Post new topic Reply to topic  [ 60 posts ] 

Board index : Music Talk : Rock/Pop

Go to page 1, 2, 3  Next

1979
Pink Floyd - The Wall (Columbia) 13%  13%  [ 4 ]
The Clash - London Calling (Epic) 38%  38%  [ 12 ]
Gang of Four - Entertainment! (EMI) 6%  6%  [ 2 ]
Elvis Costello and the Attractions - Armed Forces (Rykodisc) 6%  6%  [ 2 ]
Joy Division - Unknown Pleasures (Qwest) 6%  6%  [ 2 ]
Public Image Ltd. - Metal Box/Second Edition (Virgin) 0%  0%  [ 0 ]
Tom Petty and the Heartbreakers - Damn the Torpedoes (MCA) 3%  3%  [ 1 ]
Wire - 154 (Restless) 3%  3%  [ 1 ]
Michael Jackson - Off the Wall (Epic) 3%  3%  [ 1 ]
Other - Please Specify 22%  22%  [ 7 ]
Total votes : 32
Author Message
 Post subject: Best Album Of...(Volume 29)
PostPosted: Thu Dec 22, 2005 2:13 pm 
Offline
Failed Reunion
User avatar

Joined: Mon Oct 25, 2004 11:49 am
Posts: 4401
A really great year, as it turns out, one of the best of the poll. There were several albums I didn't want to leave off. I figured I'd throw classic rock a bone with Petty's best album and the sprawling Floyd record, but the meat of this lineup are some of the very first seminal post-punk releases.

NOTE: SINGLES GOING STEADY IS A COMP SO DON'T VOTE FOR IT!

Omissions:

The Raincoats * The Raincoats (Rough Trade)
Talking Heads * Fear Of Music (Sire)
The Slits * Cut (Island)
David Bowie * Lodger (RCA)
Stiff Little Fingers * Inflammable Material (EMI)
The Ruts * The Crack (Virgin)
Lee Perry * Larks From The Ark (Nectar)
Young Marble Giants * Colossal Youth (Crepiscule)
The Specials (Chrysalis)
The Pop Group * Y (Radar)
Prince Lincoln & The Royal Rasses * Humanity (Ballistic/Orange Street)
The Fall * Dragnet (Step Forward)
The Jam * Setting Sons (Polydor)
Essential Logic * Beat Rhythm News (Rough Trade)
The Damned * Machine Gun Etiquette (Chiswick)
Contortions (James Chance & the) * Buy (Arista/Infinite Zero)
XTC * Drums And Wires (Virgin)
Heldon * Stand By (Cunneiform/Rune)
Gary Numan * The Pleasure Principle (Atco/Beggars Banquet)
Chrome * Half Machine Lip Moves (Touch & Go)
Art Bears * Winter Songs (Ralph/Recommended)
Gregory Isaacs * Soon Forward (Front Line)
Jacob Miller & Inner Circle * Forward Jah Jah Children 1974-79 (Trojan)
Magazine * Secondhand Daylight (Virgin)
The Adverts * Cast of Thousands (RCA/Devils Jukebox)
The Fall * Live At the Witch Trials (Castle/Sanctuary)
Tom Verlaine * Tom Verlaine (Elektra)
Sylford Walker & Welton Irie * Lambs Bread International (Blood & Fire)
Norris Reid * Give Jah The Praises (Rockers)
Dennis Brown * Words Of Wisdom (Shanachie)
Serge Gainsbourg * Aux Armes Et Caetera (Universal Fr)
Chelsea (Step Forward)
Dennis Brown * Joseph's Coat Of Many Colours (Shanachie/Blood & Fire)
Motorhead * Overkill (EMI)
Motorhead * Bomber (Bronze)
Ijahman * Are We A Warrior (Mango/Jahmani)
Lizzy Mercier Descloux * Press Color (Ze)
Metal Urbain * Dead Men Are Dangerous/Anarchy In Paris! (Celluloid/Acute)
Horace Andy * Pure Ranking (Clocktower)
Adam & The Ants * Dirk Wears White Sox (Do It/CBS)
James White & the Blacks * Off White (Ze/Infinite Zero)
Tubeway Army * Replicas (Beggars Banquet)
This Heat (These)
The Congos * Congo Ashanti (CBS/Blood & Fire)
The Cure * Boys Don't Cry/Three Imaginary Boys (Friction)
Nick Lowe * Jesus Of Cool (Demon)
Metal Urbain * Les Hommes Mort Est Dangereux (Rough Trade)
Neil Young * Rust Never Sleeps (Reprise)
Throbbing Gristle * 20 Jazz Funk Greats (Mute)
Graham Parker & the Rumor * Squeezing Out Sparks (Arista)
Robert Fripp * Exposure (EG)
Simple Minds * Real To Real Cacophony (Virgin)
The Only Ones * Even Serpents Shine (Columbia)
Joe Jackson * I'm The Man (A&M)
James Blood Ulmer * Tales Of Captain Black (Artists House)
The Undertones * The Undertones (Sire/Rykodisc)
Johnny Osbourne * Truth and Rights (Studio One/Heartbeat)
Ras Michael & The Sons Of Negus * Love Thy Neighbour (RAS)
The Boys * To Hell With The Boys (Safari)
Moebius & Plank * Rastakraut Pasta (Skyclad)
Blondie * Eat To the Beat (Chrysalis)
Iggy Pop * New Values (Arista)
Fingerprintz * The Very Dab (Virgin)
Alan Vega * Collision Drive (Infinite Zero)
Bad Brains * Black Dots (Caroline)
Japan * Quiet Life (Virgin)
Pere Ubu * New Picnic Time (Rough Trade)
The B-52's (WB)
UK Subs * Another Kind Of Blues (Gem)
Devo * Duty Now For the Future (WB)
Fela Kuti * V.I.P. (Universal)
Joe Jackson * Look Sharp! (A&M)
The Sound * Propaganda (Renascent)
Thin Lizzy * Black Rose: A Rock Legend (Mercury/Vertigo)
Judas Priest * Killing Machine/Hell Bent For Leather (Columbia)
Secret Affair * Glory Boys (Sire/Captain Mod)
The Mighty Diamonds * Deeper Roots (Virgin)
Visage (Polydor)
Generation X * Valley Of The Dolls (Chrysalis)
D.A.F. * Ein Produkt der DAF (Warning)
Tom Petty & the Heartbreakers * Damn The Torpedos (MCA)
Scorpions * Lovedrive (Mercury)
Alternative TV * Vibing Up the Senile Man (Deptford)
Various * The Great New York Singles 1974-1979 (ROIR)
Rickie Lee Jones (WB)
Prince (WB)
Lene Lovich * Stateless (Stiff/Rhino)
Bob Marley & The Wailers * Survival (Tuff Gong/Island)
The Desperate Bicycles * Another Commercial Venture (Refill)
The Germs * GI (Slash)
Riot * Narita (Capitol)
The Wipers * Is This Real? (Park Ave.)
The Dickies * Dawn of The Dickies (A&M)
Human League * Reproduction (Virgin)
The Dickies * The Incredible Shrinking Dickies (A&M/Captain Oi!)
Squeeze * Cool For Cats (A&M)
Ted Nugent * Great Gonzos! The Best Of (Epic)
The Last * L.A. Explosion! (Bomp!)
Tuxedomoon * Scream With A View EP (Pre)
Cabaret Voltaire * Mix-Up (Rough Trade)
The Stranglers * The Raven (EMI)
Throbbing Gristle * Heathen Earth (Mute)
The Boys Next Door (The Birthday Party) * Door Door (Mushroom)
Madness * One Step Beyond . . . (Sire)
Bob Marley * Survival (Tuff Gong)
Angelic Upstarts * Teenage Warning (WB/Captain Oi)
Desperate Bicycles * Another Commercial Venture (Refill Records)
The Damned * Peel Sessions (Strange Fruit)
Killing Joke * Almost Red EP (Island)
The Gladiators * Sweet So Till (Front Line/Virgin)
The Members * At the Chelsea Nightclub (Virgin)
The Police * Regatta de Blanc (A&M)
Shoes * Present Tense (Elektra)
Jonathan Richman & The Modern Lovers * Back In Your Life (Beserkley/Castle)
Diamond Head * Lightning to the Nations: Behold The Beginning (Metal Blade)
Van Halen II (WB)
Patti Smith * Wave (Arista)
Lenoard Cohen * Recent Songs (Columbia)
Teenage Jesus & The Jerks * Everything (Atavistic)
Sparks * No. 1 In Heaven (Virgin)
Funkadelic * Uncle Jam Wants You (WB/Funk Mob)
Lurker * God's Lonely Men (Beggars Banquet)
Van Morrison * Into the Music (WB)
The Pagans * Buried Alive (Treehouse)
Sparks * Terminal Jive (Oglio)
ZZ Top * Deguello (WB)
Roxy Music * Manifesto (Virgin)
Parliament * Gloryhallastoopid or Pin The Tale On The Funky (Casablanca)
Telex * Looking For Saint-Tropez (Sire)
Siouxsie & The Banshees * Join Hands (Geffen)
Suicide Commandos * The Commandos Commit Suicide (Twin/Tone)
Cheap Trick * Dream Police (Epic)
Lou Reed * The Bells (RCA)
Led Zeppelin * In Through The Out Door (Swan Song)


Pink Floyd - The Wall
Quote:
Roger Waters constructed The Wall, a narcissistic, double-album rock opera about an emotionally crippled rock star who spits on an audience member daring to cheer during an acoustic song. Given its origins, it's little wonder that The Wall paints such an unsympathetic portrait of the rock star, cleverly named "Pink," who blames everyone — particularly women — for his neuroses. Such lyrical and thematic shortcomings may have been forgivable if the album had a killer batch of songs, but Waters took his operatic inclinations to heart, constructing the album as a series of fragments that are held together by larger numbers like "Comfortably Numb" and "Hey You." Generally, the fully developed songs are among the finest of Pink Floyd's later work, but The Wall is primarily a triumph of production: its seamless surface, blending melodic fragments and sound effects, makes the musical shortcomings and questionable lyrics easy to ignore. But if The Wall is examined in depth, it falls apart, since it doesn't offer enough great songs to support its ambition, and its self-serving message and shiny production seem like relics of the late-'70s Me Generation.


The Clash - London Calling
Quote:
Give 'Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There's punk and reggae, but there's also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn't tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs — particularly "London Calling," "Spanish Bombs," and "The Guns of Brixton" — are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary. But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums. Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote "The Guns of Brixton") explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it's rockabilly greasers or "Stagger Lee," as well as mavericks like doomed actor Montgomery Clift. The result is a stunning statement of purpose and one of the greatest rock & roll albums ever recorded.


Gang of Four - Entertainment
Quote:
Entertainment! is one of those records where germs of influence can be traced through many genres and countless bands, both favorably and unfavorably. From groups whose awareness of genealogy spreads wide enough to openly acknowledge Gang of Four's influence (Fugazi, Rage Against the Machine), to those not in touch with their ancestry enough to realize it (rap-metal, some indie rock) — all have appropriated elements of their forefathers' trailblazing contribution. Its vaguely funky rhythmic twitch, its pungent, pointillistic guitar stoccados, and its spoken/shouted vocals have all been picked up by many. Lyrically, the album was apart from many of the day, and it still is. The band rants at revisionist history in "Not Great Men" ("No weak men in the books at home"), self-serving media and politicians in "I Found That Essence Rare" ("The last thing they'll ever do?/Act in your interest"), and sexual politics in "Damaged Goods" ("You said you're cheap but you're too much"). Though the brilliance of the record thrives on the faster material — especially the febrile first side — a true highlight amongst highlights is the closing "Anthrax," full of barely controlled feedback squalls and moans. It's nearly psychedelic, something post-punk and new wave were never known for. With a slight death rattle and plodding bass rumble, Jon King equates love with disease and admits to feeling "like a beetle on its back." In the background, Andy Gill speaks in monotone of why Gang of Four doesn't do love songs. Subversive records of any ilk don't get any stronger, influential, or exciting than this.


Elvis Costello and the Attractions - Armed Forces
Quote:
After releasing and touring the intense This Year's Model, Elvis Costello quickly returned to the studio with the Attractions to record his third album, Armed Forces. In contrast to the stripped-down pop and rock of his first two albums, Armed Forces boasted a detailed and textured pop production, but it was hardly lavish. However, the more spacious arrangements — complete with ringing pianos, echoing reverb, layered guitars, and harmonies — accent Costello's melodies, making the record more accessible than his first two albums. Perversely, while the sound of Costello's music was becoming more open and welcoming, his songs became more insular and paranoid, even though he cloaked his emotions well. Many of the songs on Armed Forces use politics as a metaphor for personal relationships, particularly fascism, which explains its working title, Emotional Fascism. Occasionally, the lyrics are forced, but the music never is — the album demonstrates the depth of Costello's compositional talents and how he can move from the hook-laden pop of "Accidents Will Happen" to the paranoid "Goon Squad" with ease. Some of the songs, like the light reggae of "Two Little Hitlers" and the impassioned "Party Girl," build on his strengths, while others like the layered "Oliver's Army" take Costello into new territories. It's a dense but accessible pop record and ranks as his third masterpiece in a row.


Joy Division - Unknown Pleasures
Quote:
It even looks like something classic, beyond its time or place of origin even as it was a clear product of both — one of Peter Saville's earliest and best designs, a transcription of a signal showing a star going nova, on a black embossed sleeve. If that were all Unknown Pleasures was, it wouldn't be discussed so much, but the ten songs inside, quite simply, are stone-cold landmarks, the whole album a monument to passion, energy, and cathartic despair. The quantum leap from the earliest thrashy singles to Unknown Pleasures can be heard through every note, with Martin Hannett's deservedly famous production — emphasizing space in the most revelatory way since the dawn of dub — as much a hallmark as the music itself. Songs fade in behind furtive noises of motion and activity, glass breaks with the force and clarity of doom, minimal keyboard lines add to an air of looming disaster — something, somehow, seems to wait or lurk beyond the edge of hearing. But even though this is Hannett's album as much as anyone's, the songs and performances are the true key. Sumner redefined heavy metal sludge as chilling feedback fear and explosive energy, Hook's instantly recognizable bass work at once warm and forbidding, Morris' drumming smacking through the speakers above all else. Curtis synthesizes and purifies every last impulse, his voice shot through with the desire first and foremost to connect, only connect — as "Candidate" plaintively states, "I tried to get to you/you treat me like this." Pick any song, the nervous death dance of "She's Lost Control," the harrowing call for release "New Dawn Fades," all four members in perfect sync, the romance in hell of "Shadowplay," "Insight" and its nervous drive towards some sort of apocalypse. All visceral, all emotional, all theatrical, all perfect — one of the best albums ever.


Public Image Ltd. - Metal Box/Second Edition
Quote:
PiL managed to avoid boundaries for the first four years of their existence, and Metal Box is undoubtedly the apex. It's a hallmark of uncompromising, challenging post-punk, hardly sounding like anything of the past, present, or future. Sure, there were touchstones that got their imaginations running — the bizarreness of Captain Beefheart, the open and rhythmic spaces of Can, and the dense pulses of Lee Perry's productions fueled their creative fires — but what they achieved with their second record is a completely unique hour of avant-garde noise. Originally packaged in a film canister as a trio of 12" records played at 45 rpm, the bass and treble are pegged at 11 throughout, with nary a tinge of midrange to be found. It's all scrapes and throbs (dubscrapes?), supplanted by John Lydon's caterwauling about such subjects as his dying mother, resentment, and murder. Guitarist Keith Levene splatters silvery, violent, percussive shards of metallic scrapes onto the canvas, much like a one-armed Jackson Pollock. Jah Wobble and Richard Dudanski lay down a molasses-thick rhythmic foundation throughout that's just as funky as Can's Czukay/Leibezeit and Chic's Edwards/Rodgers. It's alien dance music. Metal Box might not be recognized as a groundbreaking record with the same reverence as Never Mind the Bollocks, and you certainly can't trace numerous waves of bands who wouldn't have existed without it like the Sex Pistols record. But like a virus, its tones have sent miasmic reverberations through a much broader scope of artists and genres. [Metal Box was issued in the States in 1980 with different artwork and cheaper packaging under the title Second Edition; the track sequence differs as well. The U.K. reissue of Metal Box on CD boasts better sound quality than the Second Edition CD.]


Tom Petty and the Heartbreakers - Damn the Torpedoes
Quote:
Not long after You're Gonna Get It, Tom Petty & the Heartbreakers' label, Shelter, was sold to MCA Records. Petty struggled to free himself from the major label, eventually sending himself into bankruptcy. He settled with MCA and set to work on his third album, digging out some old Mudcrutch numbers and quickly writing new songs. Amazingly, through all the frustration and anguish, Petty & the Heartbreakers delivered their breakthrough and arguably their masterpiece with Damn the Torpedoes. Musically, it follows through on the promise of their first two albums, offering a tough, streamlined fusion of the Stones and Byrds that, thanks to Jimmy Iovine's clean production, sounded utterly modern yet timeless. It helped that the Heartbreakers had turned into a tighter, muscular outfit, reminiscent of, well, the Stones in their prime — all of the parts combine into a powerful, distinctive sound capable of all sorts of subtle variations. Their musical suppleness helps bring out the soul in Petty's impressive set of songs. He had written a few classics before — "American Girl," "Listen to Her Heart" — but here his songwriting truly blossoms. Most of the songs have a deep melancholy undercurrent — the tough "Here Comes My Girl" and "Even the Losers" have tender hearts; the infectious "Don't Do Me Like That" masks a painful relationship; "Refugee" is a scornful, blistering rocker; "Louisiana Rain" is a tear-jerking ballad. Yet there are purpose and passion behind the performances that makes Damn the Torpedoes an invigorating listen all the same. Few mainstream rock albums of the late '70s and early '80s were quite as strong as this, and it still stands as one of the great records of the album rock era.


Wire - 154
Quote:
Named for the number of live gigs Wire had played to that point, 154 refines and expands the innovations of Chairs Missing, with producer Mike Thorne's synthesizer effects playing an even more integral role; little of Pink Flag's rawness remains. If Chairs Missing was a transitional album between punk and post-punk, 154 is squarely in the latter camp, devoting itself to experimental soundscapes that can sound cold and forbidding at times. However, the best tracks retain their humanity thanks to the arrangements' smooth, seamless blend of electronic and guitar textures and the beauty of the group's melodies. Where previously some of Wire's hooks could find themselves buried or not properly brought out, the fully fleshed-out production of 154 lends a sweeping splendor to "The 15th," the epic "A Touching Display," "A Mutual Friend," and the gorgeous (if obscurely titled) "Map Ref. 41°N 93°W." Not every track is a gem, as the group's artier tendencies occasionally get the better of them, but 154's best moments help make it at least the equal of Chairs Missing. It's difficult to believe that a band that evolved as quickly and altered its sound as restlessly as Wire did could be out of ideas after only three years and three albums, but such was the case according to its members, and with their (temporary, as it turned out) disbandment following this album, Wire's most fertile and influential period came to a close. [The original 1989 CD issue by Restless Retro features four bonus tracks from an experimental EP issued with some copies of the vinyl LP.]


Michael Jackson - Off the Wall
Quote:
Michael Jackson had recorded solo prior to the release of Off the Wall in 1979, but this was his breakthrough, the album that established him as an artist of astonishing talent and a bright star in his own right. This was a visionary album, a record that found a way to break disco wide open into a new world where the beat was undeniable, but not the primary focus — it was part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, and alluring funk. Its roots hearken back to the Jacksons' huge mid-'70s hit "Dancing Machine," but this is an enormously fresh record, one that remains vibrant and giddily exciting years after its release. This is certainly due to Jackson's emergence as a blindingly gifted vocalist, equally skilled with overwrought ballads as "She's Out of My Life" as driving dancefloor shakers as "Working Day and Night" and "Get on the Floor," where his asides are as gripping as his delivery on the verses. It's also due to the brilliant songwriting, an intoxicating blend of strong melodies, rhythmic hooks, and indelible construction. 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.


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:18 pm 
Offline
Go Platinum
User avatar

Joined: Tue Oct 26, 2004 6:11 pm
Posts: 8881
Location: *3
well, i just checked my personal collection db and have NO albums from 1979. weird. a number of these i've heard and wanted for a while -- clash, bowie, jacko, talking heads... tough decision.

_________________
@--


Back to top
 Profile WWW 
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:25 pm 
Offline
Go Platinum
User avatar

Joined: Mon Oct 25, 2004 11:16 am
Posts: 5271
Location: Right behind you! Boo!
Armed Forces, barely over London Calling. Pretty good year.

_________________
Half-insane and half-god


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:26 pm 
Offline
frostingspoon
User avatar

Joined: Mon Oct 25, 2004 11:47 am
Posts: 13881
Location: parts unknown
Pink Floyd from the poll, and THE CURE from the list...

_________________
http://www.geminicrow.com


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:26 pm 
Offline
Go Platinum

Joined: Sat Oct 23, 2004 1:38 pm
Posts: 7979
Spade Kitty Wrote:
The Specials (Chrysalis)
Contortions (James Chance & the) * Buy (Arista/Infinite Zero)
XTC * Drums And Wires (Virgin)
Nick Lowe * Jesus Of Cool (Demon)
Graham Parker & the Rumor * Squeezing Out Sparks (Arista)
The B-52's (WB)
Madness * One Step Beyond . . . (Sire)
Sparks * No. 1 In Heaven (Virgin)

how come xtc keeps getting thrown in the omissions?!

this is a tough year. all of the above would be contenders for me, but london calling is in the mix.


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:34 pm 
Offline
Failed Reunion
User avatar

Joined: Mon Oct 25, 2004 11:49 am
Posts: 4401
Z Wrote:
Spade Kitty Wrote:
The Specials (Chrysalis)
Contortions (James Chance & the) * Buy (Arista/Infinite Zero)
XTC * Drums And Wires (Virgin)
Nick Lowe * Jesus Of Cool (Demon)
Graham Parker & the Rumor * Squeezing Out Sparks (Arista)
The B-52's (WB)
Madness * One Step Beyond . . . (Sire)
Sparks * No. 1 In Heaven (Virgin)

how come xtc keeps getting thrown in the omissions?!

this is a tough year. all of the above would be contenders for me, but london calling is in the mix.


skylarking was a mental slip, but the rest were intentional. not familiar with the band beyond skylarking, sorry.


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:39 pm 
Offline
Big in Australia
User avatar

Joined: Mon Oct 25, 2004 11:00 am
Posts: 19821
Location: Chicago-ish
With all this brilliant punk and post-punk, I gotta go with one of the best pop collections ever recorded:

Nick Lowe - Jesus Of Cool

But, that's just me.
(And probably Radcliffe, too.)


Last edited by PopTodd on Thu Dec 22, 2005 3:01 pm, edited 1 time in total.

Back to top
 Profile WWW 
 
 Post subject: Re: Best Album Of...(Volume 29)
PostPosted: Thu Dec 22, 2005 2:45 pm 
Offline
frostingspoon
User avatar

Joined: Mon Oct 25, 2004 12:31 pm
Posts: 12368
Location: last place I looked
Yipes - this is a great year. Hard for me to pick one - and kinda pointless because London Calling will probably run away with the vast majority of votes - but let's just say OTHER for now and I'll figure out later if it's a vote for the Cramps, Nick Lowe, Graham Parker, Marianne Faithful, Rickie Lee Jones, Stiff Little Fingers, Pretenders, or the Undertones.

Omissions from the omissions list:

The A's - s/t
Boomtown Rats - The Fine Art Of Surfacing
Bram Tchaikovsky - Strange Man, Changed Man
The Buzzards - From Jellied Eels To Record Deals
Bruce Cockburn - Dancing In The Dragon's Jaws
The Cramps - Songs The Lord Taught Us
Dire Straits - Communique
Durocs - s/t
Eddie and the Hot Rods - Thriller
The Fabulous Poodles - Think Pink
John Fahey - The Transfiguration of Blind Joe Death Vol 5
Marianne Faithful - Broken English
Ellen Foley - Nightout
Heartbreakers - Live At Max's Kansas City
Ian Hunter - You're Never Alone With A Schizophrenic
The Inmates - First Offence
The Iron City Houserockers - Love's So Tough
David Johansen - In Style
Jo Jo Zep and the Falcons - s/t
Jules and the Polar Bears - Fenetiks
Wazmo Nariz - Things Aren't Right
Bill Nelson and Red Noise - Sound On Sound
The Pretenders - s/t
Phil Rambow - Shooting Gallery
The Reds - s/t
The Rumour - Frogs, Sprouts, Clogs, and Krauts
The Searchers - s/t
The Soft Boys - Invisible Hits
The Suburbs - In Combo
Sylvain Sylvain - s/t
Teenage Head - s/t
Bruce Wooley and the Camera Club - s/t
Link Wray - Bullshot
Wreckless Eric - The Whole Wide World
Frank Zappa - Sheik Yerbouti


And this stuff is all gold:
Spade Kitty Wrote:
Talking Heads * Fear Of Music (Sire)
The Slits * Cut (Island)
Stiff Little Fingers * Inflammable Material (EMI)
The Specials (Chrysalis)
The Jam * Setting Sons (Polydor)
Contortions (James Chance & the) * Buy (Arista/Infinite Zero)
XTC * Drums And Wires (Virgin)
Magazine * Secondhand Daylight (Virgin)
Tom Verlaine * Tom Verlaine (Elektra)
James White & the Blacks * Off White (Ze/Infinite Zero)
Tubeway Army * Replicas (Beggars Banquet)
The Cure * Boys Don't Cry/Three Imaginary Boys (Friction)
Nick Lowe * Jesus Of Cool (Demon)
Neil Young * Rust Never Sleeps (Reprise)
Graham Parker & the Rumor * Squeezing Out Sparks (Arista)
The Only Ones * Even Serpents Shine (Columbia)
The Undertones * The Undertones (Sire/Rykodisc)
Iggy Pop * New Values (Arista)
The B-52's (WB)
Generation X * Valley Of The Dolls (Chrysalis)
Tom Petty & the Heartbreakers * Damn The Torpedos (MCA)
Rickie Lee Jones (WB)
Prince (WB)
Lene Lovich * Stateless (Stiff/Rhino)
The Dickies * Dawn of The Dickies (A&M)
The Dickies * The Incredible Shrinking Dickies (A&M/Captain Oi!)
Squeeze * Cool For Cats (A&M)
Madness * One Step Beyond . . . (Sire)
Patti Smith * Wave (Arista)
Suicide Commandos * The Commandos Commit Suicide (Twin/Tone)
The Clash - London Calling
Gang of Four - Entertainment
Elvis Costello and the Attractions - Armed Forces
Joy Division - Unknown Pleasures
Public Image Ltd. - Metal Box/Second Edition
Wire - 154


Back to top
 Profile WWW 
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:46 pm 
Offline
Bedroom Demos
User avatar

Joined: Mon Nov 08, 2004 3:41 pm
Posts: 488
Location: location, location
the wall


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:46 pm 
Offline
Still Big in Japan
User avatar

Joined: Wed Nov 24, 2004 2:04 pm
Posts: 3824
Location: Indie-anapolis
The Wall - easily one of the greatest albums ever IMO.

_________________
[url=http://www.last.fm/user/andyfest/?chartstyle=basicrt10] [img]http://imagegen.last.fm/basicrt10/recenttracks/andyfest.gif[/img] [/url]


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:47 pm 
Offline
frostingspoon
User avatar

Joined: Mon Oct 25, 2004 12:31 pm
Posts: 12368
Location: last place I looked
I will never understand what people hear in The Wall. Baffles the fuck out of me.


Back to top
 Profile WWW 
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:49 pm 
Offline
frostingspoon
User avatar

Joined: Mon Oct 25, 2004 1:31 pm
Posts: 11094
Location: moving up country
london calling barely over the wall barely over unknown pleasures

_________________
Image


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:51 pm 
Offline
Failed Reunion
User avatar

Joined: Mon Oct 25, 2004 11:49 am
Posts: 4401
I liked the Wall obsessively in high school, but I haven't been able to listen to it once all the way through since about 1992. I can still dig "In The Flesh", "Nobody Home", "Mother" and "ABITW III" but so much of the rest just flat out bores me nowadays. It was perfect in my brooding high school days, now I don't relate to it in the slightest. I feel the same way about almost every other later Floyd record (Animals still gets occasional spins)


Back to top
 Profile  
 
 Post subject: Re: Best Album Of...(Volume 29)
PostPosted: Thu Dec 22, 2005 2:53 pm 
Offline
Go Platinum

Joined: Mon Oct 25, 2004 10:26 pm
Posts: 6459
Spade Kitty Wrote:
NOTE: SINGLES GOING STEADY IS A COMP SO DON'T VOTE FOR IT! [comment] This is why I did not include it in my Listmania[/comment]

Omissions:

Talking Heads * Fear Of Music (Sire)
XTC * Drums And Wires (Virgin)
Magazine * Secondhand Daylight (Virgin)
Tubeway Army * Replicas (Beggars Banquet)
The Undertones * The Undertones (Sire/Rykodisc)
Iggy Pop * New Values (Arista)
The B-52's (WB)
Joe Jackson * Look Sharp! (A&M)
The Dickies * Dawn of The Dickies (A&M)
The Police * Regatta de Blanc (A&M)
The Clash - London Calling
Gang of Four - Entertainment
Joy Division - Unknown Pleasures


All made my Listmania. A lot of the others would have made it, most notably "Dirk Wears White Sox" "Inflammable Material", if I hadn't limited my list to one album per artist.

Some omissions:

The Yachts: self-titled
Wreckless Eric: The Whole Wide World
Punishment Of Luxury: Laughing Academy
The Skids: Days In Europa
AC/DC: Highway To Hell
The Angels (Angel City): No Exit
Midnight Oil: Head Injuries
Boomtown Rats: Fine Art Of Surfacing
999: High Energy Plan
The Flys: Own
Neil Innes: The Innes Book Of Records


Back to top
 Profile  
 
 Post subject: Re: Best Album Of...(Volume 29)
PostPosted: Thu Dec 22, 2005 2:56 pm 
Offline
Go Platinum

Joined: Sat Oct 23, 2004 1:38 pm
Posts: 7979
Noelzebub Wrote:
AC/DC: Highway To Hell

whoa, how was this forgotten even in the omissions? tremendous album.


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 2:57 pm 
Offline
Failed Reunion
User avatar

Joined: Mon Oct 25, 2004 11:49 am
Posts: 4401
I ended up voting for 154 myself, but a close #2 was This Heat


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 3:03 pm 
Offline
Go Platinum
User avatar

Joined: Tue Oct 26, 2004 6:11 pm
Posts: 8881
Location: *3
Radcliffe Wrote:
I will never understand what people hear in The Wall. Baffles the fuck out of me.

_________________
@--


Back to top
 Profile WWW 
 
 Post subject:
PostPosted: Thu Dec 22, 2005 3:04 pm 
Offline
frostingspoon
User avatar

Joined: Mon Oct 25, 2004 12:31 pm
Posts: 12368
Location: last place I looked
paladisiac Wrote:
well, i just checked my personal collection db and have NO albums from 1979.

Sorry to inform you, but your votes have just been disqualified from ALL polls.


Back to top
 Profile WWW 
 
 Post subject:
PostPosted: Thu Dec 22, 2005 3:05 pm 
Offline
Failed Reunion
User avatar

Joined: Mon Oct 25, 2004 11:49 am
Posts: 4401
lol paladisiac would have a 1979 album if Genesis had released an album that year :D


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 3:09 pm 
Offline
Go Platinum

Joined: Thu Mar 24, 2005 7:04 pm
Posts: 9783
Location: NOLA
I voted London Calling in a runaway. Great year. I like Damn the Torpedos alot too.

I used to like the Wall when I was in junior high, but now I absolutely hate it.

_________________
I tried to find somebody of that sort that I could like that nobody else did - because everybody would adopt his group, and his group would be _it_; someone weird like Captain Beefheart. It's no different now - people trying to outdo ! each other in extremes. There are people who like X, and there are people who say X are wimps; they like Black Flag.


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 3:10 pm 
Offline
Go Platinum

Joined: Mon Oct 25, 2004 10:26 pm
Posts: 6459
Radcliffe Wrote:
I will never understand what people hear in The Wall. Baffles the fuck out of me.


What's more perplexing is the people who attended the midnight showing of The Wall every weekend when Rocky Horror was playing on screen 1.


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 3:13 pm 
Offline
A True Aristocrat of Freedom

Joined: Mon Oct 25, 2004 11:46 am
Posts: 22121
Location: a worn-out debauchee and drivelling sot
How paladisiac loves prog, etc, but doesn't get The Wall will baffle more than the fact that y'all think this is a great year. "Post Punk" may be the worst thing to ever happen to music...I'll vote AC/DC, but its more of an abstention.

_________________
Throughout his life, from childhood until death, he was beset by severe swings of mood. His depressions frequently encouraged, and were exacerbated by, his various vices. His character mixed a superficial Enlightenment sensibility for reason and taste with a genuine and somewhat Romantic love of the sublime and a propensity for occasionally puerile whimsy.
harry Wrote:
I understand that you, of all people, know this crisis and, in your own way, are working to address it. You, the madras-pantsed julip-sipping Southern cracker and me, the oldman hippie California fruit cake are brothers in the struggle to save our country.

FT Wrote:
LooGAR (the straw that stirs the drink)


Back to top
 Profile WWW 
 
 Post subject:
PostPosted: Thu Dec 22, 2005 3:13 pm 
Offline
Go Platinum
User avatar

Joined: Tue Oct 26, 2004 6:11 pm
Posts: 8881
Location: *3
Spade Kitty Wrote:
lol paladisiac would have a 1979 album if Genesis had released an album that year :D


yeah. otherwise, all the 79 stuff i listened to in college were borrowed from friends & i somehow failed to purchase them on my own. i could -swear- i had london calling, but i guess not. i'm easily no perfect indie obner like redcliff. my cred < 0.

_________________
@--


Back to top
 Profile WWW 
 
 Post subject:
PostPosted: Thu Dec 22, 2005 3:17 pm 
Offline
Go Platinum

Joined: Mon Oct 25, 2004 10:26 pm
Posts: 6459
Sen.LooGAR'sCrunkmas Wrote:
"Post Punk" may be the worst thing to ever happen to music...


:shock:

<===stifles the urge to make a snide Stones-related comment.


Back to top
 Profile  
 
 Post subject:
PostPosted: Thu Dec 22, 2005 3:23 pm 
Offline
Go Platinum
User avatar

Joined: Tue Oct 26, 2004 6:11 pm
Posts: 8881
Location: *3
Sen.LooGAR'sCrunkmas Wrote:
How paladisiac loves prog, etc, but doesn't get The Wall will baffle more than the fact that y'all think this is a great year. "Post Punk" may be the worst thing to ever happen to music...I'll vote AC/DC, but its more of an abstention.


not as baffled as my wife who loves the wall (and bristles at any floyd/radiohead comparisons). i also don't think this was a great year.

as far as vs genesis, i just don't see how the wall is so much more celebrated than the lamb (which came 5 years earlier). the lamb is both more catchy and more complex.

_________________
@--


Back to top
 Profile WWW 
 
Display posts from previous:  Sort by  
Post new topic Reply to topic  [ 60 posts ] 

Board index : Music Talk : Rock/Pop

Go to page 1, 2, 3  Next

Who is online

Users browsing this forum: Google [Bot] and 17 guests


You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum

Search for:
Jump to:  
cron
Style by Midnight Phoenix & N.Design Studio
Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group.