Composed jazz with third stream elements, at its best among the best of 50’s jazz all time. Propelled by its two centrepieces - Blue Rondo and Take Five - and otherwise filled with attractive piano-trio structured songs, elevated by the extrarodinary talent of Paul Desmond on alto sax in mellifluous and tone-perfect (though often-brief) solos.
The best album by the best band in the 90’s alt rock movement
Essential seventies classic that has lived on for almost fifty years due to its sparkling production, technical innovation, and a few brilliant songs.
The song writing is very high quality at times, but the album is ultimately by the mundanity of 1/2 or more of the songs. Absent any noticeable passion, the well-constructed nature of the music is such that it begs you to listen carefully, which for me at least lacks the payoff in the songs themselves.
The gold standard for anthemic full-throated guitar rock. Extraordinary song writing and performance.
A remarkable partnership that cemented a genre in North America and featured 2 or 3 of the greatest songs injure modern pop oeuvre.
A remarkable leap forward from ‘77, groove filled with crisp and trend setting production from Brian Eno, and three or four utterly remarkable songs. Extraordinary record
Overlong but with some extraordinary songs and sounds. My one complaint is the metallic and flangey guitar sound throughout much of the album
Although it was an album recorded together and mostly live, it’s not an in the evolved state that the form took later in the sixties and beyond. For the quality of the songs and moreso the energy of the performances, a clear 4
Among the best debuts in rock history, played in a day and featuring a fully mature voice, rich in subtle harmonics and laced with biting and hilarious lyrics.
Probably the single most important jazz piano recording from the pre-eminent creator of modern jazz piano. Incalculably vital.
Among the very best rock records of all time.
Third stream classic nonet recording, immensely important in its day, somewhat of a timepiece, as Jazz moved in different directions afterwards, largely due to the influence of a number of these participants
Surprisingly strong record written and recorded largely by the band. Mickey Dolenz learned the drums, and Pete and Michael played a lot of the guitars. Chip Douglas was the George Martin for the record, a key collaborator and played the bass guitar. Nesmith’s steel guitar and stork’s keyboards are standouts in an otherwise appealingly garage-sounding band. Most importantly the songs are of a high standard and contain some of their very best : You Just May be the One, For Pete’s Sake, Sunny Girlfriend, You Told Me, and the truly remarkable Randy Scouse Git were never bested by the band. Very much worth a listen for those who think of them only as “the Pre Fab Four”.
This record defined the rock scene in the early 00’s.
Interesting but not essential
Simply one of the greatest albums of the 1960’s. Perhaps a little overlooked among so many “Pantheon” releases from the 1966-1968 period, and even among Byrds’ albums themselves, but for me, doubtlessly their greatest synthesis of psychedelic rock, jazz-rock, folk-rock, early (and better than later) country rock, in pristine 2-4 minute songs. Post Gene Clark, it showcases the surprising emergence of Hillman and Crosby as major songwriters. The sonic landscape on the album is extraordinarily rich, and their guitars and harmonies never sounded better.
Simply iconic and changed the game for female singer songwriter music
Epochal pantheon record of dirty blues rock, backed up with numerous extraordinary songs.
Massive leap towards country rock in one record. Gram Parsons’ impact is inescapable. For those like me who love “the Byrds”, this is not them. Go backwards to the glory of their first five records.
Great songs don’t constitute a great album. But these are great songs
A top 10 album of all time, with extraordinarily rich, complex melodic pop songs, perfumes with muscular simplicity and grace. To my ears, far beyond anything the Beach Boys did, and equivalent to the best of the Beatles from the same era.
Essential album that re-established thinking-person’s rock as a viable form of popular music
Absolute classic CBGB stalwarts create a new sub genre of edgy guitar art pop.
One of the top two or three debut albums of all time. An utterly unique format for a band - no bass player, a jazz-obsessed drummer, and a keyboard player with a wacky setup, not to mention a sui generis guitar player AND Jim Morrison - the instantly create a sound and a style that both reflected current LA sounds and broke stunning new ground. And this album has some of their and the rock era’s greatest songs.
Very good but not classic Costello
Great music at times, but doesn’t belong on this list.
Perhaps the first real rock album with sonic themes and mature lyrics. A major stepping stone for the band and the rock movement as a whole.
Soulful and excellent group of tracks played some of 60’s jazz pantheon, highly valued in any jazz collection. But nothing more than that.
Just love this record and the journey that FP took from folk-rock inspired by the American movement, to leaders of the traditional English folk movement with Liege and Lief (which should be on this list)
A more sophisticated version of themselves, capped with some of the most enduring songs.
Epochal 70’s (or post sixties if you will) singer-songwriter that captured the zeitgeist and made Neil Young a star forever
These early-mid period Sonic Youth records are classics in the guitar-noise art-rock milieu. Their previous albums EVOL is my personal favourite (stacked with remarkable noise pop like Tom Violence, Star Power, Madonna, Sean and Me) but many fans prefer Sister, which is tougher and noisier than EVOL. Highly recommended.
Essential proto punk garage
A record that sounds utterly different from their earlier efforts. It feels like a seventies album sonically. Some great songs, though I've never been a big fan of a few of them (Maxwell, Oh Darlin', the song suite)
Great to see The Fall on this list. This isn’t among my favourites but it’s still classic Mark Smith (Nation’s Saving is more fully realized by a ways).
Extraordinary album that bridged the sixties and seventies
A great collection of songs but not a cohesive album
Extraordinary record combining social history, outre jazz and remarkable songwriting
A band that deserves a bit more fame and/or notoriety that it received in its day, and certainly more than it is remembered today. Intelligent, morose, diverse songs. Like a good version of The National.
Honestly I was surprised how unimpressed I was with this one when I revisited it. The blues songs, played well of course, are nevertheless somewhat desultory, and the folk-based songs - typically talked about as the defining sound of the record - are a bit hit and miss. It certainly pales substantially versus II and IV, perhaps that its biggest problem.
It suffers from overexposure but no matter how you cut it, this is a brilliant album, ahead of its time and yet timeless.
Essential Manchester zeitgeist album, ultimately a one trick pony band, but at the time it was splendid.
Great songs in dark times for Neil Young.
Absolutely vital jazz in transition, Miles always restless and moving to the future. Brilliant playing and atmosphere.
Brilliant atmospheric chamber folk
Infectious, energetic, irreverent, and stoned. The band sounds great and the songs are strong, to which you add the dulcet tones of Evan Dando.
Popularized township jive and brought African music to the fore. The combination with Simon’s voice and poetry works brilliantly at times.
Perhaps the most important indy record of the 90's, bringing the alt / lo fi movement to the masses, and (speaking personally) changing the way I thought about rock music ever since ( and I was almost 30).
Classic blue eyed soul with strong songs
90’s chamber pop with some outstanding tracks
Great introduction to EC as a true blues man (moreso than Yardbirds) and JM always brings energy and credibility to the material. Excellent
Essential ! Heavy if simple no holds barred guitar trio with Osborne’s sui generis vocals. Template for much that came after.
A glossy and successful version of of the Pogues, with some great songs though arguably not their best. For those, go to Rum Sodomy and the Lash.
Such an important record for the 80’s alt guitar movement. Filled with noisy crappy and occasionally gorgeous and rocking tunes, it was as good as guitar music got in its day.
In my world, early Cure is better. 17 secs is a timepiece and despite or because of its “simple everything” musical approach, still captures my attention and has me listening and admiring it.
Both a template for socially driven psychedelic rock album-ry, and an idiosyncratic and personal look into the drug fuelled mind of a black man living in LA in the sixties. All through the lens of a rare multi racial band.
So many things to like about this album. The mix of pop, folk and psychedelia, all with an oh-so San Franciscan vibe. It could be described as ramshackle if the songs themselves weren't so perfect. The band was packed with major talents, all of whom shine at different times in different ways. Marty Balin, Paul Kantner, Grace Slick, Jorma Kaukonen, Jack Cassady and Spencer Dryden, yowza.
An essential 80’s pop album. The songwriting and production craft is top notch.
The early Who at their best, with energy and cheek galore. Fantastic few songs, but not a true competitor for greatest album.
At the time this sounded absolutely glorious
Perhaps the apotheosis of sophisticated singer songwriter. More complex musically and arrangement wise and therefore seemingly less personal than others. But it’s brilliant
Brilliant early album with knockout songs that established B&S as leader of a new movement of twee pop.
Partnered with Bee thousand, perhaps the quintessential lofi record of the 90’s, and filled with ideas, and some songs too. Motor Away is one of their very best.
I much prefer their earlier records, which by and large distilled folk into their “thing”, versus this soulful jazz incarnation. Honestly can’t listen to this, much as I have a fondness for the duo.
Mature and remarkable record! Give it a listen.
Not likely to bring a smile to your face, but serious rock played very well.
Essential late 70's power pop that broke this deserving band into the mainstream and influenced rock bands everywhere. Plus it asked the question, "where the hell is Budokan"?
I prefer their debut album by quite a bit, though critics generally say that it doesn’t capture these essence. Happy Trails is interesting but to me lacks variety and is a more intelligent release. The band had a lineup of significant talent and is always worth a spin.
Simply their best record imo. Unabashedly borrowing from blues standards and moulding them into a sonic world that only this group of performers could have created. The period from LZ 1-4 someone great rock era runs of records in only a few years. And with apologies to Physical Graffiti - great but bloated - they never made a better record afterwards
This album starts with a shot wow - Jacqueline - one of the great openers for a band. And is remarkable afterwards too. It’s still probably the best song but others round out their promise of amped up dance guitar rock with disco syncopations and ironic delivery galore.
Such simple folk purity from a 19 year old JB. Astounding stuff.
Wildly derivative of various (great) sounds of yesteryear, but full of joy and musical talent. A very solid three stars
Strong songs that to my ear weren't enhanced by MOR 80's pop production. Still, some very memorable numbers.
Genre defining, the album where NY figures out his sound, both individually as a guitar player, and collectively with Crazy Horse as an arranger and writer.
One of those albums that captures a time perfectly, and in this case also the zeitgeist of “the 60’s” becoming “the 70’s”.
Acknowledging the awesome ethos and creative energy of RFTC.
Lush and evocative. Also revoltingly saccharine, production wise. Sunday morning music.
One or two songs on a mix are outstanding, but an entire album sends me from the room silently screaming (in attempted three part harmony).
On the front of double five songs, this is a compelling crossover record for BB, sounding like himself but with some powerful tunes and lyrics that stick with you.
Original, honest, jazzy, unique
At times this record has been derided as lightweight Floyd, or in some other way derivative. I would only say, just listen to it.
Lovely stuff from the daughter of my favourite Brazilian singer
Absolutely essential (perhaps last great) collection of songs by the most important writer of his generation.
I do enjoy Hot chop but this isn’t my favourite album of theirs
An essential group, though not always easy listening
Probably a better record then their first, but less cacophony and more song styling might make it less important
It’s very nearly a five star record, but for me, Stevie’s oeuvres - even at their absolute pinnacle - always contain works that are overly sentimental, borderline saccharine. Key of Life is true to that form with Summer Soft, If It’s Magic, and others. One is reminded of the artist responsible for I just Called to Say I Love You. Mind you, half of the tracks are absolute classics of the era and the genre. It’s a string record and deserves the accolades it receives.
This type of show tune production across various songwriters and eras is 100% not my thing. Putting two stars in recognition of the underlying craft. But no thanks.
The original psychedelic blues band, with great originality, vocally unique, and a surprising amount of propulsion in its rhythm section. The extended jams are noisy and somewhat enervating, but undeniably innovative for their time
This is a stellar idea and collaboration. Many memorable songs combining Guthrie lyrics with Bragg / Tweedy music, played with heart and spirit.
Good but not great. Overrated because they are beloved.
Essential alternative guitar record
Perhaps the best Belen of rock, Lo fi and rap, this from a guy (me) who really can’t abide most rap. So take that with a grain. Either way, this record proves that BB’s were real.
My favourite Sinatra album and one of the better vocal albums in jazz-pop history. Frank was feeling blue, midnight blue, with the (predictable) demise of his relationship with Lana Turner, and it really resonates in the choice of material and the performances.
I really really can’t stand the National; pretentious morbidity, want-to-be dark poets. Godawful.
Though I mourned the loss of the new wave version of TH at the time, this record clearly anticipates and leads a mini revolution of sorts.
A more muscular version of the Doors, showing evolution as a band. Worthy of four stars.
This channeling of new wave and pop punk was a great breath of fresh air when it arrived in ‘94. Ear candy and really well made, but not best album calibre imo.
Sacrilegious perhaps but really not my thing