PAUL DID YOU REMEMBER TO COUNT GREG AND JIMS LISTS

Kinda thought Blood And Chocolate got more love around here.

i was also expecting it to be a little higher

I'm really excited to watch this play out...should be a lot of music that I'll be exposed to, especially at the bottom part of the list.

really not trying to beat a dead horse here, but i fish thread would be great. i am already having trouble finding some of these albums.

we should really let this "rule" slide for this one.

Use soulseek

just trying to find that Come album. i wasn't really expecting you guys to be anything buy dicks about it.

lets also not forget its a 50/50 split on the decision to get rid of these.....

Find a tracklst on the internet, search for a song on slsk and d/l containing folder, easy.

or if someone has it, they can post it here.

either or.

Better yet, go to a record store you cheap cunt.

Ok, slight hiccup here. Thanks to Diesel's comment, I realized I missed his list when I copied then out of the thread. Going back and double checking to make sure I had everyone else's revealed one more that I had missed. I've added those two lists to the totals, but what that means is that I need to start at 500 again because just those two lists shuffled things around a bit. So consider what I posted yesterday a tentative list. Some of it will show up again around the same spot. The albums that were bumped off the top 500 are literally right under at like #501-509.

Sorry for the false start, but since I caught it this early, I had to deal with it.

that was uncalled for you whiny piece of shit.

i have easily spent $300 this week on records, not that I have anything to prove to you, you wank.

you're lucky you're one of the better people here

I love misuse of English insults.

You mean we get an extra dose of list? Wheeee!

I like this glass-half full take.

you can fuck off to.

your just jealous that i found 3121 on vinyl last night.

...Well? Don't leave me in suspense.

is that the opposite of insults you can set your watch to?

use your imagination.

Canada.

we spell things weird here.

you might not like it.

Clowntime is over.




#500.




cLOUDDEAD - cLOUDDEAD
(455 Points, 2 Votes)

All Music Review: "With background textures that rival Boards of Canada in pastoral, tree-lined opacity and an obvious predilection for boggy atmospherics, Clouddead handily distances themselves from the rest of their hip-hop brethren. Indeed, this is something more considered and sinister -- less about wayward braggadocio than it is about keeping your doors deadbolted at all hours of the night. Even their less-is-more approach to vocalism eventually starts playing tricks on your mind; when lyricists Dose and Why? emerge, it's usually to puncture the pleasant fog of some dulcet, wavering sample. The whole album reads like that; the sonic equivalent of your first legitimate drug trip as narrated by two jittery but triumphant kids who can't bear to keep their choice hiding place a secret any longer." (4/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: i-c (#4)





#499.




Deerhoof - Apple O'
(456 Points, 3 Votes)

All Music Review: "It doesn't matter that the parts of Deerhoof's music don't seem to go together at first -- their music aims directly at the right side of the brain, and is nearly successful as the Shaggs' work in making chaos sound cuddly and even kind of beautiful. Apple O' brings some order to Deerhoof's spontaneity, offering plenty of sweetness without forgetting their bite." (4/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: James D (#5)





#498.




Tom Waits - Closing Time
(460 Points, 2 Votes)

All Music Review: "Tom Waits' debut album is a minor-key masterpiece filled with songs of late-night loneliness. Within the apparently narrow range of the cocktail bar pianistics and muttered vocals, Waits and producer Jerry Yester manage a surprisingly broad collection of styles, from the jazzy "Virginia Avenue" to the up-tempo funk of "Ice Cream Man" and from the acoustic guitar folkiness of "I Hope That I Don't Fall in Love With You" to the saloon song "Midnight Lullaby," which would have been a perfect addition to the repertoires of Frank Sinatra or Tony Bennett." (4.5/5)

Previous Rank on SOMB 500 (2004): #156

Ranked Highest By: wh1tep0ny (#10)




#497.




Junior Boys - Last Exit
(461 Points, 3 Votes)

All Music Review: "Call the group bedroom dance-pop, a boy band conceived by The Wire, sophisti-pop as produced by Germany's Timbaland analogue — whatever. The group's ability to synthesize so many elements with such subtlety really isn't their greatest asset; it's that their music can be enjoyed with or without all of the analysis and context, whether you're tucked inside a snowbound outpost or winding your way through some vast metropolis during nighttime." (4.5/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: Chronodiggity (#13)





#496.




Elvis Costello and the Attractions - Blood and Chocolate
(465 Points, 3 Votes)

All Music Review: "The main difference between the reunion and the Attractions' earlier work is the tone -- This Year's Model was tense and out of control, whereas Blood & Chocolate is controlled viciousness. "Tokyo Storm Warning," "I Hope You're Happy Now," and "I Want You" are the nastiest songs he has ever recorded, both lyrically and musically -- Costello snarls the lyrics and the Attractions bash out the chords. Blood & Chocolate doesn't retain that high level of energy throughout the record, however, and loses momentum toward the end of the album. Still, it's a lively and frequently compelling reunion, even if it is a rather mean-spirited one." (4/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: Duff. (#17)

Goddammit Slackmo.

Being Canadian is no excuse for impressively shit-poor grammar!

No, that's where I'm fucking off to.

Yeah I know, but it looked like he was justifying his feeble grasp of the English language with his location. And besides TS, you're British, aren't you? We use all of your spellings over here anyway .

As usual my attempt at subtle (..or not-so-subtle) humour fails, so my part of this thread derailment is over.

I can think of worse places...no, I can't.

I was hoping this wasn't the case, and that you just transposed a name, but thanks for the restart on my (and one other's) account.

If it makes people feel better about having to sit through some of these again, I voted The Low End Theory #30, so it'll get a higher placement now. Probably not THAT much higher, but still...

Unfortunately at the expense of Blood And Chocolate, but what can you do.

what kind of shitty Canadian are you?

Nothing's Changed, I Still Love You, Oh




#495.




Bob Dylan - Another Side of Bob Dylan
(465 Points, 2 Votes)

All Music Review: "The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one -- anything that wasn't featured on the staunchly folky, protest-heavy Times They Are a-Changin', really. Because of this, Another Side of Bob Dylan is a more varied record and it's more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike." (5/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: davidortiz (#8)





#494.




King Crimson - Discipline
(466 Points, 2 Votes)

All Music Review: "Highlights include Tony Levin's "stick" (a strange bass-like instrument)-driven opener "Elephant Talk," the atmospheric "The Sheltering Sky," and the heavy rocker "Indiscipline." Many Crimson fans consider this album one of their best, right up there with In the Court of the Crimson King. It's easy to understand why after you hear the inspired performances by this hungry new version of the band." (4.5/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: Joe Lindbloom(#3)





#493.




Teenage Fanclub - Bandwagonesque
(468 Points, 5 Votes)

All Music Review: "Although its incandescent harmonies, lazily immediate songs, and crunching guitars earned it endless comparisons to vintage Big Star, Bandwagonesque is in every way a product of its own time — the thick, grungy sound of the Fannies' debut A Catholic Education remains intact for gems like "What You Do to Me" (arguably the most brilliantly simpleminded love song ever penned) and the instrumental "Satan," while the lyrics of other standout moments like "Star Sign" and "Alcoholiday" reflect a laissez faire irony and unassuming genius even more emblematic of the moment in question." (5/5)

Previous Rank on SOMB 500 (2004): #381

Ranked Highest By: bunk (#18)





#492.




The Fall - Grotesque (After the Gramme)
(468 Points, 3 Votes)

All Music Review: "Kicking off with the thrilling bite of "Pay Your Rates," on Grotesque, the Fall really started hitting its stride, with Marc Riley and Craig Scanlon now a devastatingly effective combination, somehow managing to sound exactly placed between random sloppiness and perfect precision. The sharp rockabilly leads and random art rock racket thrived on both counts, with Smith as always the mad jester ripping into anything and everything while having a great time doing so. The final song of the album was especially fierce -- "The N.W.R.A.," short for "the north will rise again," Smith's own take on the long-standing "soft south/grim north" dichotomy in English society given extremely bitter life." (4/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: Badger (#3)





#491.




The Smiths - Strangeways, Here We Come
(470 Points, 2 Votes)

All Music Review: "With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths' sound within their very real boundaries. For the most part, they succeed. "I Started Something I Couldn't Finish," "Girlfriend in a Coma," "Stop Me if You Think You've Heard This One Before," and "I Won't Share You" are classics, while "A Rush and a Push and the Land Is Ours," "Death of a Disco Dancer," and "Last Night I Dreamt That Somebody Loved Me" aren't far behind. However, the songs also have a tendency to be glib and forced, particularly on "Unhappy Birthday" and the anti-record company "Paint a Vulgar Picture," which has grown increasingly ironic in the wake of the Smiths' and Morrissey's love of repackaging the same material in new compilations. Still, Strangeways is a graceful way to bow out." (4/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: Tracy Jacks (#2)

Definitely a lesser list thus far in this incarnation (Deerhoof? the fuck...). What can you do. I suspect it will re-pick up.

At least it means Warehouse will get more love.

For mah seeyens.

It was on the last one.

Great album, too.

so Strangeways and Blood and Chocolate took a hit.

fail.

Didn't see it. Great? Isn't that an awfully thunderous honorific for an album like that?

I don't know, "great" seems to cover it as far as vague qualifications go.

Sell Out, With Me Oh Yeah, Sell Out







#490.




The Strokes - Room on Fire
(473 Points, 4 Votes)

All Music Review: "The motif of moving too fast and not minding it winds through Room on Fire, reflecting its svelte 33-minute running time as well as the swiftness of the Strokes' career. This compressed feel, the precision of the band's playing and arrangements, and the way every song comes to an abrupt stop sometimes make the album sound too closed-off. Room on Fire's best moments fight against this tendency and suggest that the Strokes are continuing to grow, perhaps beyond what their listeners want from them. Some may gripe that it's never as good as the first time, but Room on Fire shows that even after all that happened to the Strokes, they can still surprise." (4/5)

Previous Rank on SOMB 500 (2004): #245

Ranked Highest By: no magnets (#19)






#489.




Peter Gabriel - Peter Gabriel (1980)
(474 Points, 5 Votes)

All Music Review: "Generally regarded as Peter Gabriel's finest record, his third eponymous album finds him coming into his own, crafting an album that's artier, stronger, more song-oriented than before. Consider its ominous opener, the controlled menace of "Intruder." He's never found such a scary sound, yet it's a sexy scare, one that is undeniably alluring, and he keeps this going throughout the record. For an album so popular, it's remarkably bleak, chilly, and dark — even radio favorites like "I Don't Remember" and "Games Without Frontiers" are hardly cheerful, spiked with paranoia and suspicion, insulated in introspection." (5/5)

Previous Rank on SOMB 500 (2004): #425

Ranked Highest By: Bobzilla(#14)






#488.




The Who - The Who Sell Out
(475 Points, 5 Votes)

All Music Review: "On strictly musical merits, it's a terrific set of songs that ultimately stands as one of the group's greatest achievements. "I Can See for Miles" (a Top Ten hit) is the Who at their most thunderous; tinges of psychedelia add a rush to "Armenia City in the Sky" and "Relax"; "I Can't Reach You" finds Townshend beginning to stretch himself into quasi-spiritual territory; and "Tattoo" and the acoustic "Sunrise" show introspective, vulnerable sides to the singer/songwriter that had previously been hidden. "Rael" was another mini-opera, with musical motifs that reappeared in Tommy. The album is as perfect a balance between melodic mod pop and powerful instrumentation as the Who (or any other group) would achieve; psychedelic pop was never as jubilant, not to say funny (the fake commercials and jingles interspersed between the songs are a hoot)." (5/5)

Previous Rank on SOMB 500 (2004): #124

Ranked Highest By: castana (#21)






#487.




Neil Young - Live At Massey Hall 1971
(475 Points, 2 Votes)

All Music Review: "This is a remarkably rich set of songs, touching on nearly every aspect of Young's personality, whether it's his sweetness, his sensitivity, his loneliness, or even his often-neglected sense of fun. True, the latter only appears on "Dance Dance Dance," but that comes as a welcome contrast to the stark sadness of "See the Sky About to Rain." But even if "Down by the River" and "Cowgirl in the Sand" retain their intense sense of menace when stripped of the winding guitar workouts of Crazy Horse, this concert isn't dominated by melancholy: it's a warm, giving affair, built upon lovely readings of "Helpless," "Tell Me Why," "Old Man," and an early incarnation of "A Man Needs a Maid" (here played as a medley with "Heart of Gold") that removes the bombast of the Harvest arrangement, revealing the fragile, sweet song that lies underneath." (4.5/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: The Luscious Phil(#10)






#486.




Nine Inch Nails - The Fragile
(476 Points, 6 Votes)

All Music Review: "Whenever Reznor crafts delicate, alternately haunting and pretty soundscapes or interesting sonic juxtapositions, The Fragile is compelling. Since they provide a change of pace, the bursts of industrial noise assist the flow of the album, which never feels indulgent, even though it runs over 100 minutes. Still, The Fragile is ultimately a letdown. There's no denying that it's often gripping, offering odd and interesting variations on NIN themes, but that's the problem -- they're just variations, not progressions. Considering that it arrives five years after Spiral, that is a disappointment. It's easy to tell where the time went -- Reznor's music is immaculately crafted and arranged, with every note and nuance gliding into the next -- but he spent more time constructing surfaces than songs. Those surfaces can be enticing but since it's just surface, The Fragile winds up being vaguely unsatisfying. " (3/5)

Previous Rank on SOMB 500 (2004): #309

Ranked Highest By: Diesel (#28)

Some good albums in pretty low spots...but I suppose I can't really complain if I didn't put them in my top 100.

Oh no. Has Coalesce been bumped?

The Who Sell Out slipping 364 spots is a real tragedy. I regret that I just couldn't find room in my top 100 for it.

Appears so.

Good run of albums there, minus The Strokes & NIN.

Maybe something I could see Diesel voting for, without checking.

I think that, Strangeways and the cLOUDDEAD are my favourites so far, so hopefully not.

I dislike you intensely.

And We're Gonna Ride The Boogie






#485.




Public Enemy - Fear of a Black Planet
(478 Points, 7 Votes)

All Music Review: "Where Millions was all about aggression -- layered aggression, but aggression nonetheless -- Fear of a Black Planet encompasses everything, touching on seductive grooves, relentless beats, hard funk, and dub reggae without blinking an eye. All the more impressive is that this is one of the records made during the golden age of sampling, before legal limits were set on sampling, so this is a wild, endlessly layered record filled with familiar sounds you can't place; it's nearly as heady as the Beastie Boys' magnum opus Paul's Boutique in how it pulls from anonymous and familiar sources to create something totally original and modern. While the Bomb Squad was casting a wider net, Chuck D's writing was tighter than ever, with each track tackling a specific topic (apart from the aforementioned "Welcome to the Terrordome," whose careening rhymes and paranoid confusion are all the more effective when surrounded by such detailed arguments), a sentiment that spills over to Flavor Flav, who delivers the pungent black humor of "911 Is a Joke," perhaps the best-known song here." (5/5)

Previous Rank on SOMB 500 (2004): #129

Ranked Highest By: +marios+ (#17)






#484.




Built To Spill - There's Nothing Wrong With Love
(478 Points, 4 Votes)

All Music Review: "Beneath the wacky guitar fooling and somewhat nasal vocals, Built to Spill write great love songs, whether its bouncy pop or fragile melodies. Strings are used to good effect on three songs, and vocal harmonies make this disc an all-around winner." (4.5/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: davidortiz (#6)






#483.




John Prine - John Prine
(479 Points, 2 Votes)

All Music Review: "A revelation upon its release, this album is now a collection of standards: "Illegal Smile," "Hello in There," "Sam Stone," "Donald and Lydia," and, of course, "Angel from Montgomery." Prine's music, a mixture of folk, rock, and country, is deceptively simple, like his pointed lyrics, and his easy vocal style adds a humorous edge that makes otherwise funny jokes downright hilarious." (5/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: Asher Ford (#2)






#482.




Michael Jackson - Off The Wall
(481 Points, 6 Votes)

All Music Review: "Most of all, its success is due to the sound constructed by Jackson and producer Quincy Jones, a dazzling array of disco beats, funk guitars, clean mainstream pop, and unashamed (and therefore affecting) schmaltz that is utterly thrilling in its utter joy. This is highly professional, highly crafted music, and its details are evident, but the overall effect is nothing but pure pleasure. Jackson and Jones expanded this approach on the blockbuster Thriller, often with equally stunning results, but they never bettered it." (5/5)

Previous Rank on SOMB 500 (2004): #432

Ranked Highest By: Dorothy (#18)






#481.




Antony and the Johnsons - I Am A Bird Now
(481 Points, 7 Votes)

All Music Review: "Antony and the Johnsons' second full-length recording, the haunting and affecting I Am a Bird Now, is a far more intimate affair than their debut. Antony's bluesy parlor room cadence is more upfront here, resulting in a listening experience that's both exhilarating and disquieting. "Hope There's Someone" is a somber opener, and its plea for companionship, augmented by a sparse piano/vocal arrangement that rises into the air by song's end in a swirl of multi-tracked harmonies, is ultimately uplifting. This formula is applied to much of the record and never ceases to elicit honest emotion from either Antony or his numerous guests." (4/5)

Previous Rank on SOMB 500 (2004): n/a

Ranked Highest By: SmashNapCrash (#27)

Glad to see Strangeways chart although the last half is mediocre, Room On Fire as well actually, that's still a great album to me.