Rock and Roll Hall of Fame Nominees 2021!

The nominees have finally been announced, with 16 to choose from. Here they are:

 

Lowest Priority (Don’t want to get in)

 

Chaka Khan. They just won’t give up on her, and keep trying to get her in, either as a solo act or as part of Rufus.

 

The Go-Gos. I don’t really know why they’d be considered Hall of Fame – they did nothing special. That said, female groups are underrepresented.

 

Todd Rundgren. He’s a skilled multi-instrumentalist, but sort of a one-album wonder, for most people. Not an essential act.

 

Devo. They made a splash, but pretty much instantly disappeared, right? Another one-album wonder.

 

New York Dolls. I get that they were groundbreaking, but they are – yet another – one-album wonder.

 

LL Cool J. They keep trying to make this happen, and I still don’t know why. He put out a couple of okay albums, I suppose. This one teeters between Low and Mid, for me.

 

Mid Priority (Don’t mind if they get in)

 

Rage Against the Machine. I don’t like them, but I respect their value to nu metal, and Morello’s a great guitarist.

 

Mary J. Blige. She is definitely deserving, but not as a top priority for me. Absolutely wouldn't mind seeing her inducted, though.

 

Foo Fighters. A very solid rock group, sort of a torch-bearer for the past twenty-five years.

 

Kate Bush. She’s important, and has a significant following. Like Blige, not a top priority, but both would be nice for increasing female representation.

 

Top Priority (Should get in)

 

Carole King. Already inducted in the non-performing category (as a songwriter) people have, for ages, been gunning for King to be inducted as a performer. It feels overdue.

 

Jay Z. If Biggie and Tupac are already in, along with a slew of other hiphop artists, then I suppose Jay Z should be as well. He’s certainly important enough.

 

Tina Turner. Definitely deserving for a solo act. She’s in there with Ike, but it would be fitting to give her a spot of her own.

 

Iron Maiden. Not a fan, but metal is so amazingly underrepresented, it just feels wrong for them not to be included.

 

Fela Kuti. It would be nice for the H of F to address its global imbalance, and Kuti’s a great place to start. Notably this is the first year, in a long time, that Germany’s Kraftwerk weren’t nominated (which is criminal, by the way). The Hall needs to do better recognizing rock acts that weren't once part of the British Empire. (And yes, I know that Nigeria was part of their empire - shut up.)

 

Dionne Warwick. Incredibly overdue for entry. A string of classic hits, tremendous popularity – if Whitney Houston and Nina Simone are in, then Warwick definitely should be too. This is the one I'm most hopeful for.

The American Popular Music Canon

 

Canons are historically-bounded lists. That’s what’s different between a ‘canon’ and a ‘favorites’ or ‘best’ list. Canons are required to consider the following implications of works of art:

 

1)      Influence. Did this work make a big splash? Not just was it popular – did it influence the work of others?

2)      Innovation. Did this work do something new? Did it cover new ground? Synthesize previously disparate fields?

3)      Expertise. Is this an example of expertise? Does it stand out as better than the other offerings of its era? Is it exemplary of trends of the era?

 

Consider the historical implications of the last point, for example. How can you tell that Jimi Hendrix is one of the best guitarists, unless you’re familiar with the context of his playing? In an alternate universe, where everyone was as good as Hendrix, his albums might not be anything special.

Popular music has also shifted a great deal over the past century, in terms of genres. Each genre of popular music has its own canon, after all – rock, jazz, blues, hiphop – but this list blends them all. In the 1960s, for example, Broadway musical albums topped the charts. That doesn’t hardly happen now, but a canon would be as remiss to leave them out as to leave out country music, or pop. Only classical music is excluded, as that is, by definition, not ‘popular’.

This list is also geographically bounded, as is the case with all histories. It’s a bit like NATO – very Western, and English-dominated. If this canon was being made in India, or Brazil, it would undoubtedly be very different.

Basically, this is a canon of the music of the United States. But that includes the non-Americans who meet the canon standard of having a big influence, from The Beatles to Bjork. Each entry has a quick explanation as to why it’s on there – what makes it canonical. It is not the list of my personal favorites: there are entrants I don’t much like at all, and a great many that I love are absent.

A final note: This is an albums list. No ‘greatest hits’ or anthologies have been included, as entrants must be intentional works of art. Apologies to singles artists (Dionne Warwick, Chuck Berry, The Supremes, Patsy Cline, et al) or those whose work was released before the LP era (Hank Williams, Robert Johnson, Billie Holiday, Mahalia Jackson, et al).

So, without further ado, here’s the American Popular Music Canon:

 

Blues, Country, and Folk

 

Dust Bowl Ballads – Woody Guthrie

Why? One of the very first great LPs, Guthrie’s album is a traditional folk landmark, and almost certainly the first concept album, focusing on the Depression and Dust Bowl. Guthrie’s wit shines on ‘Pretty Boy Floyd’, as does his story-telling on the two-part ‘Tom Joad’, and his geniality on ‘Talking Dust Bowl Blues’.

 

Sings Ballads and Blues – Odetta

Why? Odetta helped to launch the modern folk revival with this work, released half a decade before Dylan and the rest. An incredible vocal talent, Odetta soars through a series of traditional folk tunes, including ‘Santy Anno’, ‘Joshua’, and the closing ‘Spiritual Trilogy: Oh Freedom, Come Go With Me, I’m on My Way’.

 

Gunfighter Ballads and Trail Songs – Marty Robbins

Why? For the nation’s cowboy craze of the 1950s into the 60s Robbins’ album provides a fine soundtrack, in the style of Roy Rodgers and all the rest. It epitomizes the western sound with offerings like ‘Big Iron’, ‘Billy the Kid’, and ‘El Paso’ telling the tales of the mythic Wild West that never was.

 

Joan Baez – Joan Baez

Why? Released in 1960, Baez’s debut was one of the first great LPs of the folk revival. Her crystalline voice shines on the Appalachian opening tracks, ‘Silver Dagger’ and ‘East Virginia’, taking these songs from their homes and releasing them in a New York coffee house. The last track, ‘El Preso Numero Nueve’ foresees where Baez’s career would eventually lead.

 

At Newport 1960 – Muddy Waters

Why? Waters wasn’t much of an LP musician, but this live recording is a good representation of his Chicago blues style, as well as being the first live blues album in general. Waters performs a short, tight set, moving through his classic tracks and standards, including ‘Hoochie Coochie Man’, ‘Got My Mojo Working’, and ‘Baby, Please Don’t Go’.

 

At Last! – Etta James

Why? James is difficult to categorize, with the blues, soul, and pop all trying to claim her magnificent voice. She is also a one-album wonder, but that one album is definitely worth a listen. Besides the iconic title track, James’ artistry is heard on ‘A Sunday Kind of Love’ and ‘I Just Want to Make Love to You’.

 

Two Steps from the Blues – Bobby Blue Bland

Why? Soul blues is a genre that never quite took off, but this album is its highpoint. Bland has soaring vocals that are full of feeling, and enjoys great musicians backing him on tracks including the opener ‘Two Steps from the Blues’ which marries blues with soul, ‘I Pity the Fool’ that leans blues, and the soul-leaning ‘Lead Me On’.

 

Dave Van Ronk, Folksinger – Dave Van Ronk

Why? The Greenwich Village folk sound is typified on Van Ronk’s record. He covers traditional tunes taken from a variety of genres, including gospel, blues, and old English ballads. Star tracks include the amusing ‘Cocaine Blues’, the quiet ‘He Was a Friend of Mine’, and his signature belting on ‘Long John’.

 

Freewheelin’ Bob Dylan – Bob Dylan

Why? This is the gem of Dylan’s folk era, with his protest songs and ballads on full display. ‘Blowin in the Wind’ is the iconic track, but there are many classics, including ‘Girl from the North Country’ and ‘Don’t Think Twice, It’s All Right’. This album shows off Dylan’s Nobel-winning lyrics at both his most romantic and most cynical.

 

We Shall Overcome – Pete Seeger

Why? Seeger manages to convert Carnegie Hall into a folk singalong, which is impressive. He plays a variety of folk and Civil Rights songs, including the highlights of the title track and ‘My Ramblin Boy’, but delves into some fascinating world tracks on the back half, as heard on the closer, ‘Guantanamera’.

 

Live at the Regal – BB King

Why? King was one of the world’s greatest guitarists and bluesmen, but his studio output doesn’t showcase his talent as well as this live recording. King opens with ‘Every Day I Have the Blues’ before the wonderful crowd interaction and response comes through on ‘It’s My Own Fault’ and ‘Worry, Worry’.

 

The Transfiguration of Blind Joe Death – John Fahey

Why? A folk subgenre, the acoustic world of American primitive guitar showcases the instrumental talent called fingerstyle. Fahey created the genre, and this, his most famous recording, exemplifies the meditative sounds of that field. Among the highlights are ‘I Am the Resurrection’, ‘The Death of Clayton Peacock’ and ‘Poor Boy’.

 

Songs of Leonard Cohen – Leonard Cohen

Why? Cohen’s debut is a poetic take on the folk scene of the late 60s. ‘Suzanne’ opens the work and sets the tone for what’s coming: a collection mostly focused on the complexities of relationships and memory.  Catharsis is the theme on the reflective ‘So Long, Marianne’, whereas ‘Teachers’ castigates those frantically searching for meaning.

 

At Folsom Prison – Johnny Cash

Why? First the novelty – Cash is playing for a group of riled up, cacophonous prisoners, creating a unique audience interaction on this live album. Second, it’s also Cash’s strongest work, displaying his country/rock songwriting and trademark, oft-imitated, growl. Highlights from the session include the prison-themed tracks ‘Folsom Prison Blues’, ‘25 Minutes to Go’ and ‘Cocaine Blues’.

 

Sweetheart of the Rodeo – The Byrds

Why? With Gram Parsons’ influence The Byrds helped launch the nascent genre of country rock with this release. This album marks the start of the fringe and sequin-era: ‘Hickory Wind’ was a country standard, as is ‘Blue Canadian Rockies’ but songs were also borrowed from other genres and given the slide-guitar treatment, such as soul track ‘You Don’t Miss Your Water’.

 

Dream Letter: Live in London 1968 – Tim Buckley

Why? This album carves out an interesting little niche – psychedelic folk. A nice, acoustic, live album (with an unusually strong vibraphone section) Buckley’s songwriting and crooning are in peak form, more so than his studio releases. Highlights include ‘Hallucinations’, ‘Troubadour’, and the mashup of ‘Pleasant Street/You Keep Me Hangin On’.

 

Astral Weeks – Van Morrison

Why? Folk and jazz were very far apart in the 1960s, before Morrison released this knockout album. Mixing the struck-between-the-eyes poetry you’d expect from Dylan (but with far more raw intimacy) with jazz arrangements led to emotional songs like ‘Beside You’, ‘Madame George’, and ‘Slim Slow Slider’.

 

The Natch’l Blues – Taj Mahal

Why? The blues is often handicapped by its own predictability, sometimes stifling innovation. One of the more pioneering releases of the late 60s, then, was the work of Taj Mahal, as seen on this album. There’s plenty of tradition, as heard on a blazing rendition of ‘Cuckoo’, alongside originals like ‘Good Morning Miss Brown’ and ‘Done Changed My Way of Living’.

 

Liege and Leif – Fairport Convention

Why? The folk-rock movement wasn’t unique to the United States – this album is the landmark of the UK’s movement. As proof it launched the careers of Sandy Denny, Dave Swarbick, and Richard Thompson. UK folk tunes covered include the old ballads ‘Matty Groves’, ‘Tam Lin’, and ‘Reynardine’.

 

In Search of a Song – Tom T Hall

Why? Country music’s Hall was an underappreciated lyricist, and one of the finest story-telling songwriters of the mid-century. Vivid portraits and scenes are presented on songs like ‘Trip to Hyden’, characters on tracks like ‘The Little Lady Preacher’, and humorous social commentary on ‘LA Blues’.

 

Coat of Many Colors – Dolly Parton

Why? One of her strongest LPs, with her original songwriting, Parton used this album to start carving out a place in the country music landscape, from which she developed an entire empire. The signature, ‘Coat of Many Colors’ is one of her best songs, but other great offerings include ‘Here I Am’ and ‘Traveling Man’.

 

Honky Tonk Heroes – Waylon Jennings

Why? A pioneering outlaw country record, Jennings helped to create the genre with this extended paean to down-and-outers. The title track celebration is just one gem among many, however, setting the template for decades of similar songs. Other great tunes include ‘Ain’t No God in Mexico’ and ‘Old Five and Dimers Like Me’.

 

Court and Spark – Joni Mitchell

Why? Mitchell’s work combines her folk-pop sound with jazzier elements to create a sound of sunshine tinged with sadness and caution. ‘Help Me’ became the radio-standard, while ‘Court and Spark’ hearkens back to her earlier ballads, and the observational ‘Car on a Hill’ seems a likely inspiration for later songwriters like Lucinda Williams.

 

Heart Like a Wheel – Linda Ronstadt

Why? Country rock moved decidedly away from the prevalent cloying twang of the era with this release. Ronstadt’s breakout album, consisting of covers by top-tier songwriters telling a history of country music, includes classic tracks like ‘You’re No Good’, ‘When Will I Be Loved’, and ‘The Dark End of the Street’.

 

Red Headed Stranger – Willie Nelson

Why? One of country’s first story-telling concept albums, Nelson’s work tells of the eponymous character’s travels. Nelson brought the outlaw country genre to its acme, and this is his masterpiece. Classic tracks include the central theme ‘Time of the Preacher’, the hit ‘Blue Eyes Crying in the Rain’, and ‘Red Headed Stranger’.

 

Shoot Out the Lights – Richard and Linda Thompson

Why? Thematically no album had ever covered this territory before – Richard and Linda were divorcing each other as they recorded Lights. Raw emotion and heartbreaking songwriting merge to create tracks expressing their feelings during the ordeal: ‘Did She Jump’, ‘Don’t Renege on Our Love’ and ‘Walking on a Wire’ were the results.

 

Tracy Chapman – Tracy Chapman

Why? Folk music had nearly died out when Chapman helped revive it in the late 1980s. The opening two tracks ‘Talkin bout a Revolution’ and ‘Fast Car’ ended up being radio staples. She delved into deeper territory though, with the shocking depiction of domestic abuse on ‘Behind the Wall’. A legion of singer-songwriters followed her lead into the 90s.

 

I’ve Got That Old Feeling – Alison Krauss

Why? The acoustic genre of bluegrass had never been as popular as country – but this album helped shift that focus and launched 18-year-old phenom Krauss’ career towards stardom. Her vocals and fiddle work shine, combined with a great backing group, on the title track, ‘Dark Skies’ and ‘Winter of a Broken Heart’.

 

Anodyne – Uncle Tupelo

Why? Country was in decline throughout the 80s, but alternative country emerged to help artistically revitalize the genre, with Jeff Tweedy’s Uncle Tupelo as the leader of that movement. Their final release is their most polished, with a variety of great tracks, including ‘Chickamauga’, ‘No Sense in Lovin’, and ‘Acuff-Rose’.

 

Come On Over – Shania Twain

Why? One of the best-selling albums of all time, this release also set forth the country pop template, which would dominate for the next decade and a half. Among Twain’s hits were the opening ‘Man! I Feel Like a Woman!’, ‘You’re Still the One’, and the tongue-in-cheek ‘That Don’t Impress Me Much’.

 

Car Wheels on a Gravel Road – Lucinda Williams

Why? This sleeper hit from one of country’s more formidable songwriters has grown in popularity since its late 90s debut. Joined by a couple of heavy-hitters like Steve Earle and Emmylou Harris, Williams portrayed an evolving heartland on songs like ‘Greenville’, ‘Right in Time’, and ‘Drunken Angel’.

 

I See a Darkness – Bonnie Prince Billy

Why? Indie rock, indie pop, indie…folk. The lo-fi sounds of this album produced a decade of imitators, but none had the same depth of experience and lyrical honesty. The dark, Appalachian feel and themes pervade on tracks like ‘Nomadic Revery (All Around)’, ‘Death to Everyone’, and ‘Another Day Full of Dread’.

 

Wish I Was in Heaven Sitting Down – RL Burnside

Why? It’s perhaps surprising the blues and hiphop didn’t meet until around this album. Burnside has loops and samples on tracks like ‘Too Many Ups’ and ‘Got Messed Up’, but begins and ends with his aching autobiography of murdered family members, told to the classic tune of ‘Hard Time Killing Floor Blues’.

 

Golden Hour – Kacey Musgraves

Why? Country/pop took a turn when Musgraves released this landmark recording, by blending electronic and atmospheric elements with her songwriting to create tracks that were truly innovative. ‘Space Cowboy’ and the hit ‘Slow Burn’ are more traditional, while ‘Oh What a World’ delves into psychedelic sounds.

 

Electronica, ‘World’, and Other

 

Funky Kingston – Toots and the Maytals

Why? For many, reggae is synonymous with Bob Marley, which is a shame, because there’re plenty of classics. One of the most accessible ports of entry is this album. The title track is a pleasure to listen to, but so are the other songs on the record, such as ‘Sit Right Down’ and a slightly bizarre cover of the Kingsmen’s ‘Louie, Louie’.

 

Natty Dread – Bob Marley and the Wailers

Why? This was the breakout for Marley, working without Peter Tosh or Bunny Wailer – every song being Marley’s own. The album has far more grittiness (‘Them Belly Full (But We Hungry)’, ‘Rebel Music’) than Marley’s well-known hits, leading to an album of thematic consistency previously not found reggae releases, but still manages to offer the radio classic ‘No Woman, No Cry’ on it as well.

 

Confusion/Gentleman – Fela Kuti

Why? An excellent introduction to Afrobeat and the West African region in general. These sequentially-released very short albums (25/30 min) were re-released as one offering, at it works. ‘Confusion pt. 1+2’ is an excellent long jam, ‘Gentleman’ is an example of Kuti’s satire, and ‘Fefe Naa Efe’ a return to some traditionalism.

 

Siembra – Willie Colon and Rueben Blades

Why? Fania Records launched a major salsa movement in the mid-1970s, although white America may not have noticed. A host of great musicians emerged from their studio, but this album, the best-selling salsa album of all-time, became essential. ‘Plastico’ opens the recording, followed by similarly great tracks like ‘Ojos’, and the closing title track.

 

Trans-Europe Express – Kraftwerk

Why? Kraftwerk’s influence in the development of electronica is hard to overstate. This, their best album, has an important accessibility for an experimental genre. The synth loop of ‘Europe Endless’ sets the tone, followed by a voyage to the Twilight Zone on ‘Showroom Dummies’, before returning to the main ‘Trans-Europe Express’ theme on the back half.

 

Exodus – Bob Marley and the Wailers

Why? This album showcases the height of Marley’s abilities, and his last significant release, recorded in London (hence the title). Fully half of the tracks ended up on his best-selling great hits compilation, Legend. Among those hits are his classic tracks ‘Three Little Birds’, ‘One Love/People Get Ready’ and ‘Exodus’.

 

My Life in the Bush of Ghosts – David Byrne and Brian Eno

Why? Eno and Byrne played around with sampling, looping, and electronic music on this innovative, difficult to classify, album. Each track jumps somewhere new: ‘Regiment’ features Middle Eastern vocals, ‘Help Me Somebody’ is a radio preacher’s plea, and ‘Moonlight in Glory’ apparently a cry from the Sea Islands.

 

Graceland – Paul Simon

Why? This album was the mainstream introduction to the nebulous concept of ‘world music’, and features some of Simon’s best songs. With the influence of South African musicians, a variety of radio hits emerged, such as ‘Diamonds on the Soles of Her Shoes’ and ‘You Can Call Me Al’, but lesser-known tracks were equally as good, such as ‘The Boy in the Bubble’.

 

Dummy – Portishead

Why? Trip hop took a few years to emerge, but Dummy proved the breakthrough, winning the awards and becoming a best-seller. For the next decade trip hop would be a significant subgenre, but few albums reached the same heights. Classic tracks include the spooky opener ‘Mysterons’, ‘Sour Times’, and ‘Glory Box’.

 

Endtroducing – DJ Shadow

Why? A pioneering work of sampling, the entire album is composed of existing samples. It’s not a gimmick, or merely ‘important’ release however – Endtroducing is genuinely an excellent recording. Veering into trip hop, Shadow crafts memorable scenes, as heard on ‘Midnight in a Perfect World’, ‘Organ Donor’, and ‘Changeling’.

 

The Buena Vista Social Club – The Buena Vista Social Club

Why? Due to the embargo, Cuba remained mysterious to American audiences, and this release of Cuban talent caused a major sensation. As a result, the opening track, ‘Chan Chan’ became immediately recognizable. A survey of Cuban styles follows, including the highlights of ‘Dos Gardenias’, and ‘El Carretero’.

 

DecksandDrumsandRockandRoll – Propellerheads

Why? Big Beat was a popular electronic subgenre, and this record exemplifies the full-throttle enjoyment of music equally at home in your headphones or on the dancefloor. The opening track, ‘Take California’ sets the upbeat tone, ‘Bang On!’ is one of the highest energy offerings, and ‘Spybreak!’ is one of many tracks that references James Bond.

 

Mezzanine – Massive Attack

Why? Massive Attack had invented trip hop, but on this later release they synthesize that style with electronica, to create an original sound: spare, echoey, the sonic equivalent of a white tile hallway illuminated by fluorescent and neon lights. The most famous track is likely ‘Teardrop’, but others became classics as well, including ‘Angel’ and ‘Inertia Creeps’.

 

Play – Moby

Why? This was the album that brought electronica to the masses, after decades of being an underground genre. The album’s resonant spookiness (‘The Sky is Broken’) matched the feelings of apprehension on the cusp of the new technological frontier, and was combined with postmodern arrangements (‘Run On’) and enough pop appeal (‘South Side’) to make it a cause celebre.

 

Global Underground 013: Ibiza – Sasha

Why? The Global Underground series takes DJs (house and trance usually) and has them, in studio, recreate their dancefloor rave magic. If you feel like you missed out on the parties of the late 90s, this mix puts you in the Ibiza discotheque with Sasha’s hand-selected tracks, including ‘Stage One (Pariah Remix)’, ‘Xpander’, and ‘Mercury and Solace’.

 

Discovery – Daft Punk

Why? Daft Punk have had a huge impact on dance music for the past two decades, with their house-influenced synthesizers. Easily their best album, Discovery boasts many notable tracks, including the popular ‘Harder, Better, Faster, Stronger’, ‘One More Time’, and the quiet ‘Something About Us’.

 

Dead Cities, Red Seas and Lost Ghosts – M83

Why? This album is what happens when you blend electronica with shoegaze fuzziness. The release depicts the pixelated world of emerging technology and what that means for our identities – carrying that theme to its conclusion, an album that maybe our robot successors would like. Perhaps they’d dance to ‘0078h’, relax with ‘On a White Lake, Near a Green Mountain’, and reflect on ‘Cyborg’.

 

Kala – MIA

Why? A world dance / pop landmark, Kala blended western rock and pop with South Indian sounds to create an album of global identity. ‘Paper Planes’ became an international hit, but you can hear her rock influences on the opening track ‘Bamboo Banga’ (referencing the Modern Lovers) and ‘$20’ (referencing the Pixies).

 

Hiphop

 

Raising Hell – Run DMC

Why? Prior to Run DMC hiphop was still dredged in disco and the dancefloor (think Sugarhill Gang). Run DMC deserves a lot of credit for moving the genre away from all that on tracks like ‘Proud to Be Black’ and ‘You Be Illin’, while reasserting the connection to rock with Aerosmith on ‘Walk This Way’.

 

Paid in Full – Eric B and Rakim

Why? Rakim was a rhyme pioneer, and was the first to use internal rhymes on his songs, including ‘Eric B Is President’ and ‘I Ain’t No Joke’. Like Run DMC, Eric B and Rakim helped usher in the golden age of hiphop – listen to ‘Eric B Is On The Cut’ – but Rakim was lyrically more complex and more skillful than the trio.

 

It Takes a Nation of Millions to Hold Us Back – Public Enemy

Why? Millions was the first hiphop album dedicated to addressing social issues on nearly every track, detailing the black experience in America more honestly than any release since What’s Going On. ‘Bring the Noise’ is a defense of the genre, ‘Black Steel in the Hour of Chaos’ deals with incarceration, and ‘Prophets of Rage’ calls back to Public Enemy’s conscious-laden forerunners.

 

Straight Outta Compton – NWA

Why? Until this album New York had been unquestioned as the epicenter of hiphop. Not only that, but the title track launched the gangsta subgenre (and a few careers) that dominated a decade of hiphop music right as it became popular with broader audiences. ‘Fuck Tha Police’ was the eye-opening throwdown, but there’re lighter options as well, like Dr. Dre’s ‘Express Yourself’.

 

Paul’s Boutique – Beastie Boys

Why? The most stunning example of a hiphop collage, Paul’s Boutique is a sample-heavy masterpiece. The trio jumps around with frenetic energy from silly tracks (‘Egg Man’) to serious tracks (‘High Plains Drifter’). Influenced by McCartney and Abbey Road, ‘B Boy Bouillabaisse’ funhouse-mirrors the suite of that album.

 

Sex Packets – Digital Underground

Why? One of hiphop’s first story-based concept albums, the Bay Area group was best known for their goofy dance track ‘The Humpty Dance’, representing a humor that pervades the whole work. The back third of the album tells of sex packets – drugs that simulate sex – with an imaginativeness previously not seen in hiphop, as told on ‘Sex Packets’ and ‘Packet Man’.

 

The Low End Theory – A Tribe Called Quest

Why? Tribe made a breakthrough by blending jazz with hiphop – which they describe on their first track, ‘Excursions’. The rhymes were unabashedly abstract, but could also tell stories and address social issues (‘The Infamous Date Rape’), as the duo almost languidly swaps verses. The last track, ‘Scenario’, is one of the best posse cuts on any album.

 

Enter the Wu Tang (36 Chambers) – Wu-Tang Clan

Why? The hiphop album that launched a thousand careers…and helped launch hardcore hiphop as a genre. Its members would go one to do significant solo work (GZA, Raekwon, Ghostface Killah, etc.), but this is where it begins. Laden with wuxia imagery, highlights include ‘C.R.E.A.M.’, ‘Protect Ya Neck’, and ‘Method Man’.

 

Illmatic – Nas

Why? The debut of Nas, coming out of New York’s projects, is exemplary for two reasons. First, his complex, multisyllabic rhymes were still relatively novel. Second, the production quality was far more lush than previous hiphop releases. Classic tracks include ‘N.Y. State of Mind’, ‘It Ain’t Hard to Tell’, and ‘Memory Lane (Sittin’ in Da Park)’.

 

Ready to Die – Notorious BIG

Why? The most lyrically adept of the East Coast-West Coast feud, Biggie wasn’t a rapper, but a consummate songwriter. Autobiographical in content, songs like ‘Things Done Changed’ and ‘Juicy’ paint rich portraits of his life, while ‘Big Poppa’ and the likes offset the introspection with more typical 90s hiphop fare.

 

Supa Dupa Fly – Missy Elliott

Why? Women seemed, overall, to be latecomers to the hiphop scene, but Missy Elliott changed all that in the mid-90s. Her strongest release by far, benefitting from Timbaland’s production, this album produced a series of great tracks, including ‘The Rain (Supa Dupa Fly)’, ‘Sock It to Me’, and ‘Hit Em Wit Da Hee’.

 

The Marshall Mathers LP – Eminem

Why? Eminem’s a formidable rapper, and Marshall Mathers chronicles a young man, known for being provocative, dealing with the consequences of his early 21^st-century influence (most famously on ‘Stan’ and ‘The Way I Am’). That was new territory – Neil Young didn’t have these problems – and Eminem presents a broken vision, both apologetic and painfully defiant (‘Kim’).

 

Stankonia – Outkast

Why? Outkast was pivotal in the launch of southern hiphop, and Andre 3000 is one of the most phenomenal rappers on record. Stankonia stands between the beautiful, experimental Aquemini and the bloated pop of Speakerboxxx/The Love Below. As their breakthrough it’s the place to start, and has the hit tracks, such as ‘Ms. Jackson’, ‘So Fresh, So Clean’, and ‘B.O.B.’.

 

The Blueprint – Jay Z

Why? Once Jay-Z left behind the 90s swagger of his mafia persona he could start to examine who he really was. The production marks a distinct shift from the coastal feuding of the previous decade, although there are still holdovers, like the diss track ‘Takeover’. The new sound can be heard on ‘Izzo (HOVA)’ and ‘Girls, Girls, Girls’ – spawning a decade of imitators.

 

Original Pirate Material – The Streets

Why? Mike Skinner, aka The Streets, debuted an album of phenomenal hiphop storytelling. Each track is an interlocking portrait of life in Brixton in the early aughts, told with humor and sincerity, in everyday scenes of thoughts on the bus (‘Weak Become Heroes’), trying to fix a relationship (‘It’s Too Late’), and the pub denizens versus stoners (‘The Irony of It All’).

 

The College Dropout – Kanye West

Why? After producing Jay Z’s work, West debuted in 2004 with an album that, sonically, was unlike anything else at the time. Cynical, but still smiling, West’s autobiographical release reflects on the obstacles facing young black men generally, with songs like ‘We Don’t Care’, ‘Spaceship’, and ‘Jesus Walks’.

 

Madvillainy – Madvillain

Why? In hiphop there are three skills: story-telling (Notorious BIG), speed (Eminem), and rhyming. MF Doom was probably the most complex rhyme artist ever recorded. Madlib takes Doom’s clever rhymes on tracks like ‘All Caps’, ‘Accordion’, and ‘Great Day’ and places them in a soundscape of surreal frequency-surfing.

 

My Beautiful Dark Twisted Fantasy – Kanye West

Why? There isn’t a bad track on Fantasy, as West elevates his lyricism and production to new heights. Working with hiphop royalty like Jay Z and Raekwon (‘So Appalled’ and ‘Gorgeous’) West also brings in outsiders from John Legend and Chris Rock to Bon Iver (‘Lost in the World’). The end result is introspective, culturally relevant, and masterful.

 

To Pimp a Butterfly – Kendrick Lamar

Why? Lamar’s magnum opus is a survey of African American musical traditions and new landmark of politically conscious hiphop. His flow has become the dominant style entering the 20s, and his lyricism is top-notch. The most famous track is the BLM anthem ‘Alright’, and other standouts include ‘King Kunta’ and ‘I’.

 

Jazz, Traditional Pop, and Musicals

 

The Famous 1938 Carnegie Hall Jazz Concert – Benny Goodman

Why? Not released until 1950, this landmark live album captures the energy and sound of the big band swing era that dominated jazz for two decades. Goodman was a talented bandleader, and had an integrated band, which was a big deal. Renditions of classic tracks include ‘Honeysuckle Rose’, ‘I Got Rhythm’, and an epic ‘Sing Sing Sing (With a Swing)’.

 

Stormy Weather – Various

Why? An all-star group of musicians including Bill “Bojangles” Robinson, Fats Waller, Cab Calloway, and Lena Horne shine on this 1940s gem. They cover their classics (‘Ain’t Misbehavin’), record definitive covers (‘Stormy Weather’), and have fun on goofy little tracks like ‘Digga Digga Doo’.

 

Charlie Parker with Strings – Charlie Parker

Why? Parker was the king of bebop, and on this album (released as two 10-inches) he gets to blend his signature style with the lush orchestration he’d always hoped for. ‘Just Friends’ sets the tone for the sessions, and is followed by a series of jazz standards, with ‘If I Should Lose You’ and ‘Dancing in the Dark’ showcasing Parker’s talent.

 

In the Wee Small Hours – Frank Sinatra

Why? Sinatra’s best album is dedicated to a theme: loneliness. The paragon of traditional pop, Sinatra’s vocals are in fine form as he glides through renditions of ‘Deep in a Dream’, ‘Dancing on the Ceiling’, and ‘I Get Along Without You Very Well’. The idea of a breakup album was new, and helped usher in concept albums.

 

Songs for Swingin’ Lovers – Frank Sinatra

Why? This is the album for upbeat (if not always up-tempo) traditional pop and standards – Sinatra is ready to swing, and his joy beams forth on an array of covers that have become definitive, including the opener, ‘You Make Me Feel So Young’, ‘Too Marvelous for Words’, and the closer ‘How About You?’.

 

Black Coffee – Peggy Lee

Why? Lee’s voice was, for many, the definition of ‘sultry’ in 1956. As implied by the title, there’s a late-night, come hither, ambiance to much of the album, as heard on ‘Black Coffee’, and ‘It Ain’t Necessarily So’. But it also has plenty of up-tempo offerings, backed by a solid jazz combo, like ‘Love Me or Leave Me.’

 

Ellington at Newport – Duke Ellington

Why? One of the great live albums, reconstructed fully only in the 1990s, Ellington’s career comeback whips the crowd into an actual frenzy as he covers a slew of his classic big band tracks, including ‘Take the A Train’ and ‘Diminuendo and Crescendo in Blue’, but also introduces new songs, like ‘Newport Up’.

 

My Fair Lady – Lerner and Loewe

Why? One of the most popular musicals of all time (it won the Tony and the Oscar for Best Picture), the story of Henry and Eliza has remained a favorite. Every track is top-tier, but some of the most memorable include ‘I Could Have Danced All Night’, ‘Wouldn’t It Be Loverly’, and ‘The Rain in Spain’, sung by Julie Andrews on the original recordings.

 

After Midnight – The Nat King Cole Trio

Why? World War II enlistment mostly killed the big band, and Nat King Cole pioneered a new concept in jazz: the small combo, which has come to largely define the genre. By the mid-50s he’d perfected the sound, as heard on the classic songs found here: ‘(Get Your Kicks on) Route 66’, ‘Caravan’, and ‘Just You, Just Me’.

 

West Side Story – Leonard Bernstein and Stephen Sondheim

Why? Among the best musicals of the golden era of Broadway, West Side Story launched Sondheim’s career, became a cornerstone of popular music, and produced a host of recognizable favorites. The updated Romeo and Juliet story featured the jazzy ‘Cool’, the Puerto Rican-tinged ‘America’, and the exuberant ‘I Feel Pretty’.

 

Ella and Louis Again – Ella Fitzgerald and Louis Armstrong

Why? A wonderful survey course of jazz and Tin Pan Alley standards, two masters come together and clearly are having fun. Originally a mix of duets and solo tracks, some notable covers include Jerome Kern’s ‘I Won’t Dance’, Gershwin’s ‘Let’s Call the Whole Thing Off’, and Berlin’s ‘I’ve Got My Love to Keep Me Warm’.

 

Blue Train – John Coltrane

Why? A landmark of hard bop, Blue Train is Coltrane’s first great offering, and he is already, in 1957, starting to experiment in ways that would set his work apart. Both the opening title track and the closer, ‘Lazy Bird’ made waves, and ‘Moment’s Notice’ also ended up becoming something of a jazz standard.

 

Somethin’ Else – Cannonball Adderley

Why? This is essential jazz for the talent – Miles Davis, Hank Jones, and Art Blakey all join Adderley for a hardbop/bebop session. They cruise through a series of standards with the grace that masters have of making the difficult appear easy. Notable tracks include ‘Autumn Leaves’, ‘Love for Sale’, and the title track, written by Davis.

 

Moanin’ – Art Blakey and the Jazz Messengers

Why? A hard bop milestone, Blakey’s title track became a well-known jazz standard with unusual crossover appeal to other genres. But there’s lots to love on this album, including the central offering ‘The Thunder Drum Suite’ where Blakey gets to show off, and the great, relatively-short ‘Are You Real?’.

 

Jazz in Silhouette – Sun Ra

Why? One of the great pioneers of avant-garde jazz, Sun Ra’s best album has one foot in tradition and one foot stepping into new territory. ‘Enlightenment’ is a nice example of the shorter tracks on the album, while the two longer pieces, ‘Ancient Aiethopia’ and ‘Blues at Midnight’ let his “arkestra” unwind and show off.

 

Kind of Blue – Miles Davis

Why? Widely held as the greatest jazz album, it’s easy to hear why – every track is amazing. Davis and crew explore his new modal jazz, opening up new horizons for improvisation and composition. It starts with the well-known ‘So What’, immediately followed by ‘Freddie Freeloader’. The finale track, ‘Flamenco Sketches’ presages where Davis would be heading later.

 

Mingus Ah Um – Charles Mingus

Why? One of the great jazz records, Mingus provides a survey of jazz history, in a series of original compositions that point towards the post-bop that will develop over the next decade. ‘Better Get Hit in Yo Soul’ opens the album, ‘Goodbye Pork Pie Hat’ is a farewell to Lester Young, and ‘Fables of Faubus’ makes fun of segregationists.

 

The Sound of Music – Rodgers and Hammerstein

Why? No survey of musicals is complete without Rodgers and Hammerstein, and undoubtedly the enduring fan favorite is Sound of Music, with Mary Martin (Tony-winning show) or Julie Andrews (Oscar-winning movie). Iconic numbers include the title track, ‘My Favorite Things’ and ‘Do-Re-Mi’.

 

The Shape of Jazz to Come – Ornette Coleman

Why? This release is the birth of the polarizing free jazz genre. Eschewing chords, everyone does their own improvisation – and this album features serious heavyweights, like Don Cherry and Charlie Haden. ‘Lonely Woman’ became the iconic track, but other gems include ‘Congeniality’ and the extended ‘Peace’.

 

Time Out – Dave Brubeck Quartet

Why? One of the most popular jazz albums of all time, each track features unusual time signatures. It’s a great entry to the subgenre of cool jazz – so designated to cool off after the blazing styles of bop. ‘Take Five’ became an instant classic, but other highpoints are ‘Blue Rondo a la Turk’ and ‘Three to Get Ready’.

 

Giant Steps – John Coltrane

Why? The influence of this album is hard to overstate. ‘Giant Steps’ created a revolutionary chord progression, called Coltrane changes, as well as being one of the most important saxophone songs ever recorded. A whole new style of sheets of sound emerged, not to mention new standards like ‘Naima’ and ‘Mr. P.C.’.

 

Fiddler on the Roof – Bock and Hardnick

Why? Whether listening to the original recording, with Zero Mostel, or Topol’s filmed version, the songs from one of Broadway’s most beloved musicals endure as popular classics. Bock and Hardnick’s tracks ‘If I Were a Rich Man’, ‘Matchmaker’ and ‘To Life’ all became favorites, alongside many others.

 

Getz/Gilberto – Stan Getz and Joao Gilberto

Why? Bossa nova is a legitimate genre in Brazil, but for much of the West it was just a fad, inspired by this album. Getz was the saxophonist, Jobim the pianist and songwriter, and Gilberto the guitarist – whose wife provided the famous vocals on ‘The Girl from Ipanema’ and ‘Corcovado (Quiet Night of Quiet Stars)’, alongside her husband’s vocals, as heard on ‘Desafinado’.

 

A Love Supreme – John Coltrane

Why? On this gorgeous suite, which Coltrane recorded in one day, we hear the summit of modal jazz, in one of the most-beloved jazz albums ever released. Opening with ‘Acknowledgement’, the four-part composition continues to ‘Resolution’ and later closes out with the thunder-and-lightening of ‘Psalm’.

 

Wild Is the Wind – Nina Simone

Why? Critics disagree on which album is Simone’s best, as her legacy is pretty evenly spread across her output. But Wild isn’t a bad place to start for those unfamiliar with her genre-jumping songs, as a work that also shows off her vocal and piano prowess. ‘Four Women’ is the classic, and is joined by standouts like ‘Black Is the Color of My True Love’s Hair’ and ‘Break Down and Let It All Out’.

 

Swiss Movement – Less McCann and Eddie Harris

Why? Soul jazz is what it sounds like: jazz with soul and gospel elements incorporated in it. This live album recorded in Switzerland produced a hit, ‘Compared to What’, that is emblematic of the subgenre. Other standout tracks are ‘Cold Duck Time’ and ‘You’ve Got It In Your Soulness’ – but every track is great.

 

Bitches Brew – Miles Davis

Why? The landmark recording of jazz fusion and jazz rock, Davis again has an all-star backing, and immediately sets forth on two epic-length songs, the title track and ‘Pharaoh’s Dance’. After these journeys the rest of the double album features shorter fare, but no less good, including a nod to his guitarist ‘John McLaughlin’.

 

The Rocky Horror Picture Show Soundtrack – Richard O’Brien

Why? Rock and roll musicals tended to be pretty tame (including Hair) until this sleeper hit of b-movie silliness emerged, and became a cult phenomenon. The soundtrack for the filmed version has all the weird and wonderfulness of songs like ‘The Time Warp’, ‘Science Fiction Double Feature’, and ‘Sweet Transvestite’.

 

Chicago: A Musical Vaudeville – Kander and Ebb

Why? Kander, Ebb, and Fosse’s tale of merry murderesses, media frenzy, and corruption has grown in popularity over time, despite an original cast containing legends Jerry Orbach, Gwen Verdon, and Chita Rivera. Famous tracks include the opening ‘All That Jazz’, ‘Cell Block Tango’ and the unrepentant ‘Nowadays’.

 

The Koln Concert – Keith Jarrett

Why? A hauntingly beautiful live album, Jarrett’s work is the best-selling piano album and solo jazz album of all-time. No surprises as to why, as Jarrett impresses on a completely improvised set, lasting nearly two hours. He opens with the lengthy ‘Part I’, and the two-part ‘Part II’, before closing out with ‘Part II C’ which is actually a separate track.

 

Heavy Weather – Weather Report

Why? The album features a fusion supergroup, and was one of the genre’s best offerings – with the defining synthesizer aspects that made it one of the last important jazz innovations for over a decade. ‘Birdland’ became a widely-recognized staple, ‘Rumba Mama’ feels out of place but fun, and ‘Havona’ typifies the sound imitators would clog the airwaves (and muzak) with for years.

 

Grease – Jacobs and Casey

Why? One of the most popular musicals of all-time, the 50s-nostalgia fest launched a series of iconic tracks (the Motion Picture soundtrack version with Travolta and Newton-John is the favorite, but has lots of filler by Sha Na Na), including ‘You’re the One That I Want’, ‘Summer Nights’ and ‘Greased Lightnin’.

 

Cats – Andrew Lloyd Webber

Why? For roughly twenty years Webber was practically synonymous with musical theater. Along with The Phantom of the Opera, Cats became one of the longest-running shows in history, and its TS Eliot-inspired songs entered the popular consciousness, from ‘Macavity’ to ‘Jellicle Songs for Jellicle Cats’, and none more so than ‘Memory’.

 

Blue Light ‘til Dawn – Cassandra Wilson

Why? Vocal jazz hadn’t experienced any innovation for a long while when this cross-genre album came out and shook up the scene. Wilson deftly slides between covers of Robert Johnson (‘Hellhound on My Trail’), Van Morrison (‘Tupelo Honey’), and Hoagy Carmichael (‘Skylark’) among many other excellent tracks.

 

The Bandwagon – Jason Moran

Why? Jazz needed defibrillation by the early 00s to save the artistic (aka non-Kenny G) aspects of the genre. Moran applies a burst of innovative electricity on this recording from the Village Vanguard. ‘Ringing My Phone (Straight Outta Istanbul)’ is one of the more experimental, looping offerings. But Moran also reaches back to tradition including Brahms, ‘Body & Soul’, and even ‘Planet Rock’.

 

Hamilton – Lin-Manuel Miranda

Why? The phenomenal success of Hamilton revived Broadway in a way not seen in decades, and was the first essential musical in an era. The hiphop-influenced retelling of America’s founding produced a number of immediate classics, including ‘Wait For It’, ‘The Schuyler Sisters’, and ‘The Room Where It Happens’.

 

R&B/Soul

 

Modern Sounds in Country and Western Music – Ray Charles

Why? One of Charles’ strongest LPs, this was one of the first great crossovers, before that was even a concept. With his R&B take on songs by the Everly Brothers (‘Bye Bye Love’), Hank Williams (‘Hey Good Lookin’), and others, Charles opened the floodgates for reinterpretation. And ‘You Don’t Know Me’ takes on new meaning in Charles’ Civil Rights context.

 

Live at the Apollo – James Brown

Why? Brown provides one of the first live albums in 1963, capturing how live performances can show a different side to the studio artist – especially by including the adoration of the crowd. Brown’s is still one of the highest octane shows ever captured, with tracks like ‘Think’, the ‘Please, Please, Please’ medley, and ‘Night Train’ blowing the roof off the legendary Apollo.

 

I Never Loved a Man the Way I Loved You – Aretha Franklin

Why? Franklin’s breakthrough is more piano-focused, and quieter than her later work – in keeping with her initial releases. ‘Respect’ is the anthem, but most of the other famous tracks are relatively low-key soul offerings, including ‘Do Right Woman, Do Right Man’ and a cover of Sam Cooke’s ‘A Change Is Gonna Come’.

 

Lady Soul – Aretha Franklin

Why? Franklin’s R&B/soul classic is more up-tempo and pop-oriented. These toe-tapping tracks (like ‘Chain of Fools’ and ‘Money Won’t Change You’) are balanced by ballads that allow Franklin to showcase her incredible voice, as heard on ‘Ain’t No Way’. The album helped to blend soul with R&B, paving the way for many.

 

Dusty in Memphis – Dusty Springfield

Why? Easily the finest recording in the blue-eyed soul subgenre, Springfield’s vocal talent shines on covers from a wide array of source material, backed with a Southern recording section. Her signature, ‘Son of a Preacher Man’ sets the tone for the types of love songs found on the album, which also include ‘I Don’t Want to Hear It Anymore’ and ‘I Can’t Make It Alone’.

 

What’s Going On – Marvin Gaye

Why? The soul conscious masterpiece is full of iconic songs, including the title track reflection on the initial 1970s, the environmental concern of ‘Mercy Mercy Me (The Ecology)’ and the urban landscape of ‘Inner City Blues (Make Me Wanna Holler)’. But Gaye’s song cycle is the rare recording where the sum is far more than its parts.

 

There’s a Riot Going On – Sly and the Family Stone

Why? A funk landmark, this album teeters between manic and joyless – a murky, fuzzy release that doesn’t sound quite like anything else. These are not the airplay staples of the band, but darker, more elusive lyrical portraits, that nonetheless often still move. ‘Luv n Haight’, ‘Family Affair’ and ‘Runnin Away’ are all great tracks.

 

Superfly – Curtis Mayfield

Why? Mayfield’s release is one of the most influential (and sampled) albums in the soul/funk genre. The messaging is empathetic, in stark contrast to the Blaxploitation film it represented, as heard on the two main tracks, ‘Freddie’s Dead’ and ‘Superfly’. ‘Little Child Runnin Wild’ is a great elegy, a portrait of the ghetto that rivals anything Stevie Wonder said about it.

 

Back Stabbers – The O’Jays

Why? This album exemplifies Philadelphia soul, a subgenre that matched funk with full orchestras and horns. Every track on here is great, but there are some classics that stand out, including the well-known ‘Love Train’ and the title track. Lesser-known, but equally good is the cautionary ‘Listen to the Clock on the Wall’.

 

Innervisions – Stevie Wonder

Why? Innervisions is Wonder’s most coherent and compact offering, with socially conscious lyrics (‘Living for the City’, ‘Visions’) and his usual multi-instrumental brilliance (on ‘Too High’ for example he plays piano, drums, harmonica, and Moog bass). It avoids the extra-long jams and grooves found on his other work.

 

Imagination – Gladys Knight and the Pips

Why? Knight’s best release is a shot of high-quality mid-70s soul. The group moves through a variety of styles, from the upbeat to the plaintive, and includes two of her best-known songs ‘I’ve Got to Use My Imagination’ and ‘Midnight Train to Georgia’ as well as a tremendous version of ‘I Can See Clearly Now’ highlighting the Pips.

 

Mothership Connection – Parliament

Why? Clinton’s P-Funk collective put out a few sloppy albums, with dumb lyrics marring phenomenal musical talent. Their least sophomoric release, Mothership, starts with the classic track ‘P. Funk (Wants to Get Funked Up)’, and then slides on the second half into the standard fare of ‘Handcuffs’ and the can’t-help-moving-your-feet ‘Give Up the Funk (Tear the Roof Off the Sucker)’.

 

Songs in the Key of Life – Stevie Wonder

Why? This is Wonder’s magnum opus, an admittedly over-stuffed hour and forty-five minutes of peak musical skill. Its impressiveness comes from its breadth of styles, ranging from the Ellington-inspired ‘Sir Duke’ to the sunshine pop of ‘Isn’t She Lovely’ to the synthed-out spaciness of ‘Saturn’ on the bonus EP.

 

Purple Rain – Prince

Why? Prince is essential because he straddled the line between rock and R&B. Further, the new sexual explicitness of songs like ‘Darling Nikki’ were controversial for the airwaves of the 80s. Meanwhile, the album’s two anthems, ‘Purple Rain’ and ‘When Doves Cry’, became icons of the era, and cemented Prince’s legacy.

 

Diamond Life – Sade

Why? Smooth soul, quiet storm, slow jams – whatever it’s called, Sade was its exemplar. This debut release captures the sound that would be popular for nearly twenty years, seeking the ‘mature’ listeners of the era. ‘Smooth Operator’ became a big hit, alongside ‘Your Love Is King’, and ‘Hang on to Your Love’.

 

My Life – Mary J Blige

Why? R&B entering the 90s was more personal, and Blige addressed parts of her life that most people didn’t talk about: depression, abuse, addiction. It also began to incorporate aspects of hiphop that started to meld with R&B in those years. ‘My Life’ and ‘No One Else’ are highlights, as is the final track’s message: ‘Be Happy’.

 

Velvet Rope – Janet Jackson

Why? The lyrical content of Jackson’s late-90s album is startlingly personal and covers topics that were then very taboo. ‘Free Xone’ deals with homosexuality, ‘Rope Burn’ with BDSM, and ‘Empty’ with the then-novel experience of falling in love online. It stands as a landmark in the development of alternative R&B.

 

The Miseducation of Lauryn Hill – Lauryn Hill

Why? The Fugees has provided a mainstream alternative to the gangsta themes of hiphop in the 90s. Hill’s breakout soul solo work built on that, and brought an autobiographical aspect to that scene on this concept album. ‘Doo Wop (That Thing)’ became the monster hit, but other tracks were nearly as popular, including ‘Ex-Factor’ and ‘Everything Is Everything’.

 

Who Is Jill Scott? Words and Sounds Vol. 1 – Jill Scott

Why? The jazziest, coffee-housiest, poetry-slammiest, turn-of-the-millennium R&B offering epitomizes that era’s sound. Scott’s album rubbed shoulders with the prevailing neo-soul of the day, on amusing, but still honest tracks like ‘Exclusively’, ‘A Long Walk’, and ‘Love Rain’. Scott’s career didn’t take off, but she still influenced those in the know.

 

Mama’s Gun – Erykah Badu

Why? In the late 90s and early 00s the genre of neo-soul emerged, and Badu (along with D’Angelo) was one of the leaders. The new, funkier and jazzier sound can be heard on the opener ‘Penitentiary Philosophy’ as well as the closer ‘Green Eyes’, and the self-satisfied ‘Cleva’. Over the next two decades Badu’s influence would continue to grow with neo-soul’s popularity.

 

21 – Adele

Why? The soul-pop juggernaut launched a series of singles unlike anything since Tapestry, forty years earlier. Phenomenally popular, the album showcases Adele’s excellent voice, and opens with the one-two punch of ‘Rolling in the Deep’ and ‘Rumour Has It’. 45 minutes and a whole journey later the listener seeks closure with ‘Someone Like You’.

 

Channel Orange – Frank Ocean

Why? Ocean’s album is less a channel-surfing concept like The Who Sell Out, and instead a mature survey of his experience in the early decade, which made him one of the need-to-know artists of the teens. ‘Pyramids’ is the centerpiece, with other alternative-R&B standouts including ‘Lost’ and ‘Bad Religion’.

 

Lemonade – Beyonce

Why? The genre-jumping, art-pop/R&B album that explores betrayal feels increasingly important with each passing year. In a decade when pop was flexing its muscles, no artist pushed the envelope more than Beyonce, and the influence was enormous on music and culture. Highlights: ‘Formation’, ‘Daddy Issues’, and ‘Hold Up’.

 

Rock and Pop

 

Elvis Presley – Elvis Presley

Why? This album introduced rock and roll to white audiences, and has some of Elvis’ best-known early work. It shows the country and southern influences of early rock on covers of ‘Blue Suede Shoes’ and ‘Blue Moon’ and also demonstrates rock’s adaptability by covering songs like Ray Charles’ ‘I Got a Woman’.

 

Here’s Little Richard – Little Richard

Why? Early rock and roll was more of a singles arena, but Richard’s LP is the rare exception. With many of Richard’s signature tracks – ‘Tutti Frutti’, ‘Long Tall Sally’ – there are also gems which don’t get the exhaustive radio play, such as the meditative track ‘Oh Why?’ which addresses being black in America’s criminal justice system.

 

A Christmas Gift for You from Phil Spector – Phil Spector

Why? Spector brought together his best acts to create the ultimate Christmas release. Darlene Love covers the iconic ‘White Christmas’, Bob B. Soxx & the Blue Jeans present an underrated track, ‘The Bells of St. Mary’s’, and The Crystals offer ‘Santa Claus Is Coming to Town’ – but really, there’s not a bad song on the album.

 

Live at the Star Club, Hamburg – Jerry Lee Lewis

Why? Lewis’ career was over when this was recorded. But his skills and energy are still top-notch, leading to the live recording being something of a sleeper hit among fans. He revisits his rock classics, ‘Great Balls of Fire’ and ‘Whole Lotta Shakin Goin On’ but also his later country sound, like ‘Your Cheatin Heart’, making this a one-album career retrospective.

 

Bringing It All Back Home – Bob Dylan

Why? Dylan was between two styles at this point – his new electric rock sound on Side A, and his older acoustic folk sound on Side B. His rock offerings are among his most famous, with ‘Subterranean Homesick Blues’ and ‘Love Minus Zero/No Limit’, as are his folk, with ‘Mr. Tambourine Man’ a highlight of the back half.

 

Highway 61 Revisited – Bob Dylan

Why? On this album Dylan is unapologetically electric, and shares some of his most famous lyrics, on ‘Like a Rolling Stone’, ‘Ballad of a Thin Man’ and ‘Desolation Row’. Densely packed with poetic Americana and allusions (Highway 61 traces the evolution of the blues from the delta to Chicago), it’s considered by many his best offering.

 

Rubber Soul – The Beatles

Why? This is when The Beatles first began to experiment and mature as songwriters (one of the best: ‘In My Life’), leaving covers finally behind. For the first time there are messages they’re trying to convey: ‘Think For Yourself’ and ‘The Word’ are emerging attempts at rock artists communicating their values.

 

Pet Sounds – The Beach Boys

Why? In a late-1960s arms race with The Beatles, which produced Sgt. Peppers and Revolver, Brian Wilson released Pet Sounds, which was an incredibly ambitious experiment. Novel instrumentation, paired with top-tier songwriting, led to the classic songs ‘God Only Knows’, ‘Wouldn’t It Be Nice’, and ‘Caroline, No.’

 

Freak Out! – The Mothers of Invention

Why? Frank Zappa’s debut is the first double album released and, by some accounts, the first rock concept album. Sometimes feeling more ‘important’ than ‘good’ (he has better offerings) it’s still startling how experimental he was. ‘Trouble Every Day’ and ‘Any Way the Wind Blows’ represent the album’s satire, while the last three tracks (‘It Can’t Happen Here’) voyage into real weirdness.

 

Revolver – The Beatles

Why? Rubber Soul still had plenty of saccharine, and the messaging was sometimes immature. Revolver is the end of adolescence and the start of rock’s adulthood. ‘Eleanor Rigby’s string arrangements became iconic, as was the psychedelic backwards guitar loops of ‘Tomorrow Never Knows’ and the fan favorite ‘Yellow Submarine’.

 

The Doors – The Doors

Why? Jim Morrison’s lyrics were in their best form here, depicting the eerie, shadowed reflection of psychedelia. Upbeat rockers are present, such as ‘Break on Through (To the Other Side)’ but there are also subterranean, creeping depths explored on tracks like ‘End of the Night’ and the vaguely terrifying ‘The End’.

 

Surrealistic Pillow – Jefferson Airplane

Why? The sound has been described as early psychedelia, folk rock, and others – it’s basically the sound of the counterculture. Jefferson Airplane helped get people out to San Francisco, and then helped shape the culture, as heard on their songs about drugs (‘White Rabbit’), free love (‘Somebody to Love’), and individualism (‘How Do You Feel’).

 

The Velvet Underground and Nico – The Velvet Underground

Why? This album is the birth of art-rock, as much a side-project of Andy Warhol as the start of Lou Reed’s career. ‘Heroin’ and ‘I’m Waiting for the Man’ dealt with drugs in a new explicitness – other subjects included prostitution and BDSM. The confrontational final tracks culminating in ‘European Son’ were unlike anything recorded before.

 

Are You Experienced – The Jimi Hendrix Experience

Why? Hendrix was by most accounts the best guitarist, ever. On this debut album he takes that skill and uses it to map out the possibilities of psychedelia in 1967. ‘Purple Haze’ provides the confrontational opening that presaged the emergence of hard rock, followed by mellower tracks like ‘Hey Joe’ and ‘The Wind Cries Mary’.

 

Sgt. Pepper’s Lonely Hearts Club Band – The Beatles

Why? This is the experimental sound of psychedelic rock in the fabled Summer of 67. The lyricism and story-telling is top-notch, as seen on ‘She’s Leaving Home’, and combined new instrumentation (notably the sitar on ‘Within You Without You’). The personas, and mythology (the title track), were also new.

 

Forever Changes – Love

Why? Love was a psychedelic band who blurred stylistic boundaries and tried out novel production techniques on Forever Changes to create a classic. The songwriting, too, is top tier, poetic and modern without being inaccessible. ‘A House Is Not a Hotel’ has folk influences, ‘Maybe People Would Be the Times’ plays with verse structure, and ‘You Set the Scene’ is a remarkable closing anthem.

 

Disraeli Gears – Cream

Why? Cream was rock’s first supergroup, with Eric Clapton at the helm, and so their musical prowess is not surprisingly off the charts. A blues rock classic with psychedelic elements, ‘Sunshine Your Love’ became their signature tune, alongside other excellent tracks like ‘Strange Brew’ and ‘Tales of Brave Ulysses’.

 

Gris-Gris – Dr. John

Why? A bizarre New Orleans blend of swamp rock, psychedelia, and R&B, Gris-Gris feels like you’ve stumbled into some secret ritual – and no other album sounds like it. The opening track is the languid, smokey ‘Gris-Gris Gumbo Ya Ya’, ‘Mama Roux’ is one of the more upbeat songs, and ‘I Walk on Guilded Splinters’ is the impressive finale.

 

Odessey and Oracle – The Zombies

Why? A subgenre, baroque pop, finds its masterpiece with this one-hit-wonder album. Complex orchestrations and harmonies elevate the delicate, exquisite portraits of tracks like ‘Brief Candles’ and ‘Changes’ before finishing with the band’s biggest hit, the psychedelic favorite ‘Time of the Season’.

 

Music from Big Pink – The Band

Why? The Band’s debut had some help from Dylan to launch a truly revolutionary sound. Already beginning to venture towards roots rock, the band was still grounded in the prevalent psychedelic music of the era, creating a unique sound heard on tracks like ‘This Wheel’s on Fire’ and ‘Chest Fever’ besides their major, more traditional hit, ‘The Weight’.

 

Electric Ladyland – The Jimi Hendrix Experience

Why? On this double album Hendrix opens up, and lets his guitar breathe on long tracks like ‘Voodoo Chile’ and ‘1983…(A Merman I Should Turn to Be)’. The classic offering of the set is the Dylan cover ‘All Along the Watchtower’ which brought an edgy ferocity to rock that would inspire many to come.

 

The Beatles [The White Album] – The Beatles

Why? Taking a ‘kitchen sink’ approach, the tracks’ influence ranges from nursery rhymes and lullabies to blues rock and experimental offerings. Each member was trying new sounds – producing several classic tracks such as ‘While My Guitar Gently Weeps’, ‘Back in the USSR’, and ‘Blackbird’.

 

Beggars Banquet – The Rolling Stones

Why? On this offering The Stones explore the world of roots rock – with plenty of twang and slide guitar. Yet for all the back-to-basics aspects in tone, the instrumentation is highly adventurous, blending Indian instruments (‘Street Fighting Man’) with Latin rhythms (‘Sympathy for the Devil’) and lyrics verging on honky tonk (‘Salt of the Earth’).

 

Led Zeppelin – Led Zeppelin

Why? Their self-titled debut was the birth of hard rock. Taking the blues, pumping up the volume and upping the speed created a whole new rock subgenre, with legions of followers and massive popularity. Many classic tracks comprised the work, including ‘Good Times Bad Times’, ‘Dazed and Confused’, and ‘Communication Breakdown’.

 

Tommy – The Who

Why? Purists point out that this work is, technically, not a rock opera – but it’s the first major rock opera. With coherent storylines, characters, and themes, The Who elevated the concept album to new heights, with classic tracks like ‘Pinball Wizard’, the instrumental ‘Underture’, and the culminating ‘We’re Not Going to Take It’.

 

Crosby, Stills, and Nash – Crosby, Stills and Nash

Why? An early supergroup, all three members were great guitarists, songwriters, and singers. The opening track, ‘Suite: Judy Blue Eyes’ sounded unlike anything that had come before. ‘You Don’t Have to Cry’ is a reflection on the choices we make in life. ‘Marrakesh Express’ became a favorite, and hints at the sound they’d record on later albums.

 

Trout Mask Replica – Captain Beefheart

Why? Complex arrangements and a dizzying array of influences led to this modern art music masterpiece. It combines delta blues growls (‘Hobo Chang Ba’), free jazz (‘Hair Pie’), folk shanty tracks (‘Well’), with some seriously expert rock in a massive package, tinged with Zappa overtones. Nothing else sounds like it.

 

The Band – The Band

Why? An early celebration of Americana and roots rock, The Band paved the way for many to follow. Broadly a concept album of the American South, ‘The Night They Drove Old Dixie Down’ is an authentic ballad, while more upbeat tracks include ‘When You Awake’ and ‘Across the Great Divide’.

 

Live Dead – The Grateful Dead

Why? Of course, we now take live albums and jam sessions for granted, but the Dead were at the forefront of that, with every concert a unique experience. Their famous improvisational techniques are heard on the 20+ minute ‘Dark Star’, as well as on expansive renditions of ‘St. Stephen’ and ‘Turn on Your Love Light’.

 

Abbey Road – The Beatles

Why? Knowing they were breaking up, The Beatles put the last of their pooled creative energy into this offering. The multi-part suite of the second half was revolutionary in popular music (highlight: ‘Carry That Weight’), as were small touches like the first hidden track. Classic tracks include ‘Here Comes the Sun’ and ‘Come Together’.

 

Let It Bleed – The Rolling Stones

Why? Tonally one the darkest offerings of The Stones, the classic ‘Gimme Shelter’ opens Side A of the album, and ‘Midnight Rambler’ Side B – rock had generally avoided such levels of foreboding and danger before. Most of the songs continue to explore the band’s interest in American country, before the epic finale of ‘You Can’t Always Get What You Want’.

 

Bridge Over Troubled Water – Simon and Garfunkel

Why? Simon’s lyrics always made their duo stand head and shoulders above the rest. That storytelling prowess is heard on ‘The Boxer’ and ‘The Only Living Boy in New York’ – as Simon reflects on the end of their career together. The titular anthem, meanwhile, is the best example of Garfunkel’s soaring vocals.

 

Moondance – Van Morrison

Why? This work is a highwater mark of synthesis – without sacrificing listenability. By blending jazz, folk, and rock, Morrison came up with a new type of sound. The lyrics were personal, in line with the emerging singer-songwriter movement. Besides the title track, ‘Into the Mystic’ and ‘Caravan’ also became favorites.

 

Cosmo’s Factory – Creedence Clearwater Revival

Why? CCR were the paragons of southern rock and swamp rock. Released in 1970, Cosmo’s Factory was the end of their classic album run, a mix of radio favorites and covers that had more of a pop-appeal than their previous works. ‘Lookin Out My Back Door’, and ‘Who’ll Stop the Rain’ were pleasing little tunes, while ‘Run Through the Jungle’ showed off CCR’s harsher edge.

 

Paranoid – Black Sabbath

Why? Paranoid helped create a subgenre that would then take off: heavy metal. There are definite songs on the album that fit that mold: ‘Paranoid’ and ‘Iron Man’ became classics even for non-heavy metal fans. But the 1960s are still in rearview mirror, on the trippy ‘Planet Caravan’ that shows that the genre was just starting to evolve.

 

After the Goldrush – Neil Young

Why? Regarded as one of the best songwriters in the business, Young’s album helped launch the mashup genre of country folk, but really there’s lots of rock involved. The scathing indictment of ‘Southern Man’ became the best-known track from the album, whereas ‘After the Goldrush’ and ‘Tell Me Why’ have Young examining his life and times.

 

Abraxas – Santana

Why? Santana launched Latin rock on his first, self-titled, album before releasing his best work a year later (after gaining attention at Woodstock). ‘Oye Como Va’ and ‘Black Magic Woman’ became radio staples, while other tracks showed of the instrumental, almost jazzy versatility of the group, as heard on the instrumental ‘Incident at Neshabur’.

 

American Beauty – The Grateful Dead

Why? The Dead’s best studio offering has many of their most popular Americana-infused rock songs. ‘Friend of the Devil’, ‘Sugar Magnolia’, and ‘Truckin’ all became classics, showcasing their songwriting skills, and the Dead’s sound inspired imitators in a few different genres, from other rock acts to bluegrass.

 

Tea for the Tillerman – Cat Stevens

Why? Stevens was a gifted songwriter for the softest side of folk rock, and this album is a one-stop shop for nearly all of his best works. The three big hits are the brow-furrowed ‘Where Do the Children Play?’, ‘Wild Word’ as a plea to a lover moving on to better things, and ‘Father and Son’ reflecting on the generation gap.

 

John Lennon – Plastic Ono Band

Why? This may be the rawest and one of the most thematically dark releases ever made. Lennon was undergoing primal scream therapy, and that shattered brokenness and vulnerability is heard on every track, from the opening ‘Mother’, through the embittered ‘Working Class Hero’, and on through the scared, wide-eyed optimism of ‘Love’.

 

Pearl – Janis Joplin

Why? Joplin’s position in the singer-songwriter world was both more pleading and funnier than her peers. This last offering captures those elements, showing that they were just as legitimate as the soul-searching albums of the era. ‘Cry Baby’ is the peak of pleading, ‘Mercedes Benz’ the wriest humor, and ‘Me and Bobby McGee’ the karaoke staple.

 

Tapestry – Carole King

Why? King was a phenomenal songwriter, and her words had provided hits for many others before she debuted her own talents on this landmark of the 1970s singer-songwriter movement. Among the radio favorites are ‘I Feel the Earth Move’ and ‘So Far Away’, alongside her quiet, personal rendition of ‘(You Make Me Feel Like) A Natural Woman’.

 

Every Picture Tells a Story – Rod Stewart

Why? A roots rock landmark, this album incorporates great songwriting with a crosspollination of both hard rock and folk. Stewart’s storytelling is heard on the radio favorite ‘Maggie May’ and the following track ‘Mandolin Wind’, but his interpretations are also great, especially the finale of ‘(Find a) Reason to Believe’.

 

Blue – Joni Mitchell

Why? The undisputed lyrical genius of the 70s singer-songwriter movement, Mitchell’s album was one of the first meditative works released by a woman that dealt with her personal experiences and stories. As such it became an instant landmark, with iconic tracks we could all relate to: ‘California’, ‘My Old Man’, and ‘The Last Time I Saw Richard’.

 

At Fillmore East – The Allman Brothers

Why? Duane Allman was one of the most stunning guitarists of any era, and the blues-infused tracks paved the way for more southern-influenced rock acts to follow. Reimagined arrangements of ‘Whipping Post’, ‘You Don’t Love Me’, and ‘In Memory of Elizabeth Reed’ further showcased the limitations of studio albums for certain bands.

 

Who’s Next – The Who

Why? After putting the musical themes of Tommy behind them, The Who released a flawless album, with a new, expansive sound of hard rock with synth elements. ‘Baba O’Reilly’ and ‘Won’t Get Fooled Again’ became radio favorites, but even the less popular tracks have a gorgeous vastness, as heard on ‘The Song Is Over’.

 

Electric Warrior – T. Rex

Why? Released in ’71 this is the first real glam rock release, with a unique guitar fuzziness that makes their sound stand out – it’s both heavy and pop-friendly. ‘Get It On’ probably is the band’s best-known track, along with ‘Jeepster’, but the album’s consistency means each track is great, including the opening ‘Mambo Sun’.

 

Led Zeppelin IV – Led Zeppelin

Why? ‘Stairway to Heaven’ was the most-requested rock song for DJs in the 1970s. Zeppelin is here in peak form, showing off heavy tracks like ‘Rock & Roll’ and their acoustic side (about a quarter of Zeppelin’s output) on tracks like ‘Going to California’. Famously, though, there are no bad songs on the album.

 

Hunky Dory – David Bowie

Why? Bowie became iconic for his personas, and this is the start of that period. It’s also one of his most lyrically compact offerings, and his most poetic endeavors. The one-two punch opening of ‘Changes’ and ‘Oh! You Pretty Things’ sets up a light tone, but the album zigs and zags on the second half, with portraits of Dylan and Warhol and the beautiful mire of ‘Quicksand’.

 

The Concert for Bangladesh – George Harrison

Why? This was the first concert for charity, a new idea in popular music. It’s also a great concert, with an incredible group of musicians. Ravi Shankar opens with ‘Bangla Dhun’, then Harrison plays some of his signature tunes, such as ‘My Sweet Lord’ before passing it off to acts like Ringo Starr, Leon Russell, and Billy Preston, before Bob Dylan does a set, including ‘A Hard Rains A-Gonna Fall’.

 

Exile on Main Street – The Rolling Stones

Why? After experimenting with different sounds, The Rolling Stones blended them smoothly together in an album that is meant to be listened to all at once, practically as a series of suites. It moves from honky to blues, from hard rock to swing, all seamlessly. Notable tracks include ‘Rocks Off’, ‘Soul Survivor’, and ‘Tumbling Dice’.

 

The Rise and Fall of Ziggy Stardust and the Spiders from Mars – David Bowie

Why? Generally lauded as Bowie’s finest work, the concept album launched glam rock into the stratosphere and developed androgynous themes that would flourish over the next two decades. ‘Starman’ and ‘Star’ told the story of the hero’s arrival and fame – both all the more apt since Ziggy was a literal extraterrestrial – before culminating in ‘Rock n Roll Suicide’.

 

Raw Power – The Stooges

Why? One of the albums that led to punk, Raw Power (not surprisingly) pulls no punches – with confrontational guitars, shouted lyrics from Iggy Pop, and punk-y, edgy themes. Well-known tracks include ‘Death Trip’ and ‘Search and Destroy’ but there are lesser-known gems, like ‘Penetration’ which features the unusual use of a celesta.

 

Dark Side of the Moon – Pink Floyd

Why? One of the most successful concept albums ever, Pink Floyd’s album explores different facets of society, as heard on ‘Money’ and ‘Time’, creating a suite of commentary on the world we live in. The final two tracks, ending with ‘Eclipse’, remains one of the finest solutions for closing a concept album.

 

Goodbye Yellow Brick Road – Elton John

Why? Elton John and Bernie Taupin provided the world with some of the best songs in the 1970s, and this album has many of those classic tracks, including ‘Candle in the Wind’, ‘Saturday Night’s Alright for Fighting’ and ‘Bennie and the Jets’. John’s influence on the emerging glam rock genre can be heard on here as well, rubbing elbows with honky tonk and even reggae experiments.

 

Irish Tour ’74 – Rory Gallagher

Why? Gallagher was one of the best blues rock guitarists, and his live performance captures him at his most incandescent. He blazes through tracks like ‘Too Much Alcohol’ and ‘Cradle Rock’, surpassing any live offerings from comparable acts like Led Zeppelin. Even a quiet track, ‘As the Crow Flies’ is an eye-opening feat of guitar work. The end product is an album with no bad tracks on it.

 

Blood on the Tracks – Bob Dylan

Why? The last great Dylan offering was a reflection – less showing off and more mature. Lyrics on tracks like ‘Tangled Up in Blue’, ‘Shelter from the Storm’, and ‘Simple Twist of Fate’ are no longer the wunderkid trying to impress, but the musings of a songwriter who has some life under his belt, which was still relatively new in the mid-1970s.

 

Born to Run – Bruce Springsteen

Why? Springsteen’s down-on-his-luck New Jersey bravado became a template for a whole genre of blue-collar, heartland rock. Technical innovations include obsessive multilayering to capture the grandiose ambitions of ‘Born to Run’ and ‘Thunder Road’. The epic ‘Jungleland’ finale captures all the tragedy Springsteen attempts to convey.

 

Horses – Patti Smith

Why? The great godmother of punk, Patti Smith’s mid-70s masterpiece combines stellar garage rock and beat poetry. The epic opening of ‘Gloria: In Excelsis Deo/Gloria’ and ‘Free Money’ are good examples of the rock cred, while the three part ‘Land: Horses/ Land of a Thousand Dances / La Mer(de)’ shows off her poetic chops.

 

A Night at the Opera – Queen

Why? Unquestionably Queen’s strongest album, it also shows off the band’s quirkiness, jumping around genres from prog rock to music hall ditties that sound like Victoriana. ‘Bohemian Rhapsody’ became their iconic track, with ‘You’re My Best Friend’ is another well-known offering, but other gems never made the airwaves, including the epic ‘The Prophet’s Song’.

 

Ramones – The Ramones

Why? The first punk album released, Ramones was enormously influential in sound and style (welcome back, leather jackets), and shifted rock’s epicenter back to New York. ‘Blitzkrieg Bop’ became the classic track, and their irreverence was broadcast on ‘Now I Wanna Sniff Some Glue’ and one of their longest tracks ‘Beat on the Brat’ – a full two minutes and a half.

 

The Modern Lovers – The Modern Lovers

Why? The Boston-based Modern Lovers invented punk – but their record label shelved this masterpiece, so they got no credit. They got recognition eventually, with ‘Roadrunner’ becoming a classic – but much of the album is more meditative, as heard on ‘Hospital’ and ‘Girlfriend’.

 

Hotel California – The Eagles

Why? The Eagles ended up being one of the best-selling rock bands of all-time, with their country-influenced sound and excellent songwriting, and this bicentennial reflection on America is easily their best LP. Some of the classic tracks include the epic title track, and the hits ‘Life in the Fast Lane’ and ‘New Kid in Town’.

 

Rumours – Fleetwood Mac

Why? Widely hailed as a masterpiece, Rumours produced a host of well-known tracks, showcasing the smooth production of their soft/pop rock on songs like ‘Dreams’, ‘Go Your Own Way’, and ‘You Make Loving Fun’. And there was still just enough of the band’s original blues rock muscle left to elevate the album above the competition.

 

Marquee Moon – Television

Why? Slow down punk and what do you have? Art punk, apparently. Marquee launched the genre, elevating the lyricism while maintaining the garage guitars. The title track certainly distinguishes itself with an over 10-minute runtime. It’s joined, among others, by the classic opener ‘See No Evil’ and the genuinely amusing ‘Venus’.

 

The Clash – The Clash

Why? Punk has many identifiable features, including the disdainful snarling which the world first experienced on this debut. ‘I’m So Bored with the USA’ made their feelings clear, as did ‘London’s Burning’. The long-term partnership between punk and reggae begins here as well, with a cover of ‘Police & Thieves’.

 

The Stranger – Billy Joel

Why? Joel was a tremendous songwriter, and told stories of New York (‘Movin Out (Anthony’s Song)’), love and lust (‘Only the Good Die Young’), and the rise and fall of relationships (‘Scenes from an Italian Restaurant’). He provided one of the few mature voices in the 70s to counter the prevalent punk rock of the era.

 

Never Mind the Bollocks, Here’s the Sex Pistols – Sex Pistols

Why? The violence and anarchy of punk came largely from the Sex Pistols, which is impressive for an effective one-album-wonder. But nearly all of the tracks are classics: ‘Anarchy in the UK’ and ‘God Save the Queen’ were rallying cries, and, in true punk form, they even bit the hand that fed them on the scathing final track ‘E.M.I.’.

 

This Year’s Model – Elvis Costello

Why? The ‘angry young man’ trope was embodied in Costello’s early punky, new wave-ish work, and Costello himself became a minor icon, influencing the style and sound of a solid decade of musicians. His nervous, angry energy is heard on ‘No Action’, ‘Pump It Up’ and the dripping condescension of ‘Living in Paradise’.

 

The Cars – The Cars

Why? The debut of the influential new wave band contains most of their famous tracks, including ‘Good Times Roll’, ‘My Best Friend’s Girl’, and ‘Just What I Needed’. The rest of the album strays significantly from the radio-heavy hits, and delves into more experimental territory, but is still very worthwhile.

 

Parallel Lines – Blondie

Why? Parallel Lines blended pop rock with the emerging new wave. The lyrics, though, were far superior to most pop offerings (of that era), dealing with loneliness, stalking, and egotism. Classic tracks include the disco-approved ‘Heart of Glass’, ‘One Way or Another’, and the cover ‘Hanging on the Telephone’.

 

Off the Wall – Michael Jackson

Why? Lots of disco is forgettable grooves that go on too long (assuming you’re not on the dancefloor). With this album Jackson had the infectious songs like ‘Don’t Stop ’Til You Get Enough’, ‘Burn This Disco Out’, and the title track, as well as better-than-disco’s-average songwriting, and Quincy Jones’ legendary production techniques to make it stand out from the fold.

 

Damn the Torpedoes – Tom Petty

Why? Petty ended up carrying the banner of heartland rock from the late 70s through the 90s, due to his excellent songwriting, guitarwork, and skill as a composer. Torpedoes is his best offering, with an opening trifecta of some of his most popular songs: ‘Refugee’, ‘Here Comes My Girl’, and ‘Even the Losers’.

 

The Wall – Pink Floyd

Why? Pink Floyd took the concept album to even greater heights on this release, telling a story of individualism being ground down by society. In the process the album marked a new sound in prog rock, influential in the decade following, with classic tracks including ‘Comfortably Numb’, ‘Hey You’, and ‘Another Brick in the Wall, Part 2’.

 

London Calling – The Clash

Why? This album was both a highwater mark for punk and helped guide the way to the post-punk landscape. ‘London Calling’ was a broadcast from the apocalypse, ‘Lost in the Supermarket’ deals with ennui and consumerism, and ‘Train in Vain’ exemplifies the experimentation of the double album – seemingly throwing up their hands and embracing pop.

 

Back in Black – AC/DC

Why? A decade after hard rock emerged it was beginning to be eclipsed by heavy metal and punk. AC/DC’s album gave the genre a shot in the arm, with the arena- and radio-friendly classic tracks: ‘Back in Black’, ‘You Shook Me All Night Long’, and ‘Shoot to Thrill’ all becoming standards, and helping to make the album a best-seller.

 

Ghost in the Machine – The Police

Why? The Police were the strongest new wave outfit, and Ghost created a template that wasn’t too synthed-out for others to follow. ‘Every Little Thing She Does Is Magic’ was the album’s hit, but the rest of the tracks are just as good, including ‘Invisible Sun’ and ‘Spirits in the Material World’. The end result is a thematically-consistent entry point to the 80s.

 

Avalon – Roxy Music

Why? For those who want the synthed-out sound of the 80s, Avalon was the album that combined their ethereal sound with Bryan Ferry’s equally ethereal crooning. Lyrics that teetered between mysterious and vague also helped, and were also copied. Great tracks include the famous opener ‘More Than This’, ‘Take a Chance With Me’, and the title track.

 

Imperial Bedroom – Elvis Costello

Why? In a marked shift from his earlier releases, Imperial Bedroom signals the emergence of the fedora-and-piano era for songwriters like Costello. ‘Beyond Belief’ was the most lyrically ambitious offering, but other strong tracks include ‘…And in Every Home’ and ‘Little Savage’ – which calls back to his older recordings.

 

Thriller – Michael Jackson

Why? Arguably the most influential pop album ever produced. Jackson’s style on Thriller was copied globally, with the echoes only now fading. The classic tracks, including ‘Billie Jean’ and ‘Beat It’ became universally recognized, and the title track launched the artistic music video, which is still influencing how artists release their music today.

 

Born in the USA – Bruce Springsteen

Why? Beyond the airplay of classics of ‘Glory Days’ and ‘Born in the USA’ there’s a notable thematic shift – these songs are not celebratory (despite many a misunderstanding). This is an album of national frustration and broken dreams, ideas which hit harder when expressed by the posterchild of the heartland. Every track is great, including the underplayed gems like ‘Downbound Train’.

 

Stop Making Sense – Talking Heads

Why? An incredible live album, the new wave act Talking Heads builds the show as each successive track adds musicians. ‘Psycho Killer’ opens with just lead singer Byrne, accompanied with guitar and boombox. By ‘Burning Down the House’ the group is at full capacity, and rides that high through the group’s best-known songs, including a phenomenal ‘Life During Wartime’.

 

Let It Be – The Replacements

Why? This album is something of a sampler’s flight of punk styles. Lyrically clever, and maintaining their identity throughout, The Replacements glide through songs that sound like The Clash (‘We’re Coming Out’), or the Sex Pistols (‘Tommy Gets His Tonsils Out’), and also include songs that sound like no one else at the time, including one of their most popular tracks, the lo-fi ‘Androgynous’.

 

Hounds of Love – Kate Bush

Why? Bush’s avant-pop records ended up commanding a devoted following, and this is one of her best, showcasing the pop soundscape of the 80s. ‘Running Up That Hill (A Deal With God)’ was one of her biggest hits without sacrificing thematic depth, and its joined by other great tracks like ‘Cloudbusting’ and ‘The Big Sky’.

 

Master of Puppets – Metallica

Why? Master of Puppets is one of the great thrash metal albums, and the de facto entry point for those unfamiliar with the genre. With scathing lyrics and shredded guitars Metallica addresses the military (‘Disposable Heroes’), addiction (‘Master of Puppets’), and assault (‘Battery’) among other topics.

 

The Queen is Dead – The Smiths

Why? To distinguish from the 70s term, when did the contemporary concepts of ‘alt-rock’ and ‘indie rock’ begin? Arguably, this would be one of the first releases to qualify – Morrissey’s grey-skies, take-the-piss schoolboy cleverness is on full display on songs like ‘Cemetery Gates’, ‘Vicar in a Tutu’ and ‘Some Girls Are Bigger Than Others’.

 

Reign in Blood – Slayer

Why? Metal is often derided for its themes of death, Satanism, and violence. This album is certainly part of the reason why, a midpoint between more mainstream metal and its darker subgenres, like death metal. ‘Raining Blood’ is the famous closer, ‘Angel of Death’ the very controversial opener, and ‘Altar of Sacrifice’ typical of the rest of the album.

 

The Joshua Tree – U2

Why? The reason this album became an international phenomenon was that nothing in the 1980s rock landscape sounded like it, with its big sky feel. With the theme of discovering America, nearly every track became a classic, including ‘I Still Haven’t Found What I’m Looking For’, ‘With or Without You’, and ‘Where the Streets Have No Name’.

 

Appetite for Destruction – Guns n Roses

Why? The epitome of the 1980s hair metal genre, Destruction displayed Slash’s top-notch guitarwork and Axl Rose’s excellent songwriting. ‘Sweet Child O Mine’ had a tenderness previously absent from metal, ‘Paradise City’ became the arena anthem, and the rest, like ‘Welcome to the Jungle’, had unashamedly adolescent bravado and menace.

 

The Stone Roses – The Stone Roses

Why? By the mid-90s Britpop was a full-fledged subgenre, hearkening back to the sounds of the 1960s. It began with this work, the “Madchester” masterpiece. ‘I Wanna Be Adored’, ‘Waterfall’ and ‘I Am the Resurrection’ were glimpses of where much of British popular music was headed for the next decade.

 

I Do Not Want What I Haven’t Got – Sinead O’Connor

Why? O’Connor’s songwriting and vocals blended perfectly to present a series of love ballads and songs with serious messages. ‘Feel So Different’ and the cover of Prince’s ‘Nothing Compares 2 U’ are good examples of her signature pleading, while ‘Black Boys on Mopeds’ tackled racism of the Thatcher era.

 

Nevermind – Nirvana

Why? There are other grunge albums, but really the movement is practically synonymous with this release. Cobain was a pioneering songwriter, blending the harshness of the Pixies with the accessibility of McCartney. The anthem ‘Smells Like Teen Spirit’ opens the album, followed by other classics like ‘Come as You Are’ and ‘Lithium’. And just like that, hair metal was over.

 

Loveless – My Bloody Valentine

Why? Shoegaze was a fairly short-lived genre in its heyday, but Loveless was its masterpiece. The dreamy, noisy fuzz still resonates decades later, and inspired many to crank up their distortion. While the whole album is good, particular standouts are ‘Only Shallow’, ‘I Only Said’ and ‘Blown a Wish’.

 

Achtung Baby – U2

Why? U2 decided to experiment, and mixed ambient, EDM, and industrial together on Achtung, creating a unique sound for the next decade. The radio favorites ‘One’ and ‘Mysterious Ways’ were great blends of Bono’s pleading and The Edge’s uncanny hooks. Other tracks were equally as good, including the thematic throwback of ‘Until the End of the World’.

 

Automatic for the People – REM

Why? ‘Everybody Hurts’ is the only famous song on this, the widely-regarded best, of REM’s output. (Not including the homage to Andy Kaufman, ‘Man on the Moon’.) Still, the rest of the band’s contributions on the album have a tonal consistency (and audible clarity) that sets this work apart, as heard on the opener, ‘Drive’.

 

Exile in Guyville – Liz Phair

Why? A track-by-track response to the Rolling Stones classic, Liz Phair tackled serious issues, especially female sexuality (‘Fuck and Run’ and ‘Flower’ are particularly lyrically provocative), which hadn’t been addressed in mainstream music before. As a lo-fi indie rock landmark (‘Mesmerizing’), Phair’s album influenced a decade of musicians.

 

The Downward Spiral – Nine Inch Nails

Why? Industrial rock was practically synonymous with Nine Inch Nails. Expanding on the sound he’d created in the 80s, Reznor developed one of the most original concept albums in rock – telling of an individual’s downward spiral – and provided the major breakthrough of the genre. ‘Closer’ was the unexpected hit, but other highlights on the journey include ‘Piggy’ and the closing ‘Hurt’.

 

Grace – Jeff Buckley

Why? Buckley’s only significant release before his untimely death (at the age of just 30) displays his stunning vocal talents alongside his songwriting skill. A perfect blend of airy and fierce, he floats on the now-definitive recording of Cohen’s ‘Hallelujah’, rocks on ‘Eternal Life’, and does both on ‘Mojo Pin’.

 

Jagged Little Pill – Alanis Morrissette

Why? Alternative rock mixed with the singer-songwriter renaissance on this classic best-selling album. Morrissette helped bring feminism into the 90s with tracks including ‘You Oughta Know’, ‘All I Really Want’, and the radio staple ‘Ironic’ before going on to be adapted into a successful Broadway musical a couple decades later.

 

Emperor Tomato Ketchup – Stereolab

Why? Post-rock creates layered, almost ambient tracks, and Stereolab’s album was one of the highlights of the genre’s early development in the mid-90s. ‘Metronomic Underground’ sets the looping tone of the album, followed by the pop-adjacent compositions ‘Les-Yper Sound’ and ‘Cybele’s Reverie’.

 

Call the Doctor – Sleater-Kinney

Why? The punk subgenre of riot grrrl was a significant development – a feminist, leftist vision, in stark contrast to punk’s originally-held violent, male-dominated, themes. Call the Doctor is one of the most compact, brilliant offerings in the Sleater-Kinney catalogue, with ferocious short songs like ‘Little Mouth’, ‘I’m Not Waiting’ and ‘Stay Where You Are’.

 

Sublime – Sublime

Why? In the late 80s and early 90s ska punk, which had been around for more than a decade, broke through as a popular genre. Sublime were one of the acts at the forefront of the so-called third wave ska movement, and their final album had big hits that exemplify the sound (‘Santeria’, ‘What I Got’) as well as excellent lesser-known tracks, such as the closer, ‘Doin Time’.

 

OK Computer – Radiohead

Why? Radiohead was at a crossroads, moving away from standard alt-rock, and becoming more experimental, especially with their arrangements. Dense with allusions and disturbing, elusive, meaning, the tracks ‘Paranoid Android’ and ‘Subterranean Homesick Alien’ were among the album’s classics, but less-popular tracks are just as good, as proven on ‘Electioneering’.

 

Homogenic – Bjork

Why? Art pop tends to be experimental, and Bjork pushed the sonic boundaries on her first important album. Songs like ‘Hunter’ and ‘Alarm Call’ can be challenging to listen to initially, but they are buffeted by the warm (ish) sounds that would become popular on her later releases, such as the closing ‘All is Full of Love’.

 

Ray of Light – Madonna

Why? The triphop and electronica aspects of this late 90s release were blended with Madonna’s pop sensibilities (and newly-acquired vocal training) in order to popularize the forms. ‘Ray of Light’ got all the airplay, but the more reflective songs are also great, including the opening ‘Drowned World/Substitute for Love’ and the final ‘Mer Girl’.

 

XO – Elliott Smith

Why? Smith was one of the premiere lyricists of the indie rock scene, and this album showed that ‘indie’ could still be lush and fully rounded. The opening ‘Sweet Adeline’ demonstrates this building from a single acoustic guitar to the full orchestration. ‘Baby Britain’ is a parting shot to the mid-90s Britpop, while ‘I Didn’t Understand’ closes the work nodding to earlier acts like Big Star.

 

69 Love Songs – The Magnetic Fields

Why? Triple albums are difficult and rare, but this indie pop landmark stays fresh for three hours due to its versatility of musical styles and exploration of the different facets of love. Love is examined as a thunderclap (‘When My Boy Walks Down the Street’), heartache (‘Epitaph for My Heart’), academic notion (‘The Death of Ferdinand De Saussure’) and everything else in between.

 

When the Pawn – Fiona Apple

Why? During the female singer-songwriter revival in the 1990s Apple charted the piano-driven territory that so many followed. Lyrics of tracks like ‘Limp’, ‘Paper Bag’ and ‘Fast as You Can’ contrasted upbeat arrangements with Apple’s very dark themes and hard-won wisdom, launching a relevance that would continue for decades.

 

Kid A – Radiohead

Why? This album launched a unique sound, a marriage between rock and electronica which was unrivaled in still-listenable experimental music. The layers and textures, and Yorke’s use of his voice as just another instrument, are immediately apparent on the opening ‘Everything In Its Right Place’, as well as the upbeat ‘The National Anthem’, and ‘Idioteque’.

 

Stories from the City, Stories from the Sea – PJ Harvey

Why? Harvey’s best offering captured the wide-eyed taking-stock of the world as it entered the 21^st century. The alt-rock classic opens with ‘Big Exit’, and deftly moves through the album’s reminiscing theme found on tracks like ‘You Said Something’ before closing with the catharsis of ‘We Float’.

 

Is This It – The Strokes

Why? The debut that launched a thousand imitators, and set off the dominant indie rock sound of the aughts. With garage rock sympathies, the short blast of creativity boasted an impressive number of notable tracks, including ‘Last Nite’, ‘Hard to Explain’, and ‘Someday’. For a moment, rock was saved.

 

Fan Dance – Sam Phillips

Why? A great alt-rock singer-songwriter, Phillips delivers beautiful glimpses of intriguing worlds, and typifies the genre of that era. ‘Edge of the World’ exemplifies the piano-driven ballads of the turn-of-the-millennium, ‘Five Colors’ the acoustic guitar tracks, and ‘Taking Pictures’ the clever songwriting and meditative themes.

 

Sea Change – Beck

Why? Maturity is often hard to find in the world of popular music, be it rock, folk, or whatever. Beck’s songwriting, always very good, reaches its height on this suite of songs about loss and heartache. ‘Guess I’m Doing Fine’, ‘Lost Cause’ and ‘Paper Tiger’ each tell different stories of how he’s coping with it.

 

Elephant – The White Stripes

Why? Considered by many to be one of the best rock acts of the 00s, this is the peak of their garage and blues rock blend, but mixed to new heights, as heard on ‘The Air Near My Fingers’. Meanwhile, ‘Seven Nation Army’ became a hit, and even the acoustic tracks, like ‘In the Cold, Cold, Night’ were head-and-shoulders above their peers.

 

The Gorge – Dave Matthews Band

Why? Jam bands were in decline for decades when Dave Matthews resurrected the genre. Matthews managed to create a Deadhead-like following, and so a live album, in a natural amphitheater, is a good way to experience his sound. Exemplary tracks include ‘Gravedigger’, ‘The Space Between’, and crowd favorite ‘The Song That Jane Likes’.

 

American Idiot – Green Day

Why? The great concept album of the 00s, this album elevated Green Day to Hall of Fame status, and showcased their best work with a string of hit pop punk classics, including the one-two punch of ‘Holiday’ and ‘Boulevard of Broken Dreams’, and the now-evergreen ‘Wake Me Up When September Ends’. A stinging rebuke to the Bush administration, it hearkened back to political rock of an earlier era.

 

Illinois – Sufjan Stevens

Why? Stevens’ concept album explores the many facets of the state of Illinois, and was a landmark of 00s folk/indie/pop. His storytelling and vocals shine on the dreamlike and poignant songs like ‘Decatur’ and ‘Casimir Pulaski Day’, while the epic central track, ‘Chicago’, became a minor anthem for the decade.

 

Hadestown – Anais Mitchell

Why? Mitchell’s Orphic concept album attracted some serious indie talent, with Bon Iver as Orpheus and Ani DiFranco as Persephone. Gorgeous, haunting, and profound, Hadestown produced great songs like ‘Way Down Hadestown’, ‘Why We Build the Wall’ and ‘How Long?’ before launching the Tony-winning Broadway musical adaptation.

 

The Electric Lady – Janelle Monae

Why? The stylistic breadth of Monae is seen in full force, as she gracefully jumps between genres in a conceptual two-suite arc. For example, ‘Dance Apocalyptic’ is a frenetic pop track and is immediately followed by soulful 60s-inspired ‘Look Into My Eyes’. Heavy hitters help out, including Prince, Badu (‘Q.U.E.E.N.’), Solange, and Esperanza Spalding.

 

When We All Fall Asleep, Where Do We Go? – Billie Eilish

Why? It’s hard to say – maybe Eilish’s work will be a one-off oddity of her era (Cyndi Lauper comes to mind), but, prognosticating a bit, it seems likely this will be canon. Her shadowy electropop sounds became integral to the late teens, on hit tracks like ‘Bad Guy’, ‘You Should See Me in a Crown’, and ‘Wish You Were Gay’.