58 Madonna - Ray Of Light (1998)

 

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A return to form for the Queen of Pop with a very successful contemporary electronica album (UK#1, USA#2)

 

Review by Stephen Thomas Erlewine

4 Stars

 

Returning to pop after a four-year hiatus, Madonna enlisted respected techno producer William Orbit as her collaborator for Ray of Light, a self-conscious effort to stay abreast of contemporary trends. Unlike other veteran artists who attempted to come to terms with electronica, Madonna was always a dance artist, so it's no real shock to hear her sing over breakbeats, pulsating electronics, and blunted trip-hop beats. Still, it's mildly surprising that it works as well as it does, largely due to Madonna and Orbit's subtle attack. They've reigned in the beats, tamed electronica's eccentricities, and retained her flair for pop melodies, creating the first mainstream pop album that successfully embraces techno. Sonically, it's the most adventurous record she has made, but it's far from inaccessible, since the textures are alluring and the songs have a strong melodic foundation, whether it's the swirling title track, the meditative opener, "Substitute for Love," or the ballad "Frozen." For all of its attributes, there's a certain distance to Ray of Light, born of the carefully constructed productions and Madonna's newly mannered, technically precise singing. It all results in her most mature and restrained album, which is an easy achievement to admire, yet not necessarily an easy one to love.

 

Frozen video

 

Ray Of Light video

 

The Power Of Goodbye video

 

Nothing Really Matters (live 1999)

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57 The La's - The La's (1990)

 

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The only album made by Liverpool's answer to Manchester's Stone Roses. The La's were much much more than one song (There She Goes). (UK#50, USA did not chart)

 

Review by Stephen Thomas Erlewine

4.5 Stars

 

The La's were one of the few English alternative groups to keep traditional British guitar pop alive during the late '80s and early '90s. Drawing heavily from the punchy British Invasion sound of early Beatles, the Hollies, the Searchers, and the Small Faces, the group's eponymous debut is a swirling array of ringing guitar hooks and strong, undeniable pop melodies. Throughout the record, chief songwriter Lee Mavers turns out small, well-crafted gems, highlighted by the hit single "There She Goes," whose jangling hooks and sighing melodies simply scratch the surface of the abundance of pleasures on the record. While Mavers claimed at the time that the label forced him to release The La's, it's hard to imagine the record being any more infectious. As it stands, The La's was a refreshing slice of classicist guitar pop at the time of its release, and its charms have not faded over the years.

 

Way Out video

 

There She Goes video

 

Timeless Melody video

 

Feelin' video

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56 Stevie Wonder - Talking Book (1972)

 

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The artistic & commercial breakthrough album for America's greatest solo artist of the 1970s (UK#16, USA#3)

 

Review by John Bush

5 Stars

 

After releasing two "head" records during 1970-71, Stevie Wonder expanded his compositional palate with 1972's Talking Book to include societal ills as well as tender love songs, and so recorded the first smash album of his career. What had been hinted at on the intriguing project Music of My Mind was here focused into a laser beam of tight songwriting, warm electronic arrangements, and ebullient performances — altogether the most realistic vision of musical personality ever put to wax, beginning with a disarmingly simple love song, "You Are the Sunshine of My Life" (but of course, it's only the composition that's simple). Stevie's not always singing a tender ballad here — in fact, he flits from contentment to mistrust to promise to heartbreak within the course of the first four songs — but he never fails to render each song in the most vivid colors. In stark contrast to his early songs, which were clever but often relied on the Motown template of romantic metaphor, with Talking Book it became clear Stevie Wonder was beginning to speak his mind and use personal history for material (just as Marvin Gaye had with the social protest of 1971's What's Going On). The lyrics became less convoluted, while the emotional power gained in intensity. "You and I" and the glorious closer "I Believe (When I Fall in Love It Will Be Forever)" subtly illustrate that the conception of love can be stronger than the reality, while "Tuesday Heartbreak" speaks simply but powerfully: "I wanna be with you when the nighttime comes / I wanna be with you till the daytime comes." Ironically, the biggest hit from Talking Book wasn't a love song at all; the funk landmark "Superstition" urges empowerment instead of hopelessness, set to a grooving beat that made it one of the biggest hits of his career. It's followed by "Big Brother," the first of his directly critical songs, excoriating politicians who posture to the underclass in order to gain the only thing they really need: votes. With Talking Book, Stevie also found a proper balance between making an album entirely by himself and benefiting from the talents of others. His wife Syreeta and her sister Yvonne Wright contributed three great lyrics, and Ray Parker, Jr. came by to record a guitar solo that brings together the lengthy jam "Maybe Your Baby." Two more guitar heroes, Jeff Beck and Buzzy Feton, appeared on "Lookin' for Another Pure Love," Beck's solo especially giving voice to the excruciating process of moving on from a broken relationship. Like no other Stevie Wonder LP before it, Talking Book is all of a piece, the first unified statement of his career. It's certainly an exercise in indulgence but, imitating life, it veers breathtakingly from love to heartbreak and back with barely a pause.

 

Superstition (live 1973)

 

You Are The Sunshine Of My Life (live 1974)

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55 Joni Mitchell - Blue (1971)

 

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Canada greatest female singer songwriter made the definitive confessional folk-pop album with this release (UK#3, US#15).

 

Review by Jason Ankeny

5 Stars

 

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.

 

River (a River Phoenix video tribute)

 

California (live 1971)

 

My Old Man (live 1971)

 

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54 Manic Street Preachers - The Holy Bible (1994)

 

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Forget Nirvana's In Utero, this is the most nihilistic made in the 1990s IMHO (UK#6, USA did not chart)

 

Review by Stephen Thomas Erlewine

4.5 Stars

 

It's difficult not to look at The Holy Bible as Richey James' last will and testament, yet that only makes the record all the more powerful. A remarkable step forward from the Manic Street Preachers' first two records, The Holy Bible is a tense, harrowing collection of tortured, cryptic declarations of depression — the diary of anorexia "4st 7lb" is one of the most chilling songs in rock & roll. James' lyrics, which are punctuated by Nicky Wire's political tirades, are unflinching in their bleakness. Every song has a passage frightening in its imagery. Although the music itself isn't as scarily intense, its tight, terse hard rock and glam hooks accentuate the paranoia behind the songs, making the lyrics cut deeper.

 

Revol video

 

Faster video

 

P.C.P. (live at Glastonbury 1994)

 

She Is Suffering (live 1994)

 

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53 Rolling Stones - Exile On Main Street (1972)

 

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The Rolling Stones last classic Rock album at the end of their 5 year creative purple patch (UK#1, USA#1).

 

Review by Stephen Thomas Erlewine

5 Stars

 

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.

 

Tumbling Dice (live 1972)

 

Happy (live 1972)

 

All Down The Line (live 1972)

 

Sweet Virginia (live 1972)

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52 Velvet Underground - Velvet Underground & Nico (1967)

 

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Arguably, this album invented alternative (indie) music (UK#52 in 2002!, USA#171).

 

Review by Mark Deming

5 Stars

 

One would be hard pressed to name a rock album whose influence has been as broad and pervasive as The Velvet Underground and 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 and Nico, and fewer still have lost so little of their power to surprise and intrigue more than 30 years after first hitting the racks.

 

Femme Fatale (live 1972)

 

Heroin (audio only)

 

Waiting For My Man video

 

Venus In Furs (audio only)

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51 Pulp - Different Class (1995)

 

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At the height of Brit-Pop this album justifiably made Jarvis Cocker a national icon (UK#1, USA did not chart).

 

Review by Stephen Thomas Erlewine

5 Stars

 

After years of obscurity, Pulp shot to stardom in Britain with 1994's His 'n' Hers. By the time Different Class was released at the end of October 1995, the band, particularly lead singer Jarvis Cocker, were genuine British superstars, with two number two singles and a triumphant last-minute performance at Glastonbury under their belts, as well as one tabloid scandal. On the heels of such excitement, anticipation for Different Class ran high, and not only does it deliver, it blows away all their previous albums, including the fine His 'n' Hers. Pulp don't stray from their signature formula at all — it's still grandly theatrical, synth-spiked pop with new wave and disco flourishes, but they have mastered it here. Not only are the melodies and hooks significantly catchier and more immediate, the music explores more territory. From the faux-show tune romp of the anthemic opener "Mis-Shapes" and the glitzy, gaudy stomp of "Disco 2000" (complete with a nicked riff from Laura Branigan's "Gloria") to the aching ballad "Underwear" and the startling sexual menace of "I Spy," Pulp construct a diverse, appealing album around the same basic sound. Similarly, Jarvis Cocker's lyrics take two themes, sex and social class, and explore a number of different avenues in bitingly clever ways. As well as perfectly capturing the behavior of his characters, Cocker grasps the nuances of language, creating a dense portrait of suburban and working-class life. All of his sex songs are compassionate, while the subtle satire of "Sorted for E's & Wizz" is affectionate, but the best moment on the album is the hit single "Common People," about a rich girl who gets off by slumming with the lower class. Coming from Cocker, who made secondhand clothes and music glamorous, the song is undeniably affecting and exciting, much like Different Class itself.

 

Common People video

 

Sorted For E's and Wizz video

 

Disco 2000 video

 

Something Changed video

The following albums are in my All-time Top50:

 

ABC The Lexicon Of Love 1982

Aimee Mann Whatever 1993

Aimee Mann Magnolia ost. 2000

Air Moon Safari 1998

Alanis Morissette Jagged Little Pill 1995

Arcade Fire Funeral 2005

Arcade Fire Neon Bible 2007

Badfinger Straight Up 1972

Beatles Revolver 1966

Beatles Sgt. Peppers Lonely Heart Club Band 1967

Beatles The White Album 1968

Beatles Abbey Road 1969

Blur Parklife 1994

Carole King Tapestry 1971

Clash London Calling 1979

Coldplay A Rush Of Blood To The Head 2002

Crowded House Woodface 1991

Crowded House Together Alone 1993

David Bowie Hunky Dory 1971

David Bowie Ziggy Stardust 1972

David Bowie Low 1977

Dubstar Disgraceful 1995

Duran Duran Rio 1982

Jeff Buckley Grace 1994

K.D. Lang Ingenue 1992

Kate Bush The Dreaming 1982

Kate Bush Hounds Of Love 1985

Kate Bush Aerial 2005

Keane Hopes and Fears 2004

Led Zeppelin (Four Symbols) 1971

Led Zeppelin Physical Graffiti 1975

Madonna Like A Prayer 1989

Marvin Gaye What's Going On 1971

Nerina Pallot Fires 2006

Nirvana Nevermind 1991

Nirvana MTV Unplugged In New York 1994

Oasis Definitely Maybe 1994

Oasis What's The Story Morning Glory 1995

Pink Floyd Dark Side Of The Moon 1973

Pixies Doolittle 1989

Primal Scream Screamadelica 1991

Prince Sign O' The Times 1987

Radiohead The Bends 1994

Radiohead OK Computer 1997

REM Automatic For The People 1992

Rufus Wainwright Want One 2003

Smiths The Queen Is Dead 1986

Stevie Wonder Songs In The Key Of Life 1976

U2 Joshua Tree 1987

U2 Achtung Baby 1991

 

50 Crowded House - Woodface (1991)

 

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This was the album that after a decade of trying with sporadic success made New Zealand's Neil Finn almost as famous as Sir Edmund Hilary, Richard Hadlee, John Walker, Jona Lomu and Lucy Lawless (UK#6/USA#83). PS. They are/were the best live act I've ever seen with their ad-libs & musicianship.

 

Review by Chris Woodstra

4.5 Stars

 

Where Crowded House's previous album, Temple of Low Men, showcased the often dark side of a man alone with his thoughts, Woodface represents the joy of reunion and the freedom of a collaborative effort — more than half of the album was originally conceived as a Finn Brothers project, which was Tim and Neil's first crack at writing together. The songs are easily their finest to date, combining flawless melodies and the outstanding harmonies of the brothers' perfectly matched voices.

 

Weather With You (Live 1996 Farewell concert)

 

Fall At Your Feet video

 

It's Only Natural video

 

Four Seasons In One Day (Live 1996 Farewell concert)

 

Whispers and Moans (Live 1996 Farewell Concert)

 

 

 

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49 Keane - Hopes and Fears (2004)

 

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US Album cover.

 

Despite being a sub-Coldplay melancholic band and having a lead singer who looked like the sort of person who always fails to get served in a crowded pub. Their debut album was exceptionally good (UK#1, USA#45).

 

Review by MacKenzie Wilson

4 Stars

 

The English music press can never let anyone be. They're always quick to hail the next big thing and, in this case, the next big Coldplay is Keane. Lowgold briefly held that title upon its debut release in 2001, but U.K. critics rushed to give that crown to someone else just because that's what they like to do. Keane didn't ask for it, but perhaps it's the overall majestic presentation of the band's debut album, Hopes and Fears, that does it. That and the fact that the Sussex trio doesn't rely on a formula of lilting melodies and feverish guitars to carry the weight of the album. Keane haven't positioned themselves to be kings of anything, let alone the next Coldplay. They sound nothing like Chris Martin and Co. Sure, Coldplay's biggest hit to date, "Clocks," included only pianos, and they released the Safety EP on Fierce Panda, which is also Keane's label, but those are the only things Keane have in common with Coldplay. Alongside their beautiful, emotive dalliance of instrumentation is one thing that'll separate Keane from all the rest, and that's drive. The band's heartfelt ambition on Hopes and Fears is right there. It's impossible not to reach for it, really. Lead vocalist Tom Chaplin's rich vocals are as vibrant as any choir, and songs such as "This Is the Last Time," "Bend and Break," and "Can't Stop Now" reflect Keane's more savory, dramatic moments. Confidence bursts throughout, and for a band that has been around seven years and has never released a studio full-length album until now, achieving nearly epic-like status is quite impressive. Keane obviously have the songs and they have a strong voice leading the front; however, Tim Rice-Oxley (piano/keyboards/bass) and Richard Hughes (drums) allow Hopes and Fears to come alive with glamour and without the sheen of slick studio production. Even slow build-up tracks like "Bedshaped" and "We Might as Well Be Strangers" are just as passionate, if not more so, than some of the bigger numbers on the album. Some might find Keane's debut a bit stagy, or too theatrical at first, but that's okay. Listening to "Somewhere Only We Know" alone a few times is more than enough to convince you that Keane stand next to Coldplay, challenging them, and it's a respectable match at that.

 

Somewhere Only We Know video

 

Everybody's Changing (live at Glastonbury)

 

Bedshaped video

 

Bend and Break video

 

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