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Fairport Convention |
011 |
| Liege & Lief |
1969
Island / A&M
UK: 17
US: -
Producer: Joe Boyd |
| Liege & Lief witnessed another change in the line up of Fairport Convention following the death of Martin Lamble in a road accident; vocalist Iain Matthews had already departed after recording the group’s second album What We Did On Our Holidays, to start his own band Matthews’ Southern Comfort. Adding Dave Mattacks on drums, Dave Swarbrick on fiddle and with Sandy Denny as the sole vocalist the band produced their most impressive release, mixing definitive readings of traditional folk songs with exceptional original numbers, in no small part due to the considerable song-writing talents of guitarist Richard Thompson. Thompson’s contributions, ‘Farewell, Farewell’ & ‘Crazy Man Michael‘, the latter co-written with Swarbrick, were otherworldly laments that allowed Denny’s graceful vocals to continue to define Fairport as folk-rock pioneers. Denny and bass player Ashley Hutchings would themselves depart the band after this release to form Fotheringay and Steeleye Span respectively, and various Fairport line-ups would come and go with mixed fortunes.
Track Listing: Come All Ye / Reynardine / Matty Groves / Farewell, Farewell / The Deserter / Medley: Lark In The Morning; Rakish Paddy; Foxhunter’s Jigs; Toss The Feathers / Tam Lin / Crazy Man Michael.
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Led Zeppelin |
012 |
| IV |
1971
Atlantic
UK: 1
US: 2
Producer: Jimmy Page |
| On their fourth release Led Zeppelin perfected their mixing of riff-heavy rock numbers, ‘Rock and Roll’ and ‘Black Dog‘, with introspective acoustic songs such as ‘Going To California‘. However, it was the momentous ‘Stairway To Heaven’ that stole the show, propelling Zeppelin further into the realms of the world’s most successful acts. Fairport Convention’s Sandy Denny guested on the Tolkien-influenced ‘Battle Of Evermore’ and while the lyrics were sometimes a little on the twee side, Zeppelin produced a landmark album in a run of four exceptional releases in under three years. The follow-up Houses Of The Holy was an all-together more patchier affair, and while Physical Graffiti was a marked improvement two years later, this collection was the pinnacle of their career; from Plant’s bluesy holler commencing opening title ‘Black Dog’ all the way to John Bonham’s thunderous drum rolls on the closing ‘When The Levee Breaks‘.
Track Listing: Black Dog / Rock And Roll / The Battle Of Evermore / Stairway To Heaven / Misty Mountain Hop / Four Sticks / Going To California / When The Levee Breaks.
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Bruce Springsteen |
013 |
| The Wild, The Innocent & The E Street Shuffle |
1974
C.B.S. / Columbia
UK: 33
US: 59
Producers: Mike Appel & Jim Cretecos |
| Avoiding the clumsy wordplay of his debut, Springsteen mixed the obvious Dylan and Van Morrison influences with sixties soul and his love for fifties rock’n’roll on this more ambitious, focused and self-assured collection. The album relied heavily on grand balladry such as ‘4th of July, Asbury Park (Sandy)’ and the reflective closing song ‘New York City Serenade‘. However, ‘Rosalita’ was an and out rocker that would remain a live favourite for the rest of his career; always an opportunity to demonstrate the undisputed chemistry between Springsteen and his charismatic saxophonist Clarence Clemons. It was on the underrated ‘Incident on 57th Street’ that Springsteen and his band showed their true ambition, powered along by Garry W. Tallent’s fuzz bass and Danny Federici’s stately organ parts; a song that would set the template for the Spector-esque production of his breakthrough Born To Run album that would be released the following year.
Track Listing: The E Street Shuffle / 4th Of July, Asbury Park (Sandy) / Kitty’s Back / Wild Billy’s Circus Story / Incident On 57th Street / Rosalita (Come Out Tonight) / New York City Serenade.
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Ryan Adams |
014 |
| Heartbreaker |
2000
Bloodshot
UK: -
US: -
Producer: Ethan Johns |
| Having left the band Whiskeytown, Adams recorded this debut solo album in Nashville in just fourteen days, embracing folk and country influences to create a heartfelt and emotional collection, that benefited from an organic and spirited production courtesy of Ethan Johns. Heartbreaker commences with the raucous Dylan-influenced ‘To Be Young’ but ballads are the album’s staple fare; ‘AMY’, ‘Call Me On Your Way Back Home’ and ‘My Winding Wheel’ demonstrating the depth of Adams’s impressive song-writing talents. Another particular highlight was ‘Oh My Sweet Carolina’ with Emmylou Harris providing a sweet harmony vocal recalling her groundbreaking duets with country-rock pioneer Gram Parsons. The following year after Heartbreaker’s release Adams would veer away from the acoustic approach of his debut, and take a more direct and polished approach with his next offering, the million selling, Grammy-nominated Gold. Despite the modest commercial success of Heartbreaker, it still remains the standard by which all of Adams’s releases are measured.
Track Listing: (Argument with David Rawlings concerning Morrissey / To Be Young (is to be sad, is to be high) / My Winding Wheel / AMY / Oh My Sweet Caroline / Bartering Lines / Call Me On Your Way Back Home / Damn, Sam (I love a woman that rains) / Come Pick Me Up / To Be The One / Why Do They Leave? / Shakedown on 9th Street / Don’t Ask For The Water / In My Time Of Need / Sweet Lil Gal (23rd/1st).
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Killers |
015 |
| Sam’s Town |
2006
Label: Island
UK: 1
US: 2
Producers: Flood, Alan Moulder & The Ki |
| Distancing themselves from the British new-wave influences of their debut Hot Fuss, the Killers took more inspiration from their American homeland, especially on the epic Springsteen-esque single ‘When You Were Young’. The other singles, ‘Bones‘, ‘Read My Mind’ and ‘For Reasons Unknown’, where also album highlights as was the towering ‘This River Is Wild’. With less emphasis on the synthesiser hooks that had dominated their debut, guitarist Dave Keuning took a more prominent position in the band’s sound, backed by the powerful rhythm section of Ronnie Vanuccci Jr. and Mark Stoermer. However, it was still the mesmerising vocal and lyrical talent of frontman Brandon Flowers which really defined the album‘s strengths. This collection brought them their second UK number one album, and although not quite matching the huge commercial success of Hot Fuss, their willingness to experiment and move on from the sound of their debut further enhanced their reputation as a musically inventive and ambitious group.
Track listing: Sam’s Town / Enterlude / When You Were Young / Bling (Confession Of A King) / For Reasons Unknown / Read My Mind / Uncle Johnny / Bones / My List / This River Is Wild / Why Do I Keep Counting / Exitlude
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Joan Armatrading |
016 |
| Joan Armatrading |
1976
Label: A&M
UK: 12
US: 67
Producer: Glyn Johns |
| Joan Armatrading’s third album finally provided the breakthrough that had eluded her after two underwhelming releases in 1972 and 1975. Guided by Glyn John’s sympathetic production, Armatrading finally managed to blend her prodigious song-writing talents with the folk, soul and rock influences that shaped her eclectic and heartfelt sound. The sound was augmented by B.J. Cole’s steel guitar on ‘Down To Zero’ and Jerry Donahue’s understated electric guitar throughout. Emboldened by the success of the top ten UK single ‘Love And Affection‘, this collection would ensure Armatrading consistent chart success well into the next decade. It was on the ballads, ‘Save Me’ and ‘Somebody Who Loves You‘, however, that Armatrading’s delightful voice and sense of emotion really excelled. On future releases she would branch out to a more rockier and polished sound that, while always maintaining an engaging sense of melody, was never as charming and earnest as her eponymous album.
Track listing: Down To Zero / Help Yourself / Water With The Wine / Love And Affection / Save Me / Join The Boys / People / Somebody Who Loves You / Like Fire / Tall In The Saddle.
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The Stone Roses |
017 |
| The Stone Roses |
1989
Silvertone
UK: 19
US: 86
Producer: John Leckie |
| One of the most impressive debut albums of all time, the Stone Roses’ eponymous collection came at the end of a rather unremarkable decade for music. The Manchester four piece had hinted at their talent with the ‘Sally Cinnamon’ single released two years earlier, but the ambition and grace of the likes of ‘I Wanna Be Adored’, ‘She Bangs The Drum’ and ‘Made of Stone’ brought them widespread adulation with their mix of dance rhythms and John Squire’s Byrds’ influenced guitar playing. This release spawned a host of lesser imitators, but none were able to come close to matching the majesty of the album’s finale ‘I Am Resurrection’ where Squire, singer Ian Brown, bassist Mani and drummer Reni embraced two decades worth of musical influences and moulded it into a mesmerising sound of their own. It would take another five years before a follow up, Second Coming, would be released in late 1994, but many considered the moment had passed for the Stone Roses, lamenting what might have been without the contractual wrangling with management and record labels that had blighted their early career.
Track Listing: I Wanna Be Adored / She Bangs The Drums / Waterfall / Don’t Stop / Bye Bye Badman / Elizabeth My Dear / (Song For My) Sugar Spun Sister / Made Of Stone / Shoot You Down / This Is The One / I Am The Resurrection.
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Black Sabbath |
018 |
| Sabbath Bloody Sabbath |
1973
W.W.A. / Warner
UK: 4
US: 11
Producers: Black Sabbath |
| Considered by many to be the pinnacle of Black Sabbath’s career following a run of strong albums since their eponymous debut was released in 1970; albums after this 1973 release would offer ever diminishing returns until eventually the original line-up would disband, following the acrimonious departure of singer Ozzy Osborne at the end of the 1970s. Sabbath had begun to test themselves musically on this offering, with their usually riff-heavy melodies mixed with more plaintive numbers; such as the acoustic instrumental ‘Fluff‘, string arrangements on ‘Spiral Architect’ and experimentation with synthesisers on ‘Who Are You‘. However, it was the title track, driven by another genre-defining riff by guitarist Tony Iommi and bassist Geezer Butler, that would define the record and continue to be a live favourite for the next three decades. Other highlights included the impressive and intricate ‘A National Acrobat’ and the anti-drug ‘Killing Yourself To Live’ where Iommi’s innovative guitar work shone in particular.
Track Listing: Sabbath Bloody Sabbath / A National Acrobat / Fluff / Sabbra Cadabra / Killing Yourself To Live / Who Are You / Looking For Today / Spiral Architect.
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The Beatles |
019 |
| Abbey Road |
1969
Apple
UK: 1
US: 1
Producer: George Martin |
| The end of the Beatles witnessed the flourishing of George Harrison’s talents. It was left to Harrison and McCartney to carry the artistic load on this collection, allegedly as Lennon’s significant creative gifts were hindered by heroin addiction; his main effort ‘Come Together’ would later incur a writ from Chuck Berry‘s publishers. Harrison contributed the yearning ‘Something’ and the wondrous ‘Here Comes The Sun‘, McCartney provided the majority of the medley that closed the album, the playful ‘You Never Give Your Money’ and the soulful ‘Golden Slumbers’ being particular highlights, partly forgiving McCartney the indulgence of the cloying triteness of ‘Maxwell’s Silver Hammer‘. The joyous pop of this collection would somehow manage to mask the inner conflict that was tearing the group apart during the creation of this, their last album. As solo artists all three songwriters would go on to achieve further critical and commercial success, but it was seldom as perfect as this.
Track Listing: Come Together / Something / Maxwell’s Silver Hammer / Oh! Darling / Octopus’s Garden / I Want You (She’s So Heavy) / Here Comes The Sun / Because / You Never Give Me Your Money / Sun King / Mean Mr Mustard / Polythene Pam / She Came In Through The Bathroom Window / Golden Slumbers / Carry That Weight / The End / Her Majesty.
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The Byrds |
020 |
| Sweetheart Of The Rodeo |
1968
C.B.S. / Columbia
UK: -
US: 77
Producer: Gary Usher |
| At the time it was The Byrds’ least successful work, dismissed as too country by the rock fraternity and ignored in equal measure by the country music scene. Time has since recognised its innovative mix of rock and country, many years before the country rock of the likes of the Eagles would break sales’ records. The Byrds had hinted at country influences on their previous release The Notorious Byrd Brothers, the song ’Old John Robertson’ in particular, but their musical change of direction was partly due to Roger McGuinn’s quest for new musical territory and the bluegrass and country backgrounds of bassist Chris Hillman and new arrival Gram Parsons. The band would tackle soul and country standards with equal enthusiasm, and translate a couple of Dylan numbers into the new Byrds’ sound; Dylan himself had been exploring a similar approach with his 1967 John Wesley Harding album and would go further with the Nashville Skyline set in 1969. However, the true gems of this collection are the Parsons originals; the haunting ‘Hickory Wind’ and the energetic ‘One Hundred Years From Now’ displaying his prestigious gifts.
Track Listing: You Ain’t Going Nowhere / I Am A Pilgrim / The Christian Life / You Don’t Miss Your Water / You’re Still On My Mind / Pretty Boy Floyd / Hickory Wind / One Hundred Years From Now / Blue Canadian Rockies / Life In Prison / Nothing Was Delivered.
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| THE GREATEST ALBUMS
EVER 11-20 |
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