1970s

50: THE POP GROUP - Y

The 1970s - were they the greatest decade for music? In the aftermath of the Beatles, the album as a unified statement was an artform stronger than it would ever be - and that's why all the music here is so damn good. It also saw the full realization of experimental rock and jazz fusion, reggae entered the American mainstream, industrial and ambient were birthed, punk had its 1977 explosion that would change music forever, the memorable and cutting edge pop rock movement known as the new wave had begun, and hip hop was being born on the streets of the Bronx. There will never be another time like it.

So, as for the album that barely snuck in here - and I struggled when it came to deciding which brilliant album could claim the 50th spot - the Pop Group's Y may have been the "weirdest" post-punk album yet, and is a bit of a realization of everything to come out of the 70s; a fascinating mix of noise rock, free jazz, reggae, and funk; all sung by what sounds like a deranged Joe Jackson. And even if it may lack melody, when it does decide to groove, it grooves: could the seeds of the entire "dance-punk" genre have been planted in "We Are Time"? Swell Maps, the Fall, and PiL's Metal Box would all exceed it, but this was something truly original.

49: ROD STEWART - EVERY PICTURE TELLS A STORY

It seems some have a hard time taking Rod Stewart seriously after his decades of trend chasing mediocrity, but this roots rock album's a winner. More than half these songs are covers, but with Stewart's unique, passionate vocals and the music's calm, folky vibe, he makes every song his, especially Bob Dylan's "Tommorow Is Such a Long Time," where he translates the feeling of longing better than anyone. But the best songs here are the originals, where he brings endearing, melodic stories of sentimentality.

48: EXUMA - EXUMA

An odd, psychedelic folk album from a small Caribbean island, sung by a man with a larger than life persona. Across these seven surreal tropical tinged folk tunes, he makes you believe he did indeed come from the sky. The best song is its passionate penultimate track, "You Don't Know What's Going On" about, uh, our insignificance. Chill shit.

47: PUBLIC IMAGE LTD. - FIRST ISSUE

Whatever your opinion of the Sex Pistols may be, you can't deny that PiL were an innovative band. John Lydon wasn't gonna stick around waiting for punk to die, so he formed Public Image Ltd. and immediately moved on to post-punk. At the time, this was the strangest the genre had gotten with its lo-fi nine minute noise rockers, spoken word anti-religious rants, love song parodies, and free jazz piano playing. And if the Sex Pistols were your thing, there's a fair amount of punk rock still here.

46: THE ROLLING STONES - SOME GIRLS

The Stones waned significantly after Exile, but they did make a (brief) comeback in the late 70s with Some Girls. Now much less a blues rock band and more pop rock band, the Stones took influence from their disco and new wave contemporaries, and, rather than sounding out of touch, they kick a lot more ass than the almost all of their contemporaries. And fans of the old Stones still get some classics here in the hilarious country satire "Far Away Eyes," and Kief's memorable outlaw tale "Before They Make Me Run."

45: THE MODERN LOVERS - THE MODERN LOVERS

Jonathan Richman seems to be in love with everything, whether that be the new world or the old world or rock n roll (that one's probably obvious); and his lyrics are occasionally laugh-out-loud hilarious. You hear a lot about music that's punk in spirit but not in sound, while this may just be the opposite. Really brings out the optimist you are deep down.

44: RAMONES - ROCKET TO RUSSIA

There may be music we label as "proto-punk" but nothing truly was punk until the Ramones. And it's a bit funny, because they lack a lot of what punk became known for: they weren't political and they weren't aggressive, they were just four dudes having a good time making raw pop rock with joyously banal lyrics. And maybe that's the essence of punk. Regardless, every song on Rocket to Russia, their most consistent work, is undeniably catchy and endearing, and even a tad different from their debut as they work in a bit of a surf rock influence.

43: TALKING HEADS - FEAR OF MUSIC

Fear of Music stands as a bit of a transitional work, from the cold energetic art punk of their early work to the Afrobeat inspired post-punk of Remain in Light. That doesn't mean that this isn't their best work though, as it strikes the perfect balance of everything the Heads had done and it's by far their catchiest.

42: THE BEATLES - LET IT BE

I feel Let It Be has been wrongfully derided as the worst Beatles album. Sure, Phil Spector's famous "wall of sound" production isn't well suited for the Beatles and it is less artistically ambitious than the rest of their post-Rubber-Soul work; but hell, the Beatles were a pop rock band and this still has the amazing songwriting they were known for. Is it a suitable conclusion to the Beatles? I'd say so.

41: WIRE - CHAIRS MISSING

Like Johnny Rotten, Wire weren't going to sit around waiting for punk to die. Wire were already the artiest band of 1977 punk, so it'd make sense for them to join the first wave of post-punk. They quickly eschewed the values of "punk" and threw in synthesizers, raised the bass, made a few experimental rock tracks, and put a stronger focus on atmosphere and sophistication; all while retaining the minimalism of Pink Flag that made it so unique. And when they do decide to go punk rock here, it's done with a different, garagey edge that many modern bands recall.

40: PINK FLOYD - THE DARK SIDE OF THE MOON

You probably haven't heard of this one, but it's a gem.

39: FELA KUTI - ZOMBIE

Fela Kuti accused the Nigerian military of being zombies, and it seems he wasn't wrong. This album may be a brief 25 minutes, but it leaves a stronger impact than a prog rock epic. The music may sound cheery - it is groovy jazz-funk after all - but its subject matter isn't. Following its release, the military stormed and destroyed Fela's commune, killed his mother by throwing her through a window, and nearly killed Fela by torturing him. Whether it did more harm than good is another question, but Fela said what he needed to say, and made another politically aggressive masterpiece in Coffin for Head of State afterward.

38: JOY DIVISION - UNKNOWN PLEASURES

Unknown Pleasures truly is as simple as post-punk gets, and perhaps that's why it's seen as the starter album for the genre. It's also why Joy Division would go on to much greater things on Closer, but the seeds are planted here.

Nobody in Joy Division was a magnificent musician in the traditional sense - hell, what can you expect from a group of working class elementary school friends? But they all brought something unique. We all know Ian Curtis wasn't the world's greatest vocalist, but his expressive baritone and depressive lyrics struck a chord with millions of listeners. When it comes to melodies, there may never be another songwriter as great as Bernard Sumner, but he also had a knack like no one else for creating an atmosphere - just listen to "Day of the Lords" where his guitar work makes you feel as though you've entered an icy apocalypse. Then there's Peter Hook's memorable bass lines that epitomize post-punk's unique use of the instrument. And then of course there's Stephen Morris, who they don't call the "human drum machine" for nothing. Everyone is firing on all cylinders here, and it's quite the engaging listen.

37: KING CRIMSON - STARLESS AND BIBLE BLACK

Upon acquiring John Wetton as their bassist and singer and Bill Bruford as their all time great drummer, King Crimson shifted their sound from jazz influenced to classical influenced, and this may be their most beloved lineup. Half a live album, half a studio album, and three quarters instrumental, Starless and Bible Black seems to be the black sheep of the Wetton trilogy, and seems forgotten compared to the two albums it's sandwiched between. Hell, the name of the album was even used as a chorus on the closing track of the much more oft-praised Red.

This is likely due to it being King Crimson's least accessible work, filled mostly with experimental jams. But it can also be their most rewarding, and at times truly beautiful in a way King Crimson's never been before or since - take the calm, hairraising instrumental "Trio" for example: never before has so much emotion been conveyed without words. What'll you find throughout the rest of Bible Black is sudden moments of brilliant pop songwriting that quickly burst into compelling jams. A remarkable, unique experience.

36: FAUST - FAUST IV

Faust IV is likely Faust's most accessible work, which probably isn't saying much as it still opens with a twelve minute drone track. It did prove that they could write emotionally affecting pop songs though, albeit unconventional ones. In an odd way, it's more fascinating than their unhinged debut, with its ability to stimulate both emotionally and intellectually (which is surprisingly uncommon).

35: THE POLICE - OUTLANDOS d'AMOUR

Nothing to hear here expect some infectious, insanely catchy, summery, reggae influenced new wave with outstanding musicianship. It ain't as artsy as Ghost in the Machine or Synchronicity, but it was never trying to be. Along with Blondie's Parallel Lines, Outlandos was one of those 1978 new wave albums that would change the future of mainstream rock.

34: DAVID BOWIE - LOW

Ziggy and Iggy's lives were both so odd during this time that you could easily write a book about them, so I'll stay away from the that. All that needs to be said is that the title is how Bowie felt at the time: Low. You can likely deduce that much from listening to the cold, fractured, existential songs on side A.

But what makes Low truly great is its last five instrumental songs - the first of which being very different from the rest. After all the gloom that preceded it, "A New Career in a New Town" plays like a liberating new beginning, an infectious mix of harmonica and synthesizer that I never knew to be possible. But it's right back into the darkness on the following ambient tracks with Brian Eno. What's most shocking is that these ambient tracks - from 1977 - aren't the sparse, minimalistic electronic music you likely associate with the time. These are legitimately lush and haunting, and are possibly the most groundbreaking pieces of the era. But if you think Low was ahead of its time...

33: IGGY POP - THE IDIOT

...then this'll blow your mind, man. Of all the great proto-punk bands, Iggy and the Stooges were the best. So when it's 1977, he's finally making music again, and the genre he's been labeled the godfather of has exploded, what's Iggy do? Make punk rock? No, he goes to Berlin with Bowie where they invent the krautrock inspired punk music that would soon be labeled as "post-punk."

If that wasn't enough, there's industrial rock on this album - yeah, before regular industrial was even a thing. When you compare songs like "Mass Production" to the stuff Throbbing Gristle would be making two years later, it truly settles in what forward thinking people the great Iggy and Ziggy were. It's influence can be heard damn clear in *Unknown Pleasures" - I mean, Ian Curtis hanged himself while listening to it after all.

32: DAVID BOWIE - ALADDIN SANE

What is it with songs named "Time"? There are three songs named "Time" that I can confidently say are among the ten best ever made: one by Pink Floyd, one by Tom Waits, and one, of course, by David Bowie. It's a relatively goofy song, so it shouldn't move me so much when Bowie screams "We should be on by now!" but goddamnit I can't help it.

Aladdin Sane comes a few albums into his most well known period: his glam rock period. And despite its iconic cover, it seems to be the least talked about of these albums. Maybe that's because there's less to talk about; it isn't an ambitious rock opera like Ziggy Stardust or Diamond Dogs and it doesn't have several songs you're gonna hear on the radio like Hunky Dory. But it kills it in the songs department. Every song here is so damn fun (minus that awful cover "Let's Spend the Night Together"), and the odder moments like the title track and "Time" would certainly be a big influence on Station to Station. Overall, it's his best pre-76 album.

31: MILES DAVIS - GET UP WITH IT

Miles' final studio statement before seven years of retirement is far more than worthy of closing perhaps the most innovative career in music history. From playing bop with Charlie Parker to being the key pioneer in jazz fusion, he changed the face of a genre more times than anyone else. Like two other albums on this list, Get Up with It is a double album composed of both new material and outtakes from previous albums. Hearing the outtakes, it's clear why they were outtakes, but not because they're weak; where exactly would the intense, repetitive krautrock inspired jam "Rated X" have fit in on the funky On the Corner? The nature of these outtakes wouldn't seem to lend them well to coherence in album form, as none of them would've fit. But here, paired with the rest of Miles' most adventurous tracks, they flourish in this "anything goes" fusion of jazz and regional music. There's the tropicalia of "Maiysha," the funk of "Honky Tonk," the surprisingly catchy electric blues of "Red China Blues," and the Afrobeat of "Mtume." It's also a statement of his evolution. Compare the mournful side long opener "He Loved Him Madly" to 1969's In a Silent Way, the genesis of Miles' fusion period (they're nearly the same length). Both are similar ambient works, but here Miles has taken things even further from what jazz was known to be before him, adding congas and more overtly acid rock guitar work.

30: BOB MARLEY - EXODUS

It seems Bob Marley's rootsier early work is more praised, but Exodus is packed with the iconic reggae hits we all know and love, like "Jammin'," "Three Little Birds," and "One Love." Marley's timeless mix of conscious political songs and personal love songs satisfy every feeling you could have and you're a damn robot if you're not moved. The best song would have to be "Waiting in Vain," maybe the best unrequited love song ever.

29: BRUCE SPRINGSTEEN - GREETINGS FROM ASBURY PARK, N.J.

Bruce Springsteen definitely had a different sound going on on his first two albums. His debut is one of jazzy folk rock and nonsensical stream of consciousness lyrics that differ greatly from the amazing stories he'd later be telling. He immediately proved what a great singer he could be though, bringing tons of emotion to songs like "Mary Queen of Arkansas" and "Spirit in the Night."

28: CAN - EGE BAMYASI

Ah, the "normal" Damo Suzuki album. Is it the worst? Yeah, but these are some damn good funk tunes and they showed Can were as good as any funk band at making "normal" songs. And the two experimental rock tracks - "Pinch" and "Soup" - are as good as anything on Tago Mago. Also worth mentioning that Jaki Liebezeit's iconic rhythmic drumming was never better than on Ege Bamyasi, especially on "Vitamin C," where it's hard not to dance.

27: PINK FLOYD - MEDDLE

People always cream over "Echoes," and yeah, I get it, it's the greatest song ever made, no doubt about that, but like, why's nobody give a shit about the other songs? Did you know that Seamus is the dog? David told me that while singing a country song. How can we forget the only happy songs in Pink Floyd's discography like "Fearless," which ends with a football match for no reason; or "San Tropez," where Roger Waters of all people - I mean, you've heard the man's voice - decides to be a jazz crooner and sing a song about the beach? Not only are these happy songs, they're also warm and wonderful.

26: LED ZEPPELIN - PHYSICAL GRAFFITI

The last great album from Led Zeppelin would bring back the roughness and blues they seemed to abandon on Houses of the Holy, as well as further developing the prog rock elements they started playing with on said album. It may wane in its last twenty minutes, but its first hour is a behemoth of grimy, awesome hard rock. Both their dirtiest and artiest album.

25: TOM WAITS - THE HEART OF SATURDAY NIGHT

Is it possible to tire of this album? Tom, his voice, and his lyrics make everything here acheingly beautiful, with poetic stories about love, homesickness, nights on the town, and lots of drinking. The nocturnal tone and jazzy blues instrumentation make this great for exhausted nights. Very different from the experimental rock Tom we all know, but equally great.

24: WIRE - 154

This is the same band that made Pink Flag?! In just two years, Wire transformed into a band that was making Kraftwerk inspired dystopian post-punk that was philosophical rather than political. Every song here sounds like it belongs to some never made industrialized cyberpunk film. Not only is it Wire's most interesting and ambitious work, it's also their catchiest and most consistent - despite being their longest. And the few songs that couldn't be called the album's best are fascinating experiments.

23: TOM WAITS - CLOSING TIME

On Tom Waits' debut, it wasn't immediately clear that he'd become one of the all time great songwriters - his lyrics are occasionally a bit corny but they'd become next level on his second album (listed above). But when he does absolutely nail here is the mood, which makes this another album I find hard to ever tire of - the closing title track is beauty beyond words. And he did indeed immediately show us what a great singer he was, as he delivers each song with both a tiredness and a sincere longing.

22: GANG OF FOUR - ENTERTAINMENT!

An all time great band makes their debut here, and though it isn't as conscious or unique as Solid Gold, it's still incredibly assured for a debut. Metallic and minimalistic, it energetically rips it's way through twelve songs about sex and socialism. It isn't very eclectic and the only emotion it really shows is aggression (is horniness an emotion?) but sometimes that's all you need.

21: STEELY DAN - CAN'T BUY A THRILL

No amount of polish and precision could hide the fact that Steely Dan had already made their best album in their yacht rock debut. Of course there's no shame in that as this is a goddamn classic. The jazz-rock sound they're so known for is really only present on the iconic opener, but it's still quite interesting throughout as Latin, folk, and country influences shine through; and Donald Fagen brings some genius lyrics on songs like "Only a Fool Would Say That." If I ever wind up with a yacht, you can expect this album to go up twenty spots.

20: THIN LIZZY - JAILBREAK

In the hard rock world of Van Halens and AC/DCs, Thin Lizzy are a breath of fresh air. Rather than macho sexual tales, Phil Lynott brings well written and endearing urban stories of love and crime; and I can't not mention that they also rocked way better than anyone else. Honestly, who doesn't wanna go Dino's bar and grill now?

Submitted December 10, 2019 at 02:04PM by decadesaccount https://ift.tt/35cqDbh