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Top 100 Members Choice Albums of all Time Collection

Diskusija u 'Torrent Muzika' započeta od boki71, 29.01.2013.

  1. boki71

    boki71 Uz duplu Anu... Administrator

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    25 Culture Club - Colour By Numbers (1983)

    [​IMG]

    Colour by Numbers was Culture Club's most successful album, and, undoubtedly, one of the most popular albums from the 1980s. Scoring no less than four U.S. hit singles (and five overseas), this set dominated the charts for a full year, both in the United States and in Europe. The songs were infectious, the videos were all over MTV, and the band was a media magnet. Boy George sounded as warm and soulful as ever, but one of the real stars on this set was backing vocalist Helen Terry, who really brought the house down on the album's unforgettable first single, "Church of the Poison Mind." This album also featured the band's biggest (and only number one) hit, the irresistibly catchy "Karma Chameleon," its more rock & roll Top Five follow-up "Miss Me Blind," and the fourth single (and big club hit), "It's a Miracle" (which also featured Helen Terry's unmistakable belting). Also here are "Victims," a big, dark, deep, and bombastic power ballad that was a huge hit overseas but never released in the U.S., and other soulful favorites such as "Black Money" and "That's the Way (I'm Only Trying to Help You)," where Boy George truly flexed his vocal muscles. In the 1980s music was, in many cases, flamboyant, fun, sexy, soulful, colorful, androgynous, and carefree, and this album captured that spirit perfectly. A must for any collector of 1980s music, and the artistic and commercial pinnacle of a band that still attracted new fans years later.

    Track List

    1
    Karma Chameleon
    Culture Club / Mikey Craig / Roy Hay / Jon Moss / Phil Pickett

    Culture Club
    4:12
    2
    It's a Miracle
    Culture Club / Mikey Craig / Roy Hay / Jon Moss / George O'Dowd / Phil Pickett

    Culture Club
    3:25
    3
    Black Money
    Culture Club

    Culture Club
    5:19
    4
    Changing Every Day
    Culture Club

    Culture Club
    3:17
    5
    That's the Way (I'm Only Trying to Help You)
    Culture Club

    Culture Club
    2:46
    6
    Church of the Poison Mind
    Culture Club

    Culture Club
    3:30
    7
    Miss Me Blind
    Culture Club

    Culture Club
    4:29
    8
    Mister Man
    Culture Club

    Culture Club
    3:36
    9
    Stormkeeper
    Culture Club

    Culture Club
    2:49
    10
    Victims
    Culture Club

    Culture Club
    4:53

    24 The Who - Who's Next (1971)

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    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.

    Track List

    1
    Baba O'Riley
    Pete Townshend

    The Who
    5:08
    2
    Bargain
    Pete Townshend

    The Who
    5:34
    3
    Love Ain't for Keeping
    Pete Townshend

    The Who
    2:10
    4
    My Wife
    John Entwistle

    The Who
    3:41
    5
    The Song Is Over
    Pete Townshend

    The Who
    6:14
    6
    Getting in Tune
    Pete Townshend

    The Who
    4:50
    7
    Going Mobile
    Pete Townshend

    The Who
    3:43
    8
    Behind Blue Eyes
    Pete Townshend

    The Who
    3:42
    9
    Won't Get Fooled Again
    Pete Townshend

    The Who
    8:33

    23 Supertramp - Breakfast in America (1979)

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    With Breakfast in America, Supertramp had a genuine blockbuster hit, topping the charts for four weeks in the U.S. and selling millions of copies worldwide; by the 1990s, the album had sold over 18 million units across the world. Although their previous records had some popular success, they never even hinted at the massive sales of Breakfast in America. Then again, Supertramp's earlier records weren't as pop-oriented as Breakfast. The majority of the album consisted of tightly written, catchy, well-constructed pop songs, like the hits "The Logical Song," "Take the Long Way Home," and "Goodbye Stranger." Supertramp still had a tendency to indulge themselves occasionally, but Breakfast in America had very few weak moments. It was clearly their high-water mark.

    Track List

    1
    Gone Hollywood
    Rick Davies / Roger Hodgson

    Supertramp
    5:19
    2
    The Logical Song
    Rick Davies / Roger Hodgson

    Supertramp
    4:10
    3
    Goodbye Stranger
    Rick Davies / Roger Hodgson

    Supertramp
    5:50
    4
    Breakfast in America
    Rick Davies / Roger Hodgson

    Supertramp
    2:39
    5
    Oh Darling
    Rick Davies / Roger Hodgson

    Supertramp
    4:02
    6
    Take the Long Way Home
    Rick Davies / Roger Hodgson

    Supertramp
    5:08
    7
    Lord Is It Mine
    Rick Davies / Roger Hodgson

    Supertramp
    4:09
    8
    Just Another Nervous Wreck
    Rick Davies / Roger Hodgson

    Supertramp
    4:25
    9
    Casual Conversations
    Rick Davies / Roger Hodgson

    Supertramp
    2:58
    10
    Child of Vision
    Rick Davies / Roger Hodgson

    Supertramp
    7:28

    22 The Clash - London Calling (1979)

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    Give 'Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There's punk and reggae, but there's also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn't tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs -- particularly "London Calling," "Spanish Bombs," and "The Guns of Brixton" -- are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary. But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums. Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote "The Guns of Brixton") explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it's rockabilly greasers or "Stagger Lee," as well as mavericks like doomed actor Montgomery Clift. The result is a stunning statement of purpose and one of the greatest rock & roll albums ever recorded. [In 2000 Columbia/Legacy reissued and remastered London Calling.]

    Track List

    1
    London Calling
    Mick Jones / Joe Strummer

    The Clash
    3:19
    2
    Brand New Cadillac
    Vince Taylor

    The Clash
    2:08
    3
    Jimmy Jazz
    Mick Jones / Joe Strummer

    The Clash
    3:54
    4
    Hateful
    Mick Jones / Joe Strummer

    The Clash
    2:44
    5
    Rudie Can't Fail
    Mick Jones / Joe Strummer

    The Clash
    3:29
    6
    Spanish Bombs
    Mick Jones / Joe Strummer

    The Clash
    3:18
    7
    The Right Profile
    Mick Jones / Joe Strummer

    The Clash
    3:54
    8
    Lost in the Supermarket
    Mick Jones / Joe Strummer

    The Clash
    3:47
    9
    Clampdown
    Mick Jones / Joe Strummer

    The Clash
    3:49
    10
    The Guns of Brixton
    Paul Simonon

    The Clash
    3:09
    11
    Wrong 'Em Boyo
    Clive Alphonso / Mick Jones / Joe Strummer

    The Clash
    3:10
    12
    Death or Glory
    Mick Jones / Joe Strummer

    The Clash
    3:55
    13
    Koka Kola
    Mick Jones / Joe Strummer

    The Clash
    1:47
    14
    The Card Cheat
    The Clash / Mick Jones / Joe Strummer

    The Clash
    3:49
    15
    Lover's Rock
    Mick Jones / Joe Strummer

    The Clash
    4:03
    16
    Four Horsemen
    Mick Jones / Joe Strummer

    The Clash
    2:55
    17
    I'm Not Down
    Mick Jones / Joe Strummer

    The Clash
    3:06
    18
    Revolution Rock
    Mick Jones / Joe Strummer

    The Clash
    5:33
    19
    Train in Vain
    Mick Jones / Joe Strummer

    The Clash
    3:10

    21 The Beatles - Revolver (1966)

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    All the rules fell by the wayside with Revolver, as the Beatles began exploring new sonic territory, lyrical subjects, and styles of composition. It wasn't just Lennon and McCartney, either -- Harrison staked out his own dark territory with the tightly wound, cynical rocker "Taxman"; the jaunty yet dissonant "I Want to Tell You"; and "Love You To," George's first and best foray into Indian music. Such explorations were bold, yet they were eclipsed by Lennon's trippy kaleidoscopes of sound. His most straightforward number was "Doctor Robert," an ode to his dealer, and things just got stranger from there as he buried "And Your Bird Can Sing" in a maze of multi-tracked guitars, gave Ringo a charmingly hallucinogenic slice of childhood whimsy in "Yellow Submarine," and then capped it off with a triptych of bad trips: the spiraling "She Said She Said"; the crawling, druggy "I'm Only Sleeping"; and "Tomorrow Never Knows," a pure nightmare where John sang portions of the Tibetan Book of the Dead into a suspended microphone over Ringo's thundering, menacing drumbeats and layers of overdubbed, phased guitars and tape loops. McCartney's experiments were formal, as he tried on every pop style from chamber pop to soul, and when placed alongside Lennon's and Harrison's outright experimentations, McCartney's songcraft becomes all the more impressive. The biggest miracle of Revolver may be that the Beatles covered so much new stylistic ground and executed it perfectly on one record, or it may be that all of it holds together perfectly. Either way, its daring sonic adventures and consistently stunning songcraft set the standard for what pop/rock could achieve. Even after Sgt. Pepper, Revolver stands as the ultimate modern pop album and it's still as emulated as it was upon its original release.

    Track List

    1
    Taxman
    George Harrison

    The Beatles
    2:38
    2
    Eleanor Rigby
    John Lennon / Paul McCartney

    The Beatles
    2:06
    3
    I'm Only Sleeping
    John Lennon / Paul McCartney

    The Beatles
    3:00
    4
    Love You To
    George Harrison

    The Beatles
    2:59
    5
    Here, There and Everywhere
    John Lennon / Paul McCartney

    The Beatles
    2:24
    6
    Yellow Submarine
    John Lennon / Paul McCartney

    The Beatles
    2:38
    7
    She Said She Said
    John Lennon / Paul McCartney

    The Beatles
    2:36
    8
    Good Day Sunshine
    John Lennon / Paul McCartney

    The Beatles
    2:09
    9
    And Your Bird Can Sing
    John Lennon / Paul McCartney

    The Beatles
    2:00
    10
    For No One
    John Lennon / Paul McCartney

    The Beatles
    1:59
    11
    Doctor Robert
    John Lennon / Paul McCartney

    The Beatles
    2:14
    12
    I Want To Tell You
    George Harrison

    The Beatles
    2:27
    13
    Got To Get You Into My Life
    John Lennon / Paul McCartney

    The Beatles
    2:29
    14
    Tomorrow Never Knows
    John Lennon / Paul McCartney

    The Beatles
    3:01

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  2. boki71

    boki71 Uz duplu Anu... Administrator

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    30 U2 - Achtung Baby (1991)

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    Reinventions rarely come as thorough and effective as Achtung Baby, an album that completely changed U2's sound and style. The crashing, unrecognizable distorted guitars that open "Zoo Station" are a clear signal that U2 have traded their Americana pretensions for postmodern, contemporary European music. Drawing equally from Bowie's electronic, avant-garde explorations of the late '70s and the neo-psychedelic sounds of the thriving rave and Madchester club scenes of early-'90s England, Achtung Baby sounds vibrant and endlessly inventive. Unlike their inspirations, U2 rarely experiment with song structures over the course of the album. Instead, they use the thick dance beats, swirling guitars, layers of effects, and found sounds to break traditional songs out of their constraints, revealing the tortured emotional core of their songs with the hyper-loaded arrangements. In such a dense musical setting, it isn't surprising that U2 have abandoned the political for the personal on Achtung Baby, since the music, even with its inviting rhythms, is more introspective than anthemic. Bono has never been as emotionally naked as he is on Achtung Baby, creating a feverish nightmare of broken hearts and desperate loneliness; unlike other U2 albums, it's filled with sexual imagery, much of it quite disturbing, and it ends on a disquieting note. Few bands as far into their career as U2 have recorded an album as adventurous or fulfilled their ambitions quite as successfully as they do on Achtung Baby, and the result is arguably their best album.

    Track List


    1
    Zoo Station
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    4:36
    2
    Even Better Than the Real Thing
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    3:41
    3
    One
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    4:36
    4
    Until the End of the World
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    4:39
    5
    Who's Gonna Ride Your Wild Horses
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    5:16
    6
    So Cruel
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    5:49
    7
    The Fly
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    4:29
    8
    Mysterious Ways
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    4:04
    9
    Tryin' to Throw Your Arms Around the World
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    3:53
    10
    Ultra Violet (Light My Way)
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    5:31
    11
    Acrobat
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr. / U2

    U2
    4:30
    12
    Love Is Blindness
    Bono / Adam Clayton / The Edge / Larry Mullen, Jr.

    U2
    4:23

    29 The Police - Synchronicity (1983)

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    Simultaneously more pop-oriented and experimental than either Ghost in the Machine or Zenyatta Mondatta, Synchronicity made the Police superstars, generating no less than five hit singles. With the exception of "Synchronicity II," which sounds disarmingly like a crappy Billy Idol song, every one of those singles is a classic. "Every Breath You Take" has a seductive, rolling beat masking its maliciousness, "King of Pain" and "Wrapped Around Your Finger" are devilishly infectious new wave singles, and "Tea in the Sahara" is hypnotic in its measured, melancholy choruses. But, like so many other Police albums, these songs are surrounded by utterly inconsequential filler. This time, the group relies heavily on jazzy textures for Sting's songs, which only work on the jumping, marimba-driven "Synchronicity I." Then, as if to prove that the Police were still a band, there's one song apiece from Stewart Copeland and Andy Summers, both of which are awful, as if they're trying to sabotage the album. Since they arrive on the first side, which is devoid of singles, they do, making the album sound like two EPs: one filled with first-rate pop, and one an exercise in self-indulgence. While the hits are among Sting's best, they also illustrate that he was ready to leave the Police behind for a solo career, which is exactly what he did.

    Track List


    1
    Synchronicity I
    Sting

    The Police
    3:26
    2
    Walking in Your Footsteps
    Sting

    The Police
    3:36
    3
    O My God
    Sting

    The Police
    4:02
    4
    Mother
    Sting / Andy Summers

    The Police
    3:05
    5
    Miss Gradenko
    Stewart Copeland / Sting

    The Police
    2:00
    6
    Synchronicity II
    Sting

    The Police
    5:02
    7
    Every Breath You Take
    Sting

    The Police
    4:14
    8
    King of Pain
    Sting

    The Police
    4:58
    9
    Wrapped Around Your Finger
    Sting

    The Police
    5:13
    10
    Tea in the Sahara
    Sting

    The Police
    4:11
    11
    Murder by Numbers
    Sting / Andy Summers

    The Police
    4:34

    28 The Velvet Underground - The Velvet Underground & Nico (1967)

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    One would be hard-pressed to name a rock album whose influence has been as broad and pervasive as The Velvet Underground & Nico. While it reportedly took over a decade for the album's sales to crack six figures, glam, punk, new wave, goth, noise, and nearly every other left-of-center rock movement owes an audible debt to this set. While The Velvet Underground had as distinctive a sound as any band, what's most surprising about this album is its diversity. Here, the Velvets dipped their toes into dreamy pop ("Sunday Morning"), tough garage rock ("Waiting for the Man"), stripped-down R&B ("There She Goes Again"), and understated love songs ("I'll Be Your Mirror") when they weren't busy creating sounds without pop precedent. Lou Reed's lyrical exploration of drugs and kinky sex (then risky stuff in film and literature, let alone "teen music") always received the most press attention, but the music Reed, John Cale, Sterling Morrison, and Maureen Tucker played was as radical as the words they accompanied. The bracing discord of "European Son," the troubling beauty of "All Tomorrow's Parties," and the expressive dynamics of "Heroin" all remain as compelling as the day they were recorded. While the significance of Nico's contributions have been debated over the years, she meshes with the band's outlook in that she hardly sounds like a typical rock vocalist, and if Andy Warhol's presence as producer was primarily a matter of signing the checks, his notoriety allowed The Velvet Underground to record their material without compromise, which would have been impossible under most other circumstances. Few rock albums are as important as The Velvet Underground & Nico, and fewer still have lost so little of their power to surprise and intrigue more than 40 years after first hitting the racks.

    Track List

    1
    Sunday Morning
    John Cale / Lou Reed

    The Velvet Underground
    2:56
    2
    I'm Waiting for the Man
    Lou Reed

    The Velvet Underground
    4:39
    3
    Femme Fatale
    Lou Reed

    The Velvet Underground
    2:38
    4
    Venus in Furs
    Lou Reed

    The Velvet Underground
    5:12
    5
    Run Run Run
    Lou Reed

    The Velvet Underground
    4:22
    6
    All Tomorrow's Parties
    Lou Reed

    The Velvet Underground
    6:00
    7
    Heroin
    Lou Reed

    The Velvet Underground
    7:12
    8
    There She Goes Again
    Lou Reed

    The Velvet Underground
    2:41
    9
    I'll Be Your Mirror
    Lou Reed

    The Velvet Underground
    2:14
    10
    The Black Angel's Death Song
    John Cale / Lou Reed

    The Velvet Underground
    3:11
    11
    European Son
    John Cale / Sterling Morrison / Lou Reed / Maureen Tucker

    The Velvet Underground
    7:46

    27 Mike Oldfield - Tubular Bells (1973)

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    Mike Oldfield's groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the instruments himself, including such oddities as the Farfisa organ, the Lowrey organ, and the flageolet. The familiar eerie opening, made famous by its use in The Exorcist, starts the album off slowly, as each instrument acoustically wriggles its way into the current noise that is heard, until there is a grand unison of eccentric sounds that wildly excites the ears. Throughout the album, the tempos range from soft to intense to utterly surprising, making for some excellent musical culminations. Mandolins and Spanish guitars are joined by grinding organs and keyboards, while oddball bells and cranking noises resound in the distance. In the middle of the album, guest Vivian Stanshall announces each instrument seconds before it is heard, ending with the ominous sounding tubular bells, a truly powerful and dominating instrument. The most interesting and overwhelming aspect of this album is the fact that so many sounds are conjured up yet none go unnoticed, allowing the listener a gradual submergence into each unique portion of the music. Tubular Bells is a divine excursion into the realm of new age music.

    Track List

    1
    Tubular Bells, Pt. 1
    Mike Oldfield

    Mike Oldfield
    25:36
    2
    Tubular Bells, Pt. 2
    Mike Oldfield

    Mike Oldfield
    23:20

    26 UB40 - Signing Off (1980)

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    So ubiquitous was UB40's grip on the pop-reggae market that it may have been difficult for younger fans to comprehend just how their arrival shook up the British musical scene. They appeared just as 2 Tone had peaked and was beginning its slide towards oblivion. Not that it mattered, as few would try to shoehorn the band into that suit. However, the group was no more comfortable within the U.K. reggae axis of Steel Pulse, Aswad, and Matumbi. Their rhythms may have been reggae-based, their music Jamaican-inspired, but UB40 had such an original take on the genre that all comparisons were moot. Even their attack on the singles chart was unusual, as they smacked three double-A-sided singles into the Top Ten in swift succession. By rights, the second 45 should have acted as a taster for their album (it didn't, coming several months too soon), while the third should have been a spinoff (it wasn't, boasting two new songs entirely). Regardless, both sides of their debut single -- the roots-rocking indictment of politicians' refusal to relieve famine on "Food for Thought" and the dreamy tribute to Martin Luther "King" -- were included, as well as their phenomenal cover of Randy Newman's "I Think It's Going to Rain Today" off their second single. The new material was equally strong. The moody roots-fired "Tyler," which kicks off the set, is a potent condemnation of the U.S. judicial system, while its stellar dub, "25%," appears later in the set. The smoky Far Eastern-flavored "Burden" explores the dual tugs of national pride and shame over Britain's oppressive past (and present). If that was a thoughtful number, "Little by Little" was a blatant call for class warfare. Of course, Ali Campbell never raised his voice -- he didn't need to. His words were his sword, and the creamier and sweeter his delivery, the deeper they cut. Their music was just as revolutionary, their sound unlike anything else on either island, from deep dubs shot through with jazzy sax to the bright and breezy instrumental "12 Bar," with its splendid loose groove transmuted later in the set to the jazzier and smokier "Adella." Meanwhile, "Food" slams into the dance clubs, and "King" floats to the heavens. It's hard to believe this is the same UB40 that later topped the U.K. charts with the likes of "Red Red Wine" and "I've Got You Babe." Their fire was dampened quickly, but on Signing Off it blazed high, still accessible to the pop market, but so edgy that even those who are sure there's nothing about the group to admire will change their tune instantly.

    Track List

    1
    Tyler
    Jim Brown / Ali Campbell / Robin Campbell / Earl Falconer / UB40

    UB40
    5:50
    2
    King
    Jim Brown / Ali Campbell / Robin Campbell / Earl Falconer / Norman Hassan / Brian Travers / UB40 / Michael Virtue

    UB40
    4:35
    3
    12 Bar
    Jim Brown / Ali Campbell / Robin Campbell / Earl Falconer / Norman Hassan / Brian Travers / UB40 / Michael Virtue

    UB40
    4:21
    4
    Burden of Shame
    Jim Brown / Ali Campbell / Robin Campbell / Earl Falconer / Norman Hassan / Van Morrison / Brian Travers / UB40 / Michael Virtue

    UB40
    6:28
    5
    Adella
    Jim Brown / Ali Campbell / Robin Campbell / Earl Falconer / Norman Hassan / Brian Travers / UB40 / Michael Virtue

    UB40
    3:24
    6
    I Think It's Going to Rain Today
    Randy Newman

    UB40
    3:40
    7
    25%
    Jim Brown / Ali Campbell / Robin Campbell / Earl Falconer / Norman Hassan / Brian Travers / UB40 / Michael Virtue

    UB40
    3:31
    8
    Food for Thought
    Jim Brown / Ali Campbell / Robin Campbell / Earl Falconer / Norman Hassan / Brian Travers / UB40 / Michael Virtue

    UB40
    4:09
    9
    Little by Little
    UB40

    UB40
    3:42
    10
    Signing Off
    UB40

    UB40
    4:25
    11
    Madam Medusa
    Jim Brown / Ali Campbell / Robin Campbell / Earl Falconer / Norman Hassan / Brian Travers / UB40 / Michael Virtue

    UB40
    12:50
    12
    Strange Fruit
    Lewis Allan

    UB40
    4:03
    13
    Reefer Madness
    Jim Brown / Ali Campbell / Robin Campbell / Earl Falconer / Norman Hassan / Brian Travers / UB40 / Michael Virtue

    UB40
    5:08

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    35 Creedence Clearwater Revival - Cosmo's Factory (1970)

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    Throughout 1969 and into 1970, CCR toured incessantly and recorded nearly as much. Appropriately, Cosmo's Factory's first single was the working band's anthem "Travelin' Band," a funny, piledriving rocker with a blaring horn section -- the first indication their sonic palette was broadening. Two more singles appeared prior to the album's release, backed by John Fogerty originals that rivaled the A-side or paled just slightly. When it came time to assemble a full album, Fogerty had only one original left, the claustrophobic, paranoid rocker "Ramble Tamble." Unlike some extended instrumentals, this was dramatic and had a direction -- a distinction made clear by the meandering jam that brings CCR's version of "I Heard It Through the Grapevine" to 11 minutes. Even if it wanders, their take on the Marvin Gaye classic isn't unpleasant, and their faithful, exuberant takes on the Sun classics "Ooby Dooby" and "My Baby Left Me" are joyous tributes. Still, the heart of the album lays in those six fantastic songs released on singles. "Up Around the Bend" is a searing rocker, one of their best, balanced by the menacing murkiness of "Run Through the Jungle." "Who'll Stop the Rain"'s poignant melody and melancholy undertow has a counterpart in Fogerty's dope song, "Lookin' out My Back Door," a charming, bright shuffle, filled with dancing animals and domestic bliss - he had never been as sweet and silly as he is here. On "Long as I Can See the Light," the record's final song, he again finds solace in home, anchored by a soulful, laid-back groove. It hits a comforting, elegiac note, the perfect way to draw Cosmo's Factory -- an album made during stress and chaos, filled with raging rockers, covers, and intense jams -- to a close.

    Track List

    1
    Ramble Tamble
    John Fogerty

    Creedence Clearwater Revival
    7:10
    2
    Before You Accuse Me
    Ellas McDaniel

    Creedence Clearwater Revival
    3:27
    3
    Travelin' Band
    John Fogerty

    Creedence Clearwater Revival
    2:07
    4
    Ooby Dooby
    Wade Moore / Dick Penner

    Creedence Clearwater Revival
    2:07
    5
    Lookin' Out My Back Door
    John Fogerty

    Creedence Clearwater Revival
    2:35
    6
    Run Through the Jungle
    John Fogerty

    Creedence Clearwater Revival
    3:10
    7
    Up Around the Bend
    John Fogerty

    Creedence Clearwater Revival
    2:42
    8
    My Baby Left Me
    Arthur "Big Boy" Crudup

    Creedence Clearwater Revival
    2:19
    9
    Who'll Stop the Rain
    John Fogerty

    Creedence Clearwater Revival
    2:29
    10
    I Heard It Through the Grapevine
    Barrett Strong / Norman Whitfield

    Creedence Clearwater Revival
    11:07
    11
    Long as I Can See the Light
    John Fogerty

    Creedence Clearwater Revival
    3:33

    34 The Prodigy - Experience (1992)

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    One of the few noncompilation rave albums of any worth, Experience balances a supply of top-this siren whistles and chipmunk divas with Liam Howlett's surprising flair for constructing track after track of intense breakbeat techno. Almost every song sounds like a potential chart-topper (circa 1992, of course) while the true singles "Your Love," "Charly," "Music Reach," and "Out of Space" add that extra bit of energy to the fray. More than just a relic of the rave experience, Experience shows the Prodigy near the peak of their game from the get-go.

    Track List

    1
    Jericho
    Liam Howlett

    The Prodigy
    3:42
    2
    Music Reach
    Liam Howlett

    The Prodigy
    4:12
    3
    Wind It Up
    Liam Howlett

    The Prodigy
    4:33
    4
    Your Love
    Liam Howlett

    The Prodigy
    5:30
    5
    Hyperspeed
    Liam Howlett

    The Prodigy
    5:16
    6
    Charly
    Liam Howlett

    The Prodigy
    5:12
    7
    Out of Space
    Liam Howlett / Kool Keith / C. Miller / M. Smith

    The Prodigy
    4:57
    8
    Everybody in the Place
    Liam Howlett

    The Prodigy
    4:10
    9
    Weather Experience
    Liam Howlett

    The Prodigy
    8:06
    10
    Fire
    Liam Howlett

    The Prodigy
    4:57
    11
    Ruff in the Jungle Bizness
    Liam Howlett

    The Prodigy
    5:10
    12
    Death of the Prodigy Dancers
    Liam Howlett

    The Prodigy
    3:43

    33 Megadeth - Peace Sells...But Who's Buying? (1986)

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    Arguably Megadeth's strongest effort and a classic of early thrash, Peace Sells combines a punkish political awareness with a dark, threatening, typically heavy metal world-view, preoccupied with evil, the occult, and the like. The anthemic title track and "Wake Up Dead" are the two major standouts, and there is also a cover of Willie Dixon's "I Ain't Superstitious," which takes on an air of supernaturally induced paranoia in the album's context. The lines between hell and earth are blurred throughout the album, and the crashing, complex music backs up Dave Mustaine's apocalyptic vision of life as damnation -- his limited vocal style is used to great effect, growling and snarling in a barely intelligible fashion under all the complicated guitar work. Vital, necessary thrash.

    Track List

    1
    Wake Up Dead
    Dave Mustaine

    Megadeth
    3:40
    2
    The Conjuring
    Dave Mustaine

    Megadeth
    5:04
    3
    Peace Sells
    Dave Mustaine

    Megadeth
    4:04
    4
    Devil's Island
    Dave Mustaine

    Megadeth
    5:05
    5
    Good Mourning/Black Friday
    Dave Mustaine

    Megadeth
    6:41
    6
    Bad Omen
    Dave Mustaine

    Megadeth
    4:05
    7
    I Ain't Superstitious
    Willie Dixon

    Megadeth
    2:46
    8
    My Last Words
    Dave Mustaine

    Megadeth
    4:47

    32 The Jimi Hendrix Experience - Are You Experienced? (1967)

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    One of the most stunning debuts in rock history, and one of the definitive albums of the psychedelic era. On Are You Experienced?, Jimi Hendrix synthesized various elements of the cutting edge of 1967 rock into music that sounded both futuristic and rooted in the best traditions of rock, blues, pop, and soul. It was his mind-boggling guitar work, of course, that got most of the ink, building upon the experiments of British innovators like Jeff Beck and Pete Townshend to chart new sonic territories in feedback, distortion, and sheer volume. It wouldn't have meant much, however, without his excellent material, whether psychedelic frenzy ("Foxey Lady," "Manic Depression," "Purple Haze"), instrumental freak-out jams ("Third Stone from the Sun"), blues ("Red House," "Hey Joe"), or tender, poetic compositions ("The Wind Cries Mary") that demonstrated the breadth of his songwriting talents. Not to be underestimated were the contributions of drummer Mitch Mitchell and bassist Noel Redding, who gave the music a rhythmic pulse that fused parts of rock and improvised jazz. Many of these songs are among Hendrix's very finest; it may be true that he would continue to develop at a rapid pace throughout the rest of his brief career, but he would never surpass his first LP in terms of consistently high quality. [The British and American versions of the album differed substantially when they were initially released in 1967; MCA's 17-song reissue did everyone a favor by gathering all of the material from the two records in one place, adding a few B-sides from early singles as well.]

    Track List

    1
    Purple Haze
    Jimi Hendrix

    The Jimi Hendrix Experience
    2:50
    2
    Manic Depression
    Jimi Hendrix

    The Jimi Hendrix Experience
    3:42
    3
    Hey Joe
    Billy Roberts / Dino Valenti

    The Jimi Hendrix Experience
    3:30
    4
    Love or Confusion
    Jimi Hendrix

    The Jimi Hendrix Experience
    3:12
    5
    May This Be Love
    Jimi Hendrix

    The Jimi Hendrix Experience
    3:10
    6
    I Don't Live Today
    Jimi Hendrix

    The Jimi Hendrix Experience
    3:54
    7
    The Wind Cries Mary
    Jimi Hendrix

    The Jimi Hendrix Experience
    3:20
    8
    Fire
    Jimi Hendrix

    The Jimi Hendrix Experience
    2:43
    9
    Third Stone from the Sun
    Jimi Hendrix

    The Jimi Hendrix Experience
    6:44
    10
    Foxey Lady
    Jimi Hendrix

    The Jimi Hendrix Experience
    3:18
    11
    Are You Experienced?
    Jimi Hendrix

    The Jimi Hendrix Experience
    4:16
    12
    Stone Free
    Jimi Hendrix

    The Jimi Hendrix Experience
    3:35
    13
    51st Anniversary
    Jimi Hendrix

    The Jimi Hendrix Experience
    3:15
    14
    Highway Chile
    Jimi Hendrix

    The Jimi Hendrix Experience
    3:32
    15
    Can You See Me
    Jimi Hendrix

    The Jimi Hendrix Experience
    2:32
    16
    Remember
    Jimi Hendrix

    The Jimi Hendrix Experience
    2:48
    17
    Red House
    Jimi Hendrix

    The Jimi Hendrix Experience
    3:51

    31 The Cult - Electric (1987)

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    The roots of Electric lay in another album entirely, Peace, which was recorded with Love producer Steve Brown in a series of sessions that the band found increasingly pressure-filled and fraught with tension. A chance meeting with Def Jam supremo Rick Rubin at an American awards ceremony turned out to be the charm, resulting in the saucy chest-baring stomp of Electric. Rubin chucked all the old recordings for a series of new sessions, stripping everything down and essentially transforming Billy Duffy into the logical successor to AC/DC's Angus Young. Thankfully Ian Astbury decided not to become Brian Johnson, and while his macho yells can't help being cartoonish, he's clearly having fun throughout. Though both band and album caught a lot of flak for their perceived wallowing in dinosaur sounds and styles, the end result is still a fist-punching yelp of energy that demands to be heard at maximum volume in arenas, with a brusque punch in Les Warner's drums to match Duffy's power-chord action. "Love Removal Machine" is still the album's calling card, another in the series of instantly catchy Cult singles. "Li'l Devil" is almost as worthy, while other cuts like "Wild Flower" and "King Contrary Man" would have sounded good in 1973 and sound just as good in a new century. There are a couple of missteps -- "Peace Dog" starts good but ends up being what happens when the Doors are used as a model in the wrong way, while the version of the Steppenwolf classic "Born to Be Wild" should be taken out and shot. Otherwise, an enjoyable pleasure from start to finish -- even if Astbury sings "plastic fantastic lobster telephone" at one point.

    Track List

    1
    Wild Flower
    Ian Astbury / Billy Duffy

    The Cult
    3:38
    2
    Peace Dog
    Ian Astbury / Billy Duffy

    The Cult
    3:34
    3
    Lil' Devil
    Ian Astbury / Billy Duffy

    The Cult
    2:44
    4
    Aphrodisiac Jacket
    Ian Astbury / Billy Duffy

    The Cult
    4:11
    5
    Electric Ocean
    Ian Astbury / Billy Duffy

    The Cult
    2:49
    6
    Bad Fun
    Ian Astbury / Billy Duffy

    The Cult
    3:34
    7
    King Contrary Man
    Ian Astbury / Billy Duffy

    The Cult
    3:12
    8
    Love Removal Machine
    Ian Astbury / Billy Duffy

    The Cult
    4:17
    9
    Born to Be Wild
    Mars Bonfire

    The Cult
    3:55
    10
    Outlaw
    Ian Astbury / Billy Duffy

    The Cult
    2:52
    11
    Memphis Hip Shake
    Ian Astbury / Billy Duffy

    The Cult
    4:00

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  4. boki71

    boki71 Uz duplu Anu... Administrator

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    40 Slayer - Reign in Blood (1986)

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    Widely considered the pinnacle of speed metal, Reign in Blood is Slayer's undisputed masterpiece, a brief (under half an hour) but relentless onslaught that instantly obliterates anything in its path and clears out just as quickly. Producer Rick Rubin gives the band a clear, punchy sound for the first time in its career, and they largely discard the extended pieces of Hell Awaits in favor of lean assaults somewhat reminiscent of hardcore punk (though distinctly metallic and much more technically demanding). Reign in Blood opens and closes with slightly longer tracks (the classics "Angel of Death" and "Raining Blood") whose slower riffs offer most of the album's few hints of melody. Sandwiched in between are eight short (all under three minutes), lightning-fast bursts of aggression that change tempo or feel without warning, producing a disjointed, barely controlled effect. The album is actually more precise than it sounds, and not without a sense of groove, but even in the brief slowdowns, the intensity never lets up. There may not be much variation, but it's a unified vision, and a horrific one at that. The riffs are built on atonal chromaticism that sounds as sickening as the graphic violence depicted in many of the lyrics, and Kerry King and Jeff Hanneman's demented soloing often mimics the screams of the songs' victims. It's monstrously, terrifyingly evocative, in a way that transcends Reign in Blood's metal origins. The album almost single-handedly inspired the entire death metal genre (at least on the American side of the Atlantic), and unlike many of its imitators, it never crosses the line into self-parodic overkill. Reign in Blood was a stone-cold classic upon its release, and it hasn't lost an ounce of its power today.

    Track List

    1
    Angel of Death
    Jeff Hanneman

    Slayer
    4:51
    2
    Piece by Piece
    Kerry King

    Slayer
    2:02
    3
    Necrophobic
    Jeff Hanneman / Kerry King

    Slayer
    1:40
    4
    Altar of Sacrifice
    Jeff Hanneman / Kerry King

    Slayer
    2:50
    5
    Jesus Saves
    Jeff Hanneman / Kerry King

    Slayer
    2:54
    6
    Criminally Insane
    Jeff Hanneman / Kerry King

    Slayer
    2:22
    7
    Reborn
    Jeff Hanneman / Kerry King

    Slayer
    2:11
    8
    Epidemic
    Jeff Hanneman / Kerry King

    Slayer
    2:23
    9
    Postmortem
    Jeff Hanneman

    Slayer
    3:27
    10
    Raining Blood
    Jeff Hanneman / Kerry King

    Slayer
    4:17
    11
    Aggressive Perfector
    Jeff Hanneman / Kerry King

    Slayer
    2:30
    12
    Criminally Insane
    Jeff Hanneman / Kerry King

    Slayer
    3:17

    39 AC/DC - Black Ice (2008)

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    Unlike any other band of their stature, AC/DC truly don't care about the world at large. They see no triumph in their longevity, they long ago dismissed not only the idea of artistic statements but the very notion of artistic growth: they aren't good or bad, they simply are. They have nothing left to prove, so perhaps it shouldn't be a surprise that their albums lack any sense of urgency or motivation. AC/DC never rush to cut a record; they wait until Angus Young has collected enough riffs to hammer out an album's worth of songs, then they file in one by one to lay down their tracks with a big-budget producer, who inevitably gives them a clean, mammoth sound that's no different than what came before. Rick Rubin couldn't change this pattern on 1995's Ballbreaker and Brendan O'Brien can't change it on 2008's Black Ice. He encourages the band to add a bit of color here and there, so they grace "Stormy May Day" with some sloppy slide guitar and turn "Rock N' Roll Dream" into an expansive neo-ballad cousin of Bad Company's "Rock N Roll Fantasy," but O'Brien's crisp, colorful production only emphasizes how AC/DC could stand to be a little less careful on record.

    It's the eternal AC/DC paradox: at its core, their music is brutal and primitive, but their records are slick, overly cautious, and bloated, stretching out to 15 tracks when they should be no longer than ten. AC/DC haven't lost their knack for great, simple rock & roll and Black Ice is graced by a few terrific tracks. In fact, as it opens with the "Highway to Hell" boogie of "Rock N Roll Train," the stuttering "Skies on Fire" and "Big Jack," it seems that Black Ice might be the great latter-day AC/DC record the group has yet to deliver, but as the next 12 tracks spool out over the next hour, the album slowly slides into a too-comfortable groove, fueled by too-tight rhythms and guitars that sound loud but not beefy. This polished, precise rock & roll is good enough, at least in small doses, but Black Ice delivers a whopping dose, puffed out to nearly an hour, running so long it all kind of washes together -- a problem that is endemic to all AC/DC albums after Back in Black. This shift can't be placed on the shoulders of Brian Johnson, who may never have been able to match Bon Scott no matter how much he mimics the man, but it's simply a symptom of the band's massive popularity, where they have no compelling reason to release a record every other year, so they make albums twice a decade, inevitably spending too much time sculpting their recordings when they'd be better off bashing them out. At their peak, AC/DC recorded their albums quick 'n' dirty and the music felt that way, too. Age has turned their tasteless insurgence into vulgar tradition but that's not the problem, nor is it the band's refusal to change because, let's face it, when a band does one thing this well there's no need to change. AC/DC can still sound invigorating -- and make no mistake they do here, as much as they ever do on a latter-day record -- but they just need to tighten up, cut back, crank it up, and sound a little rude again. After all, what's the point of being the filthiest band in rock & roll if you're going to make albums as polite as Black Ice?

    Track List


    1
    Rock N Roll Train
    Angus Young / Malcolm Young

    AC/DC
    4:21
    2
    Skies on Fire
    Angus Young / Malcolm Young

    AC/DC
    3:34
    3
    Big Jack
    Angus Young / Malcolm Young

    AC/DC
    3:57
    4
    Anything Goes
    Angus Young / Malcolm Young

    AC/DC
    3:22
    5
    War Machine
    Angus Young / Malcolm Young

    AC/DC
    3:09
    6
    Smash N Grab
    Angus Young / Malcolm Young

    AC/DC
    4:06
    7
    Spoilin' for a Fight
    Angus Young / Malcolm Young

    AC/DC
    3:17
    8
    Wheels
    Angus Young / Malcolm Young

    AC/DC
    3:28
    9
    Decibel
    Angus Young / Malcolm Young

    AC/DC
    3:33
    10
    Stormy May Day
    Angus Young / Malcolm Young

    AC/DC
    3:10
    11
    She Likes Rock N Roll
    Angus Young / Malcolm Young

    AC/DC
    3:52
    12
    Money Made
    Angus Young / Malcolm Young

    AC/DC
    4:15
    13
    Rock N Roll Dream
    Angus Young / Malcolm Young

    AC/DC
    4:40
    14
    Rocking All the Way
    Angus Young / Malcolm Young

    AC/DC
    3:22
    15
    Black Ice
    Angus Young / Malcolm Young

    AC/DC
    3:25

    38 Simon & Garfunkel - Bridge Over Troubled Water (1970)

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    Bridge Over Troubled Water was one of the biggest-selling albums of its decade, and it hasn't fallen too far down on the list in years since. Apart from the gospel-flavored title track, which took some evolution to get to what it finally became, however, much of Bridge Over Troubled Water also constitutes a stepping back from the music that Simon & Garfunkel had made on Bookends -- this was mostly because the creative partnership that had formed the body and the motivation for the duo's four prior albums literally consumed itself in the making of Bridge Over Troubled Water. The overall effect was perhaps the most delicately textured album to close out the 1960s from any major rock act. Bridge Over Troubled Water, at its most ambitious and bold, on its title track, was a quietly reassuring album; at other times, it was personal yet soothing; and at other times, it was just plain fun. The public in 1970 -- a very unsettled time politically, socially, and culturally -- embraced it; and whatever mood they captured, the songs matched the standard of craftsmanship that had been established on the duo's two prior albums. Between the record's overall quality and its four hits, the album held the number one position for two and a half months and spent years on the charts, racking up sales in excess of five million copies. The irony was that for all of the record's and the music's appeal, the duo's partnership ended in the course of creating and completing the album.

    Track List

    1
    Bridge Over Troubled Water
    Paul Simon

    Simon & Garfunkel
    4:52
    2
    El Condor Pasa (If I Could)
    Jorge Milchberg / Daniel Alomía Robles / Paul Simon

    Simon & Garfunkel
    3:06
    3
    Cecilia
    Paul Simon

    Simon & Garfunkel
    2:55
    4
    Keep the Customer Satisfied
    Paul Simon

    Simon & Garfunkel
    2:33
    5
    So Long, Frank Lloyd Wright
    Paul Simon

    Simon & Garfunkel
    3:41
    6
    The Boxer
    Paul Simon

    Simon & Garfunkel
    5:08
    7
    Baby Driver
    Paul Simon

    Simon & Garfunkel
    3:15
    8
    The Only Living Boy in New York
    Paul Simon

    Simon & Garfunkel
    3:57
    9
    Why Don't You Write Me
    Paul Simon

    Simon & Garfunkel
    2:45
    10
    Bye Bye Love
    Boudleaux Bryant / Felice Bryant

    Simon & Garfunkel
    2:55
    11
    Song for the Asking
    Paul Simon

    Simon & Garfunkel
    1:39

    37 Fleetwood Mac - Rumours (1977)

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    Rumours is the kind of album that transcends its origins and reputation, entering the realm of legend -- it's an album that simply exists outside of criticism and outside of its time, even if it thoroughly captures its era. Prior to this LP, Fleetwood Mac were moderately successful, but here they turned into a full-fledged phenomenon, with Rumours becoming the biggest-selling pop album to date. While its chart success was historic, much of the legend surrounding the record is born from the group's internal turmoil. Unlike most bands, Fleetwood Mac in the mid-'70s were professionally and romantically intertwined, with no less than two couples in the band, but as their professional career took off, the personal side unraveled. Bassist John McVie and his keyboardist/singer wife Christine McVie filed for divorce as guitarist/vocalist Lindsey Buckingham and vocalist Stevie Nicks split, with Stevie running to drummer Mick Fleetwood, unbeknown to the rest of the band. These personal tensions fueled nearly every song on Rumours, which makes listening to the album a nearly voyeuristic experience. You're eavesdropping on the bandmates singing painful truths about each other, spreading nasty lies and rumors and wallowing in their grief, all in the presence of the person who caused the heartache. Everybody loves gawking at a good public breakup, but if that was all that it took to sell a record, Richard and Linda Thompson's Shoot Out the Lights would be multi-platinum. No, what made Rumours an unparalleled blockbuster is the quality of the music. Once again masterminded by producer/songwriter/guitarist Buckingham, Rumours is an exceptionally musical piece of work -- he toughens Christine McVie and softens Nicks, adding weird turns to accessibly melodic works, which gives the universal themes of the songs haunting resonance. It also cloaks the raw emotion of the lyrics in deceptively palatable arrangements that made a tune as wrecked and tortured as "Go Your Own Way" an anthemic hit. But that's what makes Rumours such an enduring achievement -- it turns private pain into something universal. Some of these songs may be too familiar, whether through their repeated exposure on FM radio or their use in presidential campaigns, but in the context of the album, each tune, each phrase regains its raw, immediate emotional power -- which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time.

    Track List

    1
    Second Hand News
    Lindsey Buckingham

    Fleetwood Mac
    2:43
    2
    Dreams
    Stevie Nicks

    Fleetwood Mac
    4:14
    3
    Never Going Back Again
    Lindsey Buckingham

    Fleetwood Mac
    2:02
    4
    Don't Stop
    Christine McVie

    Fleetwood Mac
    3:11
    5
    Go Your Own Way
    Lindsey Buckingham

    Fleetwood Mac
    3:38
    6
    Songbird
    Christine McVie / Jesse Winchester

    Fleetwood Mac
    3:20
    7
    The Chain
    Lindsey Buckingham / Mick Fleetwood / Christine McVie / John McVie / Stevie Nicks

    Fleetwood Mac
    4:28
    8
    You Make Loving Fun
    Christine McVie

    Fleetwood Mac
    3:31
    9
    I Don't Want to Know
    Stevie Nicks

    Fleetwood Mac
    3:11
    10
    Oh Daddy
    Christine McVie

    Fleetwood Mac
    3:54
    11
    Gold Dust Woman
    Stevie Nicks

    Fleetwood Mac
    4:51

    36 The Band - The Band (1969)

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    The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music from Big Pink, here including "Whispering Pines" and "When You Awake" (both co-written by Richard Manuel), with rollicking uptempo numbers like "Rag Mama Rag" and "Up on Cripple Creek" (both sung by Levon Helm and released as singles, with "Up on Cripple Creek" making the Top 40). As had been true of the first album, it was The Band's sound that stood out the most, from Helm's (and occasionally Manuel's) propulsive drumming to Robertson's distinctive guitar fills and the endlessly inventive keyboard textures of Garth Hudson, all topped by the rough, expressive singing of Manuel, Helm, and Rick Danko that mixed leads with harmonies. The arrangements were simultaneously loose and assured, giving the songs a timeless appeal, while the lyrics continued to paint portraits of 19th century rural life (especially Southern life, as references to Tennessee and Virginia made clear), its sometimes less savory aspects treated with warmth and humor.

    Track List

    1
    Across the Great Divide
    Robbie Robertson

    The Band
    2:53
    2
    Rag Mama Rag
    Robbie Robertson

    The Band
    3:04
    3
    The Night They Drove Old Dixie Down
    Robbie Robertson

    The Band
    3:33
    4
    When You Awake
    Richard Manuel / Robbie Robertson

    The Band
    3:13
    5
    Up on Cripple Creek
    Robbie Robertson

    The Band
    4:33
    6
    Whispering Pines
    Richard Manuel / Robbie Robertson

    The Band
    4:06
    7
    Jemima Surrender
    Levon Helm / Robbie Robertson

    The Band
    3:31
    8
    Rockin' Chair
    Robbie Robertson

    The Band
    3:42
    9
    Look out Cleveland
    Robbie Robertson

    The Band
    3:09
    10
    Jawbone
    Richard Manuel / Robbie Robertson

    The Band
    4:20
    11
    The Unfaithful Servant
    Robbie Robertson

    The Band
    4:16
    12
    King Harvest (Has Surely Come)
    Robbie Robertson

    The Band
    3:46

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  5. boki71

    boki71 Uz duplu Anu... Administrator

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    45 The Band - The Last Waltz (1978)

    [​IMG]

    As a film, The Last Waltz was a triumph -- one of the first (and still one of the few) rock concert documentaries that was directed by a filmmaker who understood both the look and the sound of rock & roll, and executed with enough technical craft to capture all the nooks and crannies of a great live show. But as an album, The Last Waltz soundtrack had to compete with the Band's earlier live album, Rock of Ages, with which it bears a certain superficial resemblance -- both found the group trying to create something grander than the standard-issue live double, and both featured the group beefed up by additional musicians. While Rock of Ages found the Band swinging along with the help of a horn section arranged by Allen Toussaint, The Last Waltz boasts a horn section (using Toussaint's earlier arrangements on a few cuts) and more than a baker's dozen guest stars, ranging from old cohorts Ronnie Hawkins and Bob Dylan to contemporaries Joni Mitchell, Neil Young, and Van Morrison. the Band are in fine if not exceptional form here; on most cuts, they don't sound quite as fiery as they did on Rock of Ages, though their performances are never less than expert, and the high points are dazzling, especially an impassioned version of "It Makes No Difference" and blazing readings of "Up on Cripple Creek" and "The Night They Drove Old Dixie Down" (Levon Helm has made no secret that he felt breaking up the Band was a bad idea, and here it sounds if he was determined to prove how much they still had to offer). Ultimately, it's the Band's "special guests" who really make this set stand out -- Muddy Waters' ferocious version of "Mannish Boy" would have been a wonder from a man half his age, Van Morrison sounds positively joyous on "Caravan," Neil Young and Joni Mitchell do well for their Canadian brethren, and Bob Dylan's closing set finds him in admirably loose and rollicking form. (One question remains -- what exactly is Neil Diamond doing here?) And while the closing studio-recorded "Last Waltz Suite" sounds like padding, the contributions from Emmylou Harris and the Staple Singers are beautiful indeed. It could be argued that you're better off watching The Last Waltz on video than listening to it on CD, but either way it's a show well worth checking out.

    Track List

    disc 1

    1
    Theme from the Last Waltz
    Robbie Robertson

    The Band
    feat. The Orchestra 3:49
    2
    Up on Cripple Creek
    Robbie Robertson

    The Band
    5:31
    3
    Who Do You Love?
    Ellas McDaniel

    The Band
    4:53
    4
    Helpless
    Neil Young

    The Band
    5:55
    5
    Stagefright
    Robbie Robertson

    The Band
    4:24
    6
    Coyote
    Joni Mitchell

    The Band
    5:38
    7
    Dry Your Eyes
    Neil Diamond / Robbie Robertson

    The Band
    4:02
    8
    It Makes No Difference
    Robbie Robertson

    The Band
    6:46
    9
    Such a Night
    Mac Rebennack

    David Bromberg
    4:44
    10
    The Night They Drove Old Dixie Down
    Robbie Robertson

    The Band
    4:35
    11
    Mystery Train
    Junior Parker / Sam Phillips / Robbie Robertson

    The Band
    4:58
    12
    Mannish Boy
    Bo Diddley / Mel London / Muddy Waters

    The Band
    7:09
    13
    Further on Up the Road
    Joe Medwick / Don Robey

    The Band
    5:41

    disc 2

    1
    The Shape I'm In
    Robbie Robertson

    The Band
    4:07
    2
    Down South in New Orleans
    Jack Anglin / Jim Anglin / Bobby Charles / Johnnie Wright

    The Band
    3:04
    3
    Ophelia
    Robbie Robertson

    The Band
    3:40
    4
    Tura Lura Lural (That's an Irish Lullaby)
    James Royce Shannon

    The Band
    4:13
    5
    Caravan
    Van Morrison

    The Band
    6:00
    6
    Life Is a Carnival
    Rick Danko / Levon Helm / Robbie Robertson

    The Band
    4:37
    7
    Baby Let Me Follow You Down
    Rev. Gary Davis

    The Band
    2:44
    8
    I Don't Believe You (She Acts Like We Have Never Met)
    Bob Dylan

    The Band
    3:28
    9
    Forever Young
    Bob Dylan

    The Band
    5:50
    10
    Baby Let Me Follow You Down (Reprise)
    Rev. Gary Davis

    The Band
    3:03
    11
    I Shall Be Released
    Bob Dylan

    The Band
    5:36
    12
    The Last Waltz Suite: The Well
    Robbie Robertson

    The Band
    3:33
    13
    The Last Waltz Suite: Evangeline
    Robbie Robertson

    The Band
    3:12
    14
    The Last Waltz Suite: Out of the Blue
    Robbie Robertson

    The Band
    3:22
    15
    The Last Waltz Suite: The Weight
    Robbie Robertson

    The Band
    4:36
    16
    The Last Waltz Suite: The Last Waltz Refrain
    Robbie Robertson

    The Band
    1:32
    17
    The Last Waltz Suite: Theme from the the Last Waltz
    Robbie Robertson

    The Band
    3:24

    44 The Doors - The Doors (1967)

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    A tremendous debut album, and indeed one of the best first-time outings in rock history, introducing the band's fusion of rock, blues, classical, jazz, and poetry with a knock-out punch. The lean, spidery guitar and organ riffs interweave with a hypnotic menace, providing a seductive backdrop for Jim Morrison's captivating vocals and probing prose. "Light My Fire" was the cut that topped the charts and established the group as stars, but most of the rest of the album is just as impressive, including some of their best songs: the propulsive "Break on Through" (their first single), the beguiling Oriental mystery of "The Crystal Ship," the mysterious "End of the Night," "Take It as It Comes" (one of several tunes besides "Light My Fire" that also had hit potential), and the stomping rock of "Soul Kitchen" and "Twentieth Century Fox." The 11-minute Oedipal drama "The End" was the group at its most daring and, some would contend, overambitious. It was nonetheless a haunting cap to an album whose nonstop melodicism and dynamic tension would never be equaled by the group again, let alone bettered.

    Track List

    1
    Break on Through (To the Other Side)
    John Densmore / The Doors / Robby Krieger / Ray Manzarek / Jim Morrison

    The Doors
    2:30
    2
    Soul Kitchen
    John Densmore / The Doors / Robby Krieger / Ray Manzarek / Jim Morrison

    The Doors
    3:35
    3
    The Crystal Ship
    John Densmore / The Doors / Robby Krieger / Ray Manzarek / Jim Morrison

    The Doors
    2:34
    4
    Twentieth Century Fox
    John Densmore / The Doors / Robby Krieger / Ray Manzarek / Jim Morrison

    The Doors
    2:33
    5
    Alabama Song (Whisky Bar)
    Bertolt Brecht / Kurt Weill

    The Doors
    3:20
    6
    Light My Fire
    John Densmore / The Doors / Robby Krieger / Ray Manzarek / Jim Morrison

    The Doors
    7:08
    7
    Back Door Man
    Chester Burnett / Willie Dixon

    The Doors
    3:34
    8
    I Looked at You
    John Densmore / The Doors / Robby Krieger / Ray Manzarek / Jim Morrison

    The Doors
    2:22
    9
    End of the Night
    John Densmore / The Doors / Robby Krieger / Ray Manzarek / Jim Morrison

    The Doors
    2:52
    10
    Take It as It Comes
    John Densmore / The Doors / Robby Krieger / Ray Manzarek / Jim Morrison

    The Doors
    2:17
    11
    The End
    John Densmore / The Doors / Robby Krieger / Ray Manzarek / Jim Morrison

    The Doors
    11:43

    43 The Who - Tommy (1969)

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    The full-blown rock opera about a deaf, dumb, and blind boy that launched the band to international superstardom, written almost entirely by Townshend. It was hailed as a breakthrough upon its release, but its critical standing has diminished somewhat in the ensuing decades, because of the occasional pretensions of the concept, and the insubstantial nature of some of the songs that functioned as little more than devices to advance the rather sketchy plot. Nonetheless, the double album has many excellent songs, including "I'm Free," "Pinball Wizard," "Sensation," "Christmas," "We're Not Gonna Take It," and the dramatic ten-minute instrumental, "Underture." Though the album was slightly flawed, Townshend's ability to construct a lengthy conceptual narrative brought new possibilities to rock music. Despite the complexity of the project, he and the Who never lost sight of solid pop melodies, harmonies, and forceful instrumentation, imbuing the material with a suitably powerful grace.

    Track List

    1
    Overture
    John Entwistle / Keith Moon / Pete Townshend
    The Who 5:21
    2
    It's a Boy
    John Entwistle / Keith Moon / Pete Townshend
    The Who 0:38
    3
    1921
    John Entwistle / Keith Moon / Pete Townshend
    The Who 2:49
    4
    Amazing journey
    John Entwistle / Keith Moon / Pete Townshend
    The Who 3:25
    5
    Sparks
    John Entwistle / Keith Moon / Pete Townshend
    The Who 3:46
    6
    Eyesight to the Blind (The Hawker)
    John Entwistle / Keith Moon / Pete Townshend / Sonny Boy Williamson
    The Who 2:13
    7
    Christmas
    John Entwistle / Keith Moon / Pete Townshend
    The Who 4:34
    8
    Cousin Kevin
    John Entwistle / Keith Moon / Pete Townshend
    The Who 4:07
    9
    The Acid Queen
    John Entwistle / Keith Moon / Pete Townshend
    The Who 3:34
    10
    Underture
    John Entwistle / Keith Moon / Pete Townshend
    The Who 10:09
    11
    Do You Think It's Alright?
    John Entwistle / Keith Moon / Pete Townshend
    The Who 0:24
    12
    Fiddle About
    John Entwistle / Keith Moon / Pete Townshend
    The Who 1:29
    13
    Pinball Wizard
    John Entwistle / Keith Moon / Pete Townshend
    The Who 3:01
    14
    There's a Doctor
    John Entwistle / Keith Moon / Pete Townshend
    The Who 0:23
    15
    Go to the Mirror!
    John Entwistle / Keith Moon / Pete Townshend
    The Who 3:49
    16
    Tommy Can You Hear Me?
    John Entwistle / Keith Moon / Pete Townshend
    The Who 1:36
    17
    Smash the Mirror
    John Entwistle / Keith Moon / Pete Townshend
    The Who 1:35
    18
    Sensation
    John Entwistle / Keith Moon / Pete Townshend
    The Who 2:27
    19
    Miracle Cure
    John Entwistle / Keith Moon / Pete Townshend
    The Who 0:12
    20
    Sally Simpson
    John Entwistle / Keith Moon / Pete Townshend
    The Who 4:12
    21
    I'm Free
    John Entwistle / Keith Moon / Pete Townshend
    The Who 2:40
    22
    Welcome
    John Entwistle / Keith Moon / Pete Townshend
    The Who 4:34
    23
    Tommy's Holiday Camp
    John Entwistle / Keith Moon / Pete Townshend
    The Who 0:57
    24
    We're Not Gonna Take It
    John Entwistle / Keith Moon / Pete Townshend
    The Who 7:08

    42 Woodstock - Various Artists (1969) A Little Tribute

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    The Woodstock Music & Art Fair (informally, Woodstock or the Woodstock Festival) was a music festival, billed as "An Aquarian Exposition: 3 Days of Peace & Music". It was held at Max Yasgur's 600-acre (2.4 km²; 240 ha, 0.94 mi²) dairy farm in the Catskills near the hamlet of White Lake in the town of Bethel, New York, from August 15 to August 18, 1969. Bethel, in Sullivan County, is 43 miles (69 km) southwest of the town of Woodstock, New York, in adjoining Ulster County.

    During the sometimes rainy weekend, thirty-two acts performed outdoors in front of 500,000 concert-goers. It is widely regarded as a pivotal moment in popular music history. Rolling Stone called it one of the 50 Moments That Changed the History of Rock and Roll.

    The event was captured in the 1970 documentary movie Woodstock, an accompanying soundtrack album, and Joni Mitchell's song "Woodstock", which commemorated the event and became a major hit for Crosby, Stills, Nash & Young.

    Woodstock Documentary (1970)

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    Woodstock is a 1970 American documentary on the Woodstock Festival that took place in August 1969 at Bethel in New York. Entertainment Weekly called this film the benchmark of concert movies and one of the most entertaining documentaries ever made.[2] The film was directed by Michael Wadleigh and was edited by (amongst others) Martin Scorsese and Thelma Schoonmaker; Schoonmaker was nominated for an Academy Award for Film Editing.

    Woodstock was a massive commercial and critical success. It received the Academy Award for Best Documentary Feature, as well as a nomination for Best Sound (Dan Wallin, L. A. Johnson).[3][4] The film was also screened at the 1970 Cannes Film Festival, but wasn't entered into the main competition.[5] The Official Director's Cut, spanning 225 minutes, was released in 1994.

    Both cuts take liberties with the timeline of the festival. However, the opening and closing acts are the same in the film as in real life, i.e., Richie Havens opens the show and Jimi Hendrix closes it.

    Jimi Hendrix at Woodstock was also released separately on DVD and Blu-ray.

    In 1996, Woodstock was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". An expanded edition of Woodstock, released on June 9, 2009 in Blu-ray and DVD formats, features additional performances not before seen in the film, and also includes lengthened versions of existing performances featuring Creedence Clearwater Revival and others.

    Directed by Michael Wadleigh
    Produced by Bob Maurice
    Editing by Michael Wadleigh
    Martin Scorsese
    Stan Warnow
    Yeu-Bun Yee
    Jere Huggins
    Thelma Schoonmaker
    Distributed by Warner Bros.
    Release date(s)

    March 26, 1970

    Running time 184 minutes
    Country United States
    Language English
    Budget $600,000
    Box office $50,000,000
    $16,400,000 (rentals)

    Woodstock 40 Years On: Back to Yasgur's Farm [Box Set] 2009

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    In a year filled with them, Rhino offers its own homage to Woodstock's 40th anniversary by rolling out this lavish six-CD box set. It can be argued that this is merely a cash-in, but a number of things should be considered when critically looking at a set of this size, covering one of the most important events in rock music history. Perhaps the most significant aspect of this set is that it contains tracks by almost every single artist who appeared on the Woodstock stage in their proper sequence. (The exceptions are the Band and Ten Years After, the Keef Hartley Bandas well as the introductory speech by Swami Satchidananda.) The reason for this is simple: Imagine the nightmarish lisencing process the set's compilers and producers had to go through to make this happen. This challenges the assertion of the original soundtrack recording. We also hear from artists such as Sweetwater, Tim Hardin, Johnny Winter, Mountain, Ravi Shankar Quill, the Incredible String Band, the Grateful Dead, Creedence Clearwater Revival, Joe Cocker, and Blood, Sweat & Tears, and, of course, stage announcements by Chip Monck, John Morris, and Wavy Gravy.

    In presenting a historical document of this proportion there are some interesting judgment calls to make. Producers Andy Zax, Mason Williams, and Cheryl Pawleski researched the original set lists exhaustively and present them here along with the music and their choices. This is terrific not only because we can "see" what we're missing, but because those of us who aren't necessarily rock historians will finally know. The sound, which was done by Zax and mastering engineer Dave Schultz, is as good as it can possibly get. The book is a monster, loaded with photos and featuring Bud Scoppa's wonderfully researched and presented liner essay, whose chapters account for each day, act by act.

    Ultimately, however, it all comes down to the music. While we only get "Dark Star" by the Dead, we get (a bit) more music from the Who. The three tracks by CCR are all monsters, and hearing the five tracks by Crosby, Stills & Nash and then Crosby, Stills, Nash & Young all in correct sequence between BS&T and the Butterfield Blues Band makes total sense. One of the more welcome surprises is the expanded set by Sha Na Na. Fans of individual acts here will be delighted or complain about the treatment individual artists receive. Even though there is a bit more music, the Who still get short-sheeted (but we do get to hear the infamous row between Pete Townshend and Abbie Hoffman), as do the Dead. We didn't need more of Arlo Guthrie than we already had, and why we still needed three tracks by Melanie or more by the completely unmusical Country Joe & the Fish is a mystery. We could have used more of the Incredible String Band or Richie Havens! But these are individual complaints. The set as it stands is the ultimate document -- thus far -- and will likely be for some time to come.

    Track List

    disc 1

    1
    Handsome Johnny
    Lou Gossett / Richie Havens

    Richie Havens
    5:15
    2
    Freedom (Motherless Child)

    Richie Havens
    5:11
    3
    "Choppity Choppity"

    John Morris
    0:25
    4
    Look Out

    Sweetwater
    4:27
    5
    Two Worlds

    Sweetwater
    6:04
    6
    Jennifer
    Bert Sommer

    Bert Sommer
    3:14
    7
    And When It's Over
    Bert Sommer

    Bert Sommer
    3:02
    8
    Smile
    Bert Sommer

    Bert Sommer
    4:12
    9
    "There Goes Marilyn! "

    John Morris
    1:41
    10
    Hang on to a Dream
    Tim Hardin

    Tim Hardin
    4:23
    11
    Simple Song of Freedom
    Bobby Darin

    Tim Hardin
    3:04
    12
    "Flat Blue Acid"

    John Morris
    1:04
    13
    Raga Puriya-Dhanashri/Gat in Sawarital

    Ravi Shankar
    12:26
    14
    Momma Momma
    Melanie Safka

    Melanie
    3:39
    15
    Beautiful People
    Melanie Safka

    Melanie
    4:03
    16
    Birthday of the Sun
    Melanie Safka

    Melanie
    3:34
    17
    Coming into Los Angeles
    Arlo Guthrie

    Arlo Guthrie
    4:00
    18
    Wheel of Fortune
    Arlo Guthrie

    Arlo Guthrie
    2:25
    19
    Every Hand in the Land
    Arlo Guthrie

    Arlo Guthrie
    1:46
    20
    "All You Funny People"

    John Morris
    4:12

    disc 2

    1
    Joe Hill
    Earl Robinson

    Joan Baez
    2:46
    2
    Sweet Sir Galahad
    Joan Baez

    Joan Baez
    3:41
    3
    Hickory Wind
    Bob Buchanan / Gram Parsons

    Joan Baez
    3:32
    4
    Drug Store Truck Drivin' Man
    Gram Parsons

    Joan Baez / Jeffrey Shurtleff
    2:16
    5
    "Bring Scully His Asthma Pills"

    John Morris
    0:53
    6
    "Insulin"/Quill Intro

    John Morris
    0:30
    7
    They Live the Life
    Daniel Cole

    Quill
    8:46
    8
    That's How I Eat
    Daniel Cole

    Quill
    5:57
    9
    "I Understand Your Wife Is Having a Baby"

    Chip Monck
    0:59
    10
    Donovan's Reef
    Country Joe McDonald

    Country Joe McDonald
    4:25
    11
    The "Fish" Cheer/I-Feel-Like-I'm-Fixin'-To-Die Rag
    Country Joe McDonald

    Country Joe McDonald
    4:26
    12
    Persuasion
    José Chepitó Areas / Mike Carabello / Gregg Rolie / Carlos Santana / Michael Shrieve

    Santana
    3:07
    13
    Soul Sacrifice
    José Chepitó Areas / Mike Carabello / Gregg Rolie / Carlos Santana / Michael Shrieve

    Santana
    11:33
    14
    How Have You Been

    John Sebastian
    5:35
    15
    Rainbows All Over Your Blues

    John Sebastian
    4:24
    16
    I Had a Dream

    John Sebastian
    3:05
    17
    The Letter
    Mike Heron

    The Incredible String Band
    3:18
    18
    When You Find Out Who You Are
    Robin Williamson

    The Incredible String Band
    9:31
    19
    "She Is Lost"

    Chip Monck
    0:43

    disc 3

    1
    "We're in Pretty Good Shape"

    Chip Monck
    0:28
    2
    Going Up the Country

    Canned Heat
    3:57
    3
    Woodstock Boogie

    Canned Heat
    28:33
    4
    "The Brown Acid Is Not Specifically Too Good"

    Chip Monck
    3:40
    5
    Blood of the Sun
    Gail Collins / Felix Pappalardi / Leslie West

    Mountain
    2:55
    6
    Theme for an Imaginary Western
    Jack Bruce

    Mountain
    5:13
    7
    For Yasgur's Farm
    Gail Collins / Corky Laing / Felix Pappalardi / David Rea / Gary Ship

    Mountain
    3:49
    8
    "For Those of You Who Have Partaken of the Green Acid..."

    Chip Monck
    0:16
    9
    Green Acid Advice

    Jerry Garcia / Country Joe McDonald
    1:39
    10
    Dark Star
    Jerry Garcia / Mickey Hart / Robert Hunter / Bill Kreutzmann / Phil Lesh / Ron "Pigpen" McKernan / Bob Weir

    Grateful Dead
    19:12
    11
    Green River
    John Fogerty

    Creedence Clearwater Revival
    3:00
    12
    Bad Moon Rising
    John Fogerty

    Creedence Clearwater Revival
    2:12
    13
    I Put a Spell on You
    Screamin' Jay Hawkins

    Creedence Clearwater Revival
    4:14

    disc 4

    1
    Work Me, Lord
    Nick Gravenites

    Janis Joplin
    7:45
    2
    Ball and Chain
    Big Mama Thornton

    Janis Joplin
    6:19
    3
    Medley: Dance to the Music/Music Lover/I Want to Take You Higher
    Sylvester "Sly Stone" Stewart

    Sly & the Family Stone
    17:44
    4
    "The Politics of the Situation"

    Abbie Hoffman
    0:33
    5
    Amazing Journey
    Pete Townshend

    The Who
    5:41
    6
    Pinball Wizard
    Pete Townshend

    The Who
    2:56
    7
    Abbie Hoffman vs. Pete Townshend

    0:25
    8
    We're Not Gonna Take It
    Pete Townshend

    The Who
    9:05
    9
    The Other Side of This Life
    Fred Neil

    Jefferson Airplane
    8:23
    10
    Somebody to Love
    Darby Slick

    Jefferson Airplane
    4:29
    11
    Won't You Try/Saturday Afternoon
    Paul Kantner

    Jefferson Airplane
    5:03
    12
    "We Got a Whole Lot of Orange"

    Grace Slick
    0:13
    13
    Volunteers
    Marty Balin / Paul Kantner

    Jefferson Airplane
    2:51
    14
    "Breakfast in Bed for 400,000"

    Wavy Gravy
    1:55
    15
    "It Just Keeps Goin'"

    John Morris
    0:46
    16
    Max Yasgur Speaks

    Max Yasgu
    3:11

    disc 5

    1
    Feelin' Alright

    The Grease Band / Joe Cocker
    5:38
    2
    Let's Go Get Stoned
    Joseph Armstead / Nick Ashford / Valerie Simpson

    The Grease Band / Joe Cocker
    6:59
    3
    With a Little Help from My Friends
    John Lennon / Paul McCartney

    The Grease Band / Joe Cocker
    7:44
    4
    The Rainstorm

    5:20
    5
    Rock & Soul Music
    Bruce Barthol / Gary "Chicken" Hirsh / Country Joe McDonald / Barry Melton

    Country Joe & the Fish
    2:08
    6
    Love
    Bruce Barthol / Gary "Chicken" Hirsh / Country Joe McDonald / Barry Melton

    Country Joe & the Fish
    3:02
    7
    Not So Sweet Martha Lorraine
    Country Joe McDonald

    Country Joe & the Fish
    4:13
    8
    Summer Dresses
    Country Joe McDonald

    Country Joe & the Fish
    5:13
    9
    Silver and Gold
    Bruce Barthol / Gary "Chicken" Hirsh / Country Joe McDonald / Barry Melton

    Country Joe & the Fish
    4:48
    10
    Rock & Soul Music (Reprise)
    Bruce Barthol / Gary "Chicken" Hirsh / Country Joe McDonald / Barry Melton

    Country Joe & the Fish
    12:24
    11
    Leland Mississippi Blues
    Johnny Winter

    Johnny Winter
    4:54
    12
    Mean Town Blues
    Johnny Winter

    Johnny Winter
    10:33
    13
    You've Made Me So Very Happy
    Brenda Holloway / Patrice Holloway / Berry Gordy, Jr.

    Blood, Sweat & Tears
    4:40

    disc 6

    1
    Suite: Judy Blue Eyes
    Stephen Stills

    Crosby, Stills & Nash
    9:00
    2
    Guinnevere

    Crosby, Stills & Nash
    6:01
    3
    Marrakesh Express
    Graham Nash

    Crosby, Stills & Nash
    2:43
    4
    4 + 20
    Stephen Stills

    Crosby, Stills & Nash
    2:27
    5
    Sea of Madness
    Neil Young

    Crosby, Stills, Nash & Young
    3:27
    6
    Wooden Ships
    Paul Kantner / Stephen Stills

    Crosby, Stills, Nash & Young
    5:27
    7
    No Amount of Loving
    Paul Butterfield

    The Paul Butterfield Blues Band
    6:46
    8
    Love March
    Brother Gene Dinwiddie / Phillip Wilson

    The Paul Butterfield Blues Band
    9:02
    9
    Everything's Gonna Be Alright

    The Paul Butterfield Blues Band
    9:28
    10
    Get a Job
    Earl Beal / Raymond Edwards / William Horton

    Sha Na Na
    2:22
    11
    At the Hop
    Artie Singer

    Sha Na Na
    1:51
    12
    Get a Job (Reprise)
    Earl Beal / Raymond Edwards / William Horton

    Sha Na Na
    0:23
    13
    The Star Spangled Banner/Purple Haze/Woodstock Improvisation
    Jimi Hendrix / Traditional

    Jimi Hendrix
    14:40
    14
    Woodstock Farewell

    Chip Monck
    3:29

    41 Arlo Guthrie - Alice's Restaurant (1967)

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    Although he'd been a fixture on the East Coast folk circuit for several years, Arlo Guthrie did not release his debut album until mid-1967. A majority of the attention directed at Alice's Restaurant focuses on the epic 18-plus-minute title track, which sprawled over the entire A-side of the long-player. However, it is the other half-dozen Guthrie compositions that provide an insight into his uniformly outstanding, yet astoundingly overlooked, early sides on Warner Bros. Although arguably not 100 percent factual, "Alice's Restaurant Massacree" -- which was recorded in front of a live audience -- is rooted in a series of real incidents. This decidedly anti-establishment saga of garbage dumps closed on Thanksgiving, good ol' Officer Obie, as well as Guthrie's experiences with the draft succeeds not only because of the unusual and outlandish situations that the hero finds himself in; it is also his underdog point of view and sardonic delivery that maximize the effect in the retelling. In terms of artistic merit, the studio side is an equally endowed effort containing six decidedly more traditional folk-rock compositions. Among the standouts are the haunting "Chilling of the Evening," which is given an arrangement perhaps more aptly suited to a Jimmy Webb/Glen Campbell collaboration. There is a somewhat dated charm in "Ring-Around-a-Rosy Rag," a sly, uptempo, and hippie-friendly bit of jug band nostalgia. "I'm Going Home" is an underrated minor-chord masterpiece that is not only reminiscent of Roger McGuinn's "Ballad of Easy Rider," but also spotlights a more sensitive and intricate nature to Guthrie's craftsmanship. Also worth mentioning is the first installment of "The Motorcycle Song" -- which was updated and discussed further on the live self-titled follow-up release Arlo (1968) -- notable for the extended discourse on the "significance of the pickle."

    Track List

    1
    Alice's Restaurant Massacree
    Arlo Guthrie

    Arlo Guthrie
    18:20
    2
    Chilling of the Evening
    Arlo Guthrie

    Arlo Guthrie
    3:01
    3
    Ring-Around-a-Rosy Rag
    Arlo Guthrie

    Arlo Guthrie
    2:10
    4
    Now and Then
    Arlo Guthrie

    Arlo Guthrie
    2:15
    5
    I'm Going Home
    Arlo Guthrie

    Arlo Guthrie
    3:12
    6
    The Motorcycle Song
    Arlo Guthrie

    Arlo Guthrie
    2:58
    7
    Highway in the Wind
    Arlo Guthrie

    Arlo Guthrie
    2:40


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  6. boki71

    boki71 Uz duplu Anu... Administrator

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    50 Miles Davis - Bitches Brew (1970)

    [​IMG]

    Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section. "Pharaoh's Dance" opens the set with its slippery trumpet lines, McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. Corea and Zawinul's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin's comping creates a vamp, and the bass and drums carry the rest. It's a small taste of the deep voodoo funk to appear on Davis' later records. Side three opens with McLaughlin and Davis trading fours and eights over a lockstep hypnotic vamp on "Spanish Key." Zawinul's lyric sensibility provides a near chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines. It nearly segues into the brief "John McLaughlin," featuring an organ playing modes below arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar "Miles Runs the Voodoo Down," reflects the influence of Jimi Hendrix with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foggy nadir. The disc closes with "Sanctuary," completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable. Bitches Brew is so forward-thinking that it retains its freshness and mystery in the 21st century. [The CD version adds "Feio," recorded in early 1970 with much of the same band.]

    Track List

    disc 1

    1
    Pharaoh's Dance
    Joe Zawinul
    Miles Davis
    20:05
    2
    Bitches Brew
    Miles Davis
    Miles Davis
    26:58


    disc 2

    1
    Spanish Key
    Miles Davis
    Miles Davis
    17:32
    2
    John McLaughlin
    Miles Davis
    Miles Davis
    4:22
    3
    Miles Runs the Voodoo Down
    Miles Davis
    Miles Davis
    14:01
    4
    Sanctuary
    Miles Davis / Wayne Shorter
    Miles Davis
    10:56
    5
    Feio
    Wayne Shorter
    Miles Davis
    11:49

    49 The Rolling Stones - Exile on Main St. (1972)

    [​IMG]

    Greeted with decidedly mixed reviews upon its original release, Exile on Main St. has become generally regarded as the Rolling Stones' finest album. Part of the reason why the record was initially greeted with hesitant reviews is that it takes a while to assimilate. A sprawling, weary double album encompassing rock & roll, blues, soul, and country, Exile doesn't try anything new on the surface, but the substance is new. Taking the bleakness that underpinned Let It Bleed and Sticky Fingers to an extreme, Exile is a weary record, and not just lyrically. Jagger's vocals are buried in the mix, and the music is a series of dark, dense jams, with Keith Richards and Mick Taylor spinning off incredible riffs and solos. And the songs continue the breakthroughs of their three previous albums. No longer does their country sound forced or kitschy -- it's lived-in and complex, just like the group's forays into soul and gospel. While the songs, including the masterpieces "Rocks Off," "Tumbling Dice," "Torn and Frayed," "Happy," "Let It Loose," and "Shine a Light," are all terrific, they blend together, with only certain lyrics and guitar lines emerging from the murk. It's the kind of record that's gripping on the very first listen, but each subsequent listen reveals something new. Few other albums, let alone double albums, have been so rich and masterful as Exile on Main St., and it stands not only as one of the Stones' best records, but sets a remarkably high standard for all of hard rock.

    Track List

    1
    Rocks Off
    Mick Jagger / Keith Richards
    The Rolling Stones
    4:33
    2
    Rip This Joint
    Mick Jagger / Keith Richards
    The Rolling Stones
    2:22
    3
    Shake Your Hips
    Slim Harpo / James Moore
    The Rolling Stones
    2:59
    4
    Casino Boogie
    Mick Jagger / Keith Richards
    The Rolling Stones
    3:34
    5
    Tumbling Dice
    Mick Jagger / Keith Richards
    The Rolling Stones
    3:47
    6
    Sweet Virginia
    Mick Jagger / Keith Richards
    The Rolling Stones
    4:26
    7
    Torn and Frayed
    Mick Jagger / Keith Richards
    The Rolling Stones
    4:18
    8
    Sweet Black Angel
    Mick Jagger / Keith Richards
    The Rolling Stones
    2:58
    9
    Loving Cup
    Mick Jagger / Keith Richards
    The Rolling Stones
    4:25
    10
    Happy
    Mick Jagger / Keith Richards
    The Rolling Stones
    3:05
    11
    Turd on the Run
    Mick Jagger / Keith Richards
    The Rolling Stones
    2:38
    12
    Ventilator Blues
    Mick Jagger / Keith Richards / Mick Taylor
    The Rolling Stones
    3:24
    13
    I Just Want to See His Face
    Mick Jagger / Keith Richards
    The Rolling Stones
    2:53
    14
    Let It Loose
    Mick Jagger / Keith Richards
    The Rolling Stones
    5:18
    15
    All Down the Line
    Mick Jagger / Keith Richards
    The Rolling Stones
    3:50
    16
    Stop Breaking Down
    Robert Johnson
    The Rolling Stones
    4:34
    17
    Shine a Light
    Mick Jagger / Keith Richards
    The Rolling Stones
    4:17
    18
    Soul Survivor
    Mick Jagger / Keith Richards
    The Rolling Stones
    3:49

    48 Joni Mitchell - Blue (1971)

    [​IMG]

    Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell's songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity; even tracks like "All I Want," "My Old Man," and "Carey" -- the brightest, most hopeful moments on the record -- are darkened by bittersweet moments of sorrow and loneliness. At the same time that songs like "Little Green" (about a child given up for adoption) and the title cut (a hymn to salvation supposedly penned for James Taylor) raise the stakes of confessional folk-pop to new levels of honesty and openness, Mitchell's music moves beyond the constraints of acoustic folk into more intricate and diverse territory, setting the stage for the experimentation of her later work. Unrivaled in its intensity and insight, Blue remains a watershed.

    Track List

    1
    All I Want
    Joni Mitchell
    Joni Mitchell
    3:32
    2
    My Old Man
    Joni Mitchell
    Joni Mitchell
    3:33
    3
    Little Green
    Joni Mitchell
    Joni Mitchell
    3:25
    4
    Carey
    Joni Mitchell
    Joni Mitchell
    3:00
    5
    Blue
    Joni Mitchell
    Joni Mitchell
    3:00
    6
    California
    John Mayall / Joni Mitchell / Steve Thompson
    Joni Mitchell
    3:48
    7
    This Flight Tonight
    Joni Mitchell
    Joni Mitchell
    2:50
    8
    River
    Joni Mitchell
    Joni Mitchell
    4:00
    9
    A Case of You
    Joni Mitchell
    Joni Mitchell
    4:20
    10
    The Last Time I Saw Richard
    Joni Mitchell
    Joni Mitchell
    4:13

    47 The Zombies - Odessey & Oracle (1968)

    [​IMG]

    Odessey and Oracle was one of the flukiest (and best) albums of the 1960s, and one of the most enduring long-players to come out of the entire British psychedelic boom, mixing trippy melodies, ornate choruses, and lush Mellotron sounds with a solid hard rock base. But it was overlooked completely in England and barely got out in America (with a big push by Al Kooper, who was then a Columbia Records producer); and it was neglected in the U.S. until the single "Time of the Season," culled from the album, topped the charts nearly two years after it was recorded, by which time the group was long disbanded. Ironically, at the time of its recording in the summer of 1967, permanency was not much on the minds of the bandmembers. Odessey and Oracle was intended as a final statement, a bold last hurrah, having worked hard for three years only to see the quality of their gigs decline as the hits stopped coming. The results are consistently pleasing, surprising, and challenging: "Hung Up on a Dream" and "Changes" are some of the most powerful psychedelic pop/rock ever heard out of England, with a solid rhythm section, a hot Mellotron sound, and chiming, hard guitar, as well as highly melodic piano. "Changes" also benefits from radiant singing. "This Will Be Our Year" makes use of trumpets (one of the very few instances of real overdubbing) in a manner reminiscent of "Penny Lane"; and then there's "Time of the Season," the most well-known song in their output and a white soul classic. Not all of the album is that inspired, but it's all consistently interesting and very good listening, and superior to most other psychedelic albums this side of the Beatles' best and Pink Floyd's early work. Indeed, the only complaint one might have about the original LP is its relatively short running time, barely over 30 minutes, but even that's refreshing in an era where most musicians took their time making their point, and most of the CD reissues have bonus tracks to fill out the space available.

    Track List

    1
    Care of Cell
    Rod Argent
    The Zombies
    3:56
    2
    A Rose for Emily
    Rod Argent
    The Zombies
    2:19
    3
    Maybe After He's Gone
    The Zombies
    2:33
    4
    Beechwood Park
    The Zombies
    2:43
    5
    Brief Candles
    The Zombies
    3:30
    6
    Hung Up on a Dream
    Rod Argent
    The Zombies
    3:01
    7
    Changes
    The Zombies
    3:19
    8
    I Want Her, She Wants Me
    Rod Argent
    The Zombies
    2:51
    9
    This Will Be Our Year
    The Zombies
    2:08
    10
    Butcher's Tale (Western Front 1914)
    The Zombies
    2:47
    11
    Friends of Mine
    Chris White
    The Zombies
    2:17
    12
    Time of the Season
    Rod Argent
    The Zombies
    3:33

    46 The Rolling Stones - Sticky Fingers (1971)

    [​IMG]

    Pieced together from outtakes and much-labored-over songs, Sticky Fingers manages to have a loose, ramshackle ambience that belies both its origins and the dark undercurrents of the songs. It's a weary, drug-laden album -- well over half the songs explicitly mention drug use, while the others merely allude to it -- that never fades away, but it barely keeps afloat. Apart from the classic opener, "Brown Sugar" (a gleeful tune about slavery, interracial sex, and lost virginity, not necessarily in that order), the long workout "Can't You Hear Me Knocking" and the mean-spirited "Bitch," Sticky Fingers is a slow, bluesy affair, with a few country touches thrown in for good measure. The laid-back tone of the album gives ample room for new lead guitarist Mick Taylor to stretch out, particularly on the extended coda of "Can't You Hear Me Knocking." But the key to the album isn't the instrumental interplay -- although that is terrific -- it's the utter weariness of the songs. "Wild Horses" is their first non-ironic stab at a country song, and it is a beautiful, heart-tugging masterpiece. Similarly, "I Got the Blues" is a ravished, late-night classic that ranks among their very best blues. "Sister Morphine" is a horrifying overdose tale, and "Moonlight Mile," with Paul Buckmaster's grandiose strings, is a perfect closure: sad, yearning, drug-addled, and beautiful. With its offhand mixture of decadence, roots music, and outright malevolence, Sticky Fingers set the tone for the rest of the decade for the Stones.

    Track List

    1
    Brown Sugar
    Mick Jagger / Keith Richards
    The Rolling Stones
    3:49
    2
    Sway
    Mick Jagger / Keith Richards
    The Rolling Stones
    3:53
    3
    Wild Horses
    Mick Jagger / Keith Richards
    The Rolling Stones
    5:44
    4
    Can't You Hear Me Knocking
    Mick Jagger / Keith Richards
    The Rolling Stones
    7:16
    5
    You Gotta Move
    Rev. Gary Davis / Mississippi Fred McDowell
    The Rolling Stones
    2:33
    6
    Bitch
    Mick Jagger / Keith Richards
    The Rolling Stones
    3:37
    7
    I Got the Blues
    Mick Jagger / Keith Richards
    The Rolling Stones
    3:55
    8
    Sister Morphine
    Marianne Faithfull / Mick Jagger / Keith Richards
    The Rolling Stones
    5:34
    9
    Dead Flowers
    Mick Jagger / Keith Richards
    The Rolling Stones
    4:05
    10
    Moonlight Mile
    Mick Jagger / Keith Richards
    The Rolling Stones
    5:57


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  7. boki71

    boki71 Uz duplu Anu... Administrator

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    55 Electric Light Orchestra - Out of the Blue (1977)

    [​IMG]

    The last ELO album to make a major impact on popular music, Out of the Blue was of a piece with its lavishly produced predecessor, A New World Record, but it's a much more mixed bag as an album. For starters, it was a double LP, a format that has proved daunting to all but a handful of rock artists, and was no less so here. The songs were flowing fast and freely from Jeff Lynne at the time, however, and well more than half of what is here is very solid, at least as songs if not necessarily as recordings. "Sweet Talkin' Woman" and "Turn to Stone" are among the best songs in the group's output, and much of the rest is very entertaining. The heavy sound of the orchestra, however, as well as the layer upon layer of vocal overdubs, often seem out of place. All in all, the group was trying too hard to generate a substantial-sounding double LP, complete with a suite, "Concerto for a Rainy Day." The latter is the nadir of the album, an effort at conceptual rock that seemed archaic even in 1977. Another chunk is filled up with what might best be called art rock mood music ("The Whale"), before you finally get to the relief of a basic rocker like "Birmingham Blues." Even here, the group couldn't leave well enough alone -- rather than ending it on that note, they had to finish the album with "Wild West Hero," a piece of ersatz movie music that adds nothing to what you've heard over the previous 65 minutes. In its defense, Out of the Blue was massively popular and did become the centerpiece of a huge worldwide tour that earned the group status as a major live attraction for a time. [Out of the Blue was reissued in 2007 as a 30th Anniversary Edition with new photos, liner notes, and three bonus tracks, including "The Quick and the Daft," "Latitude 88 North," and a home demo of "Wild West Hero."]

    Track List

    1
    Turn to Stone
    Jeff Lynne
    Electric Light Orchestra
    3:47
    2
    It's Over
    Jeff Lynne
    Electric Light Orchestra
    4:08
    3
    Sweet Talkin' Woman
    Jeff Lynne
    Electric Light Orchestra
    3:48
    4
    Across the Border
    Jeff Lynne
    Electric Light Orchestra
    3:53
    5
    Night in the City
    Jeff Lynne
    Electric Light Orchestra
    4:01
    6
    Starlight
    Jeff Lynne
    Electric Light Orchestra
    4:26
    7
    Jungle
    Jeff Lynne
    Electric Light Orchestra
    3:51
    8
    Believe Me Now
    Jeff Lynne
    Electric Light Orchestra
    1:21
    9
    Steppin' Out
    Jeff Lynne
    Electric Light Orchestra
    4:39
    10
    Standin' in the Rain
    Jeff Lynne
    Electric Light Orchestra
    4:21
    11
    Big Wheels
    Jeff Lynne
    Electric Light Orchestra
    5:05
    12
    Summer and Lightning
    Jeff Lynne
    Electric Light Orchestra
    4:14
    13
    Mr. Blue Sky
    Jeff Lynne
    Electric Light Orchestra
    5:05
    14
    Sweet Is the Night
    Jeff Lynne
    Electric Light Orchestra
    3:26
    15
    The Whale
    Jeff Lynne
    Electric Light Orchestra
    5:02
    16
    Birmingham Blues
    Jeff Lynne
    Electric Light Orchestra
    4:23
    17
    Wild West Hero
    Jeff Lynne
    Electric Light Orchestra
    4:42

    54 Jimi Hendrix - Electric Ladyland (1968)

    [​IMG]

    Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to. But Electric Ladyland is so much more than just background music for chemical intake. Kudos to engineer Eddie Kramer (who supervised the remastering of the original two-track stereo masters for this 1997 reissue on MCA) for taking Hendrix's visions of a soundscape behind his music and giving it all context, experimenting with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they're used here. What Hendrix sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio in much the same manner as Phil Spector had done a decade before with his Wall of Sound. As an album this influential (and as far as influencing a generation of players and beyond, this was his ultimate statement for many), the highlights speak for themselves: "Crosstown Traffic," his reinterpretation of Bob Dylan's "All Along the Watchtower," "Burning of the Midnight Lamp," the spacy "1983...(A Merman I Should Turn to Be)," and "Voodoo Chile (Slight Return)," a landmark in Hendrix's playing. With this double set (now on one compact disc), Hendrix once again pushed the concept album to new horizons.

    Track List

    1
    ...And the Gods Made Love
    Jimi Hendrix
    The Jimi Hendrix Experience
    1:21
    2
    Have You Ever Been (To Electric Ladyland)
    Jimi Hendrix
    The Jimi Hendrix Experience
    2:12
    3
    Crosstown Traffic
    Jimi Hendrix
    The Jimi Hendrix Experience
    2:25
    4
    Voodoo Chile
    Jimi Hendrix
    The Jimi Hendrix Experience
    15:05
    5
    Little Miss Strange
    Jimi Hendrix / Noel Redding
    The Jimi Hendrix Experience
    2:50
    6
    Long Hot Summer Night
    Jimi Hendrix
    The Jimi Hendrix Experience
    3:30
    7
    Come On (Let the Good Times Roll)
    Earl King
    The Jimi Hendrix Experience
    4:10
    8
    Gypsy Eyes
    Jimi Hendrix
    The Jimi Hendrix Experience
    3:46
    9
    Burning of the Midnight Lamp
    Jimi Hendrix
    The Jimi Hendrix Experience
    3:44
    10
    Rainy Day, Dream Away
    Jimi Hendrix
    The Jimi Hendrix Experience
    3:43
    11
    1983... (A Merman I Should Turn to Be)
    Jimi Hendrix
    The Jimi Hendrix Experience
    13:46
    12
    Moon, Turn the Tides...Gently Gently Away
    Jimi Hendrix
    The Jimi Hendrix Experience
    1:01
    13
    Still Raining, Still Dreaming
    Jimi Hendrix
    The Jimi Hendrix Experience
    4:24
    14
    House Burning Down
    Jimi Hendrix
    The Jimi Hendrix Experience
    4:35
    15
    All Along the Watchtower
    Bob Dylan
    The Jimi Hendrix Experience
    4:01
    16
    Voodoo Child (Slight Return)
    Jimi Hendrix
    The Jimi Hendrix Experience
    5:14

    53 Led Zeppelin - Houses of the Holy (1973)

    [​IMG]

    Houses of the Holy follows the same basic pattern as Led Zeppelin IV, but the approach is looser and more relaxed. Jimmy Page's riffs rely on ringing, folky hooks as much as they do on thundering blues-rock, giving the album a lighter, more open atmosphere. While the pseudo-reggae of "D'Yer Mak'er" and the affectionate James Brown send-up "The Crunge" suggest that the band was searching for material, they actually contribute to the musical diversity of the album. "The Rain Song" is one of Zep's finest moments, featuring a soaring string arrangement and a gentle, aching melody. "The Ocean" is just as good, starting with a heavy, funky guitar groove before slamming into an a cappella section and ending with a swinging, doo wop-flavored rave-up. With the exception of the rampaging opening number, "The Song Remains the Same," the rest of Houses of the Holy is fairly straightforward, ranging from the foreboding "No Quarter" and the strutting hard rock of "Dancing Days" to the epic folk/metal fusion "Over the Hills and Far Away." Throughout the record, the band's playing is excellent, making the eclecticism of Page and Robert Plant's songwriting sound coherent and natural.

    Track List

    1
    The Song Remains the Same
    Jimmy Page / Robert Plant
    Led Zeppelin
    5:30
    2
    The Rain Song
    Jimmy Page / Robert Plant
    Led Zeppelin
    7:38
    3
    Over the Hills and Far Away
    Jimmy Page / Robert Plant
    Led Zeppelin
    4:49
    4
    The Crunge
    John Bonham / John Paul Jones / Jimmy Page / Robert Plant
    Led Zeppelin
    3:17
    5
    Dancing Days
    Jimmy Page / Robert Plant
    Led Zeppelin
    3:43
    6
    D'Yer Mak'er
    John Bonham / John Paul Jones / Jimmy Page / Robert Plant
    Led Zeppelin
    4:22
    7
    No Quarter
    John Paul Jones / Jimmy Page / Robert Plant
    Led Zeppelin
    7:00
    8
    The Ocean
    John Bonham / John Paul Jones / Jimmy Page / Robert Plant
    Led Zeppelin
    4:31

    52 Santana - Abraxas (1970)

    [​IMG]

    The San Francisco Bay Area rock scene of the late '60s was one that encouraged radical experimentation and discouraged the type of mindless conformity that's often plagued corporate rock. When one considers just how different Santana, Jefferson Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-'90s, an album as eclectic as Abraxas would be considered a marketing exec's worst nightmare. But at the dawn of the 1970s, this unorthodox mix of rock, jazz, salsa, and blues proved quite successful. Whether adding rock elements to salsa king Tito Puente's "Oye Como Va," embracing instrumental jazz-rock on "Incident at Neshabur" and "Samba Pa Ti," or tackling moody blues-rock on Fleetwood Mac's "Black Magic Woman," the band keeps things unpredictable yet cohesive. Many of the Santana albums that came out in the '70s are worth acquiring, but for novices, Abraxas is an excellent place to start.

    Track List

    1
    Singing Winds, Crying Beasts
    Mike Carabello
    Santana
    4:52
    2
    Black Magic Woman/Gypsy Queen
    Peter Green / Gabor Szabo
    Santana
    5:19
    3
    Oye Como Va
    Tito Puente
    Santana
    4:19
    4
    Incident at Neshabur
    Alberto Gianquinto / Carlos Santana
    Santana
    5:02
    5
    Se a Cabo
    José Chepitó Areas
    Santana
    2:52
    6
    Mother's Daughter
    Gregg Rolie
    Santana
    4:28
    7
    Samba Pa Ti
    Carlos Santana
    Santana
    4:48
    8
    Hope You're Feeling Better
    Gregg Rolie
    Santana
    4:17
    9
    El Nicoya
    José Chepitó Areas
    Santana
    1:30

    51 Pink Floyd - Animals (1977)

    [​IMG]

    Of all of the classic-era Pink Floyd albums, Animals is the strangest and darkest, a record that's hard to initially embrace yet winds up yielding as many rewards as its equally nihilistic successor, The Wall. It isn't that Roger Waters dismisses the human race as either pigs, dogs, or sheep, it's that he's constructed an album whose music is as bleak and bitter as that world view. Arriving after the warm-spirited (albeit melancholy) Wish You Were Here, the shift in tone comes as a bit of a surprise, and there are even less proper songs here than on either Wish or Dark Side. Animals is all extended pieces, yet it never drifts -- it slowly, ominously works its way toward its destination. For an album that so clearly is Waters', David Gilmour's guitar dominates thoroughly, with Richard Wright's keyboards rarely rising above a mood-setting background (such as on the intro to "Sheep"). This gives the music, on occasion, immediacy and actually heightens the dark mood by giving it muscle. It also makes Animals as accessible as it possibly could be, since it surges with bold blues-rock guitar lines and hypnotic space rock textures. Through it all, though, the utter blackness of Waters' spirit holds true, and since there are no vocal hooks or melodies, everything rests on the mood, the near-nihilistic lyrics, and Gilmour's guitar. These are the kinds of things that satisfy cultists, and it will reward their attention -- there's just no way in for casual listeners.

    Track List

    1
    Pigs on the Wing 1
    Roger Waters
    Pink Floyd
    1:25
    2
    Dogs
    David Gilmour / Roger Waters
    Pink Floyd
    17:05
    3
    Pigs (Three Different Ones)
    Roger Waters
    Pink Floyd
    11:26
    4
    Sheep
    Roger Waters
    Pink Floyd
    10:18
    5
    Pigs on the Wing 2
    Roger Waters
    Pink Floyd
    1:28

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    60 Black Sabbath - Paranoid (1970)


    [​IMG]


    Paranoid was not only Black Sabbath's most popular record (it was a number one smash in the U.K., and "Paranoid" and "Iron Man" both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbath's signature sound -- crushingly loud, minor-key dirges loosely based on heavy blues-rock -- and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like "War Pigs" and "Iron Man" (which sports one of the most immediately identifiable riffs in metal history). The subject matter is unrelentingly, obsessively dark, covering both supernatural/sci-fi horrors and the real-life traumas of death, war, nuclear annihilation, mental illness, drug hallucinations, and narcotic abuse. Yet Sabbath makes it totally convincing, thanks to the crawling, muddled bleakness and bad-trip depression evoked so frighteningly well by their music. Even the qualities that made critics deplore the album (and the group) for years increase the overall effect -- the technical simplicity of Ozzy Osbourne's vocals and Tony Iommi's lead guitar vocabulary; the spots when the lyrics sink into melodrama or awkwardness; the lack of subtlety and the infrequent dynamic contrast. Everything adds up to more than the sum of its parts, as though the anxieties behind the music simply demanded that the band achieve catharsis by steamrolling everything in its path, including its own limitations. Monolithic and primally powerful, Paranoid defined the sound and style of heavy metal more than any other record in rock history.

    Track List

    1
    War Pigs
    Geezer Butler / Tony Iommi / Ozzy Osbourne / Bill Ward
    Black Sabbath
    7:55
    2
    Paranoid
    Geezer Butler / Tony Iommi / Ozzy Osbourne / Bill Ward
    Black Sabbath
    2:50
    3
    Planet Caravan
    Geezer Butler / Tony Iommi / Ozzy Osbourne / Bill Ward
    Black Sabbath
    4:30
    4
    Iron Man
    Geezer Butler / Tony Iommi / Ozzy Osbourne / Bill Ward
    Black Sabbath
    6:00
    5
    Electric Funeral
    Geezer Butler / Tony Iommi / Ozzy Osbourne / Bill Ward
    Black Sabbath
    4:50
    6
    Hand of Doom
    Geezer Butler / Tony Iommi / Ozzy Osbourne / Bill Ward
    Black Sabbath
    7:10
    7
    Rat Salad
    Geezer Butler / Tony Iommi / Ozzy Osbourne / Bill Ward
    Black Sabbath
    2:30
    8
    Fairies Wear Boots
    Geezer Butler / Tony Iommi / Ozzy Osbourne / Bill Ward
    Black Sabbath
    6:15

    59 Radiohead - The Bends (1995)

    [​IMG]

    Pablo Honey in no way was adequate preparation for its epic, sprawling follow-up, The Bends. Building from the sweeping, three-guitar attack that punctuated the best moments of Pablo Honey, Radiohead create a grand and forceful sound that nevertheless resonates with anguish and despair -- it's cerebral anthemic rock. Occasionally, the album displays its influences, whether it's U2, Pink Floyd, R.E.M., or the Pixies, but Radiohead turn clichés inside out, making each song sound bracingly fresh. Thom Yorke's tortured lyrics give the album a melancholy undercurrent, as does the surging, textured music. But what makes The Bends so remarkable is that it marries such ambitious, and often challenging, instrumental soundscapes to songs that are at their cores hauntingly melodic and accessible. It makes the record compelling upon first listen, but it reveals new details with each listen, and soon it becomes apparent that with The Bends, Radiohead have reinvented anthemic rock.

    Track List

    1
    Planet Telex
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    4:18
    2
    The Bends
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    4:06
    3
    High and Dry
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    4:17
    4
    Fake Plastic Trees
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    4:50
    5
    Bones
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    3:08
    6
    Nice Dream
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    3:53
    7
    Just
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    3:54
    8
    My Iron Lung
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    4:36
    9
    Bullet Proof...I Wish I Was
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    3:28
    10
    Black Star
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    4:07
    11
    Sulk
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    3:42
    12
    Street Spirit (Fade Out)
    Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke
    Radiohead
    4:14

    58 The Sex Pistols - Never Mind The Bollocks, Here's The Sex Pistols (1977)

    [​IMG]

    While mostly accurate, dismissing Never Mind the Bollocks as merely a series of loud, ragged midtempo rockers with a harsh, grating vocalist and not much melody would be a terrible error. Already anthemic songs are rendered positively transcendent by Johnny Rotten's rabid, foaming delivery. His bitterly sarcastic attacks on pretentious affectation and the very foundations of British society were all carried out in the most confrontational, impolite manner possible. Most imitators of the Pistols' angry nihilism missed the point: underneath the shock tactics and theatrical negativity were social critiques carefully designed for maximum impact. Never Mind the Bollocks perfectly articulated the frustration, rage, and dissatisfaction of the British working class with the establishment, a spirit quick to translate itself to strictly rock & roll terms. the Pistols paved the way for countless other bands to make similarly rebellious statements, but arguably none were as daring or effective. It's easy to see how the band's roaring energy, overwhelmingly snotty attitude, and Rotten's furious ranting sparked a musical revolution, and those qualities haven't diminished one bit over time. Never Mind the Bollocks is simply one of the greatest, most inspiring rock records of all time.

    Track List

    1
    Holidays in the Sun
    Paul Cook / Steve Jones / Johnny Rotten / Sid Vicious
    The Sex Pistols
    3:20
    2
    Bodies
    Paul Cook / Steve Jones / Johnny Rotten / Sid Vicious
    The Sex Pistols
    3:02
    3
    No Feelings
    Paul Cook / Steve Jones / Glen Matlock / Johnny Rotten
    The Sex Pistols
    2:49
    4
    Liar
    Paul Cook / Steve Jones / Glen Matlock / Johnny Rotten
    The Sex Pistols
    2:40
    5
    Problems
    Paul Cook / Steve Jones / Glen Matlock / Johnny Rotten
    The Sex Pistols
    4:10
    6
    God Save the Queen
    Paul Cook / Steve Jones / Glen Matlock / Johnny Rotten
    The Sex Pistols
    3:18
    7
    Seventeen
    Paul Cook / Steve Jones / Glen Matlock / Johnny Rotten
    The Sex Pistols
    2:02
    8
    Anarchy in the U.K.
    Paul Cook / Steve Jones / Glen Matlock / Johnny Rotten
    The Sex Pistols
    3:31
    9
    Submission
    Paul Cook / Steve Jones / Glen Matlock / Johnny Rotten
    The Sex Pistols
    4:12
    10
    Pretty Vacant
    Paul Cook / Steve Jones / Glen Matlock / Johnny Rotten
    The Sex Pistols
    3:16
    11
    New York
    Paul Cook / Steve Jones / Glen Matlock / Johnny Rotten
    The Sex Pistols
    3:05
    12
    E.M.I.
    Paul Cook / Steve Jones / Glen Matlock / Johnny Rotten
    The Sex Pistols
    3:10

    57 The Alan Parsons Project - Eye in the Sky (1982) Extended Version

    [​IMG]

    Eye in the Sky provided the Alan Parsons Project with their first Top Ten hit since 1977's I Robot, and it's hard not to feel that crossover success was one of the driving forces behind this album. The Project never shied away from hooks, whether it was on the tense white funk of "I Wouldn't Want to Be Like You" or the gleaming pop hooks of "Games People Play," but Eye in the Sky was soft and smooth, so smooth that it was easy to ignore that the narrator of the title track was an ominous omniscient who spied either on his lover or his populace, depending on how deeply you wanted to delve into the concepts of this album. And, unlike I Robot or The Turn of a Friendly Card, it is possible to listen to Eye in the Sky and not dwell on the larger themes, since they're used as a foundation, not pushed to center stage. What does dominate is the lushness of sound, the sweetness of melody: this is a soft rock album through and through, one that's about melodic hooks and texture. In the case of the spacy opening salvo "Sirius," later heard on sports talk shows across America, or "Mammagamma," it was all texture, as these instrumentals set the trippy yet warm mood that the pop songs sustained. And the real difference with Eye in the Sky is that, with the exception of those instrumentals and the galloping suite "Silence and I," all the artiness was part of the idea of this album was pushed into the lyrics, so the album plays as soft pop album -- and a very, very good one at that. Perhaps nothing is quite as exquisite as the title song, yet "Children of the Moon" has a sprightly gait (not all that dissimilar from Kenny Loggins' "Heart to Heart"), "Psychobabble" has a bright propulsive edge (not all that dissimilar from 10cc), and "Gemini" is the project at its dreamiest. It all adds up to arguably the most consistent Alan Parsons Project album -- perhaps not in terms of concept, but in terms of music they never were as satisfying as they were here.

    Track List

    1
    Sirius
    Paul Brennan / Alan Parsons / Eric Woolfson
    The Alan Parsons Project
    feat. Alan Parsons 1:54
    2
    Eye in the Sky
    Alan Parsons / Eric Woolfson
    The Alan Parsons Project
    feat. Alan Parsons 4:36
    3
    Children of the Moon
    Alan Parsons / Eric Woolfson
    The Alan Parsons Project
    feat. Alan Parsons 4:51
    4
    Gemini
    Alan Parsons / Eric Woolfson
    The Alan Parsons Project
    feat. Alan Parsons 2:11
    5
    Silence and I
    Alan Parsons / Eric Woolfson
    The Alan Parsons Project
    feat. Alan Parsons 7:19
    6
    You're Gonna Get Your Fingers Burned
    Alan Parsons / Eric Woolfson
    The Alan Parsons Project
    feat. Alan Parsons 4:22
    7
    Psychobabble
    Alan Parsons / Eric Woolfson
    The Alan Parsons Project
    feat. Alan Parsons 4:51
    8
    Mammagamma (Instrumental)
    Alan Parsons / Eric Woolfson
    The Alan Parsons Project
    feat. Alan Parsons 3:34
    9
    Step by Step
    Alan Parsons / Eric Woolfson
    The Alan Parsons Project
    feat. Alan Parsons 3:54
    10
    Old and Wise
    Alan Parsons / Eric Woolfson
    The Alan Parsons Project
    feat. Alan Parsons 4:55

    56 Prince & The Revolution - Purple Rain (1984)

    [​IMG]

    Prince designed Purple Rain as the project that would make him a superstar, and, surprisingly, that is exactly what happened. Simultaneously more focused and ambitious than any of his previous records, Purple Rain finds Prince consolidating his funk and R&B roots while moving boldly into pop, rock, and heavy metal with nine superbly crafted songs. Even its best-known songs don't tread conventional territory: the bass-less "When Doves Cry" is an eerie, spare neo-psychedelic masterpiece; "Let's Go Crazy" is a furious blend of metallic guitars, Stonesy riffs, and a hard funk backbeat; the anthemic title track is a majestic ballad filled with brilliant guitar flourishes. Although Prince's songwriting is at a peak, the presence of the Revolution pulls the music into sharper focus, giving it a tougher, more aggressive edge. And, with the guidance of Wendy and Lisa, Prince pushed heavily into psychedelia, adding swirling strings to the dreamy "Take Me With U" and the hard rock of "Baby I'm a Star." Even with all of his new, but uncompromising, forays into pop, Prince hasn't abandoned funk, and the robotic jam of "Computer Blue" and the menacing grind of "Darling Nikki" are among his finest songs. Taken together, all of the stylistic experiments add up to a stunning statement of purpose that remains one of the most exciting rock & roll albums ever recorded.

    Track List

    1
    Let's Go Crazy
    Prince
    Prince & the Revolution
    4:39
    2
    Take Me with U
    Prince & the Revolution
    Prince & the Revolution
    feat. Apollonia 3:54
    3
    The Beautiful Ones
    Prince
    Prince & the Revolution
    5:15
    4
    Computer Blue
    Prince
    Prince & the Revolution
    3:59
    5
    Darling Nikki
    Prince
    Prince & the Revolution
    4:15
    6
    When Doves Cry
    Prince
    Prince & the Revolution
    5:52
    7
    I Would Die 4 U
    Prince & the Revolution
    Prince & the Revolution
    2:51
    8
    Baby I'm a Star
    Prince & the Revolution
    Prince & the Revolution
    4:20
    9
    Purple Rain
    Prince
    Prince & the Revolution
    8:45


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    65 Dr. Dre - The Chronic (1992)

    [​IMG]

    With its stylish, sonically detailed production, Dr. Dre's 1992 solo debut, The Chronic, transformed the entire sound of West Coast rap. Here Dre established his patented G-funk sound: fat, blunted Parliament-Funkadelic beats, soulful backing vocals, and live instruments in the rolling basslines and whiny synths. What's impressive is that Dre crafts tighter singles than his inspiration, George Clinton -- he's just as effortlessly funky, and he has a better feel for a hook, a knack that improbably landed gangsta rap on the pop charts. But none of The Chronic's legions of imitators were as rich in personality, and that's due in large part to Dre's monumental discovery, Snoop Doggy Dogg. Snoop livens up every track he touches, sometimes just by joining in the chorus -- and if The Chronic has a flaw, it's that his relative absence from the second half slows the momentum. There was nothing in rap quite like Snoop's singsong, lazy drawl (as it's invariably described), and since Dre's true forte is the producer's chair, Snoop is the signature voice. He sounds utterly unaffected by anything, no matter how extreme, which sets the tone for the album's misogyny, homophobia, and violence. The Rodney King riots are unequivocally celebrated, but the war wasn't just on the streets; Dre enlists his numerous guests in feuds with rivals and ex-bandmates. Yet The Chronic is first and foremost a party album, rooted not only in '70s funk and soul, but also that era's blue party comedy, particularly Dolemite. Its comic song intros and skits became prerequisites for rap albums seeking to duplicate its cinematic flow; plus, Snoop and Dre's terrific chemistry ensures that even their foulest insults are cleverly turned. That framework makes The Chronic both unreal and all too real, a cartoon and a snapshot. No matter how controversial, it remains one of the greatest and most influential hip-hop albums of all time.

    Track List

    1
    The Chronic (Intro)
    Snoop Dogg / Dr. Dre / Colin Wolfe
    Dr. Dre
    feat. Snoop Dogg 1:57
    2
    Fuck wit Dre Day (And Everybody's Celebratin')
    Snoop Dogg / Dr. Dre / Colin Wolfe
    Dr. Dre
    feat. Snoop Dogg, Jewell, RBX 4:52
    3
    Let Me Ride
    Snoop Dogg / RBX
    Dr. Dre
    feat. Jewell 4:21
    4
    The Day the Niggaz Took Over
    Dat Nigga Daz / Snoop Dogg / Dr. Dre / RBX
    Dr. Dre
    feat. Daz, Snoop Dogg, RBX 4:33
    5
    Nuthin' But a "G" Thang
    Snoop Dogg
    Dr. Dre
    feat. Snoop Dogg 3:58
    6
    Deeez Nuuuts
    Dat Nigga Daz / Nate Dogg / Snoop Dogg / Dr. Dre / Colin Wolfe
    Dr. Dre
    feat. Dat Nigga Daz, Nate Dogg, Snoop Dogg, Warren G 5:06
    7
    Lil' Ghetto Boy
    Snoop Dogg / Dr. Dre
    Dr. Dre
    feat. Daz, Snoop Dogg 5:29
    8
    A Nigga Witta Gun
    Snoop Dogg / Dr. Dre
    Dr. Dre
    feat. Snoop Dogg 3:52
    9
    Rat-Tat-Tat-Tat
    Snoop Dogg / Dr. Dre
    Dr. Dre
    feat. BJ "Tha Mocking Bird", Snoop Dogg, RBX 3:48
    10
    The $20 Sack Pyramid
    Snoop Dogg / Dr. Dre
    Dr. Dre
    feat. Snoop Dogg, Big Tittie Nickie, Samara 2:53
    11
    Lyrical Gangbang
    Snoop Dogg / Dr. Dre / Kurupt / RBX / Rage
    Dr. Dre
    feat. Kurupt, RBX, Rage 4:04
    12
    High Powered
    Dr. Dre / RBX / Colin Wolfe
    Dr. Dre
    feat. Dat Nigga Daz, RBX, Rage 2:44
    13
    The Doctor's Office
    Dr. Dre / Kevin Lewis / Rage
    Dr. Dre
    feat. Jewell, Rage 1:04
    14
    Stranded on Death Row
    Snoop Dogg / Kurupt / RBX / Rage
    Dr. Dre
    feat. Bushwick Bill, Snoop Dogg, Kurupt, RBX, Rage 4:47
    15
    The Roach (The Chronic Outro)
    Dat Nigga Daz / RBX / Rage
    Dr. Dre
    feat. Dat Nigga Daz, Emmage, Jewell, RBX, Rage 4:36
    16
    Bitches Ain't Shit
    The D.O.C. / Dat Nigga Daz / Snoop Dogg / Dr. Dre / Kurupt / Colin Wolfe
    Dr. Dre
    feat. Dat Nigga Daz, Snoop Dogg, Kurupt 4:47

    64 Dire Straits - Brothers in Arms (1985)

    [​IMG]

    Brothers in Arms brought the atmospheric, jazz-rock inclinations of Love Over Gold into a pop setting, resulting in a surprise international best-seller. Of course, the success of Brothers in Arms was helped considerably by the clever computer-animated video for "Money for Nothing," a sardonic attack on MTV. But what kept the record selling was Mark Knopfler's increased sense of pop songcraft -- "Money for Nothing" had an indelible guitar riff, "Walk of Life" is a catchy up-tempo boogie variation on "Sultans of Swing," and the melodies of the bluesy "So Far Away" and the down-tempo, Everly Brothers-style "Why Worry" were wistful and lovely. Dire Straits had never been so concise or pop-oriented, and it wore well on them. Though they couldn't maintain that consistency through the rest of the album -- only the jazzy "Your Latest Trick" and the flinty "Ride Across the River" make an impact -- Brothers in Arms remains one of their most focused and accomplished albums, and in its succinct pop sense, it's distinctive within their catalog. [In 2005 Mercury released a 20th anniversary limited edition version of Brothers in Arms in the Hybrid/SACD format.]

    Track List

    1
    So Far Away
    Mark Knopfler
    Dire Straits
    5:12
    2
    Money for Nothing
    Mark Knopfler / Sting
    Dire Straits
    8:25
    3
    Walk of Life
    Mark Knopfler
    Dire Straits
    4:12
    4
    Your Latest Trick
    Mark Knopfler
    Dire Straits
    6:33
    5
    Why Worry
    Mark Knopfler
    Dire Straits
    8:30
    6
    Ride Across the River
    Mark Knopfler
    Dire Straits
    6:58
    7
    The Man's Too Strong
    Mark Knopfler
    Dire Straits
    4:40
    8
    One World
    Mark Knopfler
    Dire Straits
    3:40
    9
    Brothers in Arms
    Mark Knopfler
    Dire Straits
    6:59

    63 Deep Purple - Machine Head (1972)

    [​IMG]

    Led Zeppelin's fourth album, Black Sabbath's Paranoid, and Deep Purple's Machine Head have stood the test of time as the Holy Trinity of English hard rock and heavy metal, serving as the fundamental blueprints followed by virtually every heavy rock & roll band since the early '70s. And, though it is probably the least celebrated of the three, Machine Head contains the "mother of all guitar riffs" -- and one of the first learned by every beginning guitarist -- in "Smoke on the Water." Inspired by real-life events in Montreux, Switzerland, where Deep Purple were recording the album when the Montreux Casino was burned to the ground during a Frank Zappa concert, neither the song, nor its timeless riff, should need any further description. However, Machine Head was anything but a one-trick pony, introducing the bona fide classic opener "Highway Star," which epitomized all of Deep Purple's intensity and versatility while featuring perhaps the greatest soloing duel ever between guitarist Ritchie Blackmore and organist Jon Lord. Also in top form was singer Ian Gillan, who crooned and exploded with amazing power and range throughout to establish himself once and for all as one of the finest voices of his generation, bar none. Yes, the plodding shuffle of "Maybe I'm a Leo" shows some signs of age, but punchy singles "Pictures of Home" and "Never Before" remain as vital as ever, displaying Purple at their melodic best. And finally, the spectacular "Space Truckin'" drove Machine Head home with yet another tremendous Blackmore riff, providing a fitting conclusion to one of the essential hard rock albums of all time.

    Track List

    1
    Highway Star
    Ritchie Blackmore / Ian Gillan / Roger Glover / Jon Lord / Ian Paice
    Deep Purple
    6:05
    2
    Maybe I'm a Leo
    Ritchie Blackmore / Ian Gillan / Roger Glover / Jon Lord / Ian Paice
    Deep Purple
    4:51
    3
    Pictures of Home
    Ritchie Blackmore / Ian Gillan / Roger Glover / Jon Lord / Ian Paice
    Deep Purple
    5:03
    4
    Never Before
    Ritchie Blackmore / Ian Gillan / Roger Glover / Jon Lord / Ian Paice
    Deep Purple
    3:56
    5
    Smoke on the Water
    Ritchie Blackmore / Ian Gillan / Roger Glover / Jon Lord / Ian Paice
    Deep Purple
    5:40
    6
    Lazy
    Ritchie Blackmore / Ian Gillan / Roger Glover / Jon Lord / Ian Paice
    Deep Purple
    7:19
    7
    Space Truckin'
    Ritchie Blackmore / Ian Gillan / Roger Glover / Jon Lord / Ian Paice
    Deep Purple
    4:31

    62 Buena Vista Social Club - Buena Vista Social Club (1997)

    [​IMG]

    This album is named after a members-only club that was opened in Havana in pre-Castro times, a period of unbelievable musical activity in Cuba. While bandleader Desi Arnaz became a huge hit in the States, several equally talented musicians never saw success outside their native country, and have had nothing but their music to sustain them during the Castro reign. Ry Cooder went to Cuba to record a musical documentary of these performers. Many of the musicians on this album have been playing for more than a half century, and they sing and play with an obvious love for the material. Cooder could have recorded these songs without paying the musicians a cent; one can imagine them jumping up and grabbing for their instruments at the slightest opportunity, just to play. Most of the songs are a real treasure, traversing a lot of ground in Cuba's musical history. There's the opening tune, "Chan Chan," a composition by 89-year-old Compay Segundo, who was a bandleader in the '50s; the cover of the early-'50s tune "De Camino a la Verada," sung by the 72-year-old composer Ibrahim Ferrer, who interrupted his daily walk through Havana just long enough to record; or the amazing piano playing on "Pablo Nuevo" by 77-year-old Rubén González, who has a unique style that blends jazz, mambo, and a certain amount of playfulness. All of these songs were recorded live -- some of them in the musicians' small apartments -- and the sound is incredibly deep and rich, something that would have been lost in digital recording and overdubbing. Cooder brought just the right amount of reverence to this material, and it shows in his production, playing, and detailed liner notes. If you get one album of Cuban music, this should be the one.

    Track List

    1
    Chan Chan
    Francisco Repilado / Compay Segundo
    Buena Vista Social Club
    feat. Eliades Ochoa 4:16
    2
    De Camino a la Vereda
    Ibrahim Ferrer
    Buena Vista Social Club
    feat. Ibrahim Ferrer 5:03
    3
    El Cuarto de Tula
    Luis Marquetti
    Buena Vista Social Club
    feat. Ry Cooder 7:27
    4
    Pueblo Nuevo
    Rubén González
    Buena Vista Social Club
    feat. Rubén González 6:05
    5
    Dos Gardenias
    Isolina Carrillo
    Buena Vista Social Club
    feat. Ibrahim Ferrer 3:02
    6
    Y Tú Qué Has Hecho?
    Eusebio Delfin
    Buena Vista Social Club
    feat. Compay Segundo 3:13
    7
    Veinte Años
    Maria Teresa Vera
    Buena Vista Social Club
    feat. Omara Portuondo 3:29
    8
    El Carretero
    Guillermo Portabales
    Buena Vista Social Club
    feat. Eliades Ochoa 3:28
    9
    Candela
    Faustino Oramas
    Buena Vista Social Club
    feat. Ibrahim Ferrer 5:27
    10
    Amor de Loca Juventud
    Rafael Montiel Ortíz
    Buena Vista Social Club
    feat. Compay Segundo 3:21
    11
    Orgullecida
    Eliseo Silveira
    Buena Vista Social Club
    feat. Compay Segundo 3:18
    12
    Murmullo
    Electo Chepin Rosell
    Buena Vista Social Club
    feat. Ibrahim Ferrer 3:50
    13
    Buena Vista Social Club
    Orestes "Macho" Lopez
    Buena Vista Social Club
    feat. Ry Cooder 4:50
    14
    La Bayamesa
    Sindo Garay
    Buena Vista Social Club
    feat. Manuel "Puntillita" Licea 2:54

    61 Muse - Origin of Symmetry (2001)

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    If you're going to pillage someone else's ideas, then go for broke. Because even if you find yourself crammed between the barriers of creative space, utterly at a loss for ideas, expression, or thought, you'd still have a self-respect buzzing in your ear like a mad angelic insect, putting down the newspaper and taking out a cigar to remind you that, hell, if want to sound like Radiohead when even Thom Yorke doesn't want to sound like Radiohead, you might as well take it to preposterous, bombastic, over-the-top levels. Add church organs, mental electronics, riffs bouncing off each other like the monolithic screams in 2001: A Space Odyssey, and you'll finally be in position to crack skulls like coconuts and make the world's speakers ooze gooey blood.

    Track List

    1
    New Born
    Matthew Bellamy
    Muse
    6:03
    2
    Bliss
    Matthew Bellamy
    Muse
    4:12
    3
    Space Dementia
    Matthew Bellamy
    Muse
    6:20
    4
    Hyper Music
    Matthew Bellamy
    Muse
    3:21
    5
    Plug in Baby
    Matthew Bellamy
    Muse
    3:39
    6
    Citizen Erased
    Matthew Bellamy
    Muse
    7:19
    7
    Micro Cuts
    Matthew Bellamy
    Muse
    3:38
    8
    Screenager
    Matthew Bellamy
    Muse
    4:20
    9
    Dark Shines
    Matthew Bellamy
    Muse
    4:47
    10
    Feeling Good
    Leslie Bricusse / Anthony Newley
    Muse
    3:19
    11
    Megalomania
    Matthew Bellamy
    Muse
    4:38

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  10. boki71

    boki71 Uz duplu Anu... Administrator

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    70 AC/DC - Highway to Hell (1979)

    [​IMG]

    Of course, Highway to Hell is the final album AC/DC recorded with Bon Scott, the lead singer who provided the group with a fair share of its signature sleaze. Just months after its release, Scott literally partied himself to death (the official cause cited as acute alcohol poisoning) after a night of drinking, a rock & roll fatality that took no imagination to predict. In light of his passing, it's hard not to see Highway to Hell as a last testament of sorts, being that it was his last work and all, and if Scott was going to go out in a blaze of glory, this certainly was the way to do it. This is a veritable rogue's gallery of deviance, from cheerfully clumsy sex talk and drinking anthems to general outlandish behavior. It's tempting to say that Scott might have been prescient about his end -- or to see the title track as ominous in the wake of his death -- trying to spill it all out on paper, but it's more accurate to say that the ride had just gotten very fast and very wild for AC/DC, and he was simply flying high. After all, it wasn't just Scott who reached a new peak on Highway to Hell; so did the Young brothers, crafting their monster riffs into full-fledged, undeniable songs. This is their best set of songs yet, from the incessant, intoxicating boogie of "Girls Got Rhythm" to "If You Want Blood (You've Got It)." Some of the credit should also go to Robert John "Mutt" Lange, who gives the album a precision and magnitude that the Vanda & Young LPs lacked in their grimy charm. Filtered through Mutt's mixing board, AC/DC has never sounded so enormous, and they've never had such great songs, and they had never delivered an album as singularly bone-crunching or classic as this until now.

    Track List

    1
    Highway to Hell
    Bon Scott / Angus Young / Malcolm Young
    AC/DC
    3:28
    2
    Girls Got Rhythm
    Bon Scott / Angus Young / Malcolm Young
    AC/DC
    3:23
    3
    Walk All Over You
    Bon Scott / Angus Young / Malcolm Young
    AC/DC
    5:10
    4
    Touch Too Much
    Bon Scott / Angus Young / Malcolm Young
    AC/DC
    4:26
    5
    Beating Around the Bush
    Bon Scott / Angus Young / Malcolm Young
    AC/DC
    3:55
    6
    Shot Down in Flames
    Bon Scott / Angus Young / Malcolm Young
    AC/DC
    3:22
    7
    Get It Hot
    Bon Scott / Angus Young / Malcolm Young
    AC/DC
    2:34
    8
    If You Want Blood (You've Got It)
    Bon Scott / Angus Young / Malcolm Young
    AC/DC
    4:36
    9
    Love Hungry Man
    Bon Scott / Angus Young / Malcolm Young
    AC/DC
    4:17
    10
    Night Prowler
    Bon Scott / Angus Young / Malcolm Young
    AC/DC
    6:27

    69 The Beatles - Rubber Soul (1965)

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    While the Beatles still largely stuck to love songs on Rubber Soul, the lyrics represented a quantum leap in terms of thoughtfulness, maturity, and complex ambiguities. Musically, too, it was a substantial leap forward, with intricate folk-rock arrangements that reflected the increasing influence of Dylan and the Byrds. The group and George Martin were also beginning to expand the conventional instrumental parameters of the rock group, using a sitar on "Norwegian Wood (This Bird Has Flown)," Greek-like guitar lines on "Michelle" and "Girl," fuzz bass on "Think for Yourself," and a piano made to sound like a harpsichord on the instrumental break of "In My Life." While John and Paul were beginning to carve separate songwriting identities at this point, the album is full of great tunes, from "Norwegian Wood (This Bird Has Flown)" and "Michelle" to "Girl," "I'm Looking Through You," "You Won't See Me," "Drive My Car," and "Nowhere Man" (the last of which was the first Beatle song to move beyond romantic themes entirely). George Harrison was also developing into a fine songwriter with his two contributions, "Think for Yourself" and the Byrds-ish "If I Needed Someone."

    Track List

    1
    Drive My Car
    John Lennon / Paul McCartney
    The Beatles
    2:28
    2
    Norwegian Wood (This Bird Has Flown)
    John Lennon / Paul McCartney
    The Beatles
    2:04
    3
    You Won't See Me
    John Lennon / Paul McCartney
    The Beatles
    3:19
    4
    Nowhere Man
    John Lennon / Paul McCartney
    The Beatles
    2:43
    5
    Think for Yourself
    George Harrison
    The Beatles
    2:18
    6
    The Word
    John Lennon / Paul McCartney
    The Beatles
    2:43
    7
    Michelle
    John Lennon / Paul McCartney
    The Beatles
    2:42
    8
    What Goes On
    John Lennon / Paul McCartney / Richard Starkey
    The Beatles
    2:48
    9
    Girl
    John Lennon / Paul McCartney
    The Beatles
    2:31
    10
    I'm Looking Through You
    John Lennon / Paul McCartney
    The Beatles
    2:26
    11
    In My Life
    John Lennon / Paul McCartney
    The Beatles
    2:26
    12
    Wait
    John Lennon / Paul McCartney
    The Beatles
    2:14
    13
    If I Needed Someone
    George Harrison
    The Beatles
    2:22
    14
    Run for Your Life
    John Lennon / Paul McCartney
    The Beatles
    2:23
    15

    68 The Prodigy - The Fat of the Land (1997)

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    Few albums were as eagerly anticipated as The Fat of the Land, the Prodigy's long-awaited follow-up to Music for the Jilted Generation. By the time of its release, the group had two number one British singles with "Firestarter" and "Breathe" and had begun to make inroads in America. The Fat of the Land was touted as the album that would bring electronica/techno to a wide American audience; in Britain, the group already had a staggeringly large following that was breathlessly awaiting the album. The Fat of the Land falls short of masterpiece status, but that isn't because it doesn't deliver. Instead, it delivers exactly what anyone would expect: intense hip-hop-derived rhythms, imaginatively reconstructed samples, and meaningless shouted lyrics from Keith Flint and Maxim. Half of the album does sound quite similar to "Firestarter," especially when Flint is singing. Still, Liam Howlett is an inventive producer, and he can make empty songs like "Smack My Bitch Up" and "Serial Thrilla" kick with a visceral power, but he is at his best on the funky hip-hop of "Diesel Power" (which is driven by an excellent Kool Keith rap) and "Funky Shit," as well as the mind-bending neo-psychedelia of "Narayan" (featuring guest vocals by Crispian Mills of Kula Shaker) and the blood-curdling cover of L7's "Fuel My Fire," which features vocals by Republica's Saffron. All those guest vocalists mean something -- Howlett is at his best when he's writing for himself or others, not his group's own vocalists. "Firestarter" and all of its rewrites capture the fire of the Prodigy at their peak, and the remaining songs have imagination that give the album weight. The Fat of the Land doesn't have quite enough depth or variety to qualify as a flat-out masterpiece, but what it does have to offer is damn good.

    Track List

    1
    Smack My Bitch Up
    Liam Howlett / Kool Keith / C. Miller / M. Smith
    The Prodigy
    5:42
    2
    Breathe
    Keith Flint / Liam Howlett / Maxim
    The Prodigy
    5:35
    3
    Diesel Power
    Liam Howlett / Kool Keith
    The Prodigy
    feat. Kool Keith 4:17
    4
    Funky Shit
    Liam Howlett
    The Prodigy
    5:16
    5
    Serial Thrilla
    Keith Flint / Liam Howlett / Skin
    The Prodigy
    5:11
    6
    Mindfields
    Liam Howlett
    The Prodigy
    5:40
    7
    Narayan
    Liam Howlett / Crispian Mills
    The Prodigy
    9:05
    8
    Firestarter
    Kim Deal / Anne Dudley / Keith Flint / Trevor Horn / Liam Howlett / Johnathon J. Jeczalik / Gary Langan / Paul Morley
    The Prodigy
    4:40
    9
    Climbatize
    Liam Howlett
    The Prodigy
    6:36
    10
    Fuel My Fire
    James / Donita Sparks
    The Prodigy
    4:19

    67 Bruce Springsteen - The River (1980)

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    Imbedded within the double-disc running time of The River is a single-disc album that follows up on the themes and sound of Darkness on the Edge of Town -- wide-screen, midtempo rock and stories of the disillusionment of working-class life and the conflicts within families. In these songs, which include the title track, "Independence Day," and "Point Blank," Bruce Springsteen's world-view is just as dire as it had become on Darkness, but less judgmental. "Independence Day," for example, is a father-and-son ballad that has little of the anger of its hard rock counterpart on Darkness, "Adam Raised a Cain." Springsteen's heroes again seek to overcome their crushing troubles through defiance and by driving around, and though "The River" repeats the soured love theme of "Racing in the Street," he also posits romance as a possible escape, sometimes combining it with one of the other solutions, as on the eight-plus-minute "Drive All Night." But there is also another album lurking within The River, and it is a more lighthearted pop/rock collection of short, sometimes humorous songs like "Sherry Darling" and "I'm a Rocker." At times Springsteen combines elements of the two, as on "Out in the Street," perhaps the album's quintessential song, a catchy, uptempo number that sounds like something from the early '60s and echoes the theme of the Vogues' 1966 hit "Five O'Clock World." "Hungry Heart," which became Springsteen's first Top Ten hit, combines a rollicking musical track with a more sober lyrical theme that emphasizes longing over disappointment. But a better guide to Springsteen's development are the songs "Stolen Car" and the album-closing "Wreck on the Highway," gentle, moody ballads imbued with a sense of hopelessness that anticipate his next record, Nebraska.

    Track List

    disc 1

    1
    The Ties That Bind
    Bruce Springsteen
    Bruce Springsteen
    3:34
    2
    Sherry Darling
    Bruce Springsteen
    Bruce Springsteen
    4:03
    3
    Jackson Cage
    Bruce Springsteen
    Bruce Springsteen
    3:04
    4
    Two Hearts
    Bruce Springsteen
    Bruce Springsteen
    2:46
    5
    Independence Day
    Bruce Springsteen
    Bruce Springsteen
    4:50
    6
    Hungry Heart
    Bruce Springsteen
    Bruce Springsteen
    3:19
    7
    Out in the Street
    Bruce Springsteen
    Bruce Springsteen
    4:17
    8
    Crush on You
    Bruce Springsteen
    Bruce Springsteen
    3:11
    9
    You Can Look (But You Better Not Touch)
    Bruce Springsteen
    Bruce Springsteen
    2:37
    10
    I Wanna Marry You
    Bruce Springsteen
    Bruce Springsteen
    3:30
    11
    The River
    Bruce Springsteen
    Bruce Springsteen
    5:01

    disc 2

    1
    Point Blank
    Bruce Springsteen
    Bruce Springsteen
    6:06
    2
    Cadillac Ranch
    Bruce Springsteen
    Bruce Springsteen
    3:03
    3
    I'm a Rocker
    Bruce Springsteen
    Bruce Springsteen
    3:36
    4
    Fade Away
    Bruce Springsteen
    Bruce Springsteen
    4:46
    5
    Stolen Car
    Bruce Springsteen
    Bruce Springsteen
    3:54
    6
    Ramrod
    Bruce Springsteen
    Bruce Springsteen
    4:05
    7
    The Price You Pay
    Bruce Springsteen
    Bruce Springsteen
    5:29
    8
    Drive All Night
    Bruce Springsteen
    Bruce Springsteen
    8:33
    9
    Wreck on the Highway
    John Wesley Harding / Bruce Springsteen
    Bruce Springsteen
    3:53

    66 The Beatles - Abbey Road (1969)

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    The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work. The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed.

    Track List

    1
    Come Together
    John Lennon / Paul McCartney
    The Beatles
    4:19
    2
    Something
    George Harrison
    The Beatles
    3:02
    3
    Maxwell's Silver Hammer
    John Lennon / Paul McCartney
    The Beatles
    3:27
    4
    Oh! Darling
    John Lennon / Paul McCartney
    The Beatles
    3:27
    5
    Octopus's Garden
    Richard Starkey
    The Beatles
    2:50
    6
    I Want You (She's So Heavy)
    John Lennon / Paul McCartney
    The Beatles
    7:47
    7
    Here Comes the Sun
    George Harrison
    The Beatles
    3:05
    8
    Because
    John Lennon / Paul McCartney
    The Beatles
    2:45
    9
    You Never Give Me Your Money
    John Lennon / Paul McCartney
    The Beatles
    4:02
    10
    Sun King
    John Lennon / Paul McCartney
    The Beatles
    2:26
    11
    Mean Mr. Mustard
    John Lennon / Paul McCartney
    The Beatles
    1:06
    12
    Polythene Pam
    John Lennon / Paul McCartney
    The Beatles
    1:12
    13
    She Came in Through the Bathroom Window
    John Lennon / Paul McCartney
    The Beatles
    1:58
    14
    Golden Slumbers
    John Lennon / Paul McCartney
    The Beatles
    1:31
    15
    Carry That Weight
    John Lennon / Paul McCartney
    The Beatles
    1:36
    16
    The End
    John Lennon / Paul McCartney
    The Beatles
    2:21
    17
    Her Majesty
    John Lennon / Paul McCartney
    The Beatles
    0:27
    18

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