I wasn't precisely thinking of hip hop since I don't know much about it, but still, it seems like the time past makes old albums seem better than new ones for some reason. Nostalgia and stuff I guess. There are barely any records post, including rock. There's one from Nirvana, one from Radiohead, and one U2 album from itself.
First, Rolling Stone always had a critical bias towards music from the 50's's because that is when it's egotistical founder and editor-in-chief, Jann Wenner, came of age.
That's the music he favors, so that is what is counted. Second, the list is compiled by "experts," most of whom are established i. Bruce Springsteen, Elton John It's not they're trashing him; it's that the people's whose opinions are consulted for this list are unfamiliar with him. The list is rather heavily skewed, that's true, but all the albums and artists and genres in this thread, and quite a few other post albums, do appear on the full list Top As a recovering Rolling Stone subscriber, I feel I should state at the fore that these lists are nothing to get annoyed about.
RS has had the same stubborn critical biases for 46 years, and nothing's going to change until Jann Wenner is dead. It's terrible. Yeah, I know music is all subjective and personal and crap. And that these lists are always going to be arbitrary BS and probably meant to provoke more than definitively answer anything. And I know the editors of Rolling Stone are old out-of-touch fuddy duddys. But personally I say any list of greatest albums that does not include a minimum of of these albums , and would be better, is an abysmal failure.
Get over the Beatles already. I would also put Antichrist Superstar by Marilyn Manson on the list from that genre. The Fragile is, for my money, the greatest album ever recorded by anyone. But I love Pretty Hate Machine, even if it seems a bit dated now. Dear Quizmaster, please change "Chronicles Vol.
Thank you!! While Undercover may not have been the final occasion The Rolling Stones aimed for relevance it marked the last time the global zeitgeist was prepared to suspend its disbelief and allow them the luxury of appearing so. With pop already starting to split along generic lines, it was no longer possible for one band to be all things to all men.
Though certainly not a classic, Their Satanic Majesties Request is far from the ill-conceived psychedelic folly that received critical wisdom might have you believe.
Recorded hot on the heels of unremarkable time-marker Between The Buttons, it was the inevitable product of barely-restrained experimentation both musical and chemical and the unavoidable fallout of both. Drug busts, court cases, jail terms and general partying saw the band rarely in the studio as a unit, and solo indulgences by those that did make it had a tendency to rob the material of its intrinsic Stones-ness.
Yet their first taste of America was not quite as sweet as they may have hoped. Who would have thought it? Sent into the vaults to conjure up an album for the band to tour behind in , producer Chris Kimsey returns with pure gold. It seemed like he had so little to say and yet so much he was required to produce so much. The songs were well crafted but vacuous. There was no tension, nothing to sustain the music, nothing to make it compelling. On After the Gold Rush. His album was no melange of approaches but a sustained tour de force of self-expression.
That song tells us instantly what Neil Young has and his partners lack: conviction and commitment to a specific stylistic point of view and the talent to express it flawlessly. Conviction and commitment are the life blood of Tapestry and are precisely what make it so fine.
Of course, commitment alone means nothing; but commitment coupled with the musical talents of a genuine pop artist mean everything. To paraphrase Pauline Kael, writing about director Jean Renoir, Carole King is thoroughly involved with her music; she reaches out towards us and gives everything she has. And this generosity is so extraordinary that perhaps we can give it another name: passion.
Related Reviews. Newswire Powered by. Close the menu. Rolling Stone. Log In. Released: 1 December Label: K-tel. BPI: Silver . Released: 9 June Label: Polydor Records.
Released: 17 May Label: Polydor Records. Released: 17 January Label: Decca Records. The Rolling Stones, Now! Out of Our Heads US. Aftermath US. Between the Buttons US. RIAA: Gold . Their Satanic Majesties Request. Get Yer Ya-Ya's Out! The Rolling Stones in Concert. UK: Silver . Exile on Main St. It's Only Rock 'n' Roll. Emotional Rescue. Sucking in the Seventies. UK: Gold .
Still Life. Dirty Work. Bridges to Babylon. UK: Platinum . From The Vault: No Security. Peter Whitehead. Michael Lindsay-Hogg. Adam Friedman. Add Moods. Add Themes. Like several other rock superstars in early , the Rolling Stones turned to a back-to-the-basics direction, with the single "Jumpin' Jack Flash" the first track to fly that flag. Like a great many Rolling Stones songs, and most of their s singles, the Top Three hit "Jumpin' Jack Flash" unveiled yet another classic blues-rock guitar riff, similar to the one heard in " I Can't Get No Satisfaction" in its ascending insistence, but nevertheless easy to tell apart from that predecessor.
The distinctive, grungy in the pre-Seattle sense of that term texture of the guitar chords heard in much of the track was achieved by recording some of the guitar parts on cassette -- an early application of the lo-fi aesthetic, perhaps. Set to an infectious stop-start beat, the verse was a first-person portrait of a guy born in a crossfire hurricane, raised by a hag, and crowned with a spike through his head. Just the sort of fellow you'd like to invite to your next tea party, yes?
What most listeners glommed onto, however, was the more immediately understandable chorus, with its ultra-catchy reminders that everything was alright, as jumping jack flash was a gas-gas-gas.
One quality that was evident was the overwhelming sardonicism and irony with which the lyrics were delivered, exceeding the level heard in the Stones' pre records, which were not at all lacking in those traits. In this sense, the group seemed to be building a mythology for themselves, describing themselves as sleazy but charming ruffians, not afraid to wear their unsavory aspects on their sleeves.
There were those determined to find some hidden meaning in the lyrics, and in the title especially, with jumpin' jack flash taken to possibly mean laughing gas, or some other potent drug.
Electronic Folk International. Jazz Latin New Age.
Recording Industry Association of Japan. It has a percussive scrape added during the chorus. Please log in. Fleetwood Mac. Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers. UK: Platinum . Every company wants to deliver as fast as possible to the customer. Yeah, I know music is all subjective and personal and crap.
Yuki - Rafidia - Rafidia (CDr), Are You Passionate? - Various - The Lobotomi Sessions Part One - The Fellowship Of The Rock (CD), M16 - Winger - IV (CDr, Album), Meandering