I'm in the process of re-listening and re-evaluating my record collection, in no particular order. I'll be sharing the results of my evaluation and thoughts on the music in this blog.
Over the last year, I've been lucky enough to catch some punk legends I loved as a teenager—and still do, for that matter. Last summer, it was The Undertones, The Damned, and the Sex Pistols. True, the Pistols without Johnny Rotten are a far cry from the original experience, but the new guy—I believe his name is Frank Carter—was enthusiastic and clearly determined to give the audience a good time. Let's face it: would you rather have a frontman who dives into the crowd and leads the audience in a chorus like a football chant, or a standoffish, sarcastic one? ("Ever get the feeling you've been cheated? Ha ha.") Then, last March, it was the Buzzcocks' turn at Haarlem's Patronaat. I would have loved to see them with original frontman Pete Shelley, but unfortunately we lost him some seven years ago. Rather than hiring a soundalike, guitarist Steve Diggle took over vocal duties as well. His voice is harsher, which—combined with the band's high-energy playing—resulted in a noisier, punkier sound than the Buzzcocks had in their prime. His voice was a much better fit for the band's newer, more classic rock-oriented material. We enjoyed that too, even though most of the audience had come to hear the classic 70's punk-pop singles. When we returned home, I went looking for my copy of Singles Going Steady. In my youth, I had played the vinyl to death; later, I bought the CD edition, which included a handful of bonus tracks, though none I remember with much fondness. Imagine my surprise when I couldn't find either. During the Great Vinyl Purge, plenty of albums that I also owned on CD found their way to second-hand shops, but where had the CD gone? Never mind—I just had to have this album, so I went online and ordered the 45th Anniversary vinyl edition through my local record store. After a month, they admitted defeat and refunded my money. In the end, I visited the shop in person and picked up the standard Domino reissue instead: the same remastering, but on plain black vinyl, with none of the bells and whistles. It still comes with a nice booklet and is mastered at half speed for improved sound quality. Audiophile punk—Who knew it would ever come to this?
The story of the Buzzcocks actually begins with the Sex Pistols. In February 1976, Bolton students Howard Devoto and Pete Shelley read the first description of a Sex Pistols gig in the music press, and felt they had to witness the band first hand. They travelled to London to catch them live, and immediately decided they'd form a band. They managed to persuade the Pistols to come to Manchester for a historic concert. Hardly anyone attended, but many of those who did went on to form bands themselves - and those include Joy Division, New Order, the Smiths, the Fall, Magazine, and, of course, the Buzzcocks. After an independently released EP, Devoto left to form Magazine, prompting Pete Shelley to step into the vocalist role and Steve Diggle to take over on guitar. The band's first single, "Orgasm Addict", was an ode to teenage compulsive masturbation. The influence of the Sex Pistols is evident, both in its sound and its provocative subject matter. The Buzzcocks would soon outgrow their mentors and forge a distinctive style of their own, one that traded sarcasm for romance and combined the melodic instincts of the Beatles with the speed and power of the Ramones. Singles Going Steady was originally conceived as an introduction to the band for the American market and was initially released only in the United States. Side One collects the A-sides of the band's first eight singles in chronological order, while Side Two gathers the corresponding B-sides. The result is one of the strongest singles compilations of the punk era. Every track on Side One is a punk-pop gem. Shelley's lyrics focus on difficult relationships, romantic frustration and unrequited love, while the music's relentless energy is balanced by his high-pitched, tremulous voice, which lends the songs an unexpected vulnerability. Their arguably greatest song, "Ever Fallen in Love (With Someone You Shouldn't've Fallen in Love With)?", perfectly blends sharp guitars, heartache and an unforgettable chorus. As was often the case with Shelley, the lyrics avoid specifying the gender of the object of affection, making the song more easily relateable. Morrissey would later use much the same trick with the Smiths. The emotional confusion and longing at the song's heart may be universal, but the title made even more sense to me when I later learned that Shelley was bisexual. Side One closes with "Harmony in My Head", another highlight. Written and sung by Diggle, it pairs an infectious melody with a slightly heavier, more stomping rhythm and soaring guitars. If Side Two, comprising the band's B-sides, is a little lighter on killer hooks, it makes up for it with a more adventurous sound. From the rude punk blast of "Oh Shit!" to "Something's Gone Wrong Again" and its (Stooges-inspired?) insistent one-note piano riff, to the relatively bright punk-pop of "Lipstick" and "Noise Annoys", the band displays a far greater stylistic range than the exquisitely crafted A-sides might suggest. They become even more experimental on the six-and-a-half-minute kraut-funk marathon "Why Can't I Touch It?", while "Autonomy" points towards a darker post-punk future, sounding closer to Magazine or Gang of Four than to the Ramones. Now, listening to the album again confirms my feeling that I needed to add this LP to my collection again, as soon as possible. Compilations are often afforded less importance than proper studio albums, but this is one of the exceptions. More than a collection of radio-friendly singles, it distils everything that made the Buzzcocks unique: punk's urgency tempered by vulnerability, youthful romantic confusion transformed into perfect pop songs, unforgettable melodies, and even a sense of experimentation for which the band is not always associated with. Seeing the Steve Diggle-led version of the band earlier this year made me realize that, in the space of just a few short years, the Buzzcocks built a remarkable songbook. Diggle is a very different singer from Pete Shelley, yet the songs lose none of their power in his hands. Partly because he clearly believes in them, but mainly because they are such brilliantly crafted pieces of songwriting. More than simply the distillation of the band's essence, Singles Going Steady is one of a dozen or so punk albums that no rock collection should be without.
***** for What Do I Get?, I Don't Mind, Love You More, Ever Fallen In Love?, Harmony In My Head, Noise Annoys, Something's Gone Wrong Again
**** for Orgasm Addict, Promises, Everybody's Happy Nowadays, What Ever Happened To?, Autonomy, Just Lust, Lipstick, Why Can't I Touch It?
Some people call this "the worst album ever made". But then again, they've said the same for Dylan's Self Portrait, and it's not that bad - it's just not genious, like most of his work up to that point was. It makes sense now, even if it didn't at the time. Could Cut The Crap be a similar case? I had some songs on cassette at the time; later I also bought the CD for completeness' shake, but hardly ever listened to it, so my memories of that album are more from hearing it on cassette in the late 80's. I remember I liked some of the choruses; the synth-heavy production didn't alienate me that much, since I was used to it from mainstream pop and rock of the time. But as I got deeper into garage rock and classic punk, it started to annoy me so much that I didn't listen to it again. Until now. But before reviewing the music, one first needs some background information: in 1982, The Clash had their biggest hit with Combat Rock. It contained such classics as "Rock The Casbah" and "Should I Stay Or Should I Go", and was their first to get into the Top 10 in the US (as well as No.2 in UK). But it wasn't the album the band had in mind; Mick Jones had initially delivered a double album with longer, dancier mixes. Strummer wasn't happy with it, and neither were their management and record company, so they hired experienced producer Glyn Johns to remix it. He edited some of the songs and left others out, coming up with a leaner, better, version. The commercial appeal of the finished product proved him right, but it drove a wedge between the two principal songwriters, while drummer Topper Headon 's dismissal dut to his uncontrolled heroin habbit further unbalanced the band. Instead of enjoying their success, they started bickering with each other, leading to Strummer and manager Bernie Rhodes taking control of the band. Jones left, as did Topper's replacement, Terry Chimes. Strummer co-wrote a new bunch of songs with Rhodes, and went into the studio to record them with the new band, which included bassist Paul Simonon and three new members on guitars and drums. Rhodes then took over the production and mixing process, which is where -according to general opinion- everything went horribly wrong: he removed the bass and drums, replacing them with drum machines, and added layer over layer of synthesizers, fake horns, and all kinds of effects. Opener "Dictator", for example, is full of samples of people speaking unintelligibly in Spanish. Many years later, Manu Chao would use the same trick with success - but sparingly, not throughout the whole song! It's this excess that completely destoys Cut The Crap; less synths, and it'd just sound dated, now tracks like "Dictator" are rendered almost unlistenable. "Dirty Punk" is an improvement, a classic punk song with loud guitars and a nice chorus. "We Are The Clash" ("No you aren't" said most fans and critics) is a passable song with a big chorus which is reminiscent of football chants. The album is full of those; they are in fact -along with the synths and drum machines- one of its defining characteristics. People object to those, too, but I certainly don't mind. I think that these football chant-style choruses are part of Strummer's vision rather than Rhodes'. I've seen his interviews of the time, and all he talked about was about how bad the political situation in Britain was (remember, it was the height of Thatcher's dismantling of the welfare state, and of the great miners' strike) and how much the original fighting spirit of punk was needed. So yes, Strummer's mohawk hairstyle and Oi!- style choruses were a stylistical and musical regression for The Clash, but there was a reasoning behind it. On live bootleg recordings "Are You Red...Y" sounds like one of the funkier tracks on Sandinista! The proto-techno production doesn't do it any favors, but neither does ruin it completely. If it lost the chorus and electronic effects "Cool Under Heat" would fit well in one of Strummer's later albums with the Mescaleros. "North And South" is another Mescaleros-like song, a Latin-tinged semi-ballad. "Movers And Shakers" benefits from a great chorus (even if it's repeated a bit too often), but is ruined by this atrocious Herb Alpert and Tijuana Brass-emulating synth part. Thankfully we now come to the good part: "This Is England" is, according to Strummer, the last great Clash song. His vocal is upfront instead of buried under a cacophony of electronic sounds, the chorus is anthemic, and the lyrics paint an insightful and eloquent picture of Thatcher-era Britain. It's followed by the second-best song of the collection, the ska-punk "Three Card Trick". With better production, it'd fit perfectly in London Calling. "Play To Win" and "Fingerpoppin'" unsuccessfully try to experiment with Latin and hip hop elements, while "Life Is Wild" starts off promising but quickly gets drowned in a cacophony of samples, electronic effects, and backing vocals all playing simultaneously. Normally the album ends here, but my CD adds the B-side of "This Is England", "Do It Now". It's quite mediocre, but thankfully not messed up too badly by Rhodes. Why did Joe Strummer allow him complete controle over the mix of this album is a mystery. Or why Rhodes decided to take it to the polar opposite of the band's declared intention to return to the simplicity and energy of original punk. It may have something to do with Strummer being distracted due to family problems (his father died suddenly, and mother was simultaneously diagnosed with terminal cancer), Rhodes' famous stubborness, or the record company's insistence to deliver the album (for which they had already paid in advance) as soon as possible. But, then again, couldn't they see it was crap? Couldn't they get someone like Glyn Johns to save it? More importantly, might it still be saved? Many fans, myself included, think there are some good songs here. Given a sympathetic production, it would still be The Clash's weakest album, but not the embarassment it is now. For some mysterious reason, noone has gone back to the master tapes to make a radical remix that might salvage it. Some fans have tried; a German musician under the pseudonym Mohawk Revenge tried to isolate the vocals and re-create the instrumental part playing all the instruments himself. The result has been released under the title Cut The Crap Rebooted, and it's already better than the official version. Imagine how much further it could be improved if someone like e.g. Tim Armstrong from Rancid had access to the master tapes, was able to remove all the synths and other added-on crap, reinstate the bass and drums, and play some judicious overdubs where needed. I believe that we'd have a solid punk rock album in our hands, instead of a failed experiment.
**** for This Is England, Three Card Trick
*** for Dirty Punk, We Are The Clash, Are You Red...Y, Cool Under Heat, Movers And Shakers
** for Dictator, Play To Win, Fingerpoppin', North And South, Life Is Wild, Do It Now
I think I first heard this album blasting from the speakers of a music bar on a warm evening in Tokyo (I think it was Bar Rockaholic? It was directly above a record store I visited for my record stores of shibuya post). The songs sounded like The Clash with Japanese lyrics; I remember there were a few customers shouting the lyrics at the top of their lungs. They seemed quite drunk even though it was still early. Later, I found in second hand shops some LPs by this punk band called Anarchy, and decided to take a couple together with me to The Netherlands - I've always been a sucker for non-English language rock.
The band's self-named debut アナーキー (1979 or 1980? my sources do not agree) does sound a lot like The Clash , which makes me think they must have been the same band I heard play at the Shibuya bar that night. Three songs are more-or-less direct Clash covers: "東京イズバーニング [Tokyo is Burning]", "ホワイト・ライオット [White Riot]" and "アナーキー [Anarchy]" (A.K.A. "Safe European Home"). "3.3.3." is a cover of Stiff Little Fingers' "Suspect Device", and "ジョニー・B・グッド" is Chuck Berry's "Johnny B. Goode", while the band took their name from Sex Pistols' "Anarchy In The UK". Other songs sound familiar too, but I couldn't place them - in any case, the aforementioned bands should give an indication of their influences. I must say that this is exactly my favorite punk rock style: short, fast, aggressive, but still somehow melodic. In general, Anarchy seem to be closer to the English punk school rather than the American one. If you think about it, there are quite a lot of similarities between England and Japan in the 70's: former empires in decadence, ages-old society structures with an emphasis in decorum, repression and self-restraint, the institution of monarchy - Anarchy's disparaging attitude to the Imperial Family caused as much a backlash as Sex Pistols' "God Save The Queen" did. The lyrics form, apparently, a rejection of modern Japanese society, attacking consumerism, conformism, and the "worker ant" ethos. More in-your-face than the sarcastic British school or fun-loving American one. Vocals are aggresive, words spat out rather than sung, and tempos fast. Half the songs clock well under 2 minutes, the rest between 2' and 3'. Song structures usually follow the same pattern: Short intro→Verse→Chanted chorus→Short solo/noise break→Final chorus→abrupt ending. The guitarwork is relatively basic (power chords, minimal chord changes), but then again, that's punk; in any case, the guitarist sounds rather more profficient than his counterparts in classic English punk bands. On the other side, there's less variety in the music, at least in this debut lp: no reggae/funk influences like The Clash, or hard rock ones like Sex Pistols. Despite a certain sense of sameness, the urgency and short duration of each track here ensure the listener won't get bored at any point. There are no weak tracks here, on the contrary there are a lot of highlights e.g. the repetitive chant of "Not Satisfied", melodic guitar break of "Aburamushi", rockabilly guitar in "Mou Out", call-and-response vocals of "City Surfer" etc. As I said previously, many of these songs here are either covers of, or partly lifted from, contemporary Western punk rock. Yet, there's also something distinctively Japanese about this LP - other than the obvious, which is the language. It turned out to be hugely influential for the local scene and is listed at No.16 of Rolling Stone Magazine's All Time-Greatest Japanese Rock Albums list. Is the music here derivative? Yes, absolutely. But so is Green Day's, and they are one of the most popular -and therefore important- punk rock bands, ever.
***** for ノット・サティスファイ [Not Satisfied], あぶらむし [Aburamushi], 3・3・3, シティ・サーファー [City Surfer], 団地のオバサン [Danchi no Obasan], アナーキー [Anarchy]
**** for ジョニー・B・グッド [Johnny B. Goode], 東京イズバーニング [Tokyo's Burning], 缶詰 [Kandume], もうアウト [Mou Out], 季節の外で [Kisetsu no Soto de], ホワイト・ライオット [White Riot], 教室の中で [Kyoushitsu no Naka de]
If you're a regular reader of this blog, you already know how much I like album lists. With today being International Women's Day, I thought it'd be a good moment to share this list: in its Turning the Tables project, NPR assembled critics and musicians to rank the 150 greatest albums made by women. The result is a fascinating journey through decades of music, featuring artists from Lauryn Hill and Madonna to Patti Smith and Kate Bush. Some of the bands mentioned here (X, Sonic Youth, B52's, Fleetwood Mac) are really equal male/female singer-songwriter partnerships. I wouldn't have thought of including them in a list like this, but ultimately it makes sense; for example, Sonic Youth's Kim Gordon has been such a feminist icon in the American underground rock scene that she couldn't be absent from here. Her memoir Girl in a Band is already considered essential rock'n'roll reading, and coincidentally it's sitting on top of my to-read book pile at the moment. As usual, if an album has already been reviewed in this blog, there's a link to the relevant post. In this case though, I wanted to include a short description forevery entry here, explaining why each of them is important. However, the list is so long that I ended up cheating a bit and asking AI to help me write it.. It turned up quite well - after all I must admit that I haven't heard all of these albums; some, especially the R&B and hip hop artists here, are familiar to me by name mostly: I know a little bit of their history, the received wisdom of why they're supposed to be important, but I haven't heard a lot of their work. I will use this list as a listening challenge and try to broaden my musical horizons. Scroll down to see: how many of these albums have you heard? Does the description make you want to listen to any of them? If the answer is yes, the purpose of this post is accomplished.
1. Joni Mitchell — Blue (1971)
One of the most intimate singer-songwriter albums ever recorded. Mitchell transforms personal heartbreak and self-reflection into deeply poetic, emotionally raw songs.
2. Lauryn Hill — The Miseducation of Lauryn Hill (1998)
A groundbreaking fusion of hip-hop, soul, and gospel that explores love, spirituality, and identity. Hill’s only solo studio album became a defining record of late-1990s R&B and rap.
3. Nina Simone — I Put A Spell on You (1965)
Simone’s voice moves between tenderness and intensity on this jazz-soul classic. The album showcases her ability to reinterpret songs with emotional and political depth.
4. Aretha Franklin — I Never Loved a Man The Way I Love You (1967)
Featuring the legendary “Respect,” this album marked Franklin’s transformation into the Queen of Soul. Gospel roots and raw emotion define its powerful sound.
5. Missy Elliott — Supa Dupa Fly (1997)
Missy Elliott’s debut reshaped hip-hop with futuristic production from Timbaland and her playful, innovative style. Its sound remains influential decades later.
6. Beyoncé — Lemonade (2016)
A bold visual and musical concept album blending R&B, rock, hip-hop, and country. It examines betrayal, Black identity, and empowerment through cinematic storytelling.
7. Patti Smith — Horses (1975)
A revolutionary album that fused poetry with punk rock energy. Smith’s fearless lyrics helped redefine the possibilities of rock music.
8. Janis Joplin — Pearl (1971)
Joplin’s final album captures her explosive blues-rock voice at its peak. Released after her death, it includes iconic songs like “Me and Bobby McGee.”
9. Amy Winehouse — Back To Black (2006)
A modern soul masterpiece inspired by 1960s girl groups and Motown. Winehouse’s brutally honest songwriting about heartbreak made the album a global phenomenon.
10. Carole King — Tapestry (1971)
One of the most beloved singer-songwriter albums of all time. King’s warm voice and timeless melodies produced classics like “It’s Too Late” and “You’ve Got a Friend.”
11. Dolly Parton — Coat Of Many Colors (1971)
A country storytelling masterpiece that blends autobiography with empathy and humor. The title track remains one of Parton’s most beloved songs.
12. Erykah Badu — Baduizm (1997)
A defining album of the neo-soul movement. Badu’s smooth vocals and laid-back grooves introduced a new sound in R&B.
13. Madonna — Like a Prayer (1989)
Madonna’s most ambitious album combines pop, gospel, and social commentary. Its themes of religion, sexuality, and identity pushed pop music into deeper territory.
14. Whitney Houston — Whitney Houston (1985)
A spectacular debut that introduced Houston’s extraordinary vocal power. The album helped define the sound of mainstream pop-R&B in the 1980s.
15. Diana Ross and the Supremes — Where Did Our Love Go (1964)
A Motown landmark packed with hits that helped define the girl-group sound. Diana Ross’s voice brought elegance and charm to these classic pop songs.
16. Fleetwood Mac — Rumours (1977)
A legendary pop-rock album created amid intense personal drama within the band. Its polished production and emotional songwriting produced several timeless hits.
17. Janet Jackson — Control (1986)
A bold declaration of independence that transformed Jackson’s career. Its innovative production shaped modern pop and R&B.
18. Lucinda Williams — Car Wheels On A Gravel Road (1998)
A landmark Americana album blending rock, country, and blues. Williams’ vivid lyrics paint detailed portraits of Southern life.
19. Selena — Amor Prohibido (1994)
A defining Latin pop and Tejano album that made Selena a cultural icon. Its songs combine dance rhythms with heartfelt storytelling.
20. The Ronettes — Presenting the Fabulous Ronettes Featuring Veronica (1964)
A quintessential girl-group album produced by Phil Spector’s “Wall of Sound.” Veronica Bennett’s vocals shine on classics like “Be My Baby.”
21. PJ Harvey — Rid Of Me (1993)
A raw and abrasive alternative rock album that showcases Harvey’s fierce songwriting and vocal intensity.
22. Sade — Diamond Life (1984)
Smooth jazz-infused soul anchored by Sade Adu’s cool, elegant voice. Its sophisticated sound became iconic in 1980s pop.
23. Aretha Franklin — Amazing Grace (1972)
A powerful live gospel recording that reconnects Franklin with her spiritual roots. It remains one of the best-selling gospel albums ever.
24. Loretta Lynn — Coal Miner’s Daughter (1970)
A country classic that tells Lynn’s autobiographical story of poverty and perseverance. The title track became her signature song.
25. Ani DiFranco — Little Plastic Castle (1998)
An independent folk-rock album that blends political insight with personal reflection. DiFranco’s DIY approach influenced many later artists.
26. TLC — CrazySexyCool (1994)
A sleek R&B and hip-hop album that defined 1990s pop culture. Its mix of confidence and vulnerability produced several iconic hits.
27. Tori Amos — Little Earthquakes (1992)
A piano-driven alternative album confronting trauma, religion, and identity. Amos’s intense songwriting made it a cult classic.
28. Nina Simone — Nina Simone Sings the Blues (1967)
Simone channels blues traditions while maintaining her distinctive jazz sensibility and emotional power.
29. Alanis Morissette — Jagged Little Pill (1995)
A generation-defining alternative rock album full of anger, vulnerability, and catharsis.
30. Adele — 21 (2011)
A global success blending soul, pop, and blues influences. Adele’s powerful voice and emotional honesty made the album resonate worldwide.
31. Liz Phair — Exile In Guyville (1993)
A bold indie rock album offering a sharp feminist perspective on relationships and rock culture.
32. Björk — Post (1995)
An adventurous art-pop record combining electronic beats, orchestral arrangements, and experimental production.
33. Queen Latifah — All Hail The Queen (1989)
A pioneering hip-hop album that introduced Latifah’s confident voice and socially conscious lyrics.
34. Tina Turner — Private Dancer (1984)
Turner’s triumphant comeback album combining rock, pop, and soul influences.
35. Blondie — Parallel Lines (1978)
A defining new-wave album that merges punk attitude with polished pop songwriting.
36. Grace Jones — Nightclubbing (1981)
A stylish blend of reggae, disco, and new wave that highlights Jones’s cool, commanding persona.
37. Kate Bush — Hounds Of Love (1985)
An imaginative art-pop masterpiece combining radio hits with ambitious conceptual storytelling.
38. Odetta — It's a Mighty World (1964)
A powerful folk album highlighting Odetta’s rich voice and her connection to the civil rights movement.
39. Gillian Welch — Time (The Revelator) (2001)
A haunting Americana album filled with sparse arrangements and timeless songwriting.
40. The Staple Singers — Be Altitude: Respect Yourself (1972)
A gospel-soul classic featuring uplifting messages of empowerment and unity.
41. Tracy Chapman — Tracy Chapman (1988)
A thoughtful folk album featuring socially conscious storytelling and the hit “Fast Car.”
42. Ella Fitzgerald — Ella Fitzgerald Sings the Johnny Mercer Song Book (1964)
Fitzgerald interprets Mercer’s classic compositions with effortless swing and elegance.
43. M.I.A. — Kala (2007)
A genre-blending album mixing global sounds, political themes, and inventive production.
44. Heart — Dreamboat Annie (1976)
A powerful rock debut showcasing Ann Wilson’s soaring vocals and strong songwriting.
45. Dusty Springfield — Dusty in Memphis (1969)
A soul-pop classic celebrated for Springfield’s emotional vocal performance.
46. Emmylou Harris — Wrecking Ball (1995)
An atmospheric country album produced by Daniel Lanois that redefined Harris’s sound.
47. Celia Cruz — Son con Guaguanco (1966)
A vibrant salsa album featuring Cruz’s electrifying voice and Afro-Cuban rhythms.
48. Etta James — Rocks The House (1964)
A lively live recording capturing James’ powerful blues and soul vocals.
49. Rickie Lee Jones — Pirates (1981)
A sophisticated jazz-pop album full of storytelling and lush arrangements.
50. Hole — Live Through This (1994)
A fierce grunge album combining raw anger with emotional vulnerability.
51. Sarah Vaughan — Sassy Swings Again (1967)
A vibrant jazz album that showcases Vaughan’s extraordinary vocal range and effortless swing. Her phrasing and tone demonstrate why she remains one of the greatest jazz singers.
52. Bonnie Raitt — Nick Of Time (1989)
A blues-rock comeback that revitalized Raitt’s career. Its heartfelt songwriting and expressive slide guitar earned major critical and commercial success.
53. Linda Ronstadt — Heart Like A Wheel (1974)
A landmark country-rock album highlighting Ronstadt’s powerful, emotional voice. It helped bring country influences into mainstream pop.
54. Nico — Chelsea Girl (1967)
A haunting folk-pop album with contributions from members of the Velvet Underground. Nico’s detached voice gives the songs an eerie, introspective atmosphere.
55. The Go-Go's — Beauty And The Beat (1981)
A bright pop-rock debut that made the Go-Go’s the first all-female band to top the charts with songs they wrote and performed themselves.
56. X-Ray Spex — Germfree Adolescents (1978)
A sharp and rebellious punk album led by Poly Styrene’s distinctive voice. Its lyrics critique consumer culture and social expectations.
57. Mary J. Blige — What's the 411? (1992)
A defining R&B album that fused hip-hop beats with soulful vocals. Blige’s style helped create the “hip-hop soul” sound.
58. Labelle — Nightbirds (1974)
A funk and soul classic best known for the hit “Lady Marmalade.” The trio’s theatrical style and vocal power define the record.
59. Indigo Girls — Indigo Girls (1989)
A folk-rock album celebrated for its strong songwriting and vocal harmonies. Its thoughtful lyrics resonated with a wide audience.
60. The Pretenders — Pretenders (1980)
A confident rock debut featuring Chrissie Hynde’s sharp songwriting and distinctive voice.
61. Destiny's Child — The Writing's on the Wall (1999)
A hugely influential R&B album that helped establish Destiny’s Child as a dominant pop group of the late 1990s.
62. Dixie Chicks — Wide Open Spaces (1998)
A breakthrough country album combining strong harmonies with themes of independence and self-discovery.
63. Madonna — Like a Virgin (1984)
A defining 1980s pop album that cemented Madonna’s status as a global superstar.
64. Spice Girls — Spice (1996)
A pop phenomenon that introduced “Girl Power” to global audiences. Its energetic singles dominated the charts.
65. Cassandra Wilson — Blue Light 'Til Dawn (1993)
A moody jazz album blending blues, folk, and rock influences with Wilson’s deep, expressive voice.
66. Miriam Makeba — Pata Pata (1967)
A vibrant Afro-pop album that brought South African music to international audiences.
67. Sinéad O'Connor — I Do Not Want What I Haven't Got (1990)
A powerful album exploring faith, grief, and independence. Its stripped-down emotional intensity defines the record.
68. Rosanne Cash — King's Record Shop (1987)
A country album that balances traditional storytelling with contemporary songwriting.
A defining riot-grrrl punk EP known for its raw energy and feminist message.
99. Taylor Swift — Fearless (2008)
A hugely successful country-pop album that propelled Swift into global stardom.
100. Buffy Sainte-Marie — It's My Way! (1964)
A powerful folk album addressing Indigenous identity and social justice.
101. Eurythmics — Touch (1983)
A synth-pop landmark that highlights Annie Lennox’s powerful voice and dramatic style. Its blend of electronic textures and soulful melodies helped define 1980s pop.
102. Alabama Shakes — Sound & Color (2015)
A genre-blending album mixing soul, rock, psychedelia, and blues. Brittany Howard’s electrifying vocals drive the band’s bold sonic experimentation.
103. Umm Kulthum — Enta Omri (You Are My Life) (1964)
A monumental recording from the legendary Egyptian singer. The album showcases Kulthum’s expressive voice and the rich traditions of Arabic classical music.
104. ESG — Come Away With ESG (1983)
A minimalist dance-punk album built on tight rhythms and stripped-down grooves. Its sound became highly influential in hip-hop, house, and post-punk.
105. Sheila E. — The Glamorous Life (1984)
A vibrant pop-funk album produced with Prince. Sheila E.’s percussion skills and charismatic vocals shine on the title track.
106. No Doubt — Tragic Kingdom (1995)
A ska-punk and pop crossover album that launched Gwen Stefani into global stardom. Its energetic songs captured the spirit of 1990s alternative music.
107. The Shangri-Las — Leader of the Pack (1965)
A dramatic girl-group album filled with teenage romance and tragedy. The title track remains one of the most iconic songs of the 1960s.
108. Gladys Knight and the Pips — Imagination (1973)
A soulful album featuring Knight’s warm, powerful voice and the group’s smooth harmonies.
109. Against Me! — Transgender Dysphoria Blues (2014)
A raw punk album exploring gender identity and personal transformation. Laura Jane Grace’s songwriting is both deeply personal and politically powerful.
110. Miranda Lambert — Platinum (2014)
A modern country album that balances humor, heartbreak, and independence. Lambert’s confident songwriting gives the record its distinctive voice.
111. Diamanda Galás — The Litanies of Satan (1982)
A chilling avant-garde work combining operatic vocals with dark, experimental soundscapes. Galás’ performance pushes the boundaries of vocal expression.
112. Mercedes Sosa — Mercedes Sosa en Argentina (1982)
A powerful live album capturing the Argentine folk singer’s emotional connection with her audience. Sosa’s voice became a symbol of resistance and cultural identity.
113. Aretha Franklin — Young, Gifted and Black (1972)
A soulful album blending gospel roots with contemporary pop influences. The title track became an anthem of Black pride and empowerment.
114. Reba McEntire — Rumor Has It (1990)
A polished country album that helped solidify McEntire’s status as one of Nashville’s biggest stars.
115. La Lupe & Tito Puente — La Pareja (1978)
An energetic Latin album combining Puente’s salsa arrangements with La Lupe’s fiery vocal style.
116. Macy Gray — On How Life Is (1999)
A neo-soul album highlighted by Gray’s distinctive raspy voice and the hit single “I Try.”
117. Joan Jett — I Love Rock 'n' Roll (1981)
A high-energy rock album that turned Jett into one of rock’s most iconic guitarists and performers.
118. Chaka Khan — I Feel for You (1984)
A funk-pop classic that blends R&B with early hip-hop elements. The title track became one of Khan’s signature songs.
119. The Slits — Cut (1979)
A pioneering post-punk album mixing punk attitude with reggae rhythms and feminist defiance.
120. Anita Baker — Rapture (1986)
A smooth and elegant R&B album featuring Baker’s rich, expressive voice. It helped define the quiet-storm sound of the 1980s.
121. Joni Mitchell — Hejira (1976)
A contemplative jazz-folk album inspired by Mitchell’s travels across America. Its sophisticated songwriting and atmospheric sound mark a creative high point.
122. Siouxsie and the Banshees — The Scream (1978)
A dark and influential post-punk debut that helped shape the emerging gothic rock scene.
123. Cris Williamson — The Changer and the Changed (1975)
A landmark folk album in lesbian and feminist music communities. Its themes of identity and empowerment resonated widely.
124. Carly Simon — No Secrets (1972)
A polished singer-songwriter album featuring the enduring hit “You’re So Vain.”
125. Fiona Apple — Tidal (1996)
A striking debut blending jazz-influenced piano arrangements with emotionally intense songwriting.
126. The Carpenters — A Song for You (1972)
A beautifully arranged pop album showcasing Karen Carpenter’s warm, unmistakable voice.
127. Sonic Youth — Sister (1987)
An influential alternative rock album featuring experimental guitar textures and art-rock sensibilities.
128. Pauline Oliveros, Stuart Dempster, Panaiotis — Deep Listening (1989)
A groundbreaking experimental recording exploring sound resonance and meditative listening.
129. Marianne Faithfull — Broken English (1979)
A gritty and atmospheric new-wave album marking Faithfull’s powerful artistic comeback.
130. Teena Marie — Wild and Peaceful (1979)
A funk and R&B debut that showcases Marie’s soulful voice and songwriting talent.
131. Shirley Horn — I Thought About You — Live At Vine St. (1987)
A stunning jazz live recording featuring Horn’s intimate piano playing and smoky vocals.
132. Shelby Lynne — I Am Shelby Lynne (2000)
A deeply personal country-pop album that reintroduced Lynne as a mature songwriter and performer.
133. Fanny — Fanny Hill (1972)
A rock album from one of the first successful all-female rock bands, combining tight musicianship with classic rock energy.
134. Solange — A Seat at the Table (2016)
A reflective R&B album exploring Black identity, empowerment, and healing.
135. The B-52's — The B-52's (1979)
A quirky and colorful new-wave debut known for its playful energy and danceable rhythms.
136. Yoko Ono/Plastic Ono Band — Yoko Ono/Plastic Ono Band (1970)
An avant-garde rock album filled with experimental vocals and radical sonic ideas.
Yesterday I went to Tilburg NL to see Gogol Bordello play live, for the 2nd time. The first time I saw the band play was 16 years ago, when I was still living in Athens Greece. I was swept away by their energy, and became an instant fan. Now, with half of the original members gone, and with a much bigger back catalogue to choose from, I wondered what I should expect. Well, I needn't worry: Eugene Hutz still is a charismatic and energetic frontman, and the band keeps up well: hyperkinetic rapper/percussionist Pedro Erazo riled up the crowd even more; of course Eugene's trusted lieutenant Sergey Ryabtsev on violin still cuts an impressive figure, while special mention must be made for new girl Erica Mancini on accordion. Filling up the stage even more, and adding to the party atmosphere with their backing vocals and dancing were the two ladies from young New York band Puzzled Panther. All in all a fantastic night, full of joyous energy. Eugene didn't resolve to preaching, letting his politically charged lyrics do the talking; there was the Solidaritine emblem with the fist painted in Ukrainian colors, and the moving song "Solidarity" -not included in the Solidaritine LP reviewed here- which was written for Ukraine together with other artists; that was enough. Interestingly, the setlist was heavily based on older material; about one-third came from Gypsy Punks: Underdog World Strike, only party anthem "Fire On Ice Floe" from Solidaritne, and nothing from the two albums that immediately preceded it. I guess this further signifies a return to their punk roots, something many reviewers noticed when their latest album first arrived. Also of note: support band Split Dogs was a good fit; these Bristolians sound very similar to Amyl And The Sniffers, and have a likewise dynamic singer/frontwoman. Originally the support band was to be Bob Vylan, but they are banned from Tilburg's 013 Poppodium for being too controversial. Now, let's proceed with the album presentation:
I've always loved to see bands combine the energy and politics of punk rock with the exuberance of folk music; I think The Pogues did it first, paving the way for many other Celtic punk bands (Dropkick Murphys, Flogging Molly, The Mahones etc,). Joe Strummer added Latin elements to his records, followed by Mano Negra, Los Fabulosos Cadillacs and others. And of course there are those who combine punk rock with Balkan music, like Kultur Shock and No Smoking Orchestra. The latter included award-winning director Emir Kusturica - their raucous concert on Lycabettus theater in Greece was my introduction to gypsy punk, but Gogol Bordello would become my favorite band in this style. Unlike all the previous, Gogol Bordello come from the USA - but really from all over the place. Their immigrant origins are an important part of their identity, together of course with their leader Eugene Hütz's Ukrainian Roma background. Apparently, his family left their village after the Chernobyl nuclear disaster, relocating to Kiev first, then spending seven years in various refugee camps in Poland, Hungary, Austria and Italy, before arriving in Vermont USA in 1992 through a refugee resettlement program. Soon Eugene (born Yevhen Oleksandrovych Nikolaiev-Symonov) left for the great melting pot of New York where he would hook up with like-minded spirits; other members originally came from Russia, Israel, China, Ecuador, Brazil, and of course the US. Next to electric guitars, the band also make prominent use of the violin, accordion, sax and various percussive instruments. Their 8th album Solidaritine was recorded during the Russian invasion of Ukraine, and although most of the songs were already written when the war broke out they seem to form a response it. Opener "Shot Of Solidaritine" introduces the central theme of the album, this mysterious essence that lies dormant in most people but is sorely needed in these difficult times. Gogol suggest that a therapeutic dose of this miracle drug could unite people in solidarity and help them cure the world from its ills. Starting with a strummed acoustic guitar, the song quickly works up a furious punk tempo; this is generally one of the band's fastest, punkiest albums. "Focus Coin" is a Rancid-like ska punk party tune, and "Blueprint" a cover of legendary Washington DC punks Fugazi, albeit with a ska rhythm, chanted vocals and violin. In another nod to his punk roots, Eugene invited H.R. (of Bad Brains) to guest on "The Era of the End of Eras", a fast rocker with sweeping violin. Ukrainian artists Serhiy Zhadan and Kazka guest on “Take Only What You Can Carry” and “Forces of Victory”, two songs addressing the war in their homeland. The former is about the uprooting of people in wars. The lyrics can be heartbreaking, but there's nothing defeatist about it; along with the description of loss comes a small celebrational note in the form of the upbeat music and the hopeful conclusion "I'm not on the list of the dead". “Forces of Victory”, introduced with a swirling violin, is an older Gogol song, sung here in Ukrainian except for the chorus "I can't go on, I will go on". "I’m Coming Out" is a light-hearted, more rhythmic tune with snap-like instrumentation. Together with "Knack for Life" they slow the pace somewhat, while "The Great Hunt of Idiot Savant" and "My Imaginary Son" alternate mid-paced Balkan folk with punk. "Fire on Ice Floe" and "Gut Guidance" are upbeat party/ska tunes. The album closes with yet another punk-folk dynamite "Huckleberry Generation", Ramones-like both in pace and brevity. Reviewers commented that the Russian invasion of Eugene's homeland seems to have re-energized Gogol Bordello, resulting in a furiously paced return to their punk roots. I'd say their passion shows, though I'm not sure that the harder sound is directly connected to the war. I'd say that, after introducing Latin elements in Trans-Continental Hustle, which found the band living in Brazil, they sort of continued on auto-pilot: Pura Vida Conspiracy and Seekers and Finders, found the band in San Antonio Texas, still under Latin American influence. There was no lack of good tunes on those albums, but it probably was time to shake it up a bit. Solidaritine took them back to where they started, recording once again in New York and other East Coast places; probably their chosen music style here reflects their new surroundings as much as a more resolute political stance.
***** for Take Only What You Can Carry, Fire On Ice Floe
**** for Shot Of Solidaritine, Focus Coin, Blueprint, I’m Coming Out, My Imaginary Son, Forces Of Victory, Gut Guidance
*** for The Era Of The End Of Eras, Knack For Life, The Great Hunt Of Idiot Savant, Huckleberry Generation
