. Also included are "Monkey Banana," a laid-back groove that showcases drummer Tony Allen's mastery of the Afro-beat, and "Everything Scatter," a standard mid-tempo romp. Both songs are forgetful in relation to "Zombie," but this is still an essential disc to own for the title track alone.
― Algerian Goalkeeper, Monday, 25 March 2013 20:15 (eleven years ago) link
wait, never mind. Looking at You on '66 Breakout is a live version
― wk, Monday, 25 March 2013 20:17 (eleven years ago) link
Anyone know the best version of their 10+ minute "Black To Comm"? The one I have is from Motor City Is Burning which sounds like absolute ass. I keep hoping they performed it when they recorded Kick Out The Jams, and a pristine version is just waiting in the vaults for that deluxe reissue.
― Fastnbulbous, Monday, 25 March 2013 20:18 (eleven years ago) link
― wk, Monday, March 25, 2013 3:01 PM (17 minutes ago) Bookmark
― and that sounds like a gong-concert (La Lechera), Monday, 25 March 2013 20:19 (eleven years ago) link
Anyone know the best version of their 10+ minute "Black To Comm"?
Best one I've heard is on Power Trip. Not the greatest sound quality, but when the rest of the band comes in after the opening chord vamp, you'll want to duck.
― Darth Magus (Tarfumes The Escape Goat), Monday, 25 March 2013 20:22 (eleven years ago) link
Kimono My House, Real Life and Superfly all should have been top hundred at least. I thought they would all easily make it.
― Kitchen Person, Monday, 25 March 2013 20:24 (eleven years ago) link
Last one for the night coming up. Are you ready for another moronic review by Robert Christgau?
― Algerian Goalkeeper, Monday, 25 March 2013 20:26 (eleven years ago) link
Propaganda still coming up?
― wk, Monday, 25 March 2013 20:27 (eleven years ago) link
Propaganda wasn't nommed
― Non-Stop Erotic Calculus (bmus), Monday, 25 March 2013 20:30 (eleven years ago) link
damn. TOO LOW then
― wk, Monday, 25 March 2013 20:32 (eleven years ago) link
Should these be barred from nominations?They never win polls but are always in top 20s
Jimi Hendrix Experience - Electric LadylandJimi Hendrix Experience - Are You Experienced?The Doors - The Doors
― Cosmic Slop, Sunday, 11 September 2016 00:30 (seven years ago) link
they are wonderful albums
― riding a display name through (brimstead), Sunday, 11 September 2016 00:38 (seven years ago) link
they are, but so are the others people want excluded as they are always in the top 20s
― Cosmic Slop, Sunday, 11 September 2016 00:40 (seven years ago) link
had a suggestion to ban the top 20 or 30 from herehttp://www.acclaimedmusic.net/Current/1960-69a.htm
feel it would be harsh to ban king crimson as thats their only 60s album plus they were in 70s poll.
I think maybe prevent the top 20 or 30 from being nominated except for those who were in the 70s poll + no ban on jazz/soul or stooges/mc5 ?
― Cosmic Slop, Sunday, 11 September 2016 16:52 (seven years ago) link
Ive pretty much decided on that btw
― Cosmic Slop, Sunday, 11 September 2016 16:53 (seven years ago) link
sorry for slow response. yes, totally up for this and am going to mull over and consult with cosmic slop on how best to do this without pissing off absolutely everyone who might participate.
― stirmonster, Monday, 12 September 2016 22:44 (seven years ago) link
don't ban anything imo, just celebrate when like sgt pepper ends up at 89 or something
― imago, Monday, 12 September 2016 22:46 (seven years ago) link
if you dont ban anything you piss off johnny fever and people who moan about 60s lists all being the same.
If you ban the beatles etc you piss off those fans of those
we need to find a way to piss them all off equally!
― Cosmic Slop, Monday, 12 September 2016 22:54 (seven years ago) link
For me, if the poll covers psychedelia then Revolver and Sgt. Pepper should definitely be allowed (and Satanic Majesties for the Stones). If it's an anti-canon poll then fair enough but you'd have to exclude a lot of other stuff (definitely the Velvets and Trout Mask Replica).
― Gavin, Leeds, Tuesday, 13 September 2016 07:42 (seven years ago) link
I agree that banning should be banned. I like to see how ILM's consensus overlaps with or diverges from the mainstream. Very excited for a 60s poll!
Also, just listened to the 70s poll winner, which I had no awareness of at all - it's fantastic! Back to metal now.
― tangenttangent, Tuesday, 13 September 2016 09:30 (seven years ago) link
Hang on, the only reason I made tactical suggestions is because the concept of pre-banning things had already been brought up. That's not my usual m.o. I only did it for the Alt-70s album poll simply so we wouldn't have a rehash of the original poll.
― Ⓓⓡ. (Johnny Fever), Tuesday, 13 September 2016 12:33 (seven years ago) link
I only did it for the Alt-70s album poll simply so we wouldn't have a rehash of the original poll.
And Fleetwood Mac still won, so ILM is gonna ILM all day.
― Ⓓⓡ. (Johnny Fever), Tuesday, 13 September 2016 12:34 (seven years ago) link
haha
there's no previous ILM 60s poll to leave out the top 100, is there?
Beatles, Beach Boys, Dylan, Stones would need to be barred to avoid the alt-70s poll scenario.
Sadly there's no actual Rolling Stone or Mojo best albums of the 60s list to leave off nominations.
― Cosmic Slop, Tuesday, 13 September 2016 17:24 (seven years ago) link
now metal poll is over I have time (and several months) to discuss this over with stirmonster. He can play bad cop.
― Cosmic Slop, Saturday, 17 September 2016 18:49 (seven years ago) link
Oh yeah nothing by The Who I guess
― Cosmic Slop, Saturday, September 10, 2016 2:50 PM (one week ago) Bookmark Flag Post Permalink
I'd argue against this mainly because Tommy is the only '60s Who record that regularly shows up on BEST OF WHATEVER lists. I've seen Sell Out once or twice, but never My Generation or A Quick One.
Ban Tommy, not the Who.
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Saturday, 17 September 2016 19:26 (seven years ago) link
When is Quadrophenia from? cuz thats gotta go too if its the 60s otherwise I agree with you
it may just end up with stirmonster and I arbitrary cutting albums, everyone can have a moan but bad cop will stand firm
― Cosmic Slop, Saturday, 17 September 2016 19:34 (seven years ago) link
but defo no beatles or beach boys or dylan. I dont mind satanic majesties being allowed tho i wouldnt vote for it
― Cosmic Slop, Saturday, 17 September 2016 19:35 (seven years ago) link
Quadrophenia is from 1973.
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Saturday, 17 September 2016 19:36 (seven years ago) link
i dont want to ban too much tho so it will be those acts plus albums that always make the top 10 or 20 which sadly means vu & nico, forever changes, trout mask replica
― Cosmic Slop, Saturday, 17 September 2016 19:36 (seven years ago) link
my fave who is Sell Out was never keen on anything after 1970
― Cosmic Slop, Saturday, 17 September 2016 19:37 (seven years ago) link
No BeatlesNo Beach BoysNo DylanNo Hendrix
Only Rolling Stones album allowed - Their Satanic Majesties Request
Albums Banned:
Van Morrison - Astral WeeksThe Who - TommyVelvet Underground - VU & NicoCaptain Beefheart & His Magic BandLove - Forever ChangesThe Doors - The Doors
I'm not sure much else needs banned. I checked up several lists and those are the ones that appeared on them all.
Im fine with anything else placing.
And fwiw Forver Changes is my fave album of all time so there's no bias here. Only Tommy out of those thngs banned I dont like.
― Cosmic Slop, Saturday, 17 September 2016 19:48 (seven years ago) link
that should read Captain Beefheart & His Magic Band - Trout Mask Replica
― Cosmic Slop, Saturday, 17 September 2016 19:53 (seven years ago) link
While you are sorting out the details of the 60s poll, why don't you check out
LET'S GET IT ON! It's the ~~~ 1970s SOUL ALBUMS POLL ~~~ NOMINATIONS AND CAMPAIGNING THREAD
― ArchCarrier, Saturday, 17 September 2016 19:54 (seven years ago) link
oooohhh awesome!! thanks for the heads up!
― Cosmic Slop, Saturday, 17 September 2016 19:56 (seven years ago) link
Cor, what a magnificent poll. Did one happen for the 80s/90s? Finds for tonight: Agitation Free and the Groundhogs' Split.
― Sunn O))) Brother Where Art Thou? (Chinaski), Saturday, 17 September 2016 21:07 (seven years ago) link
yes there was an 80s poll which ran before this one.
The ILM 1980s Anti-Rolling Stone Canon (FREE PUSSY RIOT) Rock Poll Results - ALBUMS! Top 20! ends today
we are going back the way for some reason.
No idea if there will ever be a 90s one but you never know in a year or 2 but first things first and while I suppose we could open noms soon if people want , we still wouldnt be starting voting til feb or march.
― Cosmic Slop, Saturday, 17 September 2016 21:21 (seven years ago) link
that's for the 60's poll I mean obviously
― Cosmic Slop, Sunday, 18 September 2016 00:26 (seven years ago) link
Hold off on the noms alright...jeez louise. I didnt know you were planning on starting right back up
― the coyotes have taken over the town (Drugs A. Money), Sunday, 18 September 2016 00:42 (seven years ago) link
(Obv if others want to start, then do it. Thats only my singular opinion.)
― the coyotes have taken over the town (Drugs A. Money), Sunday, 18 September 2016 00:43 (seven years ago) link
I wasn't intending on starting noms (unless loads ask me to but the voting still wouldn't start til feb/march regardless.its been a few years waiting to run so another few months wont hurt
― Cosmic Slop, Sunday, 18 September 2016 15:14 (seven years ago) link
Stirmonster are you around?
― Odysseus, Wednesday, 8 February 2017 16:46 (seven years ago) link
RECAP TOP 501
01. FLOWER TRAVELLIN’ BAND (6863 Points, 41 Votes, 1 #1)02. BLACK SABBATH Vol. 4 (6320 Points, 37 Votes, 2 #1s)03. CAN Tago Mago (5852 Points, 38 Votes, 1 #1)04. FUNKADELIC Maggot Brain (5765 Points, 39 Votes, 3 #1s)05. JOY DIVISION Unknown Pleasures (5527 Points, 36 Votes, 1 #1)06. TELEVISION Marquee Moon (5223 Points, 35 Votes)07. AMON DÜÜL II Yeti (5220 Points, 39 Votes, 1 #1)08. HAWKWIND Space Ritual (5083 Points, 33 Votes, 2 #1s)09. ASH RA TEMPEL Ash Ra Tempel (4992 Points, 34 Votes, 1 #1)10. THE STOOGES Fun House (4968 Points, 29 Votes, 5 #1s)
11. CAN Ege Bamyasi (4826 Points, 33 Votes, 1 #1)12. THE GROUNDHOGS Split (4753 Points, 33 Votes, 1 #1)13. LED ZEPPELIN Physical Graffiti (4676 Points, 29 Votes, 1 #1)14. BRIAN ENO Here Come the Warm Jets (4575 Points, 29 Votes, 2 #1s)15. SLY & THE FAMILY STONE There's A Riot Goin' On (4528 Points, 32 Votes, 1 #1)16. PUBLIC IMAGE LTD Metal Box/Second Edition (4526 Points, 33 Votes)17. CAN Future Days (4522 Points, 30 Votes)18. NEU! Neu! 75 (4477 Points, 31 Votes) 1 #1)19. KING CRIMSON Red (4382 Points, 29 Votes, 1 #1)20. LES RALLIZES DÉNUDÉS '77 Live (3960 Points, 28 Votes)
21. GANG OF FOUR Entertainment! (3885 Points, 26 Votes)22. IGGY & THE STOOGES Raw Power (3879 Points, 28 Votes)23. AC/DC Highway To Hell (3848 Points, 27 Votes)24. DAVID BOWIE The Rise and Fall of Ziggy Stardust and the Spiders from Mars (3724 Points, 27 Votes)25. CHROME Half Machine Lip Moves (3668 Points, 29 Votes)26. FUNKADELIC Standing On The Verge Of Getting It On (3639 Points, 23 Votes)27. NEU! Neu! (3637 Points, 28 Votes)28. THE MODERN LOVERS The Modern Lovers (3607 Points, 24 Votes)29. FUNKADELIC Free Your Mind...And Your Ass Will Follow (3596 Points, 26 Votes, 1 #1)30. DEVO Q: Are We Not Men ? A: We Are Devo (3561 Points, 25 Votes, 1 #1)
31. THE POP GROUP Y (3543 Points, 25 Votes)32. MILES DAVIS A Tribute To Jack Johnson (3421 Points, 25 Votes, 1 #1)33. NEW YORK DOLLS New York Dolls (3420 Points, 29 Votes)34. WIRE Pink Flag (3399 Points, 29 Votes, 1 #1)35. PATTI SMITH Horses (3381 Points, 24 Votes)36. NURSE WITH WOUND Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella ( 3333 Points, 22 Votes, 1 #1)37. MAGMA Mekanïk Destruktïw Kommandöh (3299 Points, 23 Votes, 1 #1)38. RICHARD HELL & THE VOIDOIDS Blank Generation (3292 Points, 25 Votes)39. SUICIDE Suicide (3268 Points, 23 Votes)40. LA DUSSELDORF Viva (3172 Points, 25 Votes)41. TODD RUNDGREN A Wizard, A True Star (3163 Points, 18 Votes, 3 #1s)42. MANDRILL Mandrill Is (3162 Points, 21 Votes, 1 #1)43. LED ZEPPELIN Led Zeppelin IV (3070 Points, 20 Votes, 2 #1s)44. SEX PISTOLS Never Mind the Bollocks, Here's The Sex Pistols (3030 Points, 22 Votes, 1 #1)45. WISHBONE ASH Argus (3017 Points, 19 Votes, 1 #1)46. WIRE Chairs Missing (3009 Points, 21 Votes)47. BLACK SABBATH Master of Reality (2993 Points, 19 Votes, 1 #1)48. YOKO ONO Fly (2988 Points, 22 Votes)49. X-RAY SPEX Germ Free Adolescents (2924 Points, 22 Votes)50. SOFT MACHINE Third (2920 Points, 19 Votes, 1 #151. THROBBING GRISTLE 20 Jazz funk Greats (2917 Points, 25 Votes)52. AEROSMITH Rocks (2882 Points, 20 Votes, 1 #1)53. KING CRIMSON Starless and Bible Black (2857 Points, 19 Votes, 2 #1s)54. ROXY MUSIC Roxy Music (2836 Points, 20 Votes, 1 #1)55. JUDAS PRIEST Sad Wings of Destiny (2836 Points, 20 Votes)56. PARLIAMENT Mothership Connection (2824 Points, 23 Votes)57. ZZ TOP Tres Hombres (2807 Points, 20 Votes)58. PINK FAIRIES Kings of Oblivion (2775 Points, 20 Votes, 1 #1)59. CHROME Alien Soundtracks (2768 Points, 22 Votes, 1 #1)60. BLACK SABBATH Paranoid (2726 Points, 17 Votes, 1 #1)
61. MAHAVISHNU ORCHESTRA The Inner Mounting Flame (2685 Points, 20 Votes)62. BRAINTICKET Cottonwoodhill (2666 Points, 20 Votes)63. FAUST So Far (2654 Points, 20 Votes)64. PERE UBU The Modern Dance (2644 Points, 24 Votes)65. SLAPP HAPPY Acnalbasac Noom (2642 Points, 16 Votes, 2 #1s)66. RAMONES Ramones (2641 Points, 19 Votes)67. THE SLITS Cut (2615 Points, 21 Votes)68. SELDA Selda (2534 Points, 17 Votes)69. AMON DUUL II Wolf City (2532 Points, 17 Votes)70. BLACK FLAG The First Four Years (2514 Points, 18 Votes)71. VAN HALEN Van Halen (2506 Points, 18 Votes)72. THE GROUNDHOGS Thank Christ For The Bomb (2495 Points, 19 Votes)73. AMON DUUL II Tanz der Lemminge (2464 Points, 16 Votes, 1 #1)74. THIS HEAT This Heat (2440 Points, 19 Votes)75. FAUST Faust IV (2426 Points, 17 Votes)76. NEIL YOUNG & CRAZY HORSE Zuma (2410 Points, 16 Votes, 1 #1)77. AGITATION FREE Malesch (2406 Points, 18 Votes, 1 #1)78. CURTIS MAYFIELD Curtis (2392 Points, 18 Votes)79. HELDON Interface (2391 Points, 17 Votes)80. VAN DER GRAAF GENERATOR Godbluff (2386 Points, 16 Votes)81. THE ADVERTS Crossing the Red Sea with the Adverts (2378 Points, 18 Votes)82. JIMI HENDRIX Band Of Gypsys (2365 Points, 17 Votes)83. ROLLING STONES Exile On Main St. (2360 Points, 16 Votes)84. ROXY MUSIC For Your Pleasure (2359 Points, 17 Votes)85. HELDON Stand By (2349 Points, 16 Votes)86. JOHNNY THUNDERS & THE HEARTBREAKERS L.A.M.F. (2339 Points, 18 Votes)87. CREEDENCE CLEARWATER REVIVAL Cosmo's Factory (2324 Points, 17 Votes)88. BIG STAR Radio City (2311 Points, 15 Votes, 2 #1s)89. COMUS First Utterance (2304 Points, 17 Votes)90. VAN DER GRAAF GENERATOR Pawn Hearts (2271 Points, 16 Votes, 1 #1)
91. OHIO PLAYERS Fire (2195 Points, 16 Votes)92. FELA KUTI Zombie (2178 Points, 18 Votes)93. GOBLIN Suspiria (2170 Points, 18 Votes)94. MC5 High Time (2144 Points, 17 Votes, 1 #1)95. MARS The Complete Studio Recordings NYC 1977-1978 (2124 Points, 15 Votes, 1 #1)96. APHRODITE'S CHILD 666 (2115 Points, 19 Votes)97. POPOL VUH Coeur de Verre/Herz aus Glas (2098 Points, 18 Votes, 1 #1)98. THE WHO Who's Next (2091 Points, 13 Votes)99. THROBBING GRISTLE D.O.A. - The Third and Final Report (2075 Points, 15 Votes, 1 #1)
100. TANGERINE DREAM Electronic Meditation (2055 Points, 15 Votes)101. SWELL MAPS A Trip To Marineville (2050 Points, 15 Votes)102. ASH RA TEMPEL Schwingungen (2040 Points, 17 Votes)103. MOTORHEAD Overkill (2037 Points, 17 Votes)104. MAN Rhinos, Winos & Lunatics (2019 Points, 15 Votes)105. MAGAZINE Real Life (2013 Points, 16 Votes)106. MANDRILL Mandrill (1997 Points, 15 Votes)107. CAN Soundtracks (1977 Points, 15 Votes)108. DNA DNA On DNA (1976 Points, 15 Votes)109. SPARKS Kimono My House (1966 Points, 14 Votes, 1 #1)110. THE TEMPTATIONS Psychedelic Shack (1965 Points, 16 Votes)111. FACES A Nod Is As Good As a Wink... to a Blind Horse (1952 Points, 15 Votes)112. GURU GURU Känguru (1947 Points, 16 Votes)113. THE DAMNED Damned Damned Damned (1908 Points, 13 Votes, 1 #1)114. THE CLASH The Clash (1907 Points, 15 Votes)115. MISFITS Static Age (1891 Points, 17 Votes)116. PINK FAIRIES Neverneverland (1889 Points, 14 Votes)117. T. REX Electric Warrior (1870 Points, 16 Votes)118. BIG STAR #1 Record (1853 Points, 16 Votes)119. CURTIS MAYFIELD Superfly (1852 Points, 15 Votes)120. MILES DAVIS Agharta (1848 Points, 18 Votes)
121. KRAFTWERK I (1827 Points, 15 Votes)122. ISLEY BROTHERS The Heat Is On (1815 Points, 14 Votes)123. STIFF LITTLE FINGERS Inflammable Material (1814 Points, 12 Votes)124. IGGY POP The Idiot (1810 Points, 15 Votes)125. FUNKADELIC Funkadelic (1800 Points, 15 Votes)126. THE RAINCOATS The Raincoats (1792 Points, 16 Votes)127. NEU! - 2 (1789 Points, 15 Votes)128. SIOUXSIE & THE BANSHEES The Scream (1785 Points, 16 Votes)129. GILA Gila/Free Electric Sound (1748 Points, 13 Votes)130. PARLIAMENT Funkentelechy Vs. the Placebo Syndrome (1747 Points, 16 Votes)131. OHIO PLAYERS Pleasure (1743 Points, 13 Votes)132. STEVE HILLAGE Fish Rising (1740 Points, 12 Votes)133. AEROSMITH Toys in the Attic (1735 Points, 14 Votes)134. OHIO PLAYERS Honey (1734 Points, 14 Votes)135. WIRE 154 (1730 Points, 13 Votes)136. ARTHUR LEE Vindicator (1715 Points, 14 Votes)137. BLACK SABBATH Black Sabbath (1710 Points, 14 Votes)138. LED ZEPPELIN Houses of the Holy (1707 Points, 14 Votes)139. MAHAVISHNU ORCHESTRA Birds Of Fire (1702 Points, 13 Votes)140. AGITATION FREE 2nd (1684 Points, 12 Votes)
141. CAN Soon Over Babaluma (1678 Points, 13 Votes)142. YES Close To The Edge (1664 Points, 11 Votes)143. BETTY DAVIS Nasty Gal (1660 Points, 15 Votes)144. THE RESIDENTS Duck Stab/Buster & Glen (1657 Points, 14 Votes)145. HIGH TIDE High Tide (1645 Points, 11 Votes)146. CAPTAIN BEYOND Captain Beyond (1638 Points, 12 Votes)147. LOU REED Metal Machine Music (1634 Points, 12 Votes)147. MILES DAVIS Get Up With It (1634 Points, 12 Votes)149. ISLEY BROTHERS 3+3 (1632 Points, 15 Votes)150. ATOMIC ROOSTER Death Walks Behind You (1627 Points, 11 Votes, 1 #1)151. La Düsseldorf - La Düsseldorf (1624 Points, 12 Votes, 1 #1)152. MC5 Back in the USA (1613 Points, 12 Votes)153. PENTAGRAM First Daze Here (1611 Points, 11 Votes)154. FAUST Faust (1578 Points, 11 Votes)155. FUNKADELIC Cosmic Slop (1576 Points, 14 Votes)156. SPIRIT Twelve Dreams of Dr. Sardonicus (1576 Points, 13 Votes)157. DEAD BOYS Young, Loud, and Snotty (1575 Points, 13 Votes)158. DR. FEELGOOD Down By The Jetty (1573 Points, 13 Votes)159. SIR LORD BALTIMORE Kingdom Come (1511 Points, 11 Votes)160. BAD BRAINS Black Dots (1476 Points, 11 Votes)
161. FUNKADELIC Let’s Take It To The Stage (1474 Points, 13 Votes)162. FELA KUTI Expensive Shit (1464 Points, 13 Votes, 1 #1)163. BLUE ÖYSTER CULT Secret Treaties (1459 Points, 11 Votes)164. MAGAZINE Secondhand Daylight (1456 Points, 13 Votes)165. THE FALL Dragnet (1451 Points, 10 Votes, 1 #1)166. THE RESIDENTS The Third Reich 'n Roll (1449 Points, 12 Votes)167. THE PRETTY THINGS Parachute (1449 Points, 11 Votes, 1 #1)168. RUFUS & CHAKA KHAN Rufusized (1440 Points, 10 Votes)169. THE SENSATIONAL ALEX HARVEY BAND Next... (1429 Points, 12 Votes)170. CAPTAIN BEEFHEART & THE MAGIC BAND Clear Spot (1426 Points, 10 Votes)171. HAWKWIND In Search of Space (1423 Points, 12 Votes)172. GERMS (GI) (1406 Points, 12 Votes)173. BETTY DAVIS Betty Davis (1405 Points, 13 Votes)174. HAWKWIND Warrior on the Edge of Time (1404 Points, 11 Votes)175. BUDGIE Budgie (1404 Points, 10 Votes)176. IGGY POP Lust for Life (1403 Points, 11 Votes)177. FAMILY Bandstand (1399 Points, 11 Votes)178. MANDRILL Composite Truth (1396 Points, 13 Votes)179. PETER HAMMILL Nadir's Big Chance (1391 Points, 14 Votes)180. PARLIAMENT Chocolate City (1390 Points, 14 Votes)181. PARLIAMENT Clones of Dr. Funkenstein (1384 Points, 11 Votes)182. DEEP PURPLE Machine Head (1383 Points, 13 Votes)183. METERS Rejuvenation (1376 Points, 12 Votes, 1 #1)184. TAJ MAHAL TRAVELLERS August 1974 (1374 Points, 9 Votes, 1 #1)185. DAVID BOWIE Aladdin Sane (1371 Points, 11 Votes)
186. CHAIRMEN OF THE BOARD Skin I'm In (1362 Points, 12 Votes)187. PINK FAIRIES What A Bunch Of Sweeties (1356 Points, 9 Votes)188. RESIDENTS Meet the Residents (1354 Points, 10 Votes)189. BLACK SABBATH Sabotage (1353 Points, 12 Votes)190. CRAMPS Gravest Hits (1340 Points, 11 Votes)191. ARMAND SCHAUBROECK Ratfucker (1335 Points, 12 Votes)192. PERE UBU Dub Housing (1327 Points, 12 Votes)193. HENRY COW/SLAPP HAPPY In Praise Of Learning (1326 Points, 10 Votes)194. JOBRIATH Jobriath (1324 Points, 9 Votes)195. Disqualified196. THE CURE Three Imaginary Boys/Boys Don't Cry (1321 Points, 10 Votes)197. THIN LIZZY Jailbreak (1320 Points, 10 Votes)198. THE RUTS The Crack (1301 Points, 11 Votes)199. WAR The World Is a Ghetto (1301 Points, 10 Votes)200. STRAY Stray (1301 Points, 8 Votes, 1 #1)201. KRAAN Wintrup (1298 Points, 10 Votes)202. SUBWAY SECT We Oppose All Rock & Roll (1297 Points, 9 Votes)203. VARIOUS ARTISTS No New York (1296 Points, 10 Votes, 1 #1)204. RAINBOW Rising (1289 Points, 11 Votes, 1 #1)205. MONTROSE Montrose (1281 Points, 9 Votes)206. DR. JOHN In The Right Place (1277 Points, 9 Votes)207. OHIO PLAYERS Pain (1266 Points, 9 Votes)208. SLY & THE FAMILY STONE Fresh (1261 Points, 12 Votes)209. OHIO PLAYERS Skin Tight (1258 Points, 9 Votes)210. RAMONES Rocket To Russia (1256 Points, 11 Votes)
211. MAGMA Attahk (1249 Points, 9 Votes)212. EDDIE HAZEL Games, Dames And Guitar Thangs (1247 Points, 10 Votes)213. KRAAN Kraan (1242 Points, 9 Votes)214. TEENAGE JESUS AND THE JERKS Teenage Jesus and the Jerks (1219 Points, 10 Votes)215. MILES DAVIS Dark Magus (1216 Points, 9 Votes)216. BRAINTICKET Psychonaut (1214 Points, 12 Votes)217. JAMES CHANCE & THE CONTORTIONS Buy (1211 Points, 10 Votes)218. LEAF HOUND Growers of Mushroom (1204 Points, 10 Votes)219. AC/DC Powerage (1189 Points, 8 Votes)220. DEEP PURPLE In Rock (1186 Points, 12 Votes)221. FELA KUTI He Miss Road (1181 Points, 9 Votes)222. THIN LIZZY Johnny the Fox (1179 Points, 8 Votes)223. DAF Ein Produkt der Deutsch-Amerikanischen Freundschaft (1177 Points, 10 Votes)224. PARLIAMENT Osmium (1168 Points, 10 Votes)225. MUTINY Mutiny On The Mamaship (1164 Points, 9 Votes)226. THE FALL Live at the Witch Trials (1160 Points, 11 Votes)227. BOSTON Boston (1156 Points, 9 Votes, 1 #1)228. GONG Camembert Electrique (1149 Points, 11 Votes)228. MOTORHEAD Motorhead (1149 Points, 11 Votes)230. GRAHAM CENTRAL STATION Ain't No 'Bout-A-Doubt It (1147 Points, 10 Votes)231. QUEEN Queen II (1145 Points, 10 Votes)232. LENE LOVICH Stateless (1141 Points, 9 Votes)233. JOBRIATH Creatures Of The Street (1121 Points, 8 Votes)234. HAWKLORDS 25 Years On (1108 Points, 9 Votes)235. CRASS The Feeding of the 5000 (1102 Points, 9 Votes)236. AC/DC Dirty Deeds Done Dirt Cheap (1096 Points, 8 Votes)237. THE COSMIC JOKERS The Cosmic Jokers (1087 Points, 9 Votes)238. WIPERS Is This Real? (1076 Points, 11 Votes)239. FLOWER TRAVELLIN' BAND Made In Japan (1075 Points, 9 Votes)240. XHOL Motherfuckers GMBH & Co KG (1073 Points, 9 Votes)241. FELA KUTI Open & Close (1071 Points, 10 Votes)242. KLEENEX Beri Beri / Ain't You / Hedi's Head / Nice EP (1054 Points, 10 Votes)243. EDGAR BROUGHTON BAND Edgar Broughton Band (1053 Points, 8 Votes)244. ISLEY BROTHERS Showdown (1049 Points, 9 Votes)245. ALICE COOPER Billion Dollar Babies (1041 Points, 7 Votes)246. THE GROUNDHOGS Who Will Save The World (1030 Points, 8 Votes)247. METERS Fire On The Bayou (1023 Points, 8 Votes)248. JAMES BLOOD ULMER Tales of Captain Black (1020 Points, 8 Votes)249. SHUGGIE OTIS Inspiration Information (1009 Points, 9 Votes)250. ERKIN KORAY ElektronikTuerkueler (1007 Points, 8 Votes)
251. B.T. EXPRESS Do It Til You're Satisfied (1005 Points, 10 Votes)252. CAPTAIN BEEFHEART & THE MAGIC BAND Shiny Beast (Bat Chain Puller) (1005 Points, 8 Votes)253. GLENN BRANCA Songs '77-'79 (1004 Points, 9 Votes)254. BLACK SABBATH Sabbath Bloody Sabbath (1001 Points, 9 Votes)255. RUFUS & CHAKA KHAN Rags To Rufus (1001 Points, 8 Votes)256. ULTRAVOX! Ultravox! (995 Points, 9 Votes)257. CYMANDE Cymande (992 Points, 8 Votes)258. CRIME San Francisco's Doomed (990 Points, 9 Votes)259. JAMES BROWN The Payback (990 Points, 8 Votes)260. NEIL YOUNG & CRAZY HORSE Live Rust (989 Points, 8 Votes)261. THEORETICAL GIRLS Theoretical Record (983 Points, 10 Votes)262. AU PAIRS Equal But Different - BBC Sessions 79-81 (980 Points, 8 Votes)263. LOS DUG DUG'S Dug Dug's (979 Points, 7 Votes)264. CRASS Stations Of The Crass (975 Points, 9 Votes)265. FAMILY A Song For Me (974 Points, 8 Votes)266. THE DAMNED Machine Gun Etiquette (973 Points, 6 Votes)267. HAWKWIND Hall of the Mountain Grill (965 Points, 10 Votes)268. PINK FLOYD Animals (960 Points, 10 Votes)269. BLUES CREATION Demon & Eleven Children (955 Points, 10 Votes)270. BOOTSY'S RUBBER BAND Ahh...The Name is Bootsy, Baby! (954 Points, 9 Votes)271. BUDGIE Never Turn Your Back On A Friend (953 Points, 7 Votes)271. BUZZCOCKS Spiral Scratch EP (953 Points, 7 Votes)273. EDGAR BROUGHTON BAND Sing Brother Sing (952 Points, 7 Votes)274. THE SAINTS (I'm) Stranded (947 Points, 9 Votes)275. KRAFTWERK Kraftwerk 2 (945 Points, 8 Votes)276. T. REX The Slider (944 Points, 7 Votes)277. VAN DER GRAAF GENERATOR Still Life (935 Points, 7 Votes)278. GENESIS Foxtrot (933 Points, 8 Votes)278. Guru Guru - UFO (933 Points, 8 Votes)280. A.R. & MACHINES Die grüne Reise - The Green Journey (931 Points, 7 Votes)281. Motörhead Bomber (928 Points, 8 Votes)282. MOUNTAIN Climbing! (921 Points, 9 Votes)283. DEATH ...For the Whole World to See (920 Points, 8 Votes)284. TUBEWAY ARMY Tubeway Army (915 Points, 8 Votes)285. BLUE ÖYSTER CULT Agents of Fortune (909 Points, 8 Votes)286. MILES DAVIS Pangaea (908 Points, 8 Votes)287. KING CRIMSON Larks' Tongues in Aspic (907 Points, 9 Votes)288. ROCKET FROM THE TOMBS The Day The Earth Met The Rocket From The Tombs (960 Points, 7 Votes)289. PAVLOV’S DOG Pampered Menial (899 Points, 7 Votes)290. HENRY COW Unrest (894 Points, 7 Votes)291. ISLEY BROTHERS Live It Up (891 Points, 8 Votes)292. THE RUNAWAYS The Runaways (890 Points, 8 Votes)293. ALICE COOPER Killer (889 Points, 8 Votes)294. GURU GURU Hinten (88 Points, 9 Votes)295. GERMAN OAK German Oak (883 Points, 7 Votes)296. PATTI SMITH GROUP Radio Ethiopia (882 Points, 7 Votes)297. BUFFALO Volcanic Rock (881 Points, 7 Votes)298. FAUST The Faust Tapes (879 Points, 7 Votes)299. YAHOWHA 13 Penetration: An Aquarian Symphony (869 Points, 8 Votes)300. FREE Fire And Water (866 Points, 8 Votes)
301. TEENAGE JESUS AND THE JERKS Beirut Slump: Shut Up and Bleed (863 Points, 6 Votes)302. LOVE False Start (860 Points, 6 Votes)303. MAN Be Good To Yourself at Least Once A Day (859 Points, 7 Votes)304. YES Fragile (858 Points, 8 Votes)305. SANTANA Abraxas (858 Points, 7 Votes)306. CAMEO Cardiac Arrest (851 Points, 7 Votes)307. CAPTAIN BEEFHEART & THE MAGIC BAND Licky My Decals Off, Baby (847 Points, 9 Votes)308. CARAVAN In The Land Of The Grey & Pink (847 Points, 8 Votes)309. GILA Bury My Heart at Wounded Knee (846 Points, 7 Votes)310. ERKIN KORAY Erkin Koray 2 (843 Points, 7 Votes)311. JAMES WHITE AND THE BLACKS Off White (842 Points, 8 Votes)312. ALICE COOPER Love It to Death (836 Points, 8 Votes)313. MILES DAVIS Big Fun (830 Points, 7 Votes)314. THOMAS LEER & ROBERT RENTAL The Bridge (828 Points, 7 Votes)315. SPK Auto-Da-Fe (827 Points, 6 Votes)316. WAR All Day Music (820 Points, 8 Votes)317. THE DICTATORS Go Girl Crazy! (818 Points, 8 Votes)318. BE BOP DELUXE Sunburst Finish (811 Points, 7 Votes)319. PARLIAMENT Up For The Down Stroke (810 Points, 8 Votes)320. BOOTSY'S RUBBER BAND Stretchin' Out In Bootsy's Rubber Band (808 Points, 9 Votes)321. ROXY MUSIC Country Life (807 Points, 7 Votes)322. RUSH A Farewell to Kings (801 Points, 7 Votes)323. MOTT THE HOOPLE Mott (799 Points, 6 Votes)324. PERE UBU Terminal Tower: An Archival Collection,Non-LP Singles & b-sides 1976-80 (796 Points, 6 Votes, 1 #1)325. HAWKWIND Quark, Strangeness & Charm (794 Points, 6 Votes)326. ISAAC HAYES Black Moses (791 Points, 6 Votes)327. ISLEY BROTHERS Go For Your Guns (787 Points, 7 Votes)328. JUDAS PRIEST Stained Class (784 Points, 7 Votes)329. ULTRAVOX! Ha! Ha! Ha! (778 Points, 8 Votes)330. LED ZEPPELIN Led Zeppelin III (778 Points, 6 Votes)331. HEART Dreamboat Annie (773 Points, 6 Votes)333. ZZ TOP Degüello (771 Points, 7 Votes)334. MANDRILL Just Outside Of Town (767 Points, 7 Votes)335. BABY HUEY & THE BABYSITTERS The Baby Huey Story (764 Points, 9 Votes)336. JUDAS PRIEST Hell Bent for Leather/Killing Machine (761 Points, 7 Votes)336. MAN Back Into The Future (761 Points, 7 Votes)336. OS MUTANTES A Divina Comedia ou Ando Meio Desligado (761 Points, 7 Votes)339. BUDGIE In For The Kill (760 Points, 7 Votes)340. FRANK ZAPPA Overnite Sensation (755 Points, 6 Votes)341. WARHORSE Warhorse (747 Points, 4 Votes)342. SCREAMERS In A Better World (745 Points, 8 Votes)343. ASH RA TEMPEL Join Inn (741 Points, 6 Votes)344. FLAMIN' GROOVIES Teenage Head (741 Points, 5 Votes)345. RICK JAMES Bustin' Out Of L Seven (734 Points, 6 Votes)346. RADIO BIRDMAN Radios Appear (732 Points, 8 Votes)347. THE DICTATORS Bloodbrothers (731 Points, 7 Votes)348. HENRI TEXIER Varech (725 Points, 7 Votes)349. NAZZ Nazz (718 Points, 6 Votes)350. T2 It'll All Work Out In Boomland (711 Points, 5 Votes)
351. URIAH HEEP ...Very 'Eavy Very 'Umble... (708 Points, 7 Votes)352. THE STRANGLERS Rattus Norvegicus (708 Points, 5 Votes)353. METAL URBAIN Les hommes morts sont dangereux (707 Points, 6 Votes)354. HAWKWIND Doremi Fasol Latido (705 Points, 7 Votes)355. JOHN MCLAUGHLIN Devotion (704 Points, 5 Votes)356. DESTROY ALL MONSTERS Bored (701 Points, 6 Votes)357. GENESIS Nursery Cryme (696 Points, 7 Votes)358. PiL Public Image (689 Points, 7 Votes)359. HARLEM RIVER DRIVE Harlem River Drive (689 Points, 5 Votes)359. ROXY MUSIC Stranded (689 Points, 5 Votes)361. CHROME The Visitation (688 Points, 6 Votes)362. SIOUXSIE AND THE BANSHEES Join Hands (688 Points, 5 Votes)363. WISHBONE ASH Wishbone Ash (683 Points, 5 Votes)364. Lula Côrtes e Zé Ramalho - Paêbirú (678 Points, 5 Votes)366. BROSELMASCHINE Bröselmaschine (670 Points, 7 Votes)367. DESPERATE BICYCLES Another Commercial Venture (670 Points, 6 Votes)368. DR. FEELGOOD Stupidity (667 Points, 5 Votes)369. THE FALL 77-Early Years-79 (667 Points, 4 Votes)370. NINA HAGEN BAND Nina Hagen Band (665 Points, 5 Votes)371. ALLMAN BROTHERS Fillmore East (664 Points, 6 Votes)372. THROBBING GRISTLE First Annual Report (664 Points, 5 Votes)373. TRAD, GRAS & STENAR Träd, Gräs & Stenar (663 Points, 6 Votes)374. TUXEDOMOON No Tears (657 Points, 7 Votes)375. EARTH, WIND & FIRE Earth, Wind & Fire (674 Points, 6 Votes)375. IAN DURY New Boots and Panties!!! (650 Points, 5 Votes)376. QUEEN Sheer Heart Attack (649 Points, 7 Votes)377. CABARET VOLTAIRE Mix-Up (646 Points, 6 Votes)378. BLACK FLAG Everything Went Black (646 Points, 5 Votes)379. DEEP PURPLE Made in Japan (642 Points, 7 Votes)380. JANDEK Ready For The House (640 Points, 5 Votes)381. THE ONLY ONES The Only Ones (640 Points, 4 Votes)382. SLAVE The Concept (635 Points, 6 Votes)383. METERS Cabbage Alley (634 Points, 5 Votes)384. LYNYRD SKYNYRD (pronounced 'leh-'nérd 'skin-'nérd) (634 Points, 4 Votes)385. JOHN CALE & TERRY RILEY Church of Anthrax (629 Points, 7 Votes)385. RAMONES Leave Home (629 Points, 7 Votes)387. FRANK ZAPPA Apostrophe (629 Points, 6 Votes)388. MAGMA Üdü ?üdü (629 Points, 5 Votes)389. THROBBING GRISTLE The Second Annual Report (629 Points, 4 Votes)390. JANE Together (627 Points, 5 Votes)391. SWEET Desolation Boulevard (622 Points, 6 Votes)392. A.R. & MACHINES A.R. IV (622 Points, 4 Votes)393. A CERTAIN RATIO The Graveyard And The Ballroom (620 Points, 5 Votes)394. CURTIS MAYFIELD Roots (618 Points, 5 Votes)395. FELA KUTI No Agreement (617 Points, 5 Votes)396. SLY STONE High On You (616 Points, 5 Votes)397. BLACK WIDOW Sacrifice (612 Points, 7 Votes)398. FACES Ooh La La (606 Points, 6 Votes)399. CHEAP TRICK In Color (606 Points, 5 Votes)400. SPIRIT Feedback (605 Points, 4 Votes)
401. FAR EAST FAMILY BAND Parallel World (604 Points, 5 Votes)402. ALICE COOPER Welcome to my Nightmare (599 Points, 4 Votes)403. THE STRANGLERS No More Heroes (591 Points, 5 Votes)404. THE POLITICIANS The Politicians Featuring McKinley Jackson (591 Points, 3 Votes)405. MILES DAVIS Live-Evil (588 Points, 6 Votes)406. PATTO Patto (586 Points, 3 Votes)407. AMON DüüL II Made In Germany (578 Points, 5 Votes)408. MX-80 SOUND Hard Attack (575 Points, 6 Votes)409. OHIO PLAYERS Ecstacy (569 Points, 5 Votes)410. GONG You (568 Points, 5 Votes)410. PENETRATION Moving Targets (568 Points, 5 Votes)412. NOVEMBER En Ny Tid är Här (568 Points, 4 Votes)413. GENESIS Trespass (566 Points, 5 Votes)414. UFO Lights Out (565 Points, 4 Votes)415. DUST Dust (564 Points, 6 Votes)416. PETER HAMMILL Over (560 Points, 6 Votes)417. BUZZCOCKS A Different Kind of Tension (560 Points, 5 Votes)417. DMZ - s/t (560 Points, 5 Votes)417. YES Relayer (560 Points, 5 Votes)420. KOOL AND THE GANG Wild & Peaceful (559 Points, 5 Votes)421. AC/DC Jailbreak '74 (559 Points, 4 Votes)422. Speed, Glue & Shinki - S/T (544 Points, 4 Votes)423. BE BOP DELUXE Futurama (542 Points, 4 Votes)424. THE JAM In the City (540 Points, 5 Votes)425. CHEAP TRICK Cheap Trick (540 Points, 4 Votes)426. RANDY HOLDEN Population II (538 Points, 5 Votes)427. SLAVE Slave (537 Points, 5 Votes)428. TED NUGENT Cat Scratch Fever (535 POONS, 4 Votes)429. ARMAGEDDON Armageddon (533 Points, 4 Votes)430. JAPAN Adolescent Sex (530 Points, 5 Votes)430. LUCIFER'S FRIEND Lucifer's Friend (530 Points, 5 Votes)432. ROBERT FRIPP Exposure (524 Points, 5 Votes)433. JEFF BECK Blow By Blow (524 Points, 4 Votes)434. RUSH 2112 (523 Ponts, 5 Votes)435. FACES Long Player (521 Points, 5 Votes)436. UNIVERS ZERO Heresie (516 Points, 4 Votes)437. GARY WILSON You Think You Really Know Me (515 Points, 4 Votes)438. BRASS CONSTRUCTION Brass Construction (514 Points, 6 Votes)439. HUMBLE PIE Humble Pie (514 Points, 3 Votes)440. THE RED CRAYOLA Soldier Talk (512 Points, 5 Votes)441. GENESIS The Lamb Lies Down on Broadway (512 Points, 4 Votes)441. JUDAS PRIEST Rocka Rolla (512 Points, 4 Votes)443. PENETRATION Coming Up For Air (511 Points, 4 Votes)444. BARIS MANCO 2023 (508 Points, 6 Votes)445. A.R. & MACHINES Echo (506 Points, 3 Votes)446. BIRTH CONTROL Operation (502 Points, 5 Votes)447. THIN LIZZY Black Rose: A Rock Legend (498 Points, 3 Votes)448. CURTIS MAYFIELD There's No Place Like America Today (497 Points, 4 Votes)448. SCORPIONS Lonesome Crow (497 Points, 4 Votes)450. ROD STEWART Every Picture Tells a Story (493 Points, 4 Votes, 1 #1)
451 The Electric Eels - God Says Fuck You 491 Points 4 Votes452 Mott the Hoople - All the Young Dudes 490 Points 6 Votes453 Walter Wegmüller - Tarot 490 Points 5 Votes454 James Gang - Rides Again 490 Points 4 Votes455 Bobby Beausoleil - Lucifer Rising OST 489 Points 5 Votes456 Sly & The Family Stone - Small Talk 484 5457 Eloy - Dawn 482 Points, 3 Votes458 Rush - Hemispheres 480 Points 5 Votes459 Buzzcocks - Love Bites 479 Points 5 Votes459 Dom - Edge of Time 479 Points 5 Votes461 Wishbone Ash - Pilgrimage 479 Points 3 Votes462 Little Feat - Feats Don't Fail Me Now 475 Points 3 Votes463 Michael Rother - Sterntaler 473 Points, 4 Votes464 Graham Central Station - Now Do U Wanna Dance 468 Points 4 Votes465 The Sensational Alex Harvey Band - Framed 468 Points 3 Votes466 Led Zeppelin - Presence 464 Points 5 Votes467 James Brown - Love Power Peace 464 Points 4 Votes467 Jethro Tull - Aquadung 464 Points 4 Votes469 Khan - Space Shanty 463 Points, 5 Votes470 Magma - Köhntarkösz 461 Points 3 Votes471 Thin Lizzy - Bad Reputation 460 Points 3 Votes472 Iron Maiden - The Soundhouse Tapes 459 Points 3 Votes473 Smegma - Glamour Girl 1941 458 Points, 3 Votes474 Faces - First Step 455 Points 4 Votes474 The Runaways - Queens of Noise 455 Points 4 Votes476 Johnny "Guitar" Watson - Ain't That A Bitch 452 Points 5 Votes477 Destroy All Monsters - 1974 1976 451 Points 4 Votes478 Shuggie Otis - Freedom Flight 449 Points 4 Votes479 Mother's Finest - Mother's Finest 448 Points 3 Votes480 Flower Travellin' Band - Anywhere 445 Points 4 Votes480 Tony Allen - No Accomodation For Lagos 445 Points 4 Votes482 The New York Dolls - Too Much Too Soon 442 Points 4 Votes483 Fela Kuti - Roforofo Fight 441 Points 4 Votes484 Tonto's Exploding Head Band - Zero Time 439 Points 6 Votes485 Cabaret Voltaire - Extended Play 436 Points 4 Votes486 Buzzcocks - Another Music In A Different Kitchen 434 Points 5 Votes487 Free - Heartbreaker 434 Points 4 Votes488 Chrome - Read Only Memory 433 Points 4 Votes489 Buddy Miles Express - Them Changes 432 Points 4 Votes490 Be Bop Deluxe - Axe Victim 431 Points 4 Votes491 Goblin - Goblin 430 Points, 4 Votes492 Slade - Slayed? 426 Points, 3 Votes493 Hairy Chapter - Can't Get Through 422 Points, 4 Votes494 Bang - Mother/Bow To The King 416 Points 4 Votes495 Alternative TV - The Image Has Cracked 415 Points 3 Votes496 Sparks - A Woofer In Tweeter's Clothing 412 Points 3 Votes497 Focus - Focus III 411 Points 3 Votes497 The Vibrators - Pure Mania 411 Points 3 Votes499 Bang - Bang 408 Points 4 Votes499 Cheap Trick - Live At Budokan 408 Points 4 Votes501 Scorpions - Tokyo Tapes 408 Points, 3 Votes
― Odysseus, Sunday, 12 March 2017 16:31 (seven years ago) link
Spoke to Stirmonster btw a month ago and he says he will still do the 60s poll but in the summer as he's too busy just now. He said I could do it without him but I said no. He's in charge so I'll wait and help him out.
― Odysseus, Sunday, 12 March 2017 16:53 (seven years ago) link
I think this was the best poll
― jorts l0chinski (Drugs A. Money), Sunday, 12 March 2017 19:06 (seven years ago) link
Stirmonster was too busy that summer sadly
― Dog Is Daed (Oor Neechy), Sunday, 8 December 2019 03:08 (four years ago) link
Recap for the 2 people who didn't vote - Tom D and Mark S (who loves the results iirc)
01. FLOWER TRAVELLIN’ BAND - Satori (6863 Points, 41 Votes, 1 #1)02. BLACK SABBATH Vol. 4 (6320 Points, 37 Votes, 2 #1s)03. CAN Tago Mago (5852 Points, 38 Votes, 1 #1)04. FUNKADELIC Maggot Brain (5765 Points, 39 Votes, 3 #1s)05. JOY DIVISION Unknown Pleasures (5527 Points, 36 Votes, 1 #1)06. TELEVISION Marquee Moon (5223 Points, 35 Votes)07. AMON DÜÜL II Yeti (5220 Points, 39 Votes, 1 #1)08. HAWKWIND Space Ritual (5083 Points, 33 Votes, 2 #1s)09. ASH RA TEMPEL Ash Ra Tempel (4992 Points, 34 Votes, 1 #1)10. THE STOOGES Fun House (4968 Points, 29 Votes, 5 #1s)
― Oor Neechy, Saturday, 22 February 2020 16:01 (four years ago) link
This and the 80s version of the poll was fun to do.
― Oor Neechy, Saturday, 22 February 2020 16:03 (four years ago) link