In fact, they’re an iconic piece of Pink Floyd’s legendary catalog. This album showed Kraftwerk to be fast learners and some of the most forward of thinkers, a fitting cap on their evolution from prog-rock noodlers to lock-step groove programmers. Also can you guys do a Best Albums Of The 60s,80s,And 90s List, Of course everyone’s list would be different but i’d have found a place for a sparks, cockney rebel or mott the hoople album. In fact, you can also take the other Camaro classics, “Rock and Roll” and “Black Dog” off it and have an enduring classic. The title track is more grounded, and “Bailophone Dance” more intense, and in the end it feels like Pharoah’s version of a mixtape more than anything. Rather, moving from the pleasantries of his first backing band Clover to Pete Thomas’ rumbling drums and Steve Nieve’s wheedling organ creates a whole new aesthetic for Costello’s nerdy neuroses. He found it in an array of synthesizers, African-inspired rhythms, and honest-to-the-creator hooks that few jazz albums either now or throughout history have displayed so unabashedly. It’s just the frosting on a rich and satisfying full-length pop confection under the guise of hard rock, however. – Jeff Terich, Not all great albums are entnirely enjoyable. Either way, this opera had an undeniably profound impact not only on classical music, but also on the evolution of ambient and electronic music. Never have the conditions of an album’s recording been so lucidly apparent to the listener; an imperious band, untouchable by law or decency, changing the world on their terms.- Max Pilley, Alex Chilton and Chris Bell, the songwriting duo behind Big Star’s first album, wanted to be seen like Lennon and McCartney—that’s why their songs are credited to Bell/Chilton—and they probably could’ve been, given time and better sales. Which goes to show that underground metal has deeper dad-rock roots than most would let on. This esteem was even shown by the Bowie camp when, on the eve of the now-mandatory deluxe remaster/reissue box set treatment for his body of work, it was this record that kicked off the process and not either of those other two. Confession time: I've always been afraid of the 70s music in the past. Few records and fewer debuts were quite as unique or left quite as lasting an impression as Pink Flag. They mightn’t share the household name status of some of their contemporaries, but many a rock band who’ve made music over the years can trace their influences back to Wire, even if they don’t know it. – Liam Green. – Langdon Hickman, We survived Y2K and 2012 without facing societal meltdowns or Biblical rapture, but in hindsight those seemed like walk-in-the-park prophecies compared to how terrified everyone seemed during the Reagan/Thatcher/Cold War era. An album that still feels inventive when listened to today, the dirty guitar riffs are both catchy and gritty, clearly influential in everything from early ’90s grunge to the post-punk revival of the turn of the millennium (see “Three Girl Rhumba”). Fall out! Over eight tracks of scuzzy synths, guitar and proto-industrial drums, Pop graduates from the self-mutilating lunatic he was with The Stooges into a thoughtful solo artist. A fine example of how to make prog rock more focused. It’s a sublime musical roundtable where there’s a seat reserved for those who choose to groove. They embraced bigger hooks, bigger melodies, and took bigger risks, whether on the gentle ballad “English Rose” or by turning the scene of a brutal crime on “Down in the Tube Station at Midnight” into a soaring anthem. But the album’s bookends threw down a challenge for the hungover insurgents of Drop City. So they did: Out of the Blue was their least tentative, most variegated record, with amiable genre exercises (“Across the Border,” “Jungle”), a Wagnerian hit parade (“Turn to Stone,” “Sweet Talkin’ Woman”), power balladeering (“Steppin’ Out,” “Big Wheels”), and a sidelong suite about crappy weather. That’s what, for me (and my dad also, I guess) separates this record from other singer/songwriter fare—the inevitability of structure they’ve got. Bowie operated on such an untouchable level for so much of his career that it became something of a myth that he beamed down from another plane, himself. With pioneering experiments in phasing and harmony that have rung through all electronic subgenres ever since, Steve Reich’s hour-long odyssey still shows us fresh horizons. This Dennis Bovell-produced eventual opus in 1979 reflects every fiber of The Slits’ take-no-prisoner feminist punk attack, but neatly weaves in their extra-curricular interests too, namely radical politics and dub reggae. Top 200 Albums of the 70’s. T. Rex simply made perfect rock ‘n’ roll with a bit of a wink and a glimmer. – Jeff Terich, Read More: Celebrate the Catalog—David Bowie, When listening back to the post-punk classic Entertainment!, it becomes clear just how massive Gang of Four’s influence was on the bands that came after. The record that made Bowie the star he'd been acting like for a while, although its reputation isn't quite the same as its reality. Then in 1991, with the institution of the Pop Catalog chart, the album returned the chart where it has resided for the past 10 years almost entirely in the Top 10. The debate over what punk is, where it begins and ends will forever be unsettled, but should there come a time when someone, somewhere asks the question, “What is punk?”, just point them here. – Jeff Terich, Read More: 10 Essential Spiritual Jazz Albums, It’s tempting to reach for the “glittering” truism when it comes to John Cale’s prolific career, but the term is just too bright to suit his music. A fine denouement to the 1970s and a survey of their career before it ended in 1981, Singles Going Steady cherry-picked three years’ worth of singles, b-sides, and album cuts to introduce the English band to American audiences. It is partly the change of producer to Mike Chapman, the pop glam master, but it is also the shift to a more confidently major league songwriting style: “Heart of Glass,” “Picture This,” “Sunday Girl,” “One Way or Another” and “Pretty Baby” is a titanic haul of bangers for any one album, no matter the era. The best, Rainbow Dome Musick, arrived right at the fag-end of the ’70s, and it’s a stunning collection of nascent ambient electronica, produced with longtime partner Miquette Giraudy. The album yielded no fewer than five major hits, including the immortal riff of “Up Around the Bend,” the swamp groove of “Run Through the Jungle” and the Buck Owens homage “Lookin’ Out My Back Door,” which was given renewed life through a hilarious scene in The Big Lebowski. Founder Jerry Dammers brought together two conspiratorial vocalists, Jamaican-born Neville Staple and sardonically nervy Terry Hall, for an astringent portrait of working class youth. There are a lot of reasons for this, but the easiest summary is that Station to Station is the thesis of Bowie’s work. It's only the 3rd highest selling album ever, artistically beautiful. This is not to say that screaming young fans would have come down with Enomania in a world without the Fab Four. A man finds his wife in bed with another man, kills both of them, and flees. There’s a swirl of intoxicating smoke billowing forth from the exotic, scene-setting “Dewol,” an urgent strut to the title track, and an unforgettably climactic melody in “Yekermo Sew.” Astatke’s keys and vibraphone are hypnotic in their own right, but his greatest achievement was in orchestrating an abstract idea—one informed as much by home as the distance from it—into one of the most mystically cool recordings ever captured. Riot shows us that when you can’t piece through the chaos around you, you can always make your own. It portrayed Pete Shelley’s pet project as one long set of jitters, be they from giddy sexual satisfaction (“Orgasm Addict”), bad choices (“Even Fallen in Love”), or unrequited love (“Why Can’t I Touch It?”). But on Court and Spark she had more power of negotiation. Los Angeles musician Patrice Rushen, who showed prodigious talent as a master producer, arranger, and musician with the Prestige label during the early part of the decade, signed to the Elektra/Asylum label in 1978.