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Consensus Top 350 Albums of All-Time: 12. Ten – Pearl Jam (101 Viewers)

58. Master of Puppets – Metallica (361 points)

@Mt. Man #3 :headbang:
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@Scoresman #8 :headbang:
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Master of Puppets is the third studio album by the American heavy metal band Metallica, released on March 3, 1986, by Elektra Records. Recorded in Copenhagen, Denmark, at Sweet Silence Studios with producer Flemming Rasmussen, it is the band's final album to feature bassist Cliff Burton. While touring in support of Master of Puppets, he died on September 27, 1986, after the band's tour bus was involved in an accident in Dörarp, Sweden.
I'm surprised this didn't finish higher. 20 years ago, this would have made my top 70, but as I have aged and mellowed out a bit, I just don't listen to as much metal as I used to, and I was never a huge metal guy anyway; most of the metal I listen to are the exceptions, not the norm. If I had to do a 50 favorite bands/artists, probably only 6 or 7 would have metal (or some form of metal) as their main genre.

Anyway, I heard this for the first time right before the release of Load, and knowing what a great rep the album had, I went in thinking, "will it really be as great as everyone says?" I realized right away that yes it was that good, and I say that, again, as not a big metal guy. I was a big fan back in the day of the Black Album and Load (okay, some of Load; that album needed to throw some of the songs in the dumpster, but it was the 90s when bands thought, "hey, we can get almost 80 minutes on to a CD, so let's cram on as much as we can!"), but Master of Puppets was definitely their peak.
I picked Justice over it, without looking at the rankers of each during the thrash era I suspect that influenced. If I didn't limit picks per artist then I'd have topped at 15, maybe 20 different ones.
 
Speaking of destroying vocal cords, how do death and black metal singers get away with those sounds? The guy from Opeth has been doing this for 30+ years, yet he can still sing in a normal voice when he wants to.
You rang???

I am looking for it, but I swear Mikeal said in an interview the thought the growls were easier and less taxing on him, and it was the clean vocals that actually took training and working towards. For him a bit of it was a confidence thing and getting over that aspect to want to start to sing "normal" more and more. He is a 70s prog rocker at heart, so death metal was never 100% what he wanted to do, it was just more what the Swedish bands were doing at the time because of stuff like Entombed becoming "popular". and that was a way to get in a band.
 
54. Stop Making Sense – Talking Heads (372 points)

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@Tau837 #31
@Nick Vermeil #31
@BrutalPenguin #34
@Dennis Castro #59
@higgins #63
@Idiot Boxer #68



Stop Making Sense is a live album by the American rock band Talking Heads, also serving as the soundtrack to the concert film of the same name. It was released in September 1984 and features nine tracks from the film, albeit with treatment and editing. The album spent over two years on the Billboard 200 chart. It was their first album to be distributed by EMI outside North America.

The album was ranked number 345 on Rolling Stone magazine's list of the 500 greatest albums of all time.
@rockaction - you were speaking of countdown 'regrets'?? I totally spaced on this, and it probably would have replaced Fear of Music in my top 20. I also blanked on Live and Dangerous, and evidently most live albums besides Maiden.
 
Speaking of destroying vocal cords, how do death and black metal singers get away with those sounds? The guy from Opeth has been doing this for 30+ years, yet he can still sing in a normal voice when he wants to.
You rang???

I am looking for it, but I swear Mikeal said in an interview the thought the growls were easier and less taxing on him, and it was the clean vocals that actually took training and working towards. For him a bit of it was a confidence thing and getting over that aspect to want to start to sing "normal" more and more. He is a 70s prog rocker at heart, so death metal was never 100% what he wanted to do, it was just more what the Swedish bands were doing at the time because of stuff like Entombed becoming "popular". and that was a way to get in a band.
Yep! He is a monster fan of Camel (great band), which I think many miss simply because Camel was never really a big mainstream act like some of the other prominent 70s prog acts. Akerfeldt's clean guitar tone is very reminiscent of Andrew Latimer.
 
Wait what
I didn't think it was possible to stutter in the written form.

While Freedom is my favorite, the stretch from tracks 5-7 is the group's creative peak. These guys really know how to land an outro...
I'm currently on track 7 now. Creative peak, huh? I'll take your word for it. I don't hate it; I just don't much care for it. It feels like I'm being screamed at for something I didn't even know that I did. But I'll finish all 10 tracks. Maybe one of the last three will grab me (and throw me up against the wall and yell at me some more).
 
Metallica's only complete album is Master of Puppets and is also their best song. I like a lot of their songs but the only album played front to back is Master.
The difference between Metallica when they were great and then everything after 1989 is not just the sound of their guitars or whatever; they fundamentally and deliberately changed the way they wrote music and who they wrote it for. The masses and Clear Channel love 4/4 time. Bon Jovi is in 4/4. Motley Crue is in 4/4. Candlebox is 4/4. Only weird musicians and nerds enjoy bands that have weird time changes in their songs (nobody better at doing this and being commercially successful than Rush). But Metallica used to mix it up because they were great musicians and they were writing great and challenging songs.

Here's the time signatures for some of the early Metallica songs:

“Blackened” 4/4 intro that cycles through 3/4 and 4/4 and 5/4, then drops into 7/4 and 6/4 for the verse; choruses snap back to 4/4 with two-beat 2/4 tag bars.
“…And Justice for All” Main riff is in 5/4; verses flip between 4/4 and 3/4, and a 2/4 “catch-breath” often appears at the end of the motif.
“Eye of the Beholder” Switches between straight 4/4 in the verses and an off-kilter 5/4 (some sheet music shows it as 12/8 + 15/8) throughout the chorus section.
“One” Opens in 4/4, moves to 3/4 for the clean verses, injects occasional 2/4 bars, shifts to 6/4 in the bridge, then finishes the double-kick finale in fast 4/4 (felt as cut-time 2/2).
“The Frayed Ends of Sanity” Nominally 4/4, but has a parade of cut-and-paste two-beat (2/4) and seven-beat (7/4) bars
"Battery” – 3/4 intro; main riff 4/4; verses insert a single-bar 2/4 tag every four bars; two isolated 3/4 measures appear during the solo.
“The Four Horsemen” – verses / choruses 4/4; middle “gallop” section mixes in 12/8 before returning to 4/4.
“Fade to Black” – 4/4 with scattered single-bar 2/4 pickups; bridge is 6/4; ending double-time still counted 4/4.
“Fight Fire with Fire” – classical intro 12/8; main part 4/4; pre-chorus trims one bar to 3/4 before landing back in common time.
“For Whom the Bell Tolls” – opening bell riff felt in 3/4 (some write it 12/8); crashes into 4/4 under the solo and ride-out.
“Jump in the Fire” – mid-tempo 4/4 throughout; each chorus has a two-beat 2/4 pickup bar.
“Master of Puppets” – intro/verse: seven bars 4/4 plus one bar 7/8 (you may see some versions where they just call it 15/16); pre-chorus alternates 4/4 and 3/4
“Motorbreath” – 4/4 except for a single 2/4 bar each cycle in the chorus.
“No Remorse” – verses are 4/4, but there's one accent bar of 6/4 just before the final solo break; the fast outro is cut-time and arguably 2/2
“Orion” – first riff 4/4; mid-section bass melody 6/8, throw in one 3/4 bar just for fun, the final is 4/4 with a single 5/4 turnaround.
“Phantom Lord” – verses / choruses 4/4; clean mid-section is 12/8 for sixteen bars, then back to 4/4.
“Ride the Lightning” – verse riff 4/4; pre-chorus alternates 4/4 with 3/4; slow solo section is 6/4; outro returns to 4/4.
“The Thing That Should Not Be” – verse 4/4; pre-chorus drops a bar of 2/4; breakdown adds two bars of 3/4 before restoring 4/4.
“Welcome Home (Sanitarium)” – clean intro/verse follows 6/4, 6/4 , 4/4 pattern; chorus stays 4/4; bridge clips a bar to 3/4; fast finale resumes 4/4.
“Whiplash” – mostly 4/4, but pre-chorus lurches for a single bar of 3/4 every fourth line.


Now here is the time signature for every song on "The Black Album" (except Nothing Else Matters which stays at a consistently plodding 3/4):

4/4.

That's it. Every song. From start to finish. Freaking steady 4/4 all the way through. Like the Kingsmen or Def Leppard. The Black album and beyond reflected a deliberate change in the way they wrote music, and I think it's fair to conclude that they wanted to make more money by being more accessible to the masses. AKA: sell out. Now if you truly like the Black album and all the other stuff after (the worst I've heard has to be that song about a candle in the window lights the way home), that's cool and I don't judge. But for people like me that used to love Metallica in high school and then couldn't stand them afterwards, I hope this helps shed some light on why that may be.

Righteous. How do you know time signatures? Do you play an instrument or read music? I'm not trying to pin you down; I'm just always curious about people who can hear that stuff. I can never tell. I described the thrash shift in sound as "trebly," so you know how advanced I am.
I play guitar and read music and I spent countless hours with my Guitar magazines learning these songs back in the day. As far as that post I made, I was drinking last night and was on a mission, and I looked up all of the above, some by looking at the sheet music and I filled in the blanks with a google search. It's not like I could just sit here and tell you all that stuff from memory, but yes, growing up and playing those songs, you learn that there are certain "weird" things that the band is doing that makes the song awesome. It was true talent, and you'll typically only see really advanced musicians try to pull this off. Think of Rush, Dream Theater and Tool. It shows superior craftsmanship.
 
Speaking of destroying vocal cords, how do death and black metal singers get away with those sounds? The guy from Opeth has been doing this for 30+ years, yet he can still sing in a normal voice when he wants to.
I thought I read somewhere those low growls aren’t all that taxing
 
OK, I'm going to listen to Rage Against the Machine for the first time ever...
Wait what
I am excited and scared for him at the same time. Not sure what Kupcho's musical wheelhouse is.
I've got a pretty big tent, but these guys are outside of it, yelling at me to let them in. :D
I can see that. You have to approach it more from you're yelling with them and less being yelled at. But sure, Rage isn't going to be in everyone's wheelhouse. I like them because I was a teen when they came out but if Rage just came out today, it likely wouldn't be something I gravitated to. Morello's guitar work is awesome though.
 
Speaking of destroying vocal cords, how do death and black metal singers get away with those sounds? The guy from Opeth has been doing this for 30+ years, yet he can still sing in a normal voice when he wants to.
You rang???

I am looking for it, but I swear Mikeal said in an interview the thought the growls were easier and less taxing on him, and it was the clean vocals that actually took training and working towards. For him a bit of it was a confidence thing and getting over that aspect to want to start to sing "normal" more and more. He is a 70s prog rocker at heart, so death metal was never 100% what he wanted to do, it was just more what the Swedish bands were doing at the time because of stuff like Entombed becoming "popular". and that was a way to get in a band.
Yep! He is a monster fan of Camel (great band), which I think many miss simply because Camel was never really a big mainstream act like some of the other prominent 70s prog acts. Akerfeldt's clean guitar tone is very reminiscent of Andrew Latimer.
He jokes that the most modern metal record he listens to is Morbid Angel's Altar of Madness (1989). I have learned to seek out his playlist and album recommends because 80% of the time it's something from the 70s, great, and mostly likely proggy. A few of the picks I made in our MAD31 theme draft was directly because of those recommendations during interviews - Camel, Gentle Giant, Tull, Culpepper's Orchard, Premiata Forneria Marconi, Linda Perhacs, Scott Walker, etc.. He said he was trying to work out a way to cover Miles Davis' Buzzard Song. Pretty sure he said that the most he has paid for an album was for Leaf Hound which I know has been mentioned through music adventures around here. I think it was Zilla who took them in something and guided me to them.

From Still Life to Blackwater Park to Masters Apprentices to For Absent Friends (Genesis) to The Width of a Circle (Bowie) to Seventh Sojourn (Moody Blues) he is making many nods through song and album titles back to his love of old music.

Yes, I obsess - my theme for our last MAD31 almost was "Opeth recommends", I have found so much new music because of their music directly and through interviews and looking at their playlists. :wub: One of my favorites is the Blackwater Park album Dirtbox.

 
55. Blood On The Tracks – Bob Dylan (367 points)

@Ilov80s #2 :headbang:
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@timschochet #11
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@Barry2 #31
@Dreaded Marco #32
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@Don Quixote #50


Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975, by Columbia Records. The album marked Dylan's return to Columbia after a two-album stint with Asylum Records. Dylan began recording the album at an A & R studio in New York City in September 1974. In December, shortly before Columbia was due to release the album, Dylan abruptly re-recorded much of the material in Sound 80 studio in Minneapolis. The final album contains five tracks recorded in New York and five from Minneapolis. The songs have been linked to tensions in Dylan's personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, described the songs as "my parents talking". Dylan denied that the songs were autobiographical.
I am in fine company here with this ranking. My two choices would be Simple Twist of Fate or Shelter from the Storm.
 
54. Stop Making Sense – Talking Heads (372 points)

@Ilov80s #3 :headbang:
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@Chaos34 #17
@Mt. Man #23
@Tau837 #31
@Nick Vermeil #31
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@Dennis Castro #59
@higgins #63
@Idiot Boxer #68



Stop Making Sense is a live album by the American rock band Talking Heads, also serving as the soundtrack to the concert film of the same name. It was released in September 1984 and features nine tracks from the film, albeit with treatment and editing. The album spent over two years on the Billboard 200 chart. It was their first album to be distributed by EMI outside North America.

The album was ranked number 345 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Man this is a tough one. I think this is the best version of Heaven but it's not totally reflective of the energy of the album. Slippery People or Life During Wartime are 2 other tracks that I think reflect the energy here and are the definitive versions of those songs.
 
Wait what
I didn't think it was possible to stutter in the written form.

While Freedom is my favorite, the stretch from tracks 5-7 is the group's creative peak. These guys really know how to land an outro...
I'm currently on track 7 now. Creative peak, huh? I'll take your word for it. I don't hate it; I just don't much care for it. It feels like I'm being screamed at for something I didn't even know that I did. But I'll finish all 10 tracks. Maybe one of the last three will grab me (and throw me up against the wall and yell at me some more).

I can understand that 100%. This is what I was telling Dan held me back from a lot of nu metal and rap I have tried. It doesn't apply to me for Rage for whatever reason, but I fully understand what you are saying here. Like 80s posted - it could simply be the time of life it came out, and it hit me hard in High School.
 
Wait what
I didn't think it was possible to stutter in the written form.

While Freedom is my favorite, the stretch from tracks 5-7 is the group's creative peak. These guys really know how to land an outro...
I'm currently on track 7 now. Creative peak, huh? I'll take your word for it. I don't hate it; I just don't much care for it. It feels like I'm being screamed at for something I didn't even know that I did. But I'll finish all 10 tracks. Maybe one of the last three will grab me (and throw me up against the wall and yell at me some more).

I can understand that 100%. This is what I was telling Dan held me back from a lot of nu metal and rap I have tried. It doesn't apply to me for Rage for whatever reason, but I fully understand what you are saying here. Like 80s posted - it could simply be the time of life it came out, and it hit me hard in High School.
Yeah, I get it. Probably why Haircut 100 and Thomas Dolby were called out in Doc's latest 1 vote album list. And that was after highschool for me.
:walkeremoji:

I am, however, forever thankful I discovered Spotify's Private Session option yesterday.

On to Queen's Night at the Opera.
 
Wait what
I didn't think it was possible to stutter in the written form.

While Freedom is my favorite, the stretch from tracks 5-7 is the group's creative peak. These guys really know how to land an outro...
I'm currently on track 7 now. Creative peak, huh? I'll take your word for it. I don't hate it; I just don't much care for it. It feels like I'm being screamed at for something I didn't even know that I did. But I'll finish all 10 tracks. Maybe one of the last three will grab me (and throw me up against the wall and yell at me some more).

I can understand that 100%. This is what I was telling Dan held me back from a lot of nu metal and rap I have tried. It doesn't apply to me for Rage for whatever reason, but I fully understand what you are saying here. Like 80s posted - it could simply be the time of life it came out, and it hit me hard in High School.
What is your new avatar?
 
Wait what
I didn't think it was possible to stutter in the written form.

While Freedom is my favorite, the stretch from tracks 5-7 is the group's creative peak. These guys really know how to land an outro...
I'm currently on track 7 now. Creative peak, huh? I'll take your word for it. I don't hate it; I just don't much care for it. It feels like I'm being screamed at for something I didn't even know that I did. But I'll finish all 10 tracks. Maybe one of the last three will grab me (and throw me up against the wall and yell at me some more).

I can understand that 100%. This is what I was telling Dan held me back from a lot of nu metal and rap I have tried. It doesn't apply to me for Rage for whatever reason, but I fully understand what you are saying here. Like 80s posted - it could simply be the time of life it came out, and it hit me hard in High School.
What is your new avatar?
Opeth. It's an old-timey set of pics they used to promote the new album (my #1 here).

Been meaning to switch back in between MAD31s. I figure use them for my avatar and RH for my name to rep my two favorite bands during the down time and switch to current artists IF/when we fire up Round 6 and beyond. I already have a couple for Aimee Mann picked out.
 
Kim's latest is one of the final albums recorded and engineered by Steve Albini

Kim played a number of times at the three-day memorial service for Steve at this time last year, came to the dedication of Steve Albini Way later in the year and cried during the ceremony, and played at my wedding reception - aka the charity event before which we got married - in November. Aimee Mann used to be my #1 girl crush (even besting Gretchen the RA), but Kim has superseded her now. She's not just crazy talented and still sexy AF but absolutely a lovely person.
 
61. Full Moon Fever – Tom Petty (351 points)

@Val Rannous #7 :headbang:
@Nick Vermeil #12
[USER=76638]@Barry2
#19
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@Mrs. Rannous #38
@Mt. Man #45


Full Moon Fever is the debut solo studio album by American musician Tom Petty, released on April 24, 1989, by MCA Records. It features contributions from members of his band the Heartbreakers, notably Mike Campbell, as well as Jeff Lynne, Roy Orbison (who died prior to its release), and George Harrison, Petty's bandmates in the Traveling Wilburys. The record showcases Petty exploring his musical roots with nods to his influences. The songwriting primarily consists of collaborations between Petty and Lynne, who was also a producer on the album. Full Moon Fever became a commercial and critical success, peaking at No. 3 on the U.S. Billboard 200 and being certified 5× platinum in the United States and 6× platinum in Canada.

Easily my favorite Tom Petty album. All the others have songs I like/love, but don't hold my attention for a full album - this one keeps jamming all the way through. I think the reason is for me this feels like, well, more than just a Tom Petty album - it feels like Full Moon Fever by Charlie T. Wilbury Jr., and I always can feel that Wilbury influence.

,,,well, I just listed to the whole album again to pick a playlist song, and at first I only managed to narrow it to a top 6. Geez, this is hard. I spoke with Mrs. R., and asked if I would get lynched if I chose a deep track instead of the stuff everyone's heard - she said go for it. So, here's the song that I'm most likely to crank from the entire album - sue me:


59. Pronounced 'Lĕh-'Nérd 'Skin-'Nérd – Lynyrd Skynyrd (354 points)

@Dwayne_Castro #6 :headbang:
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@zamboni #41
@turnjose7 #61



(Pronounced 'Lĕh-'nérd 'Skin-'nérd) is the debut studio album by American rock band Lynyrd Skynyrd, released on August 13, 1973, by MCA Records. Recording took place in Doraville, Georgia at Studio One, following a lengthy period of rehearsals. Prior to the album's conception, many of its songs were already featured in Lynyrd Skynyrd's live repertoire. To promote it, the band released "Gimme Three Steps" and "Free Bird" as singles; these, along with "Simple Man" and "Tuesday's Gone", are among the band's best-known songs.
Please add Simple Man to the playlist.
These have been added.
 
55. Blood On The Tracks – Bob Dylan (367 points)

@Ilov80s #2 :headbang:
@Eephus #10 :headbang:
@timschochet #11
@Dr. Octopus #29
@Barry2 #31
@Dreaded Marco #32
@Pip's Invitation #36
@Don Quixote #50


Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975, by Columbia Records. The album marked Dylan's return to Columbia after a two-album stint with Asylum Records. Dylan began recording the album at an A & R studio in New York City in September 1974. In December, shortly before Columbia was due to release the album, Dylan abruptly re-recorded much of the material in Sound 80 studio in Minneapolis. The final album contains five tracks recorded in New York and five from Minneapolis. The songs have been linked to tensions in Dylan's personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, described the songs as "my parents talking". Dylan denied that the songs were autobiographical.
Dylan is always cryptic and sometimes untruthful in his interviews. This is his divorce album, and one of the best “confessionalist” records that were a big trend in the ‘70s. It was like he listened to a bunch of Jackson Browne, James Taylor, etc, records and said, “no, THIS is how it’s done.”

Every track is excellent and “Tangled Up in Blue” is one of his most popular, but “Idiot Wind” is the standout here and would be my suggestion for the playlist. Songwriting doesn’t get more raw than this.
 
Kim's latest is one of the final albums recorded and engineered by Steve Albini

Kim played a number of times at the three-day memorial service for Steve at this time last year, came to the dedication of Steve Albini Way later in the year and cried during the ceremony, and played at my wedding reception - aka the charity event before which we got married - in November. Aimee Mann used to be my #1 girl crush (even besting Gretchen the RA), but Kim has superseded her now. She's not just crazy talented and still sexy AF but absolutely a lovely person.
Another post of Krista’s that people will actually read! :laugh:
 
Wait what
I didn't think it was possible to stutter in the written form.

While Freedom is my favorite, the stretch from tracks 5-7 is the group's creative peak. These guys really know how to land an outro...
I'm currently on track 7 now. Creative peak, huh? I'll take your word for it. I don't hate it; I just don't much care for it. It feels like I'm being screamed at for something I didn't even know that I did. But I'll finish all 10 tracks. Maybe one of the last three will grab me (and throw me up against the wall and yell at me some more).

I can understand that 100%. This is what I was telling Dan held me back from a lot of nu metal and rap I have tried. It doesn't apply to me for Rage for whatever reason, but I fully understand what you are saying here. Like 80s posted - it could simply be the time of life it came out, and it hit me hard in High School.
I can take RATM in small doses but more than about 20 minutes at a time is overwhelming for me.
 
Wait what
I didn't think it was possible to stutter in the written form.

While Freedom is my favorite, the stretch from tracks 5-7 is the group's creative peak. These guys really know how to land an outro...
I'm currently on track 7 now. Creative peak, huh? I'll take your word for it. I don't hate it; I just don't much care for it. It feels like I'm being screamed at for something I didn't even know that I did. But I'll finish all 10 tracks. Maybe one of the last three will grab me (and throw me up against the wall and yell at me some more).

I can understand that 100%. This is what I was telling Dan held me back from a lot of nu metal and rap I have tried. It doesn't apply to me for Rage for whatever reason, but I fully understand what you are saying here. Like 80s posted - it could simply be the time of life it came out, and it hit me hard in High School.
I can take RATM in small doses but more than about 20 minutes at a time is overwhelming for me.
Same with me. Anything that veers heavy or screamy is like that for me unless I am working out.
 
53. Never Mind The Bollocks, Here's The Sex Pistols – Sex Pistols (373 points)

@titusbramble #7 :headbang:
@rockaction #13
@kupcho1 #15
@Don Quixote #18
@Juxtatrot #28
@New Binky the Doormat #30
@krista4 #40
Jeb #44


Never Mind the Bollocks, Here's the Sex Pistols (often shortened to Never Mind the Bollocks) is the only studio album by English punk rock band the Sex Pistols, released on 28 October 1977 through Virgin Records in the UK and on 11 November 1977 through Warner Bros. Records in the US. As a result of the Sex Pistols' volatile internal relationships, the band's lineup saw changes during the recording of the album. Original bass guitarist Glen Matlock left the band early in the recording process, and while he is credited as a co-writer on all but two of the tracks, he only played bass and sang backing vocals on one track, "Anarchy in the U.K." Recording sessions continued with a new bass player, Sid Vicious, who is credited on two of the songs written by the band after he joined. While Vicious's bass playing appeared on two tracks, his lack of skill on the instrument meant that many of the tracks were recorded with guitarist Steve Jones playing bass instead. Drummer Paul Cook, Jones and singer Johnny Rotten appear on every track. The various recording sessions were led alternately by Chris Thomas or Bill Price, and sometimes both together, but as the songs on the final albums often combined mixes from different sessions, and as it is unclear who of them was present in the recording booth each time, each song is jointly credited to both producers.
 
52. Layla And Other Assorted Love Songs – Derek & The Dominoes (375 points)

@Dennis Castro #12
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Layla and Other Assorted Love Songs is the only studio album by the English–American rock band Derek and the Dominos, released on 9 November 1970 as a double album by Polydor Records and Atco Records. It is best known for its title track, "Layla", which is often regarded as Eric Clapton's greatest musical achievement. The other band members were Bobby Whitlock (vocals, keyboard), Jim Gordon (drums, percussion), and Carl Radle (bass). Duane Allman played lead and slide guitar on 11 of the 14 songs.
 
Last edited:
53. Never Mind The Bollocks, Here's The Sex Pistols – Sex Pistols (373 points)

@titusbramble #7 :headbang:
@rockaction #13
@kupcho1 #15
@Don Quixote #18
@Juxtatrot #28
@New Binky the Doormat #30
@krista4 #40
Jeb #44


Never Mind the Bollocks, Here's the Sex Pistols (often shortened to Never Mind the Bollocks) is the only studio album by English punk rock band the Sex Pistols, released on 28 October 1977 through Virgin Records in the UK and on 11 November 1977 through Warner Bros. Records in the US. As a result of the Sex Pistols' volatile internal relationships, the band's lineup saw changes during the recording of the album. Original bass guitarist Glen Matlock left the band early in the recording process, and while he is credited as a co-writer on all but two of the tracks, he only played bass and sang backing vocals on one track, "Anarchy in the U.K." Recording sessions continued with a new bass player, Sid Vicious, who is credited on two of the songs written by the band after he joined. While Vicious's bass playing appeared on two tracks, his lack of skill on the instrument meant that many of the tracks were recorded with guitarist Steve Jones playing bass instead. Drummer Paul Cook, Jones and singer Johnny Rotten appear on every track. The various recording sessions were led alternately by Chris Thomas or Bill Price, and sometimes both together, but as the songs on the final albums often combined mixes from different sessions, and as it is unclear who of them was present in the recording booth each time, each song is jointly credited to both producers.

I don’t know about a review because that might be longer than the Velvets (though the Pistols have always confused me just a touch because I’m not British). This was ranked way too low by me and I guess a sunny day can **** every plan up. This hasn’t left my top ten in ten years and most days is #2 behind my #4. I’m gonna put the only pressure I’ve ever put on and ask for anything but “Submission,” which is why this record is not #1 for life. It has to be skipped.

I was in the punk rock car one night in high school with our high school’s very foreboding punk rockers, who in our small town looked like The Velvet Underground in Dubuque or Des Moines. They were monitored by the townsfolk (there had been an unfortunate and slightly unsolved suicide-by-hanging by a young teen girl from another town at their barn headquarters and that only added to it) due to their look. A few of them had these totally greased-down Misfits devillocks that you had to be there to believe. They all dressed in black and seemingly only black. They were working models in real life but intimidating, not helping themselves by wearing and sharing a biker jacket emblazoned with a cut off cross that read “Crass: Is The Cross In You?”

They were also the school's visual artists and their de facto leader, Andrea, was my childhood friend Jon’s older sister. They had lived right down the street from us, and they were the family on the rare obvious government assistance in my barely middle-class (don’t slip) childhood neighborhood. They ate canned ham for, you know. . . I won’t go on. I purchased the lyrics to Thriller off of Jon for a buck and it was an expense and a godsend for each party. That’s me at age nine.

Anyway, so I wound up in Annie’s car as a teen one rare night, and she knows I like the Pistols so she throws on a cassette and we’re listening and wouldn’t you know it, “Submission” comes on and I’m sixteen and grace has left me for the moment and I whined and said, “Oh crap, ‘Submission,’” upon which Annie immediately blows up and whips around and says, “**** you, Todd! This is my ****ing car!” I turned white.

LOLOLOL Righteous. Anyway, the point of that is that titus can pick whatever the **** he wants because it’s his ****ing car.

Literally laughing here. I’ll never forget it.

LOL.

This album will get some sort of homage. Not sure how or what. Love, me.

PS God save the Queen!

PPS Actually, the whole not being British thing means the Sex Pistols confuse me a lot more than one would think; through them I know that we are very different countries

PPPS (I had to put this in for some reason) The story of my childhood friend that didn’t end well from before the editing was that I just heard he was incarcerated and I hope that it's a rumor. He'd turned his life—which was nearly destroyed from really early teenage drug use—around and he had gone to Wesleyan University and was and is a brilliant guy. Anyway, that was too quick a dismissal upthread and a touch unfeeling. We'd hung out as teenagers because of a mutual friend and we had also become friends again because of it. What a bummer. The first story was funny, I thought. This one isn't.
 
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52. Layla And Other Assorted Love Songs – Derek & The Dominoes (375 points)

@Dennis Castro #12
@Dr. Octopus #12
@Pyschopav #16
@Mookie Gizzy #21
@Mister CIA #31
@turnjose #33
@Pip's Invitation #41
@timschochet #48
@zamboni #50

Layla and Other Assorted Love Songs is the only studio album by the English–American rock band Derek and the Dominos, released on 9 November 1970 as a double album by Polydor Records and Atco Records. It is best known for its title track, "Layla", which is often regarded as Eric Clapton's greatest musical achievement. The other band members were Bobby Whitlock (vocals, keyboard), Jim Gordon (drums, percussion), and Carl Radle (bass). Duane Allman played lead and slide guitar on 11 of the 14 songs.
Little Wing maybe?
 
56 (tie). Rage Against The Machine– Rage Against The Machine (366 points)

@SayChowda #1 :headbang:
@MAC_32 #4 :headbang:
@Yo Mama #7 :headbang:
@Dan Lambskin #8 :headbang:
@Long Ball Larry #34
@Tau837 #53
Jeb #56
@KarmaPolice #55
@Rand al Thor #54
[USER=52761]@Scoresman
#66


Rage Against the Machine is the debut studio album by American rock band Rage Against the Machine. It was released on November 6, 1992, by Epic Records, four days after the release of the album's first single, "Killing in the Name". The album was based largely on the band's first commercial demo tape of the same name, completed 11 months prior to the album's release. The tape contained earlier recordings of seven of the ten songs.
Can someone please add Freedom to the playlist? It could have honestly been like 5 other songs from this album, but that was the first Rage song I heard.
 
55. Blood On The Tracks – Bob Dylan (367 points)

@Ilov80s #2 :headbang:
@Eephus #10 :headbang:
@timschochet #11
@Dr. Octopus #29
@Barry2 #31
@Dreaded Marco #32
@Pip's Invitation #36
@Don Quixote #50


Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975, by Columbia Records. The album marked Dylan's return to Columbia after a two-album stint with Asylum Records. Dylan began recording the album at an A & R studio in New York City in September 1974. In December, shortly before Columbia was due to release the album, Dylan abruptly re-recorded much of the material in Sound 80 studio in Minneapolis. The final album contains five tracks recorded in New York and five from Minneapolis. The songs have been linked to tensions in Dylan's personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, described the songs as "my parents talking". Dylan denied that the songs were autobiographical.
I am in fine company here with this ranking. My two choices would be Simple Twist of Fate or Shelter from the Storm.
My favorites are Tangled and Shelter. But Simple Twist and Idiot Wind are great songs too. You can’t go wrong.
 
56 (tie). Rage Against The Machine– Rage Against The Machine (366 points)

@SayChowda #1 :headbang:
@MAC_32 #4 :headbang:
@Yo Mama #7 :headbang:
@Dan Lambskin #8 :headbang:
@Long Ball Larry #34
@Tau837 #53
Jeb #56
@KarmaPolice #55
@Rand al Thor #54
[USER=52761]@Scoresman
#66


Rage Against the Machine is the debut studio album by American rock band Rage Against the Machine. It was released on November 6, 1992, by Epic Records, four days after the release of the album's first single, "Killing in the Name". The album was based largely on the band's first commercial demo tape of the same name, completed 11 months prior to the album's release. The tape contained earlier recordings of seven of the ten songs.
Glad to see there were a lot of other FBGs on this as well.

Rage has been pretty much one of my favorite bands since this album came out, and this is by far my favorite album of theirs. I still listen to it straight through; no reason to skip around.

I didn't get to see them until the week that their 2nd album (Evil Empire) came out. Wish I could have seem them in a smaller venue/club.

For those that can't tell, my primary music focus is punk/hardcore and hiphop. This splits the difference well.
 
56 (tie). Rage Against The Machine– Rage Against The Machine (366 points)

@SayChowda #1 :headbang:
@MAC_32 #4 :headbang:
@Yo Mama #7 :headbang:
@Dan Lambskin #8 :headbang:
@Long Ball Larry #34
@Tau837 #53
Jeb #56
@KarmaPolice #55
@Rand al Thor #54
[USER=52761]@Scoresman
#66


Rage Against the Machine is the debut studio album by American rock band Rage Against the Machine. It was released on November 6, 1992, by Epic Records, four days after the release of the album's first single, "Killing in the Name". The album was based largely on the band's first commercial demo tape of the same name, completed 11 months prior to the album's release. The tape contained earlier recordings of seven of the ten songs.
Can someone please add Freedom to the playlist? It could have honestly been like 5 other songs from this album, but that was the first Rage song I heard.
Done
 
My quick review of album #55:

:shock: :jawdrop: :wub:

That’s how I felt in 2019 when I first started really listening to Dylan and would hear these individual songs and then Highway 61 Revisited and The Times They Are A-Changin’ and the rest, actually. Reading Eephus’s reviews and his first-rate essays/diary of his walks with Bosley while I was in Italy and Spain for what seemed like a month but was really two-plus weeks. I remember reading them and listening in Rome and Barcelona.

2023 with Blonde on Blonde in a hotel for my niece’s graduation in Los Angeles hearing “Stuck Inside of Mobile With the Memphis Blues Again.” Just jaw-dropping. I remember the lobby at 3 A.M., which was packed with musicians for some reason, all coming on or off tour and just listening to those songs. “I Want You” sooo bad.
 
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54. Stop Making Sense – Talking Heads (372 points)

@Ilov80s #3 :headbang:
@Atomic Punk #9 :headbang:
@Chaos34 #17
@Mt. Man #23
@Tau837 #31
@Nick Vermeil #31
@BrutalPenguin #34
@Dennis Castro #59
@higgins #63
@Idiot Boxer #68



Stop Making Sense is a live album by the American rock band Talking Heads, also serving as the soundtrack to the concert film of the same name. It was released in September 1984 and features nine tracks from the film, albeit with treatment and editing. The album spent over two years on the Billboard 200 chart. It was their first album to be distributed by EMI outside North America.

The album was ranked number 345 on Rolling Stone magazine's list of the 500 greatest albums of all time.

I worked in a video store in my senior year of high school and summer before college (1985-86 timeframe). We had to have a video playing at all times, and, of course, it had to be no worse than PG material. We played this video frequently because it was a favorite of the manager. That was my introduction to Talking Heads. I wish the album release had been a double album and included all of the songs. That would have made it even greater than it is.
 
54. Stop Making Sense – Talking Heads (372 points)

@Ilov80s #3 :headbang:
@Atomic Punk #9 :headbang:
@Chaos34 #17
@Mt. Man #23
@Tau837 #31
@Nick Vermeil #31
@BrutalPenguin #34
@Dennis Castro #59
@higgins #63
@Idiot Boxer #68



Stop Making Sense is a live album by the American rock band Talking Heads, also serving as the soundtrack to the concert film of the same name. It was released in September 1984 and features nine tracks from the film, albeit with treatment and editing. The album spent over two years on the Billboard 200 chart. It was their first album to be distributed by EMI outside North America.

The album was ranked number 345 on Rolling Stone magazine's list of the 500 greatest albums of all time.
This was one of my last cuts. I ended up leaving out of my top 70 because I think I’ve watched the movie more times than I’ve listened to the album itself.

The backup singers must have burned 10,000 calories each over the course of this concert.
 
52. Layla And Other Assorted Love Songs – Derek & The Dominoes (375 points)

@Dennis Castro #12
@Dr. Octopus #12
@Pyschopav #16
@Mookie Gizzy #21
@Mister CIA #31
@turnjose #33
@Pip's Invitation #41
@timschochet #48
@zamboni #50

Layla and Other Assorted Love Songs is the only studio album by the English–American rock band Derek and the Dominos, released on 9 November 1970 as a double album by Polydor Records and Atco Records. It is best known for its title track, "Layla", which is often regarded as Eric Clapton's greatest musical achievement. The other band members were Bobby Whitlock (vocals, keyboard), Jim Gordon (drums, percussion), and Carl Radle (bass). Duane Allman played lead and slide guitar on 11 of the 14 songs.
This is indeed Clapton’s greatest musical accomplishment. Much has been written about the title track, but the whole album is awesome, not only for the Clapton-Allman interplay, but for how it moved blues-rock forward with soulful performances, dazzling arrangements and an extremely high quality of songcraft, with both originals and covers tying into the theme of unrequited love. Bobby Whitlock was by far the best songwriting partner Clapton ever had.

There are no wrong choices for the playlist, so whatever Dennis and Doc Oc want is fine with me.
 

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