Consensus Top 350 Albums of All-Time: 185. Odelay – Beck (140 Viewers)

[Pip's Invitation]

298 (tie). In The Court of the Crimson King – King Crimson (92 points)


@Mookie Gizzy #30
@zamboni #42
@BroncoFreak_2K3 #49

In the Court of the Crimson King (subtitled An Observation by King Crimson) is the debut studio album by English progressive rock band King Crimson, released on 10 October 1969, by Island Records. Often regarded as the first true progressive rock album, it combined rock music influences with elements of jazz, classical, and symphonic music. This is the only album to feature founding member and multi-instrumentalist Ian McDonald.
In the Court of the Crimson King was King Crimson's most commercially successful album, and is widely regarded as one of the greatest progressive rock albums ever released. It reached number five on the UK Albums Chart and number 28 on the US Billboard 200, where it was certified Gold by the Recording Industry Association of America (RIAA). In 2015, the album was ranked number 2 on Rolling Stone's list of the "50 Greatest Prog Rock Albums of All Time", behind 1973's The Dark Side of the Moon by Pink Floyd.

And here we have another song I took in the British Isles countdown: "21st Century Schizoid Man". Another album I probably should have considered.

Love this album a lot - so hypnotic. I think I took "Epitaph" in one of our threads way back.

Obviously up to Mookie to do the playlist selection, but if he lets the ball go through his legs*, I'll field it for him.


*Yes, I know Mookie was the hitter.

Bumping because nothing from this has been added to the playlist yet.

Mookie mentioned adding Schizoid if you want to go for it.

Done. Should sound ... interesting ... coming after the Avett Brothers for people who are listening in sequence and not on shuffle.

 

[Dr. Octopus]

259 (tie). Somewhere in Time – Iron Maiden (105 points)

@Rand al Thor #6
@jwb #52
@higgins #55
@Ghost Rider #66

Somewhere in Time is the sixth studio album by English heavy metal band Iron Maiden. It was released on 29 September 1986 in the United Kingdom by EMI Records and in the United States by Capitol Records. It was the band's first album to feature guitar synthesisers.

Since its release, Somewhere in Time has been certified platinum by the RIAA, having sold over one million copies in the US. Somewhere on Tour was the album's supporting tour. In 2023, it was made the focus of the Future Past World Tour, alongside 2021's Senjutsu.

 

[Mookie Gizzy]

298 (tie). In The Court of the Crimson King – King Crimson (92 points)


@Mookie Gizzy #30
@zamboni #42
@BroncoFreak_2K3 #49

In the Court of the Crimson King (subtitled An Observation by King Crimson) is the debut studio album by English progressive rock band King Crimson, released on 10 October 1969, by Island Records. Often regarded as the first true progressive rock album, it combined rock music influences with elements of jazz, classical, and symphonic music. This is the only album to feature founding member and multi-instrumentalist Ian McDonald.
In the Court of the Crimson King was King Crimson's most commercially successful album, and is widely regarded as one of the greatest progressive rock albums ever released. It reached number five on the UK Albums Chart and number 28 on the US Billboard 200, where it was certified Gold by the Recording Industry Association of America (RIAA). In 2015, the album was ranked number 2 on Rolling Stone's list of the "50 Greatest Prog Rock Albums of All Time", behind 1973's The Dark Side of the Moon by Pink Floyd.

And here we have another song I took in the British Isles countdown: "21st Century Schizoid Man". Another album I probably should have considered.

Love this album a lot - so hypnotic. I think I took "Epitaph" in one of our threads way back.

Obviously up to Mookie to do the playlist selection, but if he lets the ball go through his legs*, I'll field it for him.


*Yes, I know Mookie was the hitter.

Bumping because nothing from this has been added to the playlist yet.

That’s because I don’t have Spotify and just assumed someone was going to add it. It would be 21st Century Schizoid Man

 

[Val Rannous]

Highway to Hell and Signals were both near misses for me. Signals probably would have made the top 70, but I already had a few other Rush albums so this got left off. The Analog Kid was my #3 Worlds Worst Superhero.

I was surprised to see this album make the cut. I am a Rush fan, but this one never crossed my mind. I considered earlier albums, as I thought the group took a step back starting with this album. Living up to its predecessors was a tall task, though. Not a bad album at all, though.

My guess is the people who voted for it were in middle school, or close to it, when the album came out. I was in 7th grade and I had it in my top 100 over "better" Rush albums just because when you're a certain age and there's a song by one of your favorite bands talking about teenage isolation and you're like, damn, they're singing about me - it makes a lasting impression.

I was in middle school when this came out and I definitely felt that way. However, I do rank it behind the Rush albums released between 1976 and 1981.

There's no doubt that many existing Rush fans at the time weren't overly keen on their synth era (1982-1987) in real time, but that era is very popular with a lot of younger fans, ones who got on the Rush bandwagon much later.

I see Signals as a transition album between the new wave leanings of Permanent Waves and Moving Pictures and the full-blown synth material of Grace Under Pressure, Power Windows and Hold Your Fire. It's got just enough in common with the earlier records that I don't feel overwhelmed by the sound/arrangements.

Agreed for the most part, although I am not sure Grace Under Pressure is that more synthy than Signals; both sound like rock records, just with the use of synths increased from PeW and MP. Power Windows (which made my list very high) was more of a big change; the synths increased AND it is mixed more like a new wave record than a rock one (in simple terms).

For me, it wasn't so much the added synth, it was the subtracted bass. Geddy got so enamored with his keyboards (really starting with this album) that a lot of songs for me lost that epic bass line that he brought to the previous albums. Both Permanent Waves and Moving Pictures do feature more synth, but it never felt like it was at the cost of the bass line until Signals - a trend which unfortunately only escalated with the albums that came in the following decade.

 

[Mrs. Rannous]

262 (tie). Parallel Lines – Blondie (104 points)

@Mrs. Rannous #19
@Snoopy #38
Jeb #58
@Dr. Octopus #65

Parallel Lines is the third studio album by American rock band Blondie, released on September 8, 1978, by Chrysalis Records. An instant critical and commercial success, the album reached No. 1 on the UK Albums Chart in February 1979 and proved to be the band's commercial breakthrough in the United States, where it reached No. 6 on the Billboard 200 in April 1979. In Billboard magazine, Parallel Lines was listed at No. 9 in its top pop albums year-end chart of 1979. The album spawned several successful singles, notably the international hit "Heart of Glass".

Sweet! I'll pick this one for the playlist:

11:59

Blondie · Parallel Lines · Song · 1978

open.spotify.com

 

[KarmaPolice]

This is quite an impressive showing by Maiden. Love it. The two I voted for and my other favorite from the 80s are still out there too.

Somewhere in Time was my entry point, and still love that one too. Sea of Madness, Long Distance Runner, and Stranger are favorites.

 

[Ghost Rider]

Highway to Hell and Signals were both near misses for me. Signals probably would have made the top 70, but I already had a few other Rush albums so this got left off. The Analog Kid was my #3 Worlds Worst Superhero.

I was surprised to see this album make the cut. I am a Rush fan, but this one never crossed my mind. I considered earlier albums, as I thought the group took a step back starting with this album. Living up to its predecessors was a tall task, though. Not a bad album at all, though.

My guess is the people who voted for it were in middle school, or close to it, when the album came out. I was in 7th grade and I had it in my top 100 over "better" Rush albums just because when you're a certain age and there's a song by one of your favorite bands talking about teenage isolation and you're like, damn, they're singing about me - it makes a lasting impression.

I was in middle school when this came out and I definitely felt that way. However, I do rank it behind the Rush albums released between 1976 and 1981.

There's no doubt that many existing Rush fans at the time weren't overly keen on their synth era (1982-1987) in real time, but that era is very popular with a lot of younger fans, ones who got on the Rush bandwagon much later.

I see Signals as a transition album between the new wave leanings of Permanent Waves and Moving Pictures and the full-blown synth material of Grace Under Pressure, Power Windows and Hold Your Fire. It's got just enough in common with the earlier records that I don't feel overwhelmed by the sound/arrangements.

Agreed for the most part, although I am not sure Grace Under Pressure is that more synthy than Signals; both sound like rock records, just with the use of synths increased from PeW and MP. Power Windows (which made my list very high) was more of a big change; the synths increased AND it is mixed more like a new wave record than a rock one (in simple terms).

For me, it wasn't so much the added synth, it was the subtracted bass. Geddy got so enamored with his keyboards (really starting with this album) that a lot of songs for me lost that epic bass line that he brought to the previous albums. Both Permanent Waves and Moving Pictures do feature more synth, but it never felt like it was at the cost of the bass line until Signals - a trend which unfortunately only escalated with the albums that came in the following decade.

Eh, there are killer bass lines all over Signals (and P/G, and Power Windows, etc.), and besides, I listen for good songs. If a song needs more synths and less bass guitar, so be it. The end result, the song, is what matters the most to me.

 

[The Dreaded Marco]

262 (tie). Parallel Lines – Blondie (104 points)

@Mrs. Rannous #19
@Snoopy #38
Jeb #58
@Dr. Octopus #65

Parallel Lines is the third studio album by American rock band Blondie, released on September 8, 1978, by Chrysalis Records. An instant critical and commercial success, the album reached No. 1 on the UK Albums Chart in February 1979 and proved to be the band's commercial breakthrough in the United States, where it reached No. 6 on the Billboard 200 in April 1979. In Billboard magazine, Parallel Lines was listed at No. 9 in its top pop albums year-end chart of 1979. The album spawned several successful singles, notably the international hit "Heart of Glass".

Sweet! I'll pick this one for the playlist:

11:59

Blondie · Parallel Lines · Song · 1978

open.spotify.com

Added

 

[Ghost Rider]

I was a later comer as far as being a Maiden fan, but Somewhere in Time is the album I still revisit the most and thus my favorite, hence it making my list. I love the mixture of their brand of metal (hard rock, really) and space rock.

 

[Val Rannous]

Highway to Hell and Signals were both near misses for me. Signals probably would have made the top 70, but I already had a few other Rush albums so this got left off. The Analog Kid was my #3 Worlds Worst Superhero.

I was surprised to see this album make the cut. I am a Rush fan, but this one never crossed my mind. I considered earlier albums, as I thought the group took a step back starting with this album. Living up to its predecessors was a tall task, though. Not a bad album at all, though.

My guess is the people who voted for it were in middle school, or close to it, when the album came out. I was in 7th grade and I had it in my top 100 over "better" Rush albums just because when you're a certain age and there's a song by one of your favorite bands talking about teenage isolation and you're like, damn, they're singing about me - it makes a lasting impression.

I was in middle school when this came out and I definitely felt that way. However, I do rank it behind the Rush albums released between 1976 and 1981.

There's no doubt that many existing Rush fans at the time weren't overly keen on their synth era (1982-1987) in real time, but that era is very popular with a lot of younger fans, ones who got on the Rush bandwagon much later.

I see Signals as a transition album between the new wave leanings of Permanent Waves and Moving Pictures and the full-blown synth material of Grace Under Pressure, Power Windows and Hold Your Fire. It's got just enough in common with the earlier records that I don't feel overwhelmed by the sound/arrangements.

Agreed for the most part, although I am not sure Grace Under Pressure is that more synthy than Signals; both sound like rock records, just with the use of synths increased from PeW and MP. Power Windows (which made my list very high) was more of a big change; the synths increased AND it is mixed more like a new wave record than a rock one (in simple terms).

For me, it wasn't so much the added synth, it was the subtracted bass. Geddy got so enamored with his keyboards (really starting with this album) that a lot of songs for me lost that epic bass line that he brought to the previous albums. Both Permanent Waves and Moving Pictures do feature more synth, but it never felt like it was at the cost of the bass line until Signals - a trend which unfortunately only escalated with the albums that came in the following decade.

Eh, there are killer bass lines all over Signals (and P/G, and Power Windows, etc.), and besides, I listen for good songs. If a song needs more synths and less bass guitar, so be it. The end result, the song, is what matters the most to me.

Actually, I agree for the most part - the bass isn't gone from Signals, just... diminished. It's still one of my favorite albums from them, just not "peak" Rush.

 

[Pip's Invitation]

259 (tie). Fantastic Planet – Failure (105 points)

@Pip's Invitation #12
@landrys hat #25

Fantastic Planet is the third album by the American alternative rock band Failure, released on August 13, 1996, by Slash Records and Warner Bros. Records. It was the last album released on Slash Records prior to its acquisition by London Recordings in 1996.

The album was produced by Failure themselves in a process that took longer than their previous two albums, with each song being recorded and produced soon after being written. Space rock themes are present in the lyrics, as well as various indirect references to drug addiction, drug-related experiences, and prostitution. The album is cyclical, in that the chiming sound effect which ends the final track "Daylight" begins the opening track "Saturday Saviour", and was the beginning of a system of numerically designated segues in Failure's studio work, which would continue on later albums

This is a '70s epic disguised as '90s "alternative rock." It is every bit as ambitious, well-conceived, well-crafted and sonically awesome as your top-tier Zeppelin and Floyd records. And it succeeded wildly on every level except commercially (though it did outsell their first two albums and its single "Stuck on You" gained airplay on "modern rock" radio stations.) If there's such a thing as grunge-prog, this is it.

I happened upon Failure in 1994 when they were opening for Tool in support of their second record Magnified. I was instantly charmed by their sound and immediately bought and loved Magnified, which is kind of an embryonic version of Fantastic Planet. When I first heard Fantastic Planet, my entire senses turned to jelly; I had thought this kind of sonic experimentation was dead.

Failure was unable to capitalize on their artistic accomplishment because of tension between songwriters Ken Andrews and Greg Edwards, exacerbated by Edwards' out-of-control heroin habit (though Andrews has admitted that he was going through his own issues at the time as well), and they broke up after the tour to promote Fantastic Planet concluded in 1997.

But in some corners, the band's achievement was appreciated, and the album developed a cult following, which expanded after A Perfect Circle covered one of its songs, "The Nurse Who Loved Me". (There's that Tool connection again.)

Andrews and Edwards reconnected in 2013 and decided to book a reunion gig in their hometown of LA, not thinking anyone would care. It sold out in minutes. That led to the revival of the band for numerous tours (including a 20th anniversary tour for Fantastic Planet in 2016, at which the album was played in its entirety) and three albums that approach Fantastic Planet in quality. A documentary about the band directed by Andrews, Every Time You Lose Your Mind, is now streaming on Hulu and Disney+. I need to get around to watching that soon.

I took the penultimate track "Heliotropic," which occupies some magnificent territory in between prog and stoner rock, in krista's US countdown and have added it to the playlist.

Heliotropic

Failure · Fantastic Planet · Song · 1996

open.spotify.com

Other favorites include the hard rocker Sergeant Politeness

Sergeant Politeness

Failure · Fantastic Planet · Song · 1996

open.spotify.com

The emotional and well-covered The Nurse Who Loved Me

The Nurse Who Loved Me

Failure · Fantastic Planet · Song · 1996

open.spotify.com

and the epic closer Daylight

Daylight

Failure · Fantastic Planet · Song · 1996

open.spotify.com

 

[zamboni]

Highway to Hell and Signals were both near misses for me. Signals probably would have made the top 70, but I already had a few other Rush albums so this got left off. The Analog Kid was my #3 Worlds Worst Superhero.

I was surprised to see this album make the cut. I am a Rush fan, but this one never crossed my mind. I considered earlier albums, as I thought the group took a step back starting with this album. Living up to its predecessors was a tall task, though. Not a bad album at all, though.

My guess is the people who voted for it were in middle school, or close to it, when the album came out. I was in 7th grade and I had it in my top 100 over "better" Rush albums just because when you're a certain age and there's a song by one of your favorite bands talking about teenage isolation and you're like, damn, they're singing about me - it makes a lasting impression.

I was in middle school when this came out and I definitely felt that way. However, I do rank it behind the Rush albums released between 1976 and 1981.

There's no doubt that many existing Rush fans at the time weren't overly keen on their synth era (1982-1987) in real time, but that era is very popular with a lot of younger fans, ones who got on the Rush bandwagon much later.

I see Signals as a transition album between the new wave leanings of Permanent Waves and Moving Pictures and the full-blown synth material of Grace Under Pressure, Power Windows and Hold Your Fire. It's got just enough in common with the earlier records that I don't feel overwhelmed by the sound/arrangements.

Agreed for the most part, although I am not sure Grace Under Pressure is that more synthy than Signals; both sound like rock records, just with the use of synths increased from PeW and MP. Power Windows (which made my list very high) was more of a big change; the synths increased AND it is mixed more like a new wave record than a rock one (in simple terms).

For me, it wasn't so much the added synth, it was the subtracted bass.

I hear you on the bass, but for me, it was Alex’s guitar work being neutered a bit when Signals came out. But I’m also a big proponent of the ‘74-81 era when Alex laid down some awesome, intricate work.

 

[Pip's Invitation]

Highway to Hell and Signals were both near misses for me. Signals probably would have made the top 70, but I already had a few other Rush albums so this got left off. The Analog Kid was my #3 Worlds Worst Superhero.

I was surprised to see this album make the cut. I am a Rush fan, but this one never crossed my mind. I considered earlier albums, as I thought the group took a step back starting with this album. Living up to its predecessors was a tall task, though. Not a bad album at all, though.

My guess is the people who voted for it were in middle school, or close to it, when the album came out. I was in 7th grade and I had it in my top 100 over "better" Rush albums just because when you're a certain age and there's a song by one of your favorite bands talking about teenage isolation and you're like, damn, they're singing about me - it makes a lasting impression.

I was in middle school when this came out and I definitely felt that way. However, I do rank it behind the Rush albums released between 1976 and 1981.

There's no doubt that many existing Rush fans at the time weren't overly keen on their synth era (1982-1987) in real time, but that era is very popular with a lot of younger fans, ones who got on the Rush bandwagon much later.

I see Signals as a transition album between the new wave leanings of Permanent Waves and Moving Pictures and the full-blown synth material of Grace Under Pressure, Power Windows and Hold Your Fire. It's got just enough in common with the earlier records that I don't feel overwhelmed by the sound/arrangements.

Agreed for the most part, although I am not sure Grace Under Pressure is that more synthy than Signals; both sound like rock records, just with the use of synths increased from PeW and MP. Power Windows (which made my list very high) was more of a big change; the synths increased AND it is mixed more like a new wave record than a rock one (in simple terms).

For me, it wasn't so much the added synth, it was the subtracted bass. Geddy got so enamored with his keyboards (really starting with this album) that a lot of songs for me lost that epic bass line that he brought to the previous albums. Both Permanent Waves and Moving Pictures do feature more synth, but it never felt like it was at the cost of the bass line until Signals - a trend which unfortunately only escalated with the albums that came in the following decade.

You may be right, but I LOVE the bass on "New World Man."

 

[KarmaPolice]

I was a later comer as far as being a Maiden fan, but Somewhere in Time is the album I still revisit the most and thus my favorite, hence it making my list. I love the mixture of their brand of metal (hard rock, really) and space rock.

I am listening to it now. In my mind the slight knock on the album is Alexander the Great, but this middle section is sooo damn good as well. I guess the point is there are no wrong answers for 80s Maiden albums. That is a 7 album run of top to bottom great albums, plus an all-time live album that decade. Epic run. Last year I did a slow deep dive on all the Maiden albums. For a challenge I made a playlist allowing only 2 songs/album, and that really hard even in the 00s and on. They have very few weak spots, but as I posted that is a little bit of a weakness for them too if people don't like their sound. It doesn't change much, but sounds amazing to me.

Opeth, Mastodon, Iron Maiden, and King Diamond seem to be my core rotation of metal music now. There are a lot of similarities with those 4 acts.

 

[Dr. Octopus]

Iron Maiden is out to the early lead (probably).

 

[John Maddens Lunchbox]

262 (tie). Parallel Lines – Blondie (104 points)

@Mrs. Rannous #19
@Snoopy #38
Jeb #58
@Dr. Octopus #65

Parallel Lines is the third studio album by American rock band Blondie, released on September 8, 1978, by Chrysalis Records. An instant critical and commercial success, the album reached No. 1 on the UK Albums Chart in February 1979 and proved to be the band's commercial breakthrough in the United States, where it reached No. 6 on the Billboard 200 in April 1979. In Billboard magazine, Parallel Lines was listed at No. 9 in its top pop albums year-end chart of 1979. The album spawned several successful singles, notably the international hit "Heart of Glass".

262 (tie). Parallel Lines – Blondie (104 points)

@Mrs. Rannous #19
@Snoopy #38
Jeb #58
@Dr. Octopus #65

Parallel Lines is the third studio album by American rock band Blondie, released on September 8, 1978, by Chrysalis Records. An instant critical and commercial success, the album reached No. 1 on the UK Albums Chart in February 1979 and proved to be the band's commercial breakthrough in the United States, where it reached No. 6 on the Billboard 200 in April 1979. In Billboard magazine, Parallel Lines was listed at No. 9 in its top pop albums year-end chart of 1979. The album spawned several successful singles, notably the international hit "Heart of Glass".

Sweet! I'll pick this one for the playlist:

11:59

Blondie · Parallel Lines · Song · 1978

open.spotify.com

This is an amazing album.
My #17 on my unsubmitted list.
It’s like a greatest hits album such is the depth.
Mike Chapman made a big difference to the sound of the band following the wonderful Plastic Letters album.
Just listen to the original version of Heart of Glass and compare it to the final versiom.
Chapman was part of the Chnny/Chap production team that dominated glam rock half a decade before in the UK.
The Sweet were my favorite MAD list so far and Chapman was a prime reason why.

My ranking of the tracks, in order
1 - Pretty Baby - How this was never a single stuns me, but then I listen to the ones that were and cant complain
2 - Sunday Girl - With the band all born in the 50s, except Harry who just turned 80 this year. , the sound has an unmistakeable 50s style
3 - One Way or Another - It’s the attitude of Harry on the vocals here that give it an edge
4 - 11:59 - More 50s style
5 - Heart of Glass - May be overplayed, but its still sounds astonishing.
6 - Hanging on the Telephone - Such an exciting opening to the album
7 - Picture This - The vocal tricks from Harry turn what could have been an average track into so much more
8 - I’m Gonna Love You Too - If you are gonna sound like the 50s, why not a Buddy Holly cover
9 - Fade Away and Radiate - Such a tonaL shift on the album
10 - Will Anything Happen - The quality drops a little now. Still a great track
11 - I Know But I Don’t Know - Just an average album track really
12 - Just Go Away - The albums weak spot

 

[zamboni]

Iron Maiden is out to the early lead (probably).

Bring your MADaughter…to the slaughter.

 

[Tau837]

267 (tie). In Your Honor – Foo Fighters (103 points)

@Tau837 #7
@MAC_32 #32

In Your Honor is the fifth studio album by American rock band Foo Fighters, released on June 14, 2005, through Roswell and RCA Records. It is a double album, with the first disc containing heavy rock songs and the second containing mellower acoustic songs. Frontman Dave Grohl decided to do a diverse blend of songs, as he felt that after ten years of existence, the band had to break new ground with their music. The album was recorded at a newly built studio in Northridge, Los Angeles, and features guests such as John Paul Jones (Led Zeppelin), Norah Jones, and Josh Homme (Queens of the Stone Age). Its lyrics deal with both resonating and introspective themes, with a major influence from Grohl's involvement on the campaign trail with John Kerry during the 2004 presidential election. It was the first album to feature keyboardist Rami Jaffee, although he would not join the band as full-time member until 2017.

My least favorite track on this double is oddly enough the lead single, Best Of You. It's...fiiiiine...in the context of the album, but as a stand alone, while accessible, it's filler to my ears. The 1-2 punch of the title track and No Way Back and the closer of side one End Over End is up there with the combo best openings / finish to an album I'm familiar with and plenty of ear candy in between. Side 2 is what makes this a standout Foos album though. While I think the studio version lacks a standout, it's a side that needs to be listened to beginning-to-end, like one 40+ minute track, and the standouts come in what they released on their live disc released later the same year, Skin and Bones. To me, while their highest highs came before this album, front-to-back this was their musical peak. I'm curious what direction Tau goes with his playlist add.

I would have chosen this for the acoustic side alone, although I also like the electric side a lot. I agree that Best of You, while fine, is not a highlight for me. If I get to pick a song for the playlist, I choose Friend of a Friend.

 

[BLOCKED_PUNT]

My Maiden pick won't make it :(

 

[KarmaPolice]

My Maiden pick won't make it :(

The X Factor?

 

[BLOCKED_PUNT]

no

 

[KarmaPolice]

no

We might have had to kick you out.

 

[BLOCKED_PUNT]

no one would miss me anyway

 

[Leroy Hoard]

262 (tie). Parallel Lines – Blondie (104 points)

@Mrs. Rannous #19
@Snoopy #38
Jeb #58
@Dr. Octopus #65

Parallel Lines is the third studio album by American rock band Blondie, released on September 8, 1978, by Chrysalis Records. An instant critical and commercial success, the album reached No. 1 on the UK Albums Chart in February 1979 and proved to be the band's commercial breakthrough in the United States, where it reached No. 6 on the Billboard 200 in April 1979. In Billboard magazine, Parallel Lines was listed at No. 9 in its top pop albums year-end chart of 1979. The album spawned several successful singles, notably the international hit "Heart of Glass".

Sweet! I'll pick this one for the playlist:

11:59

Blondie · Parallel Lines · Song · 1978

open.spotify.com

One of my favorites from them.

 

[Dan Lambskin]

262 (tie). I And Love And You – The Avett Brothers (104 points)

Jeb #26
@Dr. Octopus #36
@Dan Lambskin #47

I and Love and You is the 2009 major label debut by The Avett Brothers and produced by Rick Rubin. Rick Rubin was impressed by The Avett Brothers' previous album, Emotionalism and decided to produce the album
The first single, "I and Love and You" was released on June 24, 2009, via free digital download. The album was released on vinyl on September 15, 2009, with the CD and digital formats becoming available on September 29, 2009. The album was available in streaming format on National Public Radio's Web site prior to its release.

I'm a big fan of the Avetts generally and that's my favorite album by them. The first 5-6 songs hooked me in and there's not a bad song on there.

I'm a big fan of the Avetts generally and that's my favorite album by them. The first 5-6 songs hooked me in and there's not a bad song on there.

I felt bad not adding them to my list. I've seen them so many times including this past April. They play the Merlefest about every other year, and around the state in general. I couldn't decide which album to take, so I took none. That happened with a few artists. Anyway, I'm glad to see the Avetts in the countdown.

262 (tie). I And Love And You – The Avett Brothers (104 points)

Jeb #26
@Dr. Octopus #36
@Dan Lambskin #47

I and Love and You is the 2009 major label debut by The Avett Brothers and produced by Rick Rubin. Rick Rubin was impressed by The Avett Brothers' previous album, Emotionalism and decided to produce the album
The first single, "I and Love and You" was released on June 24, 2009, via free digital download. The album was released on vinyl on September 15, 2009, with the CD and digital formats becoming available on September 29, 2009. The album was available in streaming format on National Public Radio's Web site prior to its release.

I've never heard the whole album but I saw them open for Wilco when it was new and really liked their stuff. The title track of this record was particularly memorable.

Yeah love this album there’s a live album of theirs I like too

Have not had a chance to catch them live yet on my list though

Hard to pick a favorite on this one I really like Tin Man, Kick Drum Heart and Slight Figure of Speach

And It Spread they really belt this one out

January Wedding too

 

[Pip's Invitation]

607. Strange Times – The Chameleons (Dreaded Marco ranked #18)

I was fairly certain this was going to be my highest ranked album to not crack the top 353. And, given the band's history, it's appropriate that it didn't.

Whenever I listen to one of their albums, this one being their best, I'm amazed that they didn't ever really hit it big. They should've been one of the huge, goth/post-punk, 80's bands in the same vein as the Smiths and the Cure----but they just didn't ever reach that point.

Unfortunately, this is the only one of their albums that is not on Spotify. But the song I want to place on the playlist is there in it's album form on a goth compilation album.
@KarmaPolice, please add Swamp Thing to the playlist. It appears on an album called Gothic & Darkwave. Thanks!

Here is a good review of Strange Times:

I feel bad for The Chameleons. I really do. Not because they clearly suffered from mental illness and had a very grim perspective on life as made evident by the lyrics of practically all their songs. And not because their band manager faced a sudden death so debilitating to their hearts that they disbanded almost immediately. Not even because they were forced to label their name as The Chameleons (UK) on anything and everything in the states because some progressive rock/folk band already took the name and did absolutely nothing with it. No, I feel bad for The Chameleons because their ratio of fans to good music is so low that I practically forced myself to write this review despite my massive writers block and general disinterest in writing things lately. But alas it has been said by a handful of different blogs across the internet that The Chameleons, a seemingly random post-punk 80's band, “are the best band that you've never heard of”. And while that's a pretty bold claim to make, that sentence can stand true on the merit of literally any of their albums. It just so happens that I find Strange Times to be their best work.

At the point in their career where they began to craft Strange Times, The Chameleons were finding enough success to keep them going but were somehow just out of reach of making it to a level of equal recognition amongst similar bands of their time. Which is odd, considering their sound fit in well with so many of the huge UK rock groups that dominated the 80s scene, while also not being derivative of any of it. They had the killer wall-of-sound production, that glossy yet punchy guitar tone, and the angsty psuedo-punk British accents that for some reason resonate within all of us. But The Chameleons managed to keep themselves separated by actually having a sense of awareness to their music. That's not to say bands like U2 had no idea what their sound was, The Chameleons just seemed to write music as an extension of their own expression; it seemed easy for them to write good songs. That's what made each of their albums so fascinating. Each one represented clear directions the band decided to take their music without abandoning groundwork laid by their work previous. And come time to write Strange Times, I think the band had long realized that no matter how perfect of a post-punk album they wrote, it wouldn't take off. They were just cursed or something, who knows why it was the case. This is the mindset that got them to create their most unique and arguably progressive album in their entire catalog. Strange Times is the pinnacle of the band's writing and musicianship, and gave a lasting testament to who they really were and what they were capable of. And damn are they capable.

The Chameleons manage to command an atmosphere throughout the entirety of the album that is nothing but visceral. The musicianship is the key factor in their ability to evoke these feelings, and despite the fact that they are clearly competent in their respective duties, they spare us the indulgence with a grasp on minimalism. In doing so they effectively make an album that is as easy to swallow as it is to sit back and say “dammmn, these guys are nailing it”. They use tried-and-true formula as an outline while pouring their undeniable talent into every verse, bridge, and chorus so that each second on the album fits together in its rightful place. Yet surrounding it all is an atmosphere and production so glossy and pristine, that it feels as though the analog tape they recorded the music on was dunked into a vat of ethreal pinkness (this is my attempt at metaphorical imagery, roll with it). It breathes life into every song, even ones like “Tears” which are so basic they begin to feel naked when boiled down to its base structure. Yet “Tears” is such a powerful and fully realized ballad that the guitar melody hits harder than it should, the rhythmic pounding of the skins encompasses your ears, and the blunt lyrics of missing a childhood friend cut the stomach in an anthemic way.

Speaking of lyrics, principle lyricist Mark Burgess wasn't half bad at writing them. He uses a pretty basic vocabulary, but manages to weave together and deliver his lines in ways that don't feel forced or clichéd. In fact, it works to their advantage that they remain upfront and non-cryptic, avoiding the pretentiousness that many rock bands succumb to. It gives a down to earth quality to the rest of the album, which as mentioned before is soaked in a dream-like sentiment. This provides a touch of both surrealism and humanity; two very apposing ideas that when juxtapose so fluidly, offers something very unique. Over a sliding and droning guitar lead he yells:


[td]Picking up the pieces
Half alive in a nine 'til five
Vacant eyes, is it any wonder?
[/td]

Perhaps the best quality of Strange Times its ability to bring together its dark, somber mood with a sense of tranquility and comfort. It never feels like a storm is around you, just that the aftermath of a huge one lingers all around. It essentially romanticizes its own melancholy. Songs like the titanic “Soul in Isolation” have Burgess yelling out depressing and frantic cries for help over an incredibly rhythmic drum beat and bass line. Yet the guitar lead and echoing effect on the vocals make it seem like everything's okay, that he'll be fine. Its almost soft and enjoyable. In doing so, it brings out grim similarities to the feeling of substance abuse; a situation where the abuser is rendered immobile by the beauty and of comfort of the drug while knowing the destruction it brings upon them. The band covers topics of substance abuse both early on in the album and in songs of the past, possibly hinting at personal struggles the bandmates faced themselves.

The Chameleons succeeded in creating their peak work with Strange Times, and it almost seems fitting that this is their last effort before their eventually break-up. It marked the end of the journey they had taken the band with their previous two full lengths, at least until reforming years later with the acceptance that this was a path best left in the past. Its only deserving that this album is adored by the fans that it had managed to reach, because it truly is something worth appreciating. The effort the band put into their work is undeniable. Strange Times has become one of my personal favorite records, and I find comfort in knowing it is great enough to continue to create fans out of anyone who stumble upon it. At no matter how slow of a rate.

I REALLY dig Swamp Thing.

 

[Dwayne_Castro]

Agreed for the most part, although I am not sure Grace Under Pressure is that more synthy than Signals; both sound like rock records, just with the use of synths increased from PeW and MP. Power Windows (which made my list very high) was more of a big change; the synths increased AND it is mixed more like a new wave record than a rock one (in simple terms).

I've been called worse.

I was warned that Rush tends to bring out a bit of emotion among this group. With that said, I appreciate the different tastes and styles of music portrayed even if I’m not a huge fan of a particular genre.

 

[BroncoFreak_2K3]

262 (tie). Signals – Rush (104 points)

@BroncoFreak_2K3 #19
@higgins #19

Signals is the ninth studio album by Canadian rock band Rush, released on September 9, 1982 by Anthem Records. After the release of their previous album, Moving Pictures, the band started to prepare material for a follow-up during soundchecks on their 1981 concert tour and during the mixing of their subsequent live album Exit...Stage Left. Signals demonstrates the group's continuing use of synthesizers, sequencers and other electronic instrumentation. It’s the final album produced by their longtime associate Terry Brown, who had worked with them since 1974.

Although we’re tied, I’ll defer to @BroncoFreak_2K3 picking the song for the playlist.

Thanks @higgins . You have great taste my brother

Gotta go with New World Man. Probably my favorite Rush song and the reason I picked this album in my top 20.

NWM is Rush’s top charting single, gotta go with the best.

I think this has the whole package. Neil paying tribute to Stewart Copeland, Geddys bass riffs are the best here than anything on the rest of the album, and Alex absolutely ripping it up on guitar. Takes me back to sitting around with my buds, just outta HS and listening to one of my besties who played for a Rush cover band doing his best Alex impression, while he played the entire album for us.

RIP Neil

New World Man

Rush · Signals · Song · 1982

open.spotify.com

 

[New Binky the Doormat]

Due to it being my 5th or 6th favorite Rush record, I wasn't able to rank Signals due to my "3 albums per band" rule for myself, but I love it. Subdivisions, Losing It, The Analog Kid and The Weapon are all all-timers for the band, and the rest of the songs are all good as well.

Umm. Bwah hahahahahah.

Ahem. Here's what I was just about to type: Due to it being my 6th or 7th favorite Rush record, I wasn't able to rank Signals due to my "3 albums per band" rule for myself, but I love it. Some great tracks here - Analog Kid, Subdivisions, and The Weapon are bangers. (Slightly re-worded, but otherwise, spot on. Well done, Ghost Rider.)

Thanks, guys. We all knew this list needed more Rush, but I couldn't just list every darn album, could I?

of course you could

 

[Rand al Thor]

259 (tie). Somewhere in Time – Iron Maiden (105 points)

@Rand al Thor #6
@jwb #52
@higgins #55
@Ghost Rider #66

Somewhere in Time is the sixth studio album by English heavy metal band Iron Maiden. It was released on 29 September 1986 in the United Kingdom by EMI Records and in the United States by Capitol Records. It was the band's first album to feature guitar synthesisers.

Since its release, Somewhere in Time has been certified platinum by the RIAA, having sold over one million copies in the US. Somewhere on Tour was the album's supporting tour. In 2023, it was made the focus of the Future Past World Tour, alongside 2021's Senjutsu.

Looks like I'm the high ranker on this one by a wide margin. This cassette was one of the five or six that got heavy rotation in my car when it first came out. I think “The Loneliness of the Long Distance Runner” might be my favorite track on the album, and the title track is a total banger too. But for the playlist, I went with the obvious choice and chose “Wasted Years.” It's just an iconic song and I had to go with the safe pick.

 

[MAC_32]

Iron Maiden is out to the early lead (probably).

I'm not even sure I know a single Iron Maiden song

 

[rockaction]

262 (tie). Parallel Lines – Blondie (104 points)

@Mrs. Rannous #19
@Snoopy #38
Jeb #58
@Dr. Octopus #65

Parallel Lines is the third studio album by American rock band Blondie, released on September 8, 1978, by Chrysalis Records. An instant critical and commercial success, the album reached No. 1 on the UK Albums Chart in February 1979 and proved to be the band's commercial breakthrough in the United States, where it reached No. 6 on the Billboard 200 in April 1979. In Billboard magazine, Parallel Lines was listed at No. 9 in its top pop albums year-end chart of 1979. The album spawned several successful singles, notably the international hit "Heart of Glass".

Sweet! I'll pick this one for the playlist:

11:59

Blondie · Parallel Lines · Song · 1978

open.spotify.com

One of my favorites from them.

Indeed. Same here.

 

[Mrs. Rannous]

262 (tie). Parallel Lines – Blondie (104 points)

@Mrs. Rannous #19
@Snoopy #38
Jeb #58
@Dr. Octopus #65

Parallel Lines is the third studio album by American rock band Blondie, released on September 8, 1978, by Chrysalis Records. An instant critical and commercial success, the album reached No. 1 on the UK Albums Chart in February 1979 and proved to be the band's commercial breakthrough in the United States, where it reached No. 6 on the Billboard 200 in April 1979. In Billboard magazine, Parallel Lines was listed at No. 9 in its top pop albums year-end chart of 1979. The album spawned several successful singles, notably the international hit "Heart of Glass".

Sweet! I'll pick this one for the playlist:

11:59

Blondie · Parallel Lines · Song · 1978

open.spotify.com

One of my favorites from them.

Indeed. Same here.

I seem to remember that you also like Fade Away And Radiate.

Fade Away And Radiate

Blondie · Parallel Lines · Song · 1978

open.spotify.com

 

[Dr. Octopus]

259 (tie). Murmur – R.E.M. (105 points)

@Barry2 #4
@Dreaded Marco #49
@Tau837 #55

Murmur is the debut studio album by American alternative rock band R.E.M., released on April 12, 1983, by I.R.S. Records. The album was recorded in the winter of 1983 at Reflection Studios in Charlotte, North Carolina, with musicians Don Dixon and Mitch Easter serving as producers. Murmur received critical acclaim upon release for its unconventional sound, defined by lead singer Michael Stipe's cryptic lyrics, guitarist Peter Buck's jangly playing, and melodic lines from bassist Mike Mills. In 2003, the album was ranked number 197 in Rolling Stone magazine's list of the "500 Greatest Albums of All Time". It retained the position in the 2012 list and was raised to number 165 in the 2020 revision.

 

[Dr. Octopus]

258. Exodus – Bob Marley and the Wailers (106 points)

@Chaos34 #12
@Dwayne_Castro #24

Exodus is the ninth studio album by Jamaican reggae band Bob Marley and the Wailers, first released in June 1977 through Island Records, following Rastaman Vibration (1976). The album's production has been characterized as laid-back with pulsating bass beats and an emphasis on piano, trumpet and guitar. Unlike previous albums from the band, Exodus thematically moves away from cryptic story-telling; instead it revolves around themes of change, religious politics, and sexuality. The album is split into two halves: the first half revolves around religious politics, while the second half is focused on themes of making love and keeping faith.

 

[Uruk-Hai]

40 years ago today, Live Aid happened.

 

[jwb]

I think I owe the playlist one from Maggot Brain. I already put two longish Maiden songs on the list, so I'll forgo the title track (which I do suggest you listen to if you love guitar), and go with Super Stupid.

 

[Ghost Rider]

259 (tie). Murmur – R.E.M. (105 points)

@Barry2 #4
@Dreaded Marco #49
@Tau837 #55

Murmur is the debut studio album by American alternative rock band R.E.M., released on April 12, 1983, by I.R.S. Records. The album was recorded in the winter of 1983 at Reflection Studios in Charlotte, North Carolina, with musicians Don Dixon and Mitch Easter serving as producers. Murmur received critical acclaim upon release for its unconventional sound, defined by lead singer Michael Stipe's cryptic lyrics, guitarist Peter Buck's jangly playing, and melodic lines from bassist Mike Mills. In 2003, the album was ranked number 197 in Rolling Stone magazine's list of the "500 Greatest Albums of All Time". It retained the position in the 2012 list and was raised to number 165 in the 2020 revision.

Fantastic record, probably my 2nd favorite R.E.M. album (Automatic... 1st of course).

 

[Pip's Invitation]

40 years ago today, Live Aid happened.

Artists picked so far in the proper countdown who were there:

(Paul McCartney of) The Beatles
Bob Dylan
Santana
Phil Collins (both sites)
Run-D.M.C.
(David Gilmour of) Pink Floyd (as a member of Bryan Ferry's band)
Neil Young (solo and with CSNY)

 

[Uruk-Hai]

40 years ago today, Live Aid happened.

Artists picked so far in the proper countdown who were there:

(Paul McCartney of) The Beatles
Bob Dylan
Santana
Phil Collins (both sites)
Run-D.M.C.
(David Gilmour of) Pink Floyd (as a member of Bryan Ferry's band)
Neil Young (solo and with CSNY)

WXPN is running a special starting at 10 a.m. EDT and running most of the day. I'm a little confused on the formatting - one DJ led me to believe they were going to just play every performance back-to-back and another made it seem like it was many performances with recent interviews. Anyway, I'll have it on.

 

[Dr. Octopus]

254 (tie). Somethin’ Else – Cannonball Adderly (107 points)

@Ilov80s #15
@Chaos34 #20

Somethin' Else is an album by American jazz saxophonist Julian "Cannonball" Adderley, recorded on March 9, 1958 and released on Blue Note in August later that year—his only album for the label. Also on the session is trumpeter Miles Davis in one of his handful of recording dates for Blue Note. Adderley was a member of Davis' group at the time, and the album was recorded shortly after Davis' own landmark album Milestones.

 

[Dr. Octopus]

no one would miss me anyway

A lot of Nu Metal artists are counting on you.

 

[Dr. Octopus]

254 (tie). Buena Vista Social Club – Buena Vista Social Club (107 points)

@krista4 #18
@landrys hat #20
@Chaos34 #68

Buena Vista Social Club is a studio album by Buena Vista Social Club, an ensemble of Cuban musicians directed by Juan de Marcos González and American guitarist Ry Cooder. Produced by Cooder, it was recorded at Havana's EGREM studios in March 1996 and released on June 23, 1997, through World Circuit internationally and Nonesuch Records in the United States. It is the only standard studio album exclusively credited to the Buena Vista Social Club.

 

[Dr. Octopus]

254 (tie). Buena Vista Social Club – Buena Vista Social Club (107 points)

@krista4 #18
@landrys hat #20
@Chaos34 #68

Buena Vista Social Club is a studio album by Buena Vista Social Club, an ensemble of Cuban musicians directed by Juan de Marcos González and American guitarist Ry Cooder. Produced by Cooder, it was recorded at Havana's EGREM studios in March 1996 and released on June 23, 1997, through World Circuit internationally and Nonesuch Records in the United States. It is the only standard studio album exclusively credited to the Buena Vista Social Club.

I swear that while I was posting this a commercial for a Broadway version of the Beuna Vista Social Club came on my television. Spooky.

 

[Uruk-Hai]

I couldn't figure out what to do with the Jayhawks or Marley albums. So I chose none from them. Shame on me.

 

[simey]

40 years ago today, Live Aid happened.

WXPN is running a special starting at 10 a.m. EDT and running most of the day. I'm a little confused on the formatting - one DJ led me to believe they were going to just play every performance back-to-back and another made it seem like it was many performances with recent interviews. Anyway, I'll have it on.

CNN is running a special tonight. It is a four part series, and will be an hour per episode for the next four Sundays at 9 p.m. est.

 

[krista4]

254 (tie). Buena Vista Social Club – Buena Vista Social Club (107 points)

@krista4 #18
@landrys hat #20
@Chaos34 #68

Buena Vista Social Club is a studio album by Buena Vista Social Club, an ensemble of Cuban musicians directed by Juan de Marcos González and American guitarist Ry Cooder. Produced by Cooder, it was recorded at Havana's EGREM studios in March 1996 and released on June 23, 1997, through World Circuit internationally and Nonesuch Records in the United States. It is the only standard studio album exclusively credited to the Buena Vista Social Club.

I couldn't figure out how to add, so could someone please put "Chan Chan" on the playlist?

I think this documentary and music were singlehandedly responsible for my going to Cuba about a dozen years ago. I'd become obsessed with it ever since seeing the movie.

 

[Ilov80s]

259 (tie). Fantastic Planet – Failure (105 points)

@Pip's Invitation #12
@landrys hat #25

Fantastic Planet is the third album by the American alternative rock band Failure, released on August 13, 1996, by Slash Records and Warner Bros. Records. It was the last album released on Slash Records prior to its acquisition by London Recordings in 1996.

The album was produced by Failure themselves in a process that took longer than their previous two albums, with each song being recorded and produced soon after being written. Space rock themes are present in the lyrics, as well as various indirect references to drug addiction, drug-related experiences, and prostitution. The album is cyclical, in that the chiming sound effect which ends the final track "Daylight" begins the opening track "Saturday Saviour", and was the beginning of a system of numerically designated segues in Failure's studio work, which would continue on later albums

This is a '70s epic disguised as '90s "alternative rock." It is every bit as ambitious, well-conceived, well-crafted and sonically awesome as your top-tier Zeppelin and Floyd records. And it succeeded wildly on every level except commercially (though it did outsell their first two albums and its single "Stuck on You" gained airplay on "modern rock" radio stations.) If there's such a thing as grunge-prog, this is it.

I happened upon Failure in 1994 when they were opening for Tool in support of their second record Magnified. I was instantly charmed by their sound and immediately bought and loved Magnified, which is kind of an embryonic version of Fantastic Planet. When I first heard Fantastic Planet, my entire senses turned to jelly; I had thought this kind of sonic experimentation was dead.

Failure was unable to capitalize on their artistic accomplishment because of tension between songwriters Ken Andrews and Greg Edwards, exacerbated by Edwards' out-of-control heroin habit (though Andrews has admitted that he was going through his own issues at the time as well), and they broke up after the tour to promote Fantastic Planet concluded in 1997.

But in some corners, the band's achievement was appreciated, and the album developed a cult following, which expanded after A Perfect Circle covered one of its songs, "The Nurse Who Loved Me". (There's that Tool connection again.)

Andrews and Edwards reconnected in 2013 and decided to book a reunion gig in their hometown of LA, not thinking anyone would care. It sold out in minutes. That led to the revival of the band for numerous tours (including a 20th anniversary tour for Fantastic Planet in 2016, at which the album was played in its entirety) and three albums that approach Fantastic Planet in quality. A documentary about the band directed by Andrews, Every Time You Lose Your Mind, is now streaming on Hulu and Disney+. I need to get around to watching that soon.

I took the penultimate track "Heliotropic," which occupies some magnificent territory in between prog and stoner rock, in krista's US countdown and have added it to the playlist.

Heliotropic

Failure · Fantastic Planet · Song · 1996

open.spotify.com

Other favorites include the hard rocker Sergeant Politeness

Sergeant Politeness

Failure · Fantastic Planet · Song · 1996

open.spotify.com

The emotional and well-covered The Nurse Who Loved Me

The Nurse Who Loved Me

Failure · Fantastic Planet · Song · 1996

open.spotify.com

and the epic closer Daylight

Daylight

Failure · Fantastic Planet · Song · 1996

open.spotify.com

Ok cool something I have never heard of. I’ll check this one out.

 

[Ilov80s]

254 (tie). Buena Vista Social Club – Buena Vista Social Club (107 points)

@krista4 #18
@landrys hat #20
@Chaos34 #68

Buena Vista Social Club is a studio album by Buena Vista Social Club, an ensemble of Cuban musicians directed by Juan de Marcos González and American guitarist Ry Cooder. Produced by Cooder, it was recorded at Havana's EGREM studios in March 1996 and released on June 23, 1997, through World Circuit internationally and Nonesuch Records in the United States. It is the only standard studio album exclusively credited to the Buena Vista Social Club.

Was on my original list but once I decidedly no soundtracks I cut this because I think it’s technically a soundtrack. I think.

 

[Ilov80s]

254 (tie). Buena Vista Social Club – Buena Vista Social Club (107 points)

@krista4 #18
@landrys hat #20
@Chaos34 #68

Buena Vista Social Club is a studio album by Buena Vista Social Club, an ensemble of Cuban musicians directed by Juan de Marcos González and American guitarist Ry Cooder. Produced by Cooder, it was recorded at Havana's EGREM studios in March 1996 and released on June 23, 1997, through World Circuit internationally and Nonesuch Records in the United States. It is the only standard studio album exclusively credited to the Buena Vista Social Club.

I couldn't figure out how to add, so could someone please put "Chan Chan" on the playlist?

I think this documentary and music were singlehandedly responsible for my going to Cuba about a dozen years ago. I'd become obsessed with it ever since seeing the movie.

Done