Recommendations of the Editorial team
Hundreds of issues of Rolling Stone have appeared since we last asked the infamous question about the greatest albums in pop history in November 2004. It was the year in which Kanye West, Arcade Fire and Joanna Newsom released their debuts – artists who would have a decisive influence on the following two decades. But it’s not just the albums released since our last survey that differentiate our current list, for which we asked 135 artists, label operators, promoters, radio colleagues and music critics for their best lists, from the previous one.
The view of history has also changed due to the topics and identity political discourses of our time. While the top ten in 2004 was made up exclusively of white male artists, Marvin Gaye, Patti Smith, Fleetwood Mac and Amy Winehouse are now in the top spots. “Blonde On Blonde” by Bob Dylan, which was at number 1 in 2004, has fallen to 8th place. Surprisingly, the Rolling Stones suffered the most dramatic fall. In 2004 they had two albums in the top 20, but now they appear at number 51 for the first time. The Stone Age seems to be over.
500
Beastie Boys
Paul’s Boutique
Capitol, 1989
The boyish pranks of “Licensed To Ill”, under the guidance of Fähnleinführer Rick Rubin, were followed by reinvention as word acrobats and uber-hipsters, in a team with the sample masters The Dust Brothers. “Shake Your Rump” shows the Beasties’ lead over the rest of the world.
499
Elvis Costello
My Aim Is True
Stiff, 1977
The fact that Nick Lowe managed to marry the poison and bile of this debutant with a West Coast band (Clover) stranded in London remains a great low-budget miracle. The feel was punk. Pieces like “Red Shoes” and “Alison” were the calling cards of a top songwriter.
498
Os Mutations
Os Mutations
Polydor, 1968
At the end of the Sixties, Os Mutants, as part of the Tropicália movement, played a courageously active role in the fight against the Brazilian military dictatorship. Three decades later, the colorful rascals sound of their debut LP inspired the lo-fi aesthetic of Beck and company.
497
Live
Throwing Copper
Radioactive, 1994
Selling the drama: Ed Kowalczyk could do that! On Live’s third album, powerful melodies, longing lyrics and fervent vocals form an irresistible combination. Pathos? Sure, of course! But in college rock hits like “I Alone” it was never an end in itself.
496
Vampire Weekend
Vampire Weekend
XL, 2008
Rich New Yorkers present themselves as even richer New Yorkers, mixing European baroque, West African guitar music and Californian surf pop and singing about the intricacies of English grammar. Cultural appropriation, done right, can be magical.
495
Meatloaf
Bat Out Of Hell
Cleveland Intl./Epic, 1977
The producer Jim Steinman and the elemental force Meat Loaf created a flawless album that was pop, operetta and rock spectacle at the same time, with a sensational arc of suspense. All the longings of youth, all the heartbreak and despair, captured in bombast hits for eternity.
494
Le Tiger
Feminist Sweepstakes
Mr Lady, 2001
“Feminist, we’re calling you/ Please report to the front desk.” Gladly, we shout great slogans over the fuzz-punk-electronic carpet of these grown-up Riot Grrls and groove to the lesbian bar dance hit “Dyke March 2001” (produced especially for this purpose). Resist!
493
AC/DC
Let There Be Rock
Albert, 1977
AC/DC’s fourth album is a middle finger to their uncooperative US label Atlantic. Hot off the back of successful tours in Europe and England, the band recites a riff rosary with hits like “Whole Lotta Rosie” and the title track.
492
Jens Friebe
Before after pictures
ZigZag, 2004
Suddenly there was a German-speaking songwriter who could observe precisely, express emotions verbally and write melodies. Jens Friebe could be clever without coming across as brooding. With his debut he ushered in the post-Hamburg School era.
491
The Postal Service
Give up
Sub Pop, 2003
What was intended as a casual finger exercise became a style-defining album: Death Cab For Cutie singer Ben Gibbard and electronic tinkerer Jimmy Tamborello combined digital glitches, beeps and boops with indie pop songwriting. The computers came to life.