#228.



Iron Maiden - Powerslave

Year: 1984

US Chart Position: #21

UK Chart Position: #2

Charting Singles: "2 Minutes to Midnight" (#25 Mainstream Rock US, #11 UK), "Aces High" (#20 UK)

Acclaimed Music Ranking: n/a

AMG Says: "It was the first Maiden album to feature the same lineup for more than a single record, and with a long tour under their belt, the band's playing on Powerslave was tight and inspired. While other popular metal bands of the day were busy conquering radio with accessible singles, Maiden decided to include several noncommercial extended pieces, a throwback of sorts to their '70s prog rock influences (Jethro Tull, etc.). MTV embraced the album's two singles/videos, the rapid-fire "Aces High" and the complex antiwar tale "2 Minutes to Midnight," but what really made the album stand out as a true heavy metal achievement was the epic compositions."

Ranked Highest By: Saskadelphia (#4)

Amazon Link

#227.



Manuel Gottsching - E2 - E4

Year: 1984

US Chart Position: n/a

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: #47 (year), #500 (decade), #2410 (all-time)

AMG Says: "E2-E4, one of the few records Göttsching released under his own name, has earned its place as one of the most important, influential electronic records ever released. It's also the earliest album to set the tone for electronic dance music; simply put, it just sounds like the mainstream house produced during the next two decades [...] Though the various components repeat themselves incessantly, it's how they interact and build that determines the sound -- and that's the essence of most electronic dance music, that complex interplay between several repetitive elements."

Ranked Highest By: Rajexico (#2)

Amazon Link





#226.



Giorgio Moroder - From Here to Eternity

Year: 1977

US Chart Position: #130

UK Chart Position: n/a

Charting Singles: "From Here to Eternity" (#2 Dance US, #16 UK)

Acclaimed Music Ranking: #52 (year), #536 (decade), #2050 (all-time)

AMG Says: "From Here to Eternity is Moroder's quasi-instrumental masterpiece, a continuous mix of banging Eurodisco complete with vocoder effects and this statement on the back cover: "Only electronic keyboards were used on this recording." The metallic beats, high-energy impact, and futuristic effects prove that Moroder was ahead of his time like few artists of the 1970s (Kraftwerk included), and the free-form songwriting on tracks like "Lost Angeles," "First Hand Experience in Second Hand Love," and the title track are priceless."

Ranked Highest By: Falling and Laughing (#34)

Amazon Link

#225.



The Cure - Seventeen Seconds

Year: 1980

US Chart Position: n/a

UK Chart Position: #20

Charting Singles: "A Forest" (#47 Dance US, #31 UK)

Acclaimed Music Ranking: #18 (year), #117 (decade), #681 (all-time)

AMG Says: "In a sense, Seventeen Seconds is the beginning of a trilogy of sorts, the emptiness that leads to the questioning and eventual madness of the subsequent work. Mostly forgotten outside of the unforgettable single "A Forest," Seventeen Seconds is an even, subtle work that grows on the listener over time. Sure, the Cure did better work, but for a new lineup and a newfound sense of independence, Robert Smith already shows that he knows what he's doing. From short instrumental pieces to robotic pop, Seventeen Seconds is where the Cure shed all the outside input and became their own band."

Ranked Highest By: Bobthesquid (#6)

Amazon Link

#224.



Rush - Permanent Waves

Year: 1980

US Chart Position: #4

UK Chart Position: #3

Charting Singles: "Spirit of Radio" (#51 US, #13 UK)

Acclaimed Music Ranking: n/a

AMG Says: "By 1980's Permanent Waves, the modern sounds of new wave (the Police, Peter Gabriel, etc.) began to creep into Rush's sound, but the trio still kept their hard rock roots intact [...] The album proved to be the final breakthrough Rush needed to become an arena headliner throughout the world, beginning a string of albums that would reach inside the Top Five of the U.S. Billboard album charts. Permanent Waves is an undisputed hard rock classic, but Rush would outdo themselves with their next release."

Ranked Highest By: Bobandbob & Hector Gilberto (#13)

Amazon Link

I'm missing an astounding number of these records. Guess I have some homework to do.

I wouldn't say I'm 'missing' them, Bob.

#223.



The Replacements - Hootenanny

Year: 1983

US Chart Position: n/a

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: n/a

AMG Says: "The Replacements came into their own with Hootenanny, a careening, drunken stumble through punk, rock & roll, country, blues, and folk. The eclecticism of the album separated the Replacements from the post-punk hardcore pack, but it's also what makes the record a mess [...] They're still sloppy, to be sure, but Bob Stinson's guitar stings and the rhythm section of Tommy Stinson and Chris Mars rocks with a loose abandon that makes even the filler -- and there's a lot of filler -- enjoyable garage punk."

Ranked Highest By: Paul (#33)

Amazon Link





#222.



Depeche Mode - Some Great Reward

Year: 1984

US Chart Position: #54

UK Chart Position: #5

Charting Singles: "People are People" (#13 US, #4 UK), "Master and Servant" (#87 / #49 Dance US, #9 UK), "Somebody / Blasphemous Rumors" (#16 UK)

Acclaimed Music Ranking: n/a

AMG Says: "The peak of the band's industrial-gone-mainstream fusion, and still one of the best electronic music albums yet recorded, Some Great Reward still sounds great, with the band's ever-evolving musical and production skills matching even more ambitious songwriting from Martin Gore [...] With Reward, David Gahan's singing style found the métier it was going to stick with for the next ten years, and while it's never gone down well with some ears, it still has a compelling edge to it that suits the material well."

Ranked Highest By: Undercooked Sausage (#16)

Amazon Link

Just reminded me to put Black Celebration on the next list.

and Music for the Masses and Violator as well, I'd hope.

Music for the Masses, maybe. The three killer Violator singles will figure prominently on my singles list, but I don't like much of the rest of it. (And I think World In My Eyes is pretty horrendous.)

I want my whiskey back you monster.

Weirdo. I'd imagine Violator will finish pretty high, hopefully top 10.

#221.



Yes - 90125

Year: 1983

US Chart Position: #5

UK Chart Position: #16

Charting Singles: "Owner of a Lonely Heart" (#1 US, #28 UK), "Leave It" (#24 US), "It Can Happen" (#51 US), "Hold On" (#27 Mainstream Rock US), "Our Song" (#32 Mainstream Rock US)

Acclaimed Music Ranking: n/a

AMG Says: "A stunning self-reinvention by a band that many had given up for dead, 90125 is the album that introduced a whole new generation of listeners to Yes [...] The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on "Changes" marked the band's definitive break with its art rock roots. "Owner of a Lonely Heart" was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of "Leave It" and the beautifully sprawling "Hearts" are additional high points, but there's nary a duff track on the album."

Ranked Highest By: Velocity (#2)

Amazon Link

lol.

Top ten is pretty unrealistic. Top 50 would be a better goal to be shooting for.

Yeah, I'll be voting for it. It's not a perfect album ("The Sweetest Perfection" has been grating on me recently), but its greatness far, far outweighs its flaws.





#220.



Augustus Pablo - King Tubby Meets Rockers Uptown

Year: 1976

US Chart Position: n/a

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: #8 (year), #145 (decade), #419 (all-time)

AMG Says: "If you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby [...] Pablo's trademark "Far East" sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential."

Ranked Highest By: Nic (#3)

Amazon Link

181 on the All time list and the adition of Sausage since suggests a top 50 for Violator maybe top 40.

Yay at taking 30 albums to get to one on my list of 150.

Any more out of you and I'll send Disintegration cascading down my list.

#219.



The Clash - Combat Rock

Year: 1982

US Chart Position: #7

UK Chart Position: #2

Charting Singles: "Rock the Casbah" (#8 / #6 Mainstream Rock US, #30 UK), "Should I Stay or Should I Go" (#45 US, #17 UK)

Acclaimed Music Ranking: #23 (year), #223 (decade), #1126 (all-time)

AMG Says: "Even with the infectious, dance-inflected new wave pop of "Rock the Casbah" leading the way, there aren't many overt attempts at crossover success, mainly because the group is tearing in two separate directions. Mick Jones wants the Clash to inherit the Who's righteous arena rock stance, and Joe Strummer wants to forge ahead into black music. The result is an album that is nearly as inconsistent as Sandinista!, even though its finest moments -- "Should I Stay or Should I Go," "Rock the Casbah," "Straight to Hell" -- illustrate why the Clash were able to reach a larger audience than ever before with the record."

Ranked Highest By: Voodoodaddy (#26)

Amazon Link

Ouch.

Sandinista! >>>>>>>> Combat Rock

I suppose the AMG blurb occasioned this, but...yeah. Of course.



I remember thinking at the time that Yes had made an Asia album.

#218.



Ozzy Osbourne - Blizzard of Ozz

Year: 1980

US Chart Position: #21

UK Chart Position: #7

Charting Singles: "Crazy Train" (#9 Mainstream Rock US)

Acclaimed Music Ranking: #46 (year), #404 (decade), #1937 (all-time)

AMG Says: "Ozzy Osbourne's 1981 solo debut Blizzard of Ozz was a masterpiece of neo-classical metal that, along with Van Halen's first album, became a cornerstone of '80s metal guitar. Upon its release, there was considerable doubt that Ozzy could become a viable solo attraction. Blizzard of Ozz demonstrated not only his ear for melody, but also an unfailing instinct for assembling top-notch backing bands [...] Nothing short of revelatory, Blizzard of Ozz deservedly made Ozzy a star, and it set new standards for musical virtuosity in the realm of heavy metal."

Ranked Highest By: Ted Falconi (#10)

Amazon Link

neither are really very good though

Whoa on Blue Mask and MoB's low positions. Thought top hundred for both fo sho.

They both have good moments.

That's crazy talk.

#217.



David Bowie - Young Americans

Year: 1975

US Chart Position: #9

UK Chart Position: #2

Charting Singles: "Fame" (#1 US, #17 UK), "Young Americans" (#28 US, #18 UK)

Acclaimed Music Ranking: #23 (year), #232 (decade), #719 (all-time)

AMG Says: "urrounding himself with first-rate sessionmen, Bowie comes up with a set of songs that approximate the sound of Philly soul and disco, yet remain detached from their inspirations; even at his most passionate, Bowie sounds like a commentator, as if the entire album was a genre exercise. Nevertheless, the distance doesn't hurt the album -- it gives the record its own distinctive flavor, and its plastic, robotic soul helped inform generations of synthetic British soul."

Ranked Highest By: ZRr (#15)

Amazon Link






#216.



Jorge Ben - Africa Brasil

Year: 1976

US Chart Position: n/a

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: #48 (year), #532 (decade), #2023 (all-time)

AMG Says: This 1976 album is undoubtedly one of the greatest classics of Brazilian popular music, with Jorge Ben mixing funky samba, Afro-Brazilian beats, and crunching guitars to create one of the most fascinating sounds ever recorded in Brazil [...] The samba soul and samba funk scenes of the '70s in Brazil produced many great artists and many great recordings, fully comparable with the best soul and funk music recorded in the U.S. during the same period. Jorge Ben was the most prominent figure of this scene and África Brasil is probably the most famous of his '70s recordings. For any person who is interested in the music of Jorge Ben, or indeed Brazilian funk in general, there is no better sample of it than África Brasil."

Ranked Highest By: Vurt (#1)

Amazon Link

#215.



Frank Zappa - Joe's Garage

Year: 1979

US Chart Position: n/a

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: n/a

AMG Says: "Joe's Garage satirizes social control mechanisms, consumerism, corporate abuses, gender politics, religion, and the rock & roll lifestyle; all these forces conspire against the title protagonist, an average young man who simply wants to play guitar and enjoy himself. Even though Zappa himself hated punk rock and even says so on the album, his ideas seemed to support punk's do-it-yourself challenge to the record industry and to social norms in general [...] Still, in spite of its flaws, Joe's Garage has enough substance to make it one of Zappa's most important '70s works and overall political statements, even if it's not focused enough to rank with his earliest Mothers of Invention masterpieces."

Ranked Highest By: Agrimorfee (#14)

Amazon Link

#214.



The Pretenders - Learning to Crawl

Year: 1984

US Chart Position: #5

UK Chart Position: #11

Charting Singles: "Back on the Chain Gang" (#5 / #4 Mainstream Rock US, #17 UK), "Middle of the Road" (#19 US), ,"Show Me" (#28 US), "Thin Line Between Love and Hate" (#83 US), "My City Was Gone" (#11 Mainstream Rock US)

Acclaimed Music Ranking: #19 (year), #158 (decade), #862 (all-time)

AMG Says: "Chrissie Hynde and drummer Martin Chambers reassembled the Pretenders in 1982, following the death of James Honeyman-Scott and the departure of bassist Pete Farndon. Learning to Crawl, appropriately, is the sound of a band coming to grips with loss and the responsibilities that come with maturity. Even though the subject matter is undeniably serious, the Pretenders rock with a vigorous energy that was missing on Pretenders II. It helps that Hynde's songs are among her best, of course. "

Ranked Highest By: Slackmo (#18)

Amazon Link

Three months after this came out, I went to my first concert: The Pretenders, with Simple Minds opening. Still one of the best double bills I've ever seen.

Hootenanny over Signals, Calls and Marches is bizarre. Hootenanny isn't even good.

#213.



Joe Jackson - Nigt and Day

Year: 1982

US Chart Position: #4

UK Chart Position: #3

Charting Singles: "Steppin' Out" (#6 / 4 AC US, #6 UK), "Breaking Us in Two" (#18 / #8 AC US)

Acclaimed Music Ranking: #20 (year), #203 (decade), #1038 (all-time)

AMG Says: "Night and Day had greater success because it's sleek and bright, entirely more accessible than the dense, occasionally unwieldy darkness of Imperial Bedroom. Plus, Jackson plays up the comparisons to classic pop songwriting by lifting his album title from Cole Porter, dividing the record into a "night" and "day" side, and then topping it off with a neat line drawing of him at his piano in a New York apartment on the cover. All of these classy trappings are apparent on the surface, which is the problem with the record: it's all stylized, with the feel eclipsing the writing, which is kind of ironic considering that Jackson so clearly strives to be a sophisticated cosmopolitan songwriter here."

Ranked Highest By: Tracy Jacks (#6)

Amazon Link

Mission of Sperma only has one good song, and that song isn't anywhere near as good as a couple tracks on Hootenanny.

This does not compute at all.

you know.

THATS WHEN I REACH FOR MY REVOLVA!!

after that I don't like that signals, (blue)balls, and marches that much. Hootenanny is a lot of fun, and Within Your Reach is like, one of the best songs ever.

Yeah "Within Your Reach" is good but otherwise nothing on Hootenanny grabs me. Signals Calls and Marches is just fucking good from beginning to end.

Anyway Let It Be better be in the top 10.

No doubt about that. And I will be the first to complain about it.

It will be.

God, I just looked at your last.fm. You're only 17? I feel so old. I remembered when I was like the 3rd of 4th youngest person on this board a year or so ago.


That's because you're wierd and british and you only like music where they're all limey and complaining about what it's like to be gay and british like The Smiths or something.

I'd assume I'm the youngest but then there's PIR.

myspace bro

girls want it

This stereolab shirt I'm wearing right now is tight enough to show off my bulging hard nipples.

Nothing says buff like a Stereolab shirt.

#212.



Echo & the Bunnymen - Crocodiles

Year: 1980

US Chart Position: n/a

UK Chart Position: #17

Charting Singles: "Crocodiles" (#37 UK)

Acclaimed Music Ranking: #23 (year), #151 (decade), #846 (all-time)

AMG Says: "Crocodiles at once showcases four individual players sure of their own gifts and their ability to bring it all together to make things more than the sum of their parts. Will Sergeant in particular is a revelation -- arguably only Johnny Marr and Vini Reilly were better English guitarists from the '80s, eschewing typical guitar-wank overload showboating in favor of delicacy, shades, and inventive, unexpected melodies. More than many before or since, he plays the electric guitar as just that, electric not acoustic, dedicated to finding out what can be done with it while never using it as an excuse to bend frets [...] Brisk, wasting not a note and burning with barely controlled energy, Crocodiles remains a deserved classic."

Ranked Highest By: Dorothy (#14)

Amazon Link

album suuuuuuuuuuuuuucks

yeah fuck Crocodiles.

Ocean Rain is good though.

as far as Echo albums go, yeah. I'll take it.

I dunno, some killer singles (Cutter, that one Donnie Darko song) but other than that I don't dig this band like I should.

Ha.

one must do such things to score with internet girls that turn out to be ugly.

do you go to cyber chatrooms?