svperstar's favorite 50 albums of all time!

[svperstar]

I'm doing this list over at the Madonna board but figured I could post it hear as well. I'm sure SOME of the selections will raise a few eyebrows or inspire immense anger (or at least I HOPE they do).

[The Politics Of Dancing]

I'm fine with any Babs you put in the top 10, but if she's #1, I'll be laughing all the way to heaven.

[svperstar]

No Babs at #1. In fact, no Babs even in the top 10. :shock:

Anyhow, this is what didn't QUITE make my list--
THE MISEDUCATION OF LAURYN HILL – Lauryn Hill
THE GOLDEN AGE OF GROTESQUE – Marilyn Manson
ACHTUNG BABY – U2
GRATITUDE – Earth, Wind & Fire
EUPHORIA MORNING – Chris Cornell
YELLOW SUBMARINE OST – The Beatles
MADE IN ENGLAND – Elton John
THE RICHARD D. JAMES ALBUM – Aphex Twin
PRODUCTION – Mirwais
SO – Peter Gabriel

[The Politics Of Dancing]

BEDTIME STORIES beat THE MISEDUCATION and ACTHUNG BABY?

[svperstar]

You know me too well if you already know BS is in the top 50.

Anyhow, to begin--


50. HEART OF STONE – Cher
Geffen Records, 1989
The long-surviving diva may be most recognized (at least with the new generation) for her forays into dance and electronica, but her greatest endeavor came in the late 80s when she was at the peak of her rock music persona. “Heart of Stone” is a great record that emphasizes that notion – aside from housing “If I Could Turn Back Time,” one of her biggest hits, this collection contains the wonderfully-mellow “Just Like Jesse James,” a stunning title track, and a schmaltzy (yet highly amusing) album closer called “After All.” Even if you aren’t a fan of Cher’s rough vocals, this album seems to put her singing into context. The woman never sounded better and more suited to a musical genre.

[The Politics Of Dancing]

The "Heart Of Stone" single was vastly underrated. Even if the song is a cover, she gives a very good rendition of the song. Should have been a little bit bigger than it was.

"Just Like Jesse James": PERFECT. "After All"'s okay.

[svperstar]

49. GLASS HOUSES – Billy Joel
Sony, 1980
I’m sure I will get several inevitable eye-rolls for this one (because of the artist specifically), but screw it. I have always had a certain admiration for the music of Billy Joel, and this album in particular, which was on repeat in my household for nearly a whole year when I was young, made a lasting impression that has resonated with me more over time. The songs are simply fantastic, fueled by a great sense of melody and a nifty vocal approach that stood out against several other male vocalists in the early 80s. And hilariously enough, the best song on this album, “Sometimes a Fantasy,” isn’t even one that’s on one of his many Best of sets – proof positive that if you scratch below the surface, eventually you’ll find a little more treasure than you thought was even there.

[The Politics Of Dancing]

I do love me a bit of Billy Joel.

That's forgetting his recent weird wedding of course. ;)

[svperstar]

*Gay alarm alert!* --


48. BUTTERFLY – Barbra Streisand
Columbia Records, 1974
The first of five Babs albums on my list (hey, gimme a break – I ADORE this woman!), this one is actually considered by the masses to be one of her biggest flops (critically and commercially). Even Ms. Streisand herself has acknowledged publicly that the only reason she recorded it was because her then-boyfriend Jon Peters wanted her to. And yet despite the apparent negativity it gets in the core fanbase, the album is quite amusing in the way it shows us that Barbra can pretty much sing any song she wants to with a successful conviction. Consider, for instance, her cover here of David Bowie’s “Life on Mars,” or her rendition of Al Green’s “Grandma’s Hands” – one would never expect a woman like this to do solid renditions of tunes so out of her league, but she succeeds, and the musical arrangements have an air about them that would suggest she was influenced by the sonic enthusiasm of The Temptations at the time of its recording. Highlights include “Love in the Afternoon,” a track wrote specifically for her that is actually quite blatant in terms of sexual innuendo, and “Jubilation,” an old Paul Anka cast-off that comes alive with its thunderous build-up of choirs and horns (despite the fact that it is essentially a “Christian” song). This is the kind of album that 70s drag queens would have loved to own if not for the fact that it was released without any promotion or fanfare on part of a cynical record company.

[The Politics Of Dancing]

I've heard that cover. It's oh so hilarious. Oh Barbra.

[svperstar]

Which cover are you referring to?

[The Politics Of Dancing]

Which cover are you referring to?

Pardon: "Life On Mars", Bowie must have cringed hearing that.

[svperstar]

I would have suspected the exact opposite, actually. I think her version is better than his. :shock:

[svperstar]

Anyhow--


47. UNDERNEATH – The Verve Pipe
RCA, 2001
Here is a band that is essentially nothing more than pure guilty pleasure, even by hardcore rock music lovers. But “Underneath,” their final opus released in 2001, was not like all those other endeavors that they released in the 90s – this was a mature, insightful and downright catchy album in which the music carried more than just hooks and aggressive guitar strumming. It was one of those releases that, alas, had the misfortune of being released shortly after the whole 9/11 debacle, but in the opinion of yours truly, it couldn’t have arrived at a better time. The music these men gave us here was both well-written and hopeful, inspiring at a time when it was okay for people to need a distraction from the fearsomeness of reality. Songs like “Gotta Move On” and the title track were not just ordinary album tracks – they were important pieces to a personal soundtrack of my life. And regardless of what I or anyone else may think of the band overall, there is simply no denying the fact that they knew exactly how to write some good material. In this case, however, they exceeded expectations even by the standards of a dedicated fan.

[svperstar]

46. BEDTIME STORIES – Madonna
Maverick/Warner Bros., 1994
There was a lot on the line when Madge went back into the studio after the whole “Sex”/”Erotica” mishap. Even she must have known that she was at a crossroad – why else would she record literally an entire new album and then discard it before starting over again with new producers? The history behind her follow-up to the S&M-fueled 1992 LP may be as convoluted as an “Unsolved Mystery” episode, but in the end “Bedtime Stories” yielded more than just a bunch of commercial-friendly tunes meant to help her regain back some of her lost appeal. The album as a unit is one of her most cohesive efforts to date, filled with pleasant R&B-fueled tracks as well as brilliant excursions into a more urban sound (which was a nice counter-attack to the underground vibe of “Erotica”). “Secret” remains one of her top five singles ever released, and the experimental “Sanctuary”/”Bedtime Story” suite is so brilliant in its abstract thrust that it remains one of the woman’s defining moments as a recording artist. The album is also near-free of the dreaded filler; even the songs that can be considered “lesser” to others have their moments here and there. The record probably did no favors for her in terms of pleasing a fan base that expected something avant-garde, but that’s irrelevant here. In the end, the only thing that matters is what you hear on the stereo.

[Joseph]

46. BEDTIME STORIES – Madonna
Maverick/Warner Bros., 1994
There was a lot on the line when Madge went back into the studio after the whole “Sex”/”Erotica” mishap. Even she must have known that she was at a crossroad – why else would she record literally an entire new album and then discard it before starting over again with new producers? The history behind her follow-up to the S&M-fueled 1992 LP may be as convoluted as an “Unsolved Mystery” episode, but in the end “Bedtime Stories” yielded more than just a bunch of commercial-friendly tunes meant to help her regain back some of her lost appeal. The album as a unit is one of her most cohesive efforts to date, filled with pleasant R&B-fueled tracks as well as brilliant excursions into a more urban sound (which was a nice counter-attack to the underground vibe of “Erotica”). “Secret” remains one of her top five singles ever released, and the experimental “Sanctuary”/”Bedtime Story” suite is so brilliant in its abstract thrust that it remains one of the woman’s defining moments as a recording artist. The album is also near-free of the dreaded filler; even the songs that can be considered “lesser” to others have their moments here and there. The record probably did no favors for her in terms of pleasing a fan base that expected something avant-garde, but that’s irrelevant here. In the end, the only thing that matters is what you hear on the stereo.

excellent write up

[svperstar]

45. ANGELFISH – Angelfish
MCA, 1994
Before she turned herself over to Butch Vig, Shirley Manson was the front woman of an obscure (and short-lived) little rock band named Angelfish, whose songs, while in the same vein as those that would show up in the debut Garbage album, were a little more grungier and rough around the edges than what we became familiar with. They were also pretty damn solid little tunes in their own right, lifted by both Shirley’s vocal seductiveness and her uncanny ability to carry an effective melody. The music is, of course, a lot less poppy than what she explored in her later years, but who cares? This is where all that attitude and ambition of hers began, and it only anchors the notion that the woman who would stand at the microphone of an up-and-coming rock band knew exactly what she wanted to do in music and never compromised her vision. Highlights include “Sleep With Me,” “Dogs in a Cage” and “Suffocate Me,” all of which demonstrate that a great writer was there long before the mainstream knew she was even there.

[The Politics Of Dancing]

I know The Verve Pipe! Like a few of their singles.

I praise "Bedtime Stories" for having the era of some of her best videos(Human Nature, and Bedtime Story) and some of her best singles(Secret & Human Nature). Perfect songs & videos.

Even I never knew about "Angelfish".

[svperstar]

44. DARK SIDE OF THE MOON – Pink Floyd
Capitol, 1973
Not much else can be said about this album that hasn’t already been said by nearly every music journalist in the world. Of all the famous material released by Pink Floyd, nothing has ever quite matched the visceral energy and ambition of “Dark Side of the Moon.” Short but sweet, the album is a psychedelic masterpiece, moody and introspective but never boring – when you listen to it, you feel like you are part of their experience. And yet despite all the nifty studio touches you get with tracks like “Money” and “Any Colour You Like,” it doesn’t detract from the notion that the album is so well-polished that nearly every small little titter or tatter in the music serves a certain importance to the overall picture. This band could not have produced a better effort even if they tried.

[Joseph]

44. DARK SIDE OF THE MOON – Pink Floyd
Capitol, 1973
.

I can honestly say I HATE this album.... I have never understood the appeal at all

[The Politics Of Dancing]

Don't have that album, though I do like the singles I've heard from it.

[svperstar]

43. THE FAT OF THE LAND – Prodigy
Maverick/Warner Bros., 1997
First thing’s first – I really don’t like Prodigy. They’re essentially a one-trick pony band who recycle the same hooks and bleeps from one piece of music to the next. But hilariously enough, that trick worked well when it came to their 1997 LP “Fat of the Land,” their first album release under Madge’s record company. The commercial appeal of the album was undeniable at the time, with the singles “Firestarter” and “Breathe” inspiring a host of cheap imitations from wannabe techno-heavy DJs (especially in Europe). But it’s actually the sparse “uncommercial” moments here that give the album a flair beyond just seeming like messy background noise. I adore the spine-tingling arrangement of “Diesel Power,” and think the now-infamous “Smack My Bitch Up,” with all its chaotic theatrics and slamming bass line, is probably one of the best “f*ck-me-I’m-horny-as-hell” tunes ever. You definitely have to be in the right mindset to get through the album as a whole, but if you’re able to, you’ll realize that the music is simply innocent fun overall – and damn fine fun at that.

[The Politics Of Dancing]

The big singles off that album were all perfect.

I remember Madge on an MTV interview saying she adored the "Smack My Bitch Up" video.

[svperstar]

42. MEDUSA – Annie Lennox
Arista, 1995
I’m also not much of a fan of Ms. Lennox, but when she did this album of covers, I was totally won over. It’s not simply the fact that I love several of these songs apart from her versions – her expertly-produced arrangements for several of these tunes are so lush and dynamic that they equal (if not surpass) some of their original incarnations. From the slow but penetrating brilliance of “No More I Love Yous” to the quiet honesty of “Something So Right,” Annie has never seen like more of a performer here. She takes total control of the material, and is both dramatic and honest in her delivery. I’m sure several purists will argue that “Diva” is the more proper Lennox album, but whatever. Gimme this collage of soothing numbers anyday.

[The Politics Of Dancing]

"Diva" IS better than "Medusa", but whatever. "No More I Love You"'s is a '90s classic.

[Andricicle]

This looks set to become quite fabulous!

[Andricicle]

Don't have that album, though I do like the singles I've heard from it.

Are you referring to Dark Side of the Moon? That only had "Money" released from it, didn't it?

[The Politics Of Dancing]

Are you referring to Dark Side of the Moon? That only had "Money" released from it, didn't it?

An oldies radio station I listened to used to play "Time". Better than "Money".

[svperstar]

:shock:


41. MY LOVE IS YOUR LOVE – Whitney Houston
Arista, 1998
Oh Whitney, what happened to you? There had never been a moment in the first ten years or so of your career when I gave a shit about a single song you ever released. I cringed when you unleashed “The Bodyguard” and totally butchered Dolly Parton’s lovely “I Will Always Love You,” and then scoffed again when you went to “Exhale” over the same-old Babyface music that so many other artists utilized during the mid-90s (even though I concede that the song did win me over years later). But when you released “My Love is Your Love,” it was like someone turned on a light switch. Here is an album where you finally had something to say without tossing around your ego; the music was lovely, catchy and melodic without coming off as too syrupy, even by your standards. The sly brilliance of the offbeat title track became an instant favorite, and the attitude that emerges from your voice in “It’s Not Right But It’s Okay” gives a seemingly-ordinary little pop tune a lot of resonance. This was your greatest mark as a recording artist – don’t you ever forget that, girl. I don’t think any of us could put up with another “Just Whitney”-type follow-up, thank you very much.

[The Politics Of Dancing]

Whitney

Her best album, enough said. With classic singles - but Heartbreak Hotel remains supreme.

[svperstar]

40. AUDIOSLAVE – Audioslave
Sony, 2002
The most *recent* selection on my list represents a return to top form for one of the grunge era’s greatest vocalists/lyricists. As the spearhead behind Audioslave, Chris Cornell delivers with a certain conviction that rivals (if not surpasses) his work as part of Soundgarden; the music isn’t exactly different by any means, but the delivery has a lot of spark, and as you listen to some of the songs, you sense more personality in the vocals than you would otherwise sense with rock singers. It certainly doesn’t hurt matters, furthermore, that several of these songs are just damn-near brilliant – “Cochise,” the album’s opener, begins with a subdued growl of an instrumental and then punches you when you least expect it, while “Gasoline” and “Hypnotize” are just as fierce as they are infectious. The best thing here, hilariously enough, is a literal invert of the album’s other material: “I Am the Highway,” a song that is mellow and insightful, and serves as the right moment for when listeners can peel away the layers and see Chris Cornell for what he always has been: a damn fine musician who never ceases to produce some solid material. Amazing how an album can leave such a lasting impression in such a short amount of time.

[The Politics Of Dancing]

Ranking of singles:

01 - Show Me How To Live
02 - I Am The Highway
03 - Cochise
04 - Like A Stone

And Chris Cornell is so cute. God I loved Soundgarden.

[svperstar]

EDIT. I'll save this for later.

[Andricicle]

An oldies radio station I listened to used to play "Time". Better than "Money".

"Us and Them" is better than the pair of them, IMO.

[svperstar]

39. FULL MOON – The Charlie Daniels Band
Sony, 1980
The only country album in my top 50, this was one of those records I became familiar with because it had been a family favorite during the early part of my childhood. Years later, giving the LP another listen, I see it as a lot more than just a liquored-up white man playing his fiddle and doing some nonsensical “country rap” (or whatever you want to call it) – the album is so anti-country in terms of its lyrical standards that it is refreshing, especially when put into perspective with the recent slew of patriotic bullshit that has emerged from this genre. Charlie takes digs at several social standards via some of his songs – being anti-material on “Money,” for instance – but often, they are delivered with such a high level of sarcasm that they don’t come off as preachy. The album’s highlight is “No Potion for the Pain,” a foray into BB King-type blues that features one of the other band members on lead vocals, and is quite amusing in the way it takes aggression to a level of pure and utter zaniness. This isn’t an album to be taken seriously, which is probably why it remains so memorable. Perhaps if most country artists got more liquored up before they stepped into a recording booth, they could come up with something half as inspired as this little diddy.

[svperstar]

38. DIRT – Alice in Chains
Sony, 1992
Probably the crowning jewel of the whole grunge era, “Dirt” by Alice in Chains is essentially the anti-“Nevermind” – that is, an album that cares nothing about being commercially accessible and offers a series of harsh musical punches. But it also takes a few moments to be very insightful, too. Consider “Rooster,” in which lead vocalist (and lyrical martyr) Layne Staley relives his father’s experience in the Vietnam war, or “Down in a Hole,” which chronicles his plight as a heroine addict (the song was reportedly written while he was stoned, and it gives the message a certain extra poignancy). The album is a series of personal experiences, but as is the case with yours truly, those experiences probably served as personal motivation for lots of pre-pubescent teens who were just getting around to discovering themselves. One would suspect that this was the whole point of the band’s opus to begin with.

[The Politics Of Dancing]

Heard about them a few years before the lead singer's death. After his death, when alot of their videos were played in tribute, they did have a damn good bunch of singles.

[svperstar]

37. HOMOGENIC – Bjork
Elektra/Asylum, 1997
Let’s just get straight to the point here: Bjork’s best work is not “Vespertine.” It is not “Medulla.” It is not even “Debut” or “Post.” No, that honor belongs to “Homogenic,” a musical kaleidoscope that is so spine-tingling in its theatrical abstractness, I have still never heard anything quite like it. And this is coming from someone who has a considerable amount of disdain for the Icelandic diva (particularly her vocal delivery, which always seems dissonant with her music). The first time I heard this album in its entirety was about a year ago, and I still remember well how “Hunter” creeps up on you, how “Bachelorette” bathes you in its stunning string arrangement, and how “Pluto” lifts the hair on the back of your neck with its sense of dread and horror. I may still not be the woman’s biggest fan, but I can recognize great art when I see or hear it, and this musical endeavor is one damn fine piece of work.

[The Politics Of Dancing]

You own "Medulla"? :shock:

"Post" is my favorite Bjork album, but "Homogenic" is stunning. Best album cover, and a very good collection of songs!

[svperstar]

You own "Medulla"? :shock:

No, but I've heard it. Not a bad little album (certainly better than the vastly overrated "Vespertine"), but nothing compares to "Homogenic." And I mean NOTHING.