ILM's Now For Something Completely Different... 70s Album Poll Results! Top 100 Countdown! (Part 2)

TOP TWENTY

Blast of "Brother" by CCS....

20. LES RALLIZES DÉNUDÉS '77 Live (3960 Points, 28 Votes)
RYM: #398 overall
http://3.bp.blogspot.com/_YeFNoXwupOg/Sv2MM9BEAvI/AAAAAAAAAcY/tX7EmgsrYkk/s1600/Cover.jpg

...there's a mystical quality going on. Certainly with Speed, Glue & Shinki and also Les Rallizes Denudes. I think (songwriter/guitarist) Takeshi Mizutani was literally working out his own demons by standing in the eye of the storm...That's some of the heaviest music I've ever heard. It's like Blue Cheer, but we're talking 19-minute trudge. So it's doing what Blue Cheer were doing around the time of Outside Inside, but it's really punishing the fucking metaphor. Lots of distortion, almost to the point of late-period Kraut where people like Die Krupps would get so heavy the drums and bass would disappear. You're literally on your knees. -- J. Cope, Classic Rock

Note: Their career has been down in the dumps ever since bass player Mariyasu Wakabayashi helped hijack a JAL Boeing 737 back in 1970 (see Book Two, Chapter Five). Their last official release was a double live LP recorded back in 1977. And nobody even knows quite what the official name of their band is, or even what its most popular French form means because there are no such things as 'rallizes' in the French language. And yet the cult that surrounds Les Rallizes Denudés increases in size year after year. This is because, in a world where the sacrilegious reunions of former punks like the Velvet Underground and the Stooges have destroyed utterly the myth of their legendary non-conformity, devotees of Les Rallizes's Takeshi Mizutani and his black-clad cohorts can relax safe in the knowledge that their erstwhile heroes would rather commit collective hara kiri than sell out their gruelling 37-year-long self-imposed isolation up in the wildernesses of northern Japan by doing anything remotely as gauche as releasing a new record. Combine all of this attitude with leader Mizutani's intense devotion to re-recording the same small canon of material over and over again, and you have the blueprint for a rock'n'roll cult that transcends all others. When French movie maker Ethan Mousike trekked across the globe to make a documentary about the Rallizes (and at his own expense I hasten to add), Mizutani refused to allow him to film the band close-up, insisting instead that Mousike set up his tripod in the dressing room, thereby allowing the camera lens to focus on less than one-third of the stage. When, after twenty minutes of this suffocatingly boring footage had elapsed, Mizutani contemptuously jumped off stage and kicked the door shut. our heroic French director chose not to remonstrate with the churlish Mizutani, preferring instead to allow the film stock to conclude naturally, thereby allowing Les Rallizes Denudés's errant metaphor its full reign.

Imagine a high-school band playing the bass-heavy stentorian outro of Television's 'Marquee Moon' title track in 25-minute bursts, while a Blue Cheer-informed (Leigh Stephens period, natch) be-shaded guitar moron with waist-length black hair unloads over the track the kind of pent-up white-noise sonic fury that entirely buries said backing track under an avalanche of mung. Imagine that, from time to time, that same skinny moron temporarily interrupts his invasion-of-Manchuria guitar techniques in order to bring focus to the chords of this so-called song via a series of charmingly unpleasant croons, hiccups, yelps and whooping sub-sub-Buddy Hollyisms in an Alan Vega stylee. Next, imagine a second song just as long as the first that takes its form and sound from the same Ur-spring whence the first was drawn, but which is propelled by a curiously catchy soul-standard bass riff lifted directly from Little Peggy March's 1963 hit single 'I Will Follow Him'. Imagine that this music is being played by a quartet of musicians, each of whom is a carbon copy of the singer/guitarist, each be-shaded, each tall and lanky, each black-clad and sullen, and you're close to approaching the world of Les Rallizes Denudés. For the scene that I have described above could have taken place at any time between 1969 and 1990, and none of us would have been any the wiser. For so strong is the fundamentalist aesthetic stance that Rallizes's leader Takeshi Mizutani adopted back in 1969, that all future members of Les Rallizes Denudés - all 600,000 of them - have happily complied with their leader's rules just to get near him long enough to stand downwind of that auto-panned guitar maelstrom that he so effortlessly unleashes. And such is the fundamentalist nature of Takeshi Mizutani's recording art that the other members of the band rarely make a difference to Rallizes's sound; they can't because Mizutani limits their playing by imposing extraordinarily tight restrictions, both to players and recording engineers. And in this paranoid adherence to Mizutani's secret formula lies the greatness of Les Rallizes Denudés. For it has ensured that no one has been able to judge a Rallizes song by any other standards than the band's own. Indeed, they could do a note-for-note copy of another band's song and it could only sound like Les Rallizes Denudés. Okay, now I've got you intrigued about Mizutani's formula, I shall slightly deflate you all by revealing its incredible simplicity:

Never record in a studio.
Play only with musicians for whom even the slightest deviation from the riff will most certainly be calamitous.
Never release records (never ever).
Persist for three decades until the outside world catches on.

So how do we actually know of Les Rallizes Denudés if they don't even release records? Through bootlegs, bootlegs and more bootlegs. Indeed, Les Rallizes Denudés has operated in this manner for so long now that both musicians and fans know so far in advance what to expect from each other that there's even a caste system within that world of bootlegs. Yup, while certain Rallizes LPs are considered so much less bootleggy than others that they've almost become official in the minds of fans, others are just dismissed as cash-ins, re-runs and ... well, just plain bootlegs. If all this sounds a little cretinous, then you'd better turn your attention to another part of this book and come back when you're feeling less tense. For Les Rallizes Denudés operate only at this level, at that unlikely meeting point between total nihilism and utter blandness, a doorway you'd never guess would even need to exist until you discover it. But be in no doubt whatsoever that Les Rallizes Denudés is a rock'n'roll band of world importance. For, unlike many so-called legendary rock acts, this band has, down the years, delivered umpteen classic songs to our door, songs that our children's children will no doubt still be hiccupping, yelping and crooning in fifty years. For while the sonic delivery of Les Rallizes Denudés owes its sound to the avant-garde, Mizutani's songs are themselves as focused and folk-based as those of Lou Reed. Indeed, a solo acoustic Mizutani show would be a rather excellent proposition full of catchy choruses and 'he's playing our song' moments. But, in this final stage of my opening gambit, and before I take you all on a historical trawl through Rallizesville, I should make this plea to newcomers to their mighty canon of work. The music of Les Rallizes Denudés demands total attention, and without that attention this band is nothing. Put their records on as background music and they fail utterly. But play albums such as HEAVIER THAN A DEATH IN THE FAMILY, LIVE '77, BLIND BABY HAS ITS MOTHERS EYES, FUCKED UP & NAKED in the darkness of your lonely room, and you will experience yourself being sucked up into the ether with ne'er a stain left as evidence of your former presence here. -- J. Cope

never even heard of it!

great way to kick off the top 20

I didn't listen to ziggy stardust for years because the CD masters were so terrible but last years 40th anniversary edition was great

here's a spotify link to les rallizes denudes, it's basically the same album under a different name

http://open.spotify.com/album/79KhezvyjiFwFKC3AmsQ9L

I should hear this.

do you like noisy distorted rock?

Nice. Voted for this, hadn't heard it before nominations thread. Another victory for campaigning!

oh HELL yeah

Lots of distortion, almost to the point of late-period Kraut where people like Die Krupps would get so heavy the drums and bass would disappear. You're literally on your knees. -- J. Cope, Classic Rock

Makes me want to hear more stuff by Die Krupps (really don't remember them sounding like that but still)

To The Hilt Die Krupps?

19. KING CRIMSON Red (4382 Points, 29 Votes, 1 #1)
RYM: #1 for 1974, #43 overall | Acclaimed: #666 | Pitchfork: #72
http://4.bp.blogspot.com/-OfVtWY_G9Pw/UHcxX0wnzNI/AAAAAAAABSg/SRqCzz-5Rlk/s1600/red.jpg

Grand, powerful, grating, and surprisingly lyrical, with words that cast aspersions on NYC (violence you know) and make me like it, or at least not hate it (virtually a first for the Crims), this does for classical-rock fusion what John McLaughlin's Devotion did for jazz-rock fusion. The secret as usual is that Robert Fripp is playing more--he does remind me of McLaughlin, too, though he prefers to glide where McLaughlin beats his wings. In compensation, Bill Bruford supplies more action than Buddy Miles. Less soul, though--which is why the jazz-rock fusion is more exciting. A- -- R. Christgau

Unbeknownst at the time, Red would be their swansong, and an album on which Fripp could proudly hang up the Crimson saga. Oddly though, Fripp invited no less than three former members to the recording: Ian McDonald, Mel Collins and David Cross. The album opens with the angular guitar riff of the title track, one certainly as memorable as “Lark’s Tongues in Aspic, part II.” Both “Fallen Angel” and “One More Red Nightmare” follow, two of the most cohesive and well-developed songs the band would produce. In fact, this side of the album presents King Crimson at their most accessible, if not most electric ever. The second side however, dives right back into improvisation. “Providence” packs just about everything improve-related from the last two albums into its short eight minutes before the album ends with the epic “Starless.” But unlike its bleak title, the song proves to be autobiographical, incorporating many elements of each different incarnation of King Crimson throughout, before ending in one last glorious refrain. -- C. Snider, The Strawberry Bricks Guide To Progressive Rock

I am aware that various biogs and stuff on Mr.R. Fripp and associates are available (some good, some academic in style) which review this album, but this is my poet-heart review of an old and loved favourite…excuse the flowery language..

Boom! Straight into track 1…Red - riff heaven..William Bruford thunders imperiously over/under it all…Fripp slashes and grinds…John Wetton pins the bass..

then Fallen Angel ..I used to think this gorgeous vocal was Greg Lake, but according to the sleeve it’s John Wetton..then that sax wails and sirens…Fripps guitar starts to circle in….

One More Red Nightmare…duh duh dah duh da da da duh da duh…<crash>|smash|
sublime combination of Bruford and Fripp after the 2nd vocal bit…Riffomania!! Sudden end…

Providence…violins…hummmmm…<*wonky free jazz bit> feedback…tinkle <wail> …extended noise jazz bit (not to everyones taste) ..then the guitar and bass start to tug together…sinuous rhythms entwine…tangle/untangle

Starless - the ULTIMATE MELLOTRON TRACK!!! Those mello strings come in then Bob's guitar just floats effortlessly ..re-coding your DNA…. starless and bible black…endless universe of sound…bass twang thunder…Fripp guitar twang repeat endless loop changing.riff Riff RIFF RIFF!! Then it all crashes back in…zen jazz bop Buddha in the middle..crazed dervish end circling to the middle…lightening strikes, thunder rolls….the piper stands at the gates of dawn… -- Squid Tempest, Head Heritage

review
by Bruce Eder

King Crimson fell apart once more, seemingly for the last time, as David Cross walked away during the making of this album. It became Robert Fripp's last thoughts on this version of the band, a bit noiser overall but with some surprising sounds featured, mostly out of the group's past -- Mel Collins' and Ian McDonald's saxes, Marc Charig's cornet, and Robin Miller's oboe, thus providing a glimpse of what the 1972-era King Crimson might've sounded like handling the later group's repertory (which nearly happened). Indeed, Charig's cornet gets just about the best showcase it ever had on a King Crimson album, and the truth is that few intact groups could have gotten an album as good as Red together. The fact that it was put together by a band in its death throes makes it all the more impressive an achievement. Indeed, Red does improve in some respects on certain aspects of the previous album -- including "Starless," a cousin to the prior album's title track -- and only the lower quality of the vocal compositions keeps this from being as strongly recommended as its two predecessors.

Whoa, LRD at #20? That's pretty cool. And it's properly heavy, so the rawk types who've been complaining about people voting for the arty/krauty/weird side of the poll can suck it. (NB: I know there haven't actually been (m)any people doing this, but there have been a few "oh, this is good but it doesn't rock" comments, which in my brain get filtered into "HOW DARE YOU VOTE FOR THIS?!")

Red is so great.

there have been a few "oh, this is good but it doesn't rock" comments, which in my brain get filtered into "HOW DARE YOU VOTE FOR THIS?!")

With respect, that's a bit of a leap imo.

hey emil.y did you see what placed yesterday?

I think a few people said things like "i didnt vote for it as i decided to only vote for albums i thought rocked" but nothing saying how dare anyone vote for it (except for balls and wk complaining about the ohio players but that wasnt about not rocking they just hate it)

I refrained from voting for certain albums (e.g. Curtis Mayfield) because they didn't fit in my personal poll parameters, despite their being among my favourite albums ever.

So excited about Les Rallizes Denudes (my #4) getting up this. They are completely mind blowing (and this album is a good entry point) for a band who have about a hundred albums and only around 7 different songs.

Red is so great.

― EveningStar (Sund4r),

it is!

Whoops...

...getting up this far.

Last time I heard Red was six months ago at a gig just before Boris played, and from where I was standing I could see all the band sat round a table at the side of the stage waiting to come on and *really* grooving along to it.

Some people voted for their faves.
Some people voted for most rocking.
Some people voted for most funky.
Some people voted for most art school project (imago)
Some people voted for weirdest
Some people voted for all of it
Some people didn't vote

These approaches all makes for an interesting and unpredictable poll and I welcome that!

i like the ohio players i'm just aware that they're hilariously overrated in this poll. ohio players >>> isley brothers is straight insanity, nevermind ohio players >>> stevie wonder or ohio players >>> prince. but apparently in england they know better.

balls otm

Lots of distortion, almost to the point of late-period Kraut where people like Die Krupps would get so heavy the drums and bass would disappear. You're literally on your knees. -- J. Cope, Classic Rock

Makes me want to hear more stuff by Die Krupps (really don't remember them sounding like that but still)

― acid in the style of tenpole tudor (NickB), Thursday, March 28, 2013 5:11 PM (9 minutes ago) Bookmark Flag Post Permalink

To The Hilt Die Krupps?

― Algerian Goalkeeper, Thursday, March 28, 2013 5:14 PM (6 minutes ago) Bookmark Flag Post Permalink

Earlier pre-pop Die Krupps more what Cope is talking about. Recorded at Inner Space, mixed at Conny's: http://www.discogs.com/Die-Krupps-Stahlwerksynfonie/release/108178

original idea for poll was strictly rocking stuff a la the 80s poll (though fables of the reconstruction snuck in somehow there) and then, after fending off accusations from some dude and others that his polls are just polls of records that he likes he decided this one he would actually make just a poll of records that he likes. no big whoop - it's just a thread on ilm and as rock lists go this is pretty awesome, i'm way more likely to consult it than the proper official ilm 70s one nevermind any rolling stone or pfork list.

With respect, that's a bit of a leap imo.

If I didn't realise it was a bit of a leap I wouldn't have posted it. Obv.

well stevie didn't get nommed. did we decide on rocking only funk? He woulda been on my ballot if he had been nommed.

Nothin' wrong with a little friendly debate on what rocks! I would definitely put King Crimson and Van der Graaf Generator as two of the more rocking prog bands.

anyway with a list of 501 it covered everything and everyone (mostly) was happy

Stevie does many things, but aside from "Superstitious," he's not that rockin ;)

and of course rock was so dominant in the 70s that tbh i think pretty much every album here rocks anyway. it's not like anne murray placed.

I like some King Crimson, but remember hating at least a couple of tracks off Red. I'll file it away as "give it another go at some point".

it's not like anne murray placed.

She dominates the top 10, so bite your tongue.

18. NEU! Neu! 75 (4477 Points, 31 Votes) 1 #1)
RYM: #15 for 1975, #482 overall | Acclaimed: #1268
http://1.bp.blogspot.com/--tlU7T0gP-g/UKVjaUGL9PI/AAAAAAAAFxY/pdEhsL6M91Y/s1600/neu+fr+(2).jpg
http://open.spotify.com/album/62YsjwC3eodgWmuQNCqjbs
spotify:album:62YsjwC3eodgWmuQNCqjbs

Dinger and Rother reunited in December 1974, with Plank again sharing production duties. The pair were joined by Hans Lampe and Dinger's brother Thomas, who together played drums on three numbers. NEU! 75 still has a split disposition, but without any real synthesis of the tensions. The material falls pretty much into two distinct categories; it's not difficult to work out which are the Dinger tracks and which are the Rother tracks — that the two sides of the original vinyl release have very different characters is something of a giveaway. The original side one (CD tracks one through three) emphasizes the softer, more tuneful ambience favored by Rother, while the other side (CD tracks four through six) rocks harder than the band ever had — with Dinger coming out from behind his drum kit to inject noise elsewhere. Compared with NEU! 2's colder, mechanical edge — especially its notorious remixes, which put music through the wringer — the first three tracks on NEU! 75 are brighter, more obviously melodic and, in places, surprisingly pretty. Like NEU!'s previous album openers, "Isi" glides along on a motorik beat and interweaving melodic lines; here, however, synth and piano take precedence over guitar and there's a warmer, more expansive feel. "Seeland" (the name Negativland would take for its label) pursues Rother's ambient interests and is NEU!'s strongest work in that regard: with droning synths and guitar flourishes that evoke ebbs and flows, crests and troughs, this track has a sweeping, oceanic majesty. Where "Seeland" succeeds, "Leb' Wohl" ("Goodbye"), another epic of aquatic ambience, sinks to a watery grave. Scuttled by stagnant naval-gazing and some bedlam-style moaning from Dinger, the impression that it's permanently about to end but doesn't holds for almost nine minutes. Like "Isi," "E- Musik" (on Dinger's side of the album) also returns to the motorik blueprint, this time with greater success. Although familiarly hypnotic, it doesn't simply recycle "Hallogallo." Overall, it has a faster, lighter groove, before ultimately dissipating into womb-like somnolence; layers of synth and guitar and the use of phase on Dinger's drums give the track an added sense of space and movement, as well as a distinctly locomotive rush. Indeed, if "Hallogallo" anticipated "Autobahn," then "E- Musik" is NEU!'s train song — two years before Kraftwerk took the "Trans-Europe Express" — and makes the Kraftwerk train sound like an old steam engine. NEU! 75 is most striking in its foreshadowing of punk, as "After Eight" and "Hero" move further along the path initially taken with NEU! 2's "Neuschnee." On "Hero," against a backdrop of edgy riffing and driving beats, Dinger sneers and snarls: "Fuck the press ... Fuck the company ... The only crime is money." While these are unmistakable punk sentiments, it's the sound of his voice, above all, that prefigures many of the punk vocalists who would spring up the following year. Much like the equally prescient Nadir's Big Chance by Peter Hammill from the same year, "After Eight" and "Hero" are the sound of a paradigm beginning to shift. -- Trouser Press

After a gap of almost two years, Neu! reformed as a quartet to record a new album, and although featuring many of the Neu! trademarks it also took bold steps into the new-wave (before such music was known to exist) as well as featuring some softer guitar fronted instrumental music. As such NEU! 75 previewed both the debut albums of La Düsseldorf and Michael Rother that followed, both establishing successful new projects/careers. -- Cosmic Egg

This is Neu's perfect album. The reunion that transcended all their previous history. Perhaps the lack of pressure brought everything into clarity for just long enough. Neu '75 begins with the totally typical motorik drivingness of "Isi", but all the guitars have been substituted with a schoolroom piano or remedial efficiency and beautiful oboe like sythesizers that billow and coo like Eddie Jobson, when he was still trying to sound like Eno hadn't left Roxy Music on Stranded. "Seeland" follows, a floating drifting sunset of a song with weeping dual lead guitars like an awesomely slowed down New Age version of Thin Lizzy around "The Boys are Back in Town". Okay, that's exaggerating, but the guitar is between that first description and Bowie's Heroes title track. But then, this LP and La Dusseldorf were the two blueprints for Big Dave's Berliner period. The side finishes with the Damo Suzuki-type vocal of "Leb' Wohl", another schoolroom piano from another kindergarten - drifting, wistful and charming with its obvious tapes of waves lapping on a beach.

Side 2 begins the transformation with the classic Ur-punk of "Hero", in which every proto-punk device is thrown into its six heavenly screamed minutes. Klaus Dinger sings like a man possessed (though not possessed with a singing voice) over banked Steve Jones massed guitars and the double drumming of life. This is followed by the 10-minute Krautgroove of "E Music" - a kind of mantric Bavarian shuffle that subtly pulverises the flesh over a long time. Then it's back to "Hero" again, here re-named "After Eight", and a much wilder version. Klaus Dinger has by now given up even attempting to be coherent and just drools the words out. It's the best Neu! LP of all. Buy it and find out.  -- J. Cope

Neu! was an offshoot of Kraftwerk. Ralf Hunter temporarily left the band before a scheduled TV performance, and Florian Schneider recruited Klaus Dinger and Michael Rother, and they performed “Truckstop Gondolero.” Without Florian, they recordedNeu! (1972) and totally eclipsed Kraftwerk with a new, spare, motorik rhythm that would influence countless bands. Even the cover art was classic, with the band’s name spray-painted on white in day-glo pink. Neu! 2 (1973) is slightly disappointing in that the second side is a single, “Neuschnee” and “Super” replayed at varying speeds. If only they had commissioned Lee Perry to give it a truly creative dub mix. After a two year hiatus with Rother doing Harmonia and Dinger forming the early stages of La Dusseldorf, they reconvened at Conny Plank’s new studio to finish their three album contract. Side one is them as a duo, featuring Rother’s lovely spacescapes. On side two, Dinger wanted to move to vocals and rhythm guitar, leaving drumming duties to the double team of brother Thomas Dinger and Plank’s recording assistant Hans Lampe. They don’t disappoint, blowing their tops with crunchy guitars, doubled-up drums and screaming punk Dinger vocals. Bowie liked “Hero” so much he named one of his best songs after it. -- Fastnbulbous

review
[-] by Thom Jurek

After a three-year break, Neu! members Klaus Dinger and Michael Rother buried their differences temporarily, and reunited for another go at the "motorik" sound they had developed with their debut in 1971. The strange tension and presentation of Neu! 2 and the emergence of their former band Kraftwerk may have precipitated the reunion, but, whatever the reason, the end result proved worth the time, effort, and bickering it took to crank this one out. One thing that is noticeably different on 75 is the presence of synthesizers and the preference of them, it seems, over Rother's guitar. "Isi," which opens the album, features Dinger's metronymic percussion holding down the 2/4 rhythm and a trademark one-note bassline provided by a piano, but the gorgeous sonic washes and flourishes normally handled by Rother's guitar-slinging hands are now painted with a synth. "Seeland" offers a return to the six strings with what would in subsequent years become Rother's ornate "singing" style of playing. Dinger's rhythmic patterns here are deceptively simple. They create a long, trudging 4/4, syncopated every other line, and punctuated by a small ride cymbal at the end of each phrase as Rother's guitar provides both cascading single string notes and a shifting, pulsing bassline. It's a beautiful wasteland, this track; sparse yet full of melodic interplay and layered guitars and keyboards. The last track on side one is "Leb Wohl," an exercise in white noise, industrial textures, and natural or, "found" sounds, a piano and gorgeous, spare and intricate guitar chords. For side two, Neu! adds Dinger's brother, Thomas, and Hans Lampe on various percussions to allow Dinger to play guitar, piano, and organ, and to add some bottom end to the band's sound. The funny thing is they come off sounding more like a melodic punk band on "Hero," with Dinger's growling vocals being reminiscent of a young Mick Jagger on steroids. His Keith Richards-style chords stand in stark contrast to Rother's more lyrical approach. Perhaps this isn't such a surprise when we consider the Damned's first album was recorded in 1975. The ten-minute "E-Musick" becomes Neu!'s signature track for this disc, however. With distorted percussion -- courtesy of a synth and sequencer, as well as a drum kit put through a phase shifter, Rother's melodic synth lines are free to roam, wide and far, carrying within them a foreshadowing of his guitar solos a few minutes later. These long screaming lines, reminiscent of Steve Hillage at his best, with Dinger's wonderful rhythm backing and treatments of the instruments, provides a definitive statement on the Neu! "motorik" sound. This is music not only for traveling, from one place to the next, but also for disappearance into the ether at a steady pace. This may have been Neu!'s final statement -- at least in the studio; Dinger issued (without Rother's permission) an inferior live '72 album -- but at least they went out on a much higher note than Neu! 2, and in a place where their innovations are still being not only recognized, but utilized.

we can all agree those yoko ono and la dusseldorf albums that placed yesterday rocked, right?

Thanks for the Die Krupps info Milton. The stuff I remember was more along the lines on Front 242-style EBM. I do love lots of those records that some of those sorts of bands made before they went dancey e.g. Cabaret Voltaire, Clock DVA, DAF etc

and yknow if a band is gonna be overrated in a list (and it's probably inevitable) you could do a hell of a lot worse than the ohio players tbf. probably the first time i've ever had that opportunity and i'll take it over morons calling them one hit wonders or whatever.

and
37. MAGMA Mekanïk Destruktïw Kommandöh (3299 Points, 23 Votes, 1 #1)
36. NURSE WITH WOUND Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella ( 3333 Points, 22 Votes, 1 #1)

yesterday run was so great im gonna repost it

51. THROBBING GRISTLE 20 Jazz funk Greats (2917 Points, 25 Votes)
50. SOFT MACHINE Third (2920 Points, 19 Votes, 1 #1
49. X-RAY SPEX Germ Free Adolescents (2924 Points, 22 Votes)
48. YOKO ONO Fly (2988 Points, 22 Votes)
47. BLACK SABBATH Master of Reality (2993 Points, 19 Votes, 1 #1)
46. WIRE Chairs Missing (3009 Points, 21 Votes)
45. WISHBONE ASH Argus (3017 Points, 19 Votes, 1 #1)
44. SEX PISTOLS Never Mind the Bollocks, Here's The Sex Pistols (3030 Points, 22 Votes, 1 #1)
43. LED ZEPPELIN Led Zeppelin IV (3070 Points, 20 Votes, 2 #1s)
42. MANDRILL Mandrill Is (3162 Points, 21 Votes, 1 #1)
41. TODD RUNDGREN A Wizard, A True Star (3163 Points, 18 Votes, 3 #1s)
40. LA DUSSELDORF Viva (3172 Points, 25 Votes)
39. SUICIDE Suicide (3268 Points, 23 Votes)
38. RICHARD HELL & THE VOIDOIDS Blank Generation (3292 Points, 25 Votes)
37. MAGMA Mekanïk Destruktïw Kommandöh (3299 Points, 23 Votes, 1 #1)
36. NURSE WITH WOUND Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella ( 3333 Points, 22 Votes, 1 #1)
35. PATTI SMITH Horses (3381 Points, 24 Votes)
34. WIRE Pink Flag (3399 Points, 29 Votes, 1 #1)
33. NEW YORK DOLLS New York Dolls (3420 Points, 29 Votes)
32. MILES DAVIS A Tribute To Jack Johnson (3421 Points, 25 Votes, 1 #1)
31. THE POP GROUP Y (3543 Points, 25 Votes)
30. DEVO Q: Are We Not Men ? A: We Are Devo (3561 Points, 25 Votes, 1 #1)
29. FUNKADELIC Free Your Mind...And Your Ass Will Follow (3596 Points, 26 Votes, 1 #1)
28. THE MODERN LOVERS The Modern Lovers (3607 Points, 24 Votes)
27. NEU! Neu! (3637 Points, 28 Votes)
26. FUNKADELIC Standing On The Verge Of Getting It On (3639 Points, 23 Votes)
25. CHROME Half Machine Lip Moves (3668 Points, 29 Votes)
24. DAVID BOWIE The Rise and Fall of Ziggy Stardust and the Spiders from Mars (3724 Points, 27 Votes)
23. AC/DC Highway To Hell (3848 Points, 27 Votes)
22. IGGY & THE STOOGES Raw Power (3879 Points, 28 Votes)
21. GANG OF FOUR Entertainment! (3885 Points, 26 Votes)

Yes. Have to say NWW was the only big surprise, but happy all of those made it into the hundred.

xp

man when i was growing up neu! 75 always got slagged by ppl i knew as an obv drop off and it was always my fave (same story w/ faust iv somehow) so i'm happy to see the love here for it.

So Neu! 75 beat out the others then..

don't get the Die Krupps reference but amazing to see LES RALLIZES DÉNUDÉS at 20.

75 is great for sure.

I'm glad the poll could still surprise people even in the top 20. Good job ILM voters.

faust iv a drop off?!?! jesus

i'm hesitating predicting what i think will be #1 cuz it's what i voted #1 and i know as soon as i mention it it will pop up at #14 or something.