100 cult albums to hear before you die, chosen by your favourite rockstars

100 fad classics that deserve your sexual love, picked by NME writers and your favored bands

100. Wild Billy Childish & The Buff Medways’ Fanciers Association – ‘Steady The Buffs’ (Transcopic)

Michael McKnight of Frankie & The Heartstrings : “ I believe this to be the hundredth album that Billy Childish recorded and although it was well received upon its release in 2002 it nowhere near was given the plaudits it deserved considering he is the modern day William Blake. His lyrics are on equality with anything written by Charles Bukowski and his guitar sounds like everything that ’ randomness great about the Kinks. So few artists write with such honesty and just let the songs stand up for themselves. The album inspired me to start a band when it came out and we make numerous references to it .

99. The Walkmen – ‘You & Me’ (Talitres)

Felix White of The Maccabees : “ They ’ re a band who seem to be known to everyone, including all our mates, as ‘ That ring who wrote that song The Rat. ’ They sound like one of those in truth insular bands who don ’ thymine actually listen to much advanced music, but the soundscapes on that album are equitable perplex, the guitar sounds the pull off to get are improbable, and the songs equitable truly get you. They seem like a isthmus who are making music for music ’ mho sake, and nothing else. ”

98. Morrissey – ‘Bona Drag’ (HMV)


Lee from Brother : “ This is kind of a compilation of stuff that came out between his first two albums, which has been a piece forgotten by most people. ‘ Picadilly Palare ’, the first path, is one of my favourites : it ’ mho basically about a secret terminology that transvestites and homosexual people used to use, back when it was illegal. That sounds farcical now, but you equitable wouldn ’ deoxythymidine monophosphate get anyone signing about such a subject anymore. like thing with ‘ November Spawned A Monster ’, another birdcall that doesn ’ t get aired or talked about much these days. ”

97. Frightwig – ‘Cat Farm Faboo’ (Subterranean)

Roddy Frame of Aztec Camera : “ Frightwig were great friends of mine. The fact that they could put out a read and make themselves known was a very authoritative thing for me. They were a huge inspiration for L7, excessively. In boldness, L7 wholly ripped them off in that they end all their songs in german with all that ‘ Ein, schwein ! ’ stuff. They were a huge, attitude-ridden wall of sound with a batch of sexual angst thrown in. In the light of the female bands going down, Frightwig are getting overlooked. ”

96. Sun Ra – ‘The Heliocentric Worlds Of Sun Ra’ (ESP-Disk)

Pete Townshend : “ I got truly into that classify of far-out avant-garde sleep together, but you couldn ’ t find his record anywhere. sol, one day I was in a sleep together shop in Chicago – which I think is where Sun Ra came from – and I said, ‘ have you got any Sun Ra ? ’ The guy says, ‘ Yeah, all his stuff. ’ I said, ‘ Give me everything. ’ ‘ Everything ? ’ ‘ Yeah. ’ He comes back with 250 albums. Most of which I ’ ve hush got in that room over there, still in the shrink-wrap. ”

95. Black Rebel Motorcycle Club – ‘Howl’ (RCA)

ad Guy Garvey of Elbow : “ People didn ’ triiodothyronine actually get it, and cipher ever truly picked up on how good it was, possibly because it was so different to their first two records, being largely acoustic. But you can tell when you listen to it that the album is in truth coming from the soul. The lyrics to one of the songs, Fault Line – “ Racing with the rising tide to my don ’ s door ” – that ’ s poetry, that is. Those are proper, Dylan-class lyrics. But the whole album is just beautiful musically, and it was a real departure for the band. ”

94. Jackie Mclean and Michael Carvin – ‘Antiquity’ (Steeplechase)

Jamie xx : “ It ’ s a jazz album from the early 70s that ’ s quite advanced, it has rhythms that could still be played out now in the dancing club. I would describe it as kind of experimental jazz. It ’ second great for samples, there ’ s a lot of percussion and distance in it and there ’ s a distribute of eldritch African outspoken chant, and then there ’ randomness besides some bang-up heavy drum riffs that sound like they could be sampled in UK garage. ”

93. Jarcrew – ‘Jarcrew’ (Gut Records)

The bequest of Jarcrew rests on the unbridled creative magnificence that was their self-titled 2003 debut album. ‘ Jarcrew ’ willfully smothered brainstorms before they could ignite, creating a cut and closed line of jagged connivance that veered from sleazy synth-pop to proggy bum and bet on into hands-in-the-air metallic element before you could catch your breath. Had this album come out in a post-Bloc Party, post-Dizzee, post-Crystal Castles world, Jarcrew would have been huge. But of course, it didn ’ t, and they ’ rhenium not .

92. Fanny – ‘Mothers Pride’ (Reprise Records)

Stella Mozgawa, Warpaint : “ Fanny were pioneers, one the first rock bands to feature all women, and the second base ever to be signed to a major label when they signed to Reprise in 69. The album was produced by Todd Rundgren. They featured two sisters by the name of June and Jean Millington. They came from California and played dirty rock ’ n ’ soul. David Bowie called them the bang-up baffled ring of the 70 ’ south. This album is filthy, with a very dirty good. ”

91. Sandy Denny and the Strawbs – ‘All our Own Work’ (Pickwick)

Alex Scally of Beach House : “ This is a former ’ 60s album featuring Sandy Denny before she got all Fairported. She was 19 when this one-off album was recorded in 1967, and the ridicule from the Strawbs, ‘ Dave cousins, found her singing at an open-mike night. The adjacent class she went off to join the band that she would end up doing her most lionize work with, but this record is however amazing. ”

90. 90 Day Men – ‘(It (Is) It) Critical Band’ (Southern Records)

Darwin Deez : “ This Chicago-via-St. Louis set ’ mho debut album is musical dark, malaise and existentialism in its own incredibly unique means. This phonograph record is for intelligent, urgently alone 18 year old boys like myself. It ’ mho Slint-ish, it ’ second pretentious, and it ’ sulfur more wide of boredom than anything else in the fuck global. It ’ s sad, it ’ second angry, and every track on it is wonderfully listenable, given the right age, gender, mood and SAT scores. This is music to keep ache, depressed hipsters stuck down in the dumps. ”

89. Shit And Shine – ‘Jealous Of Shit And Shine’

Jeremy Pritchard of Everything Everything : “ I love ‘ Jealous Of Shit And Shine ’ the like means I love everything they do ; the utter wretchedness coupled with wit ; the surprise astuteness of what could seem initially like a unidimensional voice ; the mold cast-iron but absolutely unstudied ‘ absolutely-don ’ t-give-a-fuck-about-what-you-think-ness ’ that it exudes. Although it sounds in truth abrasive, some sung titles and the artwork spell out their playful streak pretty intelligibly.
I think its safe to say that none of the $ $ sound has made it to Everything Everything .

88. Mobb Deep – ‘The Infamous’

Mark Ronson : “ The rhyme that always comes to mind is from the song ‘ Shook Ones ’ where he goes ‘ rock you in your face, stab your brain with your nozzle bone ’ which I always thought was one of the most graphic rhymes of violence that existed, surely on a great hip hop song that you would hear on the radio all the time. The sung ‘ Shook Ones Part 2 ’ was just one of the most sinister incredible hip hop records to ever be such a huge club record. It was the absolute biggest song you could play, the dancefloor would barely go insane. The birdcall was so aggro and sinister but girls very liked it. ”

87. Diamond D – ‘Stunts Blunts and Hip Hop’ (Chemistry)

Mark Ronson : “ cipher ’ s going to dispute that Dre is the greatest hip hop producer of all time, but there ’ s something about hearing diamond over his own beats, you cant imagine any guest star coming on and sounding better than he does. The thing about that era is they ’ five hundred be laying three or four samples over the two of one track and you had these amazing heavy collages that you couldn ’ thyroxine get away with these days because you ’ d fair get sued and no-one can afford top pay for samples anymore. ”

86. Brand Nubian – ‘One For All’

Mark Ronson : “ even though Grand Puba was the leading of Brand Nubian and went on to have the biggest solo career, all three of them were reasonably amaze rappers. It was barely ahead hip hop went downtempo and got a little moodier and all the beats were harder and eerier. It was that era when you didn ’ triiodothyronine sound indulgent if you were rapping over an uptempo felicitous beat. They had great production and used actually cool samples from soul and reggae. ”

85. Pete Rock and CL Smooth – ‘Mecca And The Soul Brother’’ (Elektra)

Mark Ronson : “ The old art was that each song on your read had to have a different kick back and trap and you ’ d be digging the crates for some obscure drum break. possibly there ’ d be one measure of something that you could chop up. Pete Rock was known as the king of finding samples and his drums, the means he programmed them had a very human feel as if there was a sleep together drummer playing it, except they had these truly fucking big kicks and snares. ”

84. Smif-N-Wessun – ‘Dah Shinin’ (Wreck Records)

Mark Ronson : “ These people were just writing denounce ‘ cause it was dependable and it was getting on the radio receiver anyhow. No-one was like ‘ you ’ ve got to have n R & B sung choir here ’. So you get songs like ‘ Bucktown ’ and ‘ Sound Bwoy Bureill ’, where it feels like the begin, when you listen to great rock ’ n ’ roll bullshit in the 60s there was no formula to it, they fair happened to be making actually good damn. That ’ s what a bunch of the mid 90s era of pelvis hop – before people started thinking ‘ we ’ ve got one song for the club, one song for the girls, one song for the radio. ”

83. Edgar ‘Jones’ Jones – ‘Soothing Music For Stray Cats’ (The Viper Label)

Edgar Jones ’ sprawling 2005 solo masterpiece is a 16-track beast of a record – a melodious time machine so rich in its genre-palette that, by rights, it actually shouldn ’ t stay afloat under the weight of its grandiose intentions. But float it does, for ‘ Soothing Music For Stray Cats ’ is Jones ’ crowning aura after about on 15 years fronting nearly-bands ( most notably early-90s riff-faves The Stairs ) .

82. Howlin’ Wolf – ‘This is Howlin’ Wolf’s new album. He doesn’t like it. He didn’t like his electric guitar at first either’ (Cadet Concept)

Jim Sclavunos of Grinderman : “ It is one of rock history ’ s more baldly self-explanatory album titles ; and any lingering doubt as to the artist ’ s contempt for the project is abundantly clarified by the Wolf ’ s subsequent compendious of the album as “ cad shit ”. Howlin ’ Wolf was one of the foremost Mississippi Delta blues musicians to make the passage from acoustic to electric guitar, and he led one of the first all-electric blues combo in fifties ; but This is Howlin ’ Wolf ’ s newfangled album finds him well outside his comfort zone .

81. Fleetwood Mac – ‘Mirage’ (Warner Bros)

Elizabeth & Jeremy of Summer Camp : “ Anyone with a Fleetwood Mac best-of will remember the linger images of Stevie Nicks ’ “ Gypsy ”, built around a authoritative Christine McVie piano tune, but it ’ s Christine ’ south “ merely Over You ”, a tribute to her belated boyfriend, Beach Boy Dennis Wilson, that very throws the emotional punch. person needs to sample this tune. Elsewhere Lindsay Buckingham contributes the kind of classic Fleetwood Mac pop gems he made a career out of with the likes of “ Oh Diane ” and “ Can ’ t Go Back ” .

80. Moebius & Plank – ‘Rastaukaut Pasta’ (Sky Records)

Noble of British Sea Power : “ Rastakraut Pasta is true balmy cross-pollination – krautrock reggae. The album was released in 1980, opening with a blare of television news, pirate-radio chew the fat and bizarre slide bass. Thereafter, Lee ‘ Scratch ’ Perry ’ s near-catatonic studio chasms become home to a shotgun marry of white garage funk and Rhineland dub. Elsewhere you get what sounds like The Ramones at half accelerate, plus adorable lilting melodies and sci-fi electronics .

79. The Prids – ‘Chronosynclastic’ (Velvet Blue Music)

Kip Berman of The Pains of Being Pure at Heart : “ For a band that has created excellently earnest, black noise pop since the mid 1990s, Chronosynclastic is filled with concise, near-heroic blasts of melodious 90s american fuzz guitar that wouldn ’ metric ton phone wholly out of place on a Built To Spill, Dirty-era Sonic Youth, Guided By Voices or early helium free. But it ’ second Mistina + David ’ s frequently co-sung vocals, delivered with a dear badness, that remain at the core of these songs ’ power .

78. Suicide – ‘The Second Album’ (Ze)

James Murphy of LCD Soundsystem : “ It ’ s produced by Ric Okasek from The Cars. He was a big fan. I think he made them a little more layered. There ’ sulfur this amaze use of professional synthesisers, but it distillery retains a set of outlandishness and stamina. It ’ s not the record that everyone thinks of when you think of Suicide but it ’ s a in truth noteworthy record and it kinda sets up what ’ s so bang-up about their solo careers afterwards. I bought it because I was a Suicide winnow – it was harder to find, it took me a while to get my hands on it .

77. Suicide – ‘Suicide’ (Red Star)

James Allan of Glavegas : “ If you ’ re talking about originators… a brilliance album in rock ’ n ’ roll history that ’ mho innovative, ‘ Suicide ’ is all things. I got one of the albums, there was a booklet thing inside… I was reading some of the things Alan Vega said, I could recognise something in myself. I carry the booklet around with me. In it, it says, “ What was your confrontational stance with the audience pre-conceived or a reaction to the response ? ” Alan Vega replies : ‘ A combination of both. I constantly hated the idea of people going to a concert to be entertained .

76. Mclusky – ‘Mclusky Do Dallas’ (Too Pure)

Cardiff trio Mclusky ’ mho position as outsiders was always a blessing and a execration for them. The acquittance of ‘ Mclusky Do Dallas ’ in 2002 should have been the here and now the band went stratospheric. Recorded with Steve Albini, the album saw the band ’ s feral guitar string whiplash harnessed into teach, crazy-disciplined songs. Its enormousness didn ’ triiodothyronine go completely unnoticed – Mclusky ’ s fad fanbase bloomed as the patronage of John Peel helped their music bend newly ears arsenic much as it made them bleed, but their refusal to actively tool up for an over-the parapet assault think of things never got beyond cult .

75. This Heat – ‘Deceit’ (Rough Trade)

Alexis Taylor of Hot Chip : “ It is a sincerely original sound record which inactive sounds like it could have been made this week. In the like way that Miles Davis explored drum rhythm and synth sounds that completely pave the way for parts of cram and sea bass This Heat have parts which were enormously influential on ‘ mail rock ’ in the 90s but only in, say, one little section of a song, quite than devoting a career to this ‘ new ’ heavy .

74. Superstar – ‘Palm Tree’ (Camp Fabulous)

Ritzy of Joy Formidable : “ This glaswegian four part sadly broke up before showing their full potential. They had an excellent songwriter in a soulful, charismatic frontman. Who knows what they would have gone on to do, but Palm Tree is hush to be very much enjoyed. Just beware of lurking Rod Stewart report is the only thing I would say ( Rod covered their single ‘ Superstar ’ on his ‘ When We Were The New Boys ’ cover album from 1998 ). ”

73. Jeffrey Foucault – ‘Ghost Repeaters’ (Signature Sounds)

Brian Fallon of The Gaslight Anthem : “ When you set out to carry on a tradition as deep rooted as family music is, you ’ ve got to have your floor together. You ’ ve got to study, and have a foundation. Jeffrey Foucault has that basis and you can hear it in his voice, and feel it in his music. He ’ sulfur got an sympathy that you don ’ triiodothyronine hear that frequently. ’

72. Skinnyman – ‘Council Estate Of Mind’ (Low Life)

plan B : “ It ’ s one of the best united kingdom pelvis hop albums ever made. He talks about the streets, he talks about his liveliness. He talks about the jack he knows. You know, he ’ s not fabricating anything. His flow and vocabulary is great. It wholly influenced me. A lot of the conscious pelvis hop songs that came after that were influenced by Skinnyman, and I think I ’ m a intersection of them guys. even though I was going in that steering anyhow. ”

71. The Go-Betweens – ’16 Lovers Lane’ (Beggars Banquet)

’ 16 Lovers Lane ’ is a beautifully judged, profoundly moving put of pristine pop songs that focus about entirely and intensely on relationship issues, but somehow about wholly avoiding banal mawkishness. That affairs of the heart were on the group ’ s beware should have come as no surprise as co-frontmen Robert Forster and Grant McLennan were reputedly then involved in relationships around that time period with their female bandmates. Because of all this chatter, ’ 16 Lovers Lane ’ has gained a reputation as the “ indie ‘ Rumours ’ ” .

70. Huggy Bear – ‘Our Troubled Youth’ (Kill Rock Stars)

The dimensions of ‘ Our Troubled Youth ’ are such that while there ’ mho shit-loads of stand-out songs on there, to truly channel its force and magic it needs to be played all the means through. Which considering it is a lo-fi DIY punk rock phonograph record knocked-out in probably a couple of takes, is reasonably staggering. The solid matter just feels wholly natural and casual. From the championship onwards, a more perfect adolescent bum album you will not find. It ’ south disenfranchised and impassioned in the most fun room possible .

69 Junior Boys – ‘So This Is Goodbye’ (Domino)

Hayden Thorpe of Wild Beasts : “ This is one of the band ’ s favored albums of all time. Their second LP. It sounds atrocious but aphrodisiac music is a dependable means of describing it. It ’ s slightly deeper music than a bunch of stuff in that genre. It ’ south quite slow-burning, possibly not a immediate as it could be to be more widely acknowledged. Jeremy Greenspan sang some of my words from ‘ The Fun Powder Plot ’, which was a wyrd but beautiful know. ”

68. Serge Gainsbourg – ‘You’re Under Arrest’ (Philips)

Dev Hynes : “ This was Gainsbourg ’ s last studio album before he died. Gainsbourg always adapted to the times ; here he went deeper into dance and besotted ‘ 80s funk character grooves with his songs. On top of this, he had refined his songwriting to its most articulated – the lyrics were dreamlike and very clapper in cheek, more so than usual. then the melodies were all indeed precise ; he recorded his last two records using amaze seance musicians, interestingly enough, which seems to be the reason most people are not a fan of his late work. The bible sterile gets tossed about frequently. ”

67 The For Carnation – ‘The For Carnation’ (Touch And Go)

Barry Burns of Mogwai : “ A lot of people says this record sounds evil – I was going to try and argue that it ’ south not evil-sounding and that I found it beautiful alternatively, but then I thought about it for another 20 seconds and they ’ ra right ; it ’ second malefic as sleep together. If I had to pick one thing that you remember about the record, even above the words and melodies and beautifully arranged string parts, it ’ s the little noises in the background and the drum. How many other albums that feature a song comprised entirely of one set of loop bells and a rub-a-dub leave you feeling so musically satisfied ?

66. Curtis Mayfield – ‘Live at the Bitter End’ (Curtom)

Tjinder Singh of Cornershop : “ It is Curtis at his best, with laid back endearing spill the beans between tracks, working with the best musicians, Joseph “ Lucky ” Scott bass, Henry Gibson percussion, Tyrone McCullen drums & Craig McMullen rhythm method of birth control guitar. Funky as sin, and american samoa political as heaven. His first base live operation since leaving The Impressions. He had everything to prove, and spanked it with a double vinyl album. No belittled wonder that reggae stars, and then the rest took so much from him. ”

65 XTC – ‘White Music’ (Virgin)

Terry Hall of The Specials : “ They ’ re one of the best groups that Britain ever produced. I don ’ metric ton know why everyone goes on about person like Morrissey making the best british pop when in fact adam did it better that anyone else. I remember when they did ‘ This Is Pop ’, and I merely thought, ‘ yea this is pop. This is pop. ’ It seemed like such a bright thing for them to say. Pop is what they were doing and they were writing all these capital songs, going on about the wholly punk rocker thing and not being embarrassed about writing bang-up pop songs. ”

64. Studio – ‘West Coast’ (Information)

Hugo Manuel of Chad Valley : “ The read resonates with so many things I ’ molarity into – early ‘ 90s dancing music, dub reggae, minimalism. It feels like it was designed to be loved by me entirely. Studio credibly wouldn ’ t study themselves to be involved in any kind of dance genre. Their early thrust is reasonably straight-ahead indie rock, and I think this is very authoritative to their sound, that they came from that background. If you like massive basslines, digital synths, and the cram of the Talking Heads, then you should decidedly listen .

63. Lizzy Mercier Descloux – ‘Mambo Nassau’ (Ze)

Jack Goldstein of Fixers : “ It ’ s chic, excite and a great dance commemorate. You can truly hear her ambition within it, it ’ mho got an unintentional geographic beauty about it – it reeks of South Africa, Paris and New York all at once, but at the same time it ’ south unlike anything else before it .

62. Jens Lekman – ‘Night Falls Over Kortedala’ (Service Records)

Jens ’ moment album takes place less in the titular Kortedala ( his family suburb of Gothenburg, Sweden ), more in a populace constructed of romanticist notion. He evokes concrete touchstones through the use of a trillion carefully cuddle samples – ‘ …Kortedala ’ is much a list of criminally underestimate albums all by itself .

61. The Red Devils – ‘King King’ (Def American)

James Skelly of The Coral : “ This band used to play populate in LA in all these little clubs and Rick Rubin loved them. therefore he fair recorded them live in this baseball club called the King King. The band sound like they ’ re on fire. You can hear the whole atmosphere of the cabaret. You ’ re there, you ’ re with them, you can smell it. As for the band, Lester Butler was just one of the greatest ever harmonica players. He sings into a bullet train mic while playing. The guitarist Paul ‘ The Kid ’ Size was only 21 but he was incredible for his age. In fact the unharmed band were amazing players .

60. Michael Hurley/Unholy Modal Rounders/Jeffrey Frederick & the Clamtones – ‘Have Moicy!’ (Rounder)

Jeffrey Lewis : “ purportedly recorded in a total of three days it ’ s a collaboration album between two psychedelic tribe weirdo-geniuses, Michael Hurley and Peter ( Holy Modal Rounders ) Stampfel – and extra eccentric Jeffrey Frederick – which seems to be an obvious route to greatness – if you put together three actually good songwriters, each one only needs to come up with approximately four bright songs before you ’ ve got a whole album ’ s worth of capital fabric .

59. Cardinal – ‘Cardinal’ (Flydaddy)

Gruff Rhys : “ Released in 1994, this Boston-based couple specialised in a whispered, supremely melodious black bile pop. Cardinal was the perfective partnership of the supreme song write of australian Richard Davies and the lavish part and arrangements of californian Eric Matthews. together they were untouchable – Davies had the most natural birdcall writing skills and killer melodies since David Bowie, and Matthews had a rightfully unique soulful voice and the arranging skills of Burt Bacharach .

58. The Pretty Things – ‘SF Sorrow’ (Columbia)

serge Pizzorno : “ I inaugural heard this when I was 17. When I put it on, it was like being wholly woken up, because it hits you like the fucking Beastie Boys or something. It very takes your head off ! The Pretty Things were in truth out there. With ‘ SF Sorrow ’ they in truth were pushing it to the absolute macintosh. They were pushing it barely arsenic hard as The Beatles but in a different direction. They recorded it at Abbey Road. It ’ s a record you go back to if you need to be reminded what being in a rock ’ n ’ roll ring is all about. ”

57. The Kossoy Sisters – ‘Bowling Green’ (Tradition)

Jack Steadman, Bombay Bicycle Club : “ It ’ s this old family record from the ‘ 60s by two ladies who called themselves The Kossoy Sisters, they were contribution of the whole New York folk music revival. The whole album is systematically bright. It ’ mho good tribe standards. They ’ ve got beautiful harmonies in concert. I think the biggest influence it had on us is precisely that, like sometimes you ’ ll be adding more and more instruments, but then you go second and listen to this record and you realise the virtue in keeping it simple. A great song doesn ’ thymine have to be complicated. ”

56. Orphan Boy – ‘Shop Local’ (Concrete Recordings)

Matthew White of The Heartbreaks : “ The debut Orphan Boy album is one of the most interest and singular records of all time. An arsenal of post-MDMA, post-post-punk, anti-love songs. It launched a thousand stage invasions across East Lancashire and North Lincolnshire ; each song is like a Bukowski brusque history, upend and restaged in Grimsby, set to the sound of a chancy adenosine monophosphate and out tune Squire Telecaster. The die hard few who decided they were not content with the rubbish took these songs to their hearts .

55. The Germs – ‘(GI)’ (Slash)

Kim Gordon : “ I LOVED the singer and his words. We went to the lapp High School. He was a actually fucked-up pull the leg of. This was in the late Seventies. I didn ’ thyroxine get into punk rock straight off. I was at school in Toronto when the LA punk thing happened. It sounded excessively much like English bum. There were a draw of punks in LA cos it ’ s such a fascist position, but there was never a punk rocker view in New York, where I moved to after school, conscientious objector there was nothing to tear down – it was already fucked-up. ”

54. Queen – ‘Queen’ (EMI)

Will Rees of Mystery Jets : “ I was identical young when I bought a cassette of ‘ Queen ’ from Our Price. Washed out choirs of Freddie ’ randomness voice flit from your leave to right ear, songs build up to epic crescendo ’ second while hair raising guitar harmonies crackle out at you and lyrics that belong in the Old Testament more than a child ’ sulfur Walkman yell, coo and soothe. It ’ s a record not for the faint-of-riff and as a guitar musician I was enthralled, even saying that, there ’ s songs that could lull a person into the most peaceful sleep. ”

53. Nico – ‘The Marble Index’ (Elektra)

The phone number of people who ’ ve listened to this album is dwarfed by the number who have been scared away by its reputation as ‘ unlistenable ’. It ’ s a bloodcurdling and very un-rock blend of teeter and droning harmonium, hammered arhythmic piano, squealing distorted viola and incantatory vocals racked with despair and repent. But there ’ s a surprise come of actual beauty among the panic. Nico and Cale approach it with 100 % conviction .

52. All Night Radio – ‘Spirit Stereo Frequency’ (Sub Pop)

Jonathan Rice : “ After The Beachwood Sparks broke up in 2001, Dave Scher formed this band. It ’ s a modern psychedelic criminal record. The album began as a concept which became increasingly more difficult to achieve. They wanted it to be an actual radio station, one far left field of the dial, and you could precisely tune into it and they would constantly be creating newly music. Whenever you would tune it would either be them having a conversation, or obstruct, or writing a song, and it would entirely happen at night. The idea was of tuning into a religious frequency .

51. Freestyle Fellowship – ‘Innercity Griots’ (4th & B’way)

Jenny Lewis : “ They ’ ra part of a ‘ 90s rap corporate called Project Blowed. They made this rap record, which was fresh, political, funny story and filthy. As a songwriter, my earliest inspiration came from rap. I never listened to the classics growing up – I ’ five hundred never listened to Neil Young, or Bob Dylan, but I listened to A Tribe Called Quest, Freestyle Fellowship and the Jungle Brothers, and those records made me want to become a lyricist. This one in particular, there ’ s merely something about the stream. And the fact that it was from the west seashore. ”

50. Chick Corea – ‘My Spanish Heart’ (Polydor)

Joe Mount of Metronomy : “ Back in the 70 ’ south, synthesisers seemed to fall into the hands of two types of people : young futurists like Kraftwerk or classically aim musicians, able to use their skills to create a world of strange ‘ out-there ’ sounds. My spanish Heart is one of the most accessible and celebratory jazz/fusion records you are likely to hear. Chick Corea was an early patron of Scientology. Worth mentioning because possibly only a Scientologist would have the balls to create a Jazz/fusion record based on traditional spanish music and played about entirely on synthesisers. ”

49. Motorbass – ‘Pansoul’ (Different Recordings)

friendly Fires : “ Motorbass consists of two members : one is Philippe Zdar who is Cassius and produced the Phoenix criminal record ; the other half is Etienne de Crécy, who is a act of a dance music caption. They kickstarted a bunch of that french dancing movement. This album came out in 1996 and it never succeeded as it should have. Motorbass came out about two years before Daft Punk released ‘ Homework ’, so they were the forefathers of all that. ”

48. Boards Of Canada – ‘Twoism’ (Music 70)

friendly Fires : “ This is from before they signed to Warp, and was primitively a cassette that they barely made themselves and distributed by hand. It ’ s somewhere between naïve and creepy. There ’ south something always a bit wyrd about those classify of childish, music corner melodies, and this has that weird kind of balance of moods. It was credibly done on early primitive synths, but talking about how it was made doesn ’ metric ton actually do the climate of it justice. It merely seems to be quite psychologically knock-down. ”

47. LFO – ‘Frequencies’ (Warp)

friendly Fires : “ I first base started going to raves in London when I was about 17. At one of them, they handed out a mix, and the first track on that was LFO. From that I wanted to investigate more. This is the first base techno album that I bought, and can distillery listen to as an album, preferably than barely enjoying one or two songs off it. The whole album alone has a sealed amount of sounds on it – you could probably count them on two hands – but there ’ south still an amazing diverseness to it. ”

46 Position Normal – ‘Goodly Time’ (Rum Records)

friendly Fires : “ When I first base heard Ariel Pink, it reminded me of this in that it ’ s about taking something kitsch, then warping it and making it sound like a relic. I don ’ thymine know whether you ’ d identify this as electronic but it ’ second sample-based. They ’ ve used the samples from kitsch ’ 60s lunge music interspersed with ’ 70s, sort of television liquid body substance – it ’ south weird sofa music. One of the songs, ‘ Sunny Days ’ was used on the Dead Man ’ second Shoes soundtrack. ”

45. Organisation – ‘Tone Float’ (RCA Victor)

friendly Fires : “ This is the pre-Kraftwerk group that featured Ralf Hutter and Florian Schneider. They didn ’ t want to call themselves Organisation, it was the UK label who felt that Kraftwerk wouldn ’ thymine washout well with the UK market, which is quite amusing – particularly when the album flopped, and no one gave a jack. There ’ sulfur a big clip on Youtube of them doing a track called ‘ Rucksuck ’ on a german television receiver show, and Florian is playing a flute with distortion on it and there ’ s all these ’ 70s-looking kids stood watching going, “ What the sleep together is this?””

44 The Dancing Did – ‘And Did Those Feet’ (Kamera)

The Dancing Did were a ephemeral four-piece from Evesham, Worcestershire, who spanned post-punk, punk, goth, psychobilly and folk-rock in the freakiest, most flawless way. Their perfectly formed debut locates a point where the corners of the shifting musical tectonic plates of the early ’ 80s intersect. For all the melodrama and huge range of influences, they never sound like anything but authoritative english eccentrics. not good a bewitching missing radio link in musical history, they ’ re a isthmus that prefigured today ’ s most stimulate creep .

43. Cocteau Twins – ‘Heaven Or Las Vegas’ (4AD)

Anna Calvi : “ Liz Fraser ’ south voice is actually amazing, and it ’ s weird how even though there ’ s no lyrics it ’ s so moving through melody alone, and it makes you feel so many things. But at the like fourth dimension, they have very amaze pop songs. even though they ’ re very apart. It ’ s the best kind of pop music music that actually makes you feel something as opposed to barely being easy. The production on every one one is precisely the same, but it doesn ’ triiodothyronine matter – it truly works because it creates this atmosphere and you can get lost in it. ”

42. Eater – ‘The Album’ (The Label)

J Mascis : “ I was excessively young to be into this at the meter, but the record memory where I lived had 50 copies so I got one. I very got into Eater cobalt they had Dee Generate Strummer on guitar who was about 14, and I was pretty young at the time so I thought that was reasonably cool they thought the Pistols were excessively old. Did this commemorate electric shock me ? No, I ’ five hundred already heard The Stooges. I had a reasonably normal rock ‘n’ roll ‘ n ’ wheel upbringing. I had spiky hair’s-breadth, then I went skin for a while, then I went kinda Nick Cave. ”

41. John Cale – ‘Fear’ (Island)

Noah & The giant : “ Fear is an album that refuses to tell a straight fib. Sweeping through its many voices, sounds, moods, landscapes it is vitamin a a lot a lose experience as a doomed album. John Cale is most celebrated for The Velvet Underground. He is less celebrated for about everything else : for being Welsh, his classical music sophistication, and his prolific thirty-plus album solo and producing career. In 1974 he returned to a townhouse in Chelsea where he turned up the Mahler, poured the brandy and assembled ‘ most of the available drugs ’ on the King ’ s Road .

40. Crass – ‘The Feeding Of The 5000’ (Crass Records)

Brett Anderson of Suede : “ Crass were besides confrontational to be mainstream because they dealt with intimate and geographic politics. This album was such an incredibly excite record for a 13-year-old. It was fraught, angry, strange and threatening. One of the strangest memories I have is that with it being vinyl you were supposed to play it at 45rpm. But because it was an album, I played it at 33rpm. so for the first few months I was playing it at the ill-timed speed. It sounded like some bizarre death metal record .

39. The Bodines –’Played’ (Magnet Records)

James Dean Bradfield of Manic Street Preachers : “ They were just a perfect C86 band. They were on the seminal NME tape with ‘ Therese ’, which is one of THE indie-pop singles of all prison term. The singer, Michael Ryan, had bee-stung lips and a perfect fringe – there was something going on there. This album, its ambition, drew me and Nicky and Ritchey and Sean in. Back in ’ 85/ ’ 86, for proper indie kids to have the ambition to want to break out of the NME fit was quite brave. They did want it, they didn ’ deoxythymidine monophosphate get it. But this album doesn ’ thymine count any less for that. ”

38. Jeffrey Lee Pierce – ‘Wild Weed’ (Megadisc)

James Dean Bradfield of Manic Street Preachers : “ There was something eminently real about The Gun Club. It was on the brink of crack up all the time, but they managed to harness it in the music. So when I read that Jeffrey Lee Pierce was doing a solo album and that it was a snatch of a production number, I was intrigued. But it ’ s just a perfect blend of high production values and a swamp-rock sensibility. It ’ mho dated a bantam snatch now, but it ’ randomness still fucking brainy. I hate the mind of people like Kings Of Leon or Fleet Foxes not knowing about this phonograph record, because it ’ randomness part of their inheritance. ”

37 ABC – ‘Beauty Stab’ (Neutron Records)

James Dean Bradfield : “ There was a review I remember that said, “ Don ’ metric ton expect to love this album ” which drew me in, and then the cover, which is of a bull and a matador, drew me in far. And then I listened, and I just thought it was one of the most perfect meldings of pop sensibility and rock, which is the hardest thing to do. You can hear that there ’ s something in this dance band where they ’ rhenium going, ‘ You know what ? I precisely want to do this once in my life. ’ It ’ s not a arrant album, but I think there ’ s something very interesting on there that everyone is missing out on. ”

36. Simple Minds – ‘Real To Real Cacophony’ (Zoom)

James Dean Bradfield of Manic Street Preachers : “ The change that Simple Minds went through from their album to this is equally startle as any variety a band has been through. The ‘ Life In A Day ’ adaptation of Simple Minds was a very acceptable version of post-punk, these snotty kids from Glasgow. But this album is absolutely embroiled in Neu !, Faust, Cluster, Kraftwerk, ‘ Station To Station ’ … and however it sounds wholly natural and unselfconscious. They never, ever get the credit for being one of the most imaginative british bands ever .

35. Thomas Dolby – ‘The Flat Earth’ (EMI)

James Dean Bradfield of Manic Street Preachers : “ It was Sean who introduced me to this when we were about 13 or 14. I was right in the center of my indie/Clash phase. People constantly go on about how they want to “ have a cinemascope in our music ” or “ be like a film soundtrack ”, but this guy was actually doing it, in a full blooded, invest direction. It ’ s an album that is absolutely lost in the middle of a hobo camp in another worldly concern, and not a phonograph record that an Englishman like Thomas Dolby should always have made. It evokes a place that you ’ ve never been to and you ’ ll never go to again. ”

34. The Cardigans – ‘Long Gone Before Daylight’ (Stockholm Records)

Nicky Wire of Manic Street Preachers : “ The moment me, James and Sean heard the leave single ‘ For What it ’ south Worth ’, we all phoned each other up within about five minutes and all just felt that everything we ’ five hundred tried to get on ‘ Lifeblood ’ had been a complete failure, and that The Cardigans had done it so much better. It wasn ’ t a commercial success for them, which I find stagger ‘ A good horse ’ is brilliant, ‘ Lead Me Into The Night ’ makes me cry every fourth dimension I hear it. There ’ randomness something deeply spiritual about this phonograph record that is heartbreaking. ”

33. Cluster – ‘Zuckerzeit’ (Brain)

Nicky Wire of Manic Street Preachers : “ This is barely because of my krautrock compulsion. I ’ megabyte fascinated by that solid era, how thus a lot creativity can come precisely from an theme. And the way that therefore many bands can splinter into each early – from Neu ! to Harmonia to Cluster – but all of them sound unlike. I think the solid sound of this record is rotatory and ahead of its clock time. There ’ randomness a track on here called ‘ Caramel ’ that I think Damon Albarn might have nicked for the Blur chase of the same list .

32. 60 Ft Dolls – ‘The Big Three’ (Indolent)

Nicky Wire of Manic Street Preachers : “ They were truly mental. They were from Newport, and when they came out they actually slagged us off saying they were gon na take us out. They were talked up as a kind of Jam/Strokes/Manics hybrid. I still go back to this commemorate now because there ’ s something about it that ’ mho audacious. They had a cut called ‘ Hair ’ that was identical soft and sentimental, that I think could have been a massive stumble if it ’ vitamin d been done by rights .

31. The Prisoners – ‘TheWiserMiserDemelza’ (Big Beat)

Nicky Wire of Manic Street Preachers : “ I used to have a ally in college who was massively into them. Sometimes it ’ south about besides mod, it ’ s a snatch go steady, but there ’ s precisely something truly pure about them. On this album in particular : there ’ s a song called ‘ Hurricane ’ that ’ s amazing ; ‘ The Dream Is Gone ’ is still a criminal record I play millions of times a year ; and ‘ Coming Home ’ has got one of the best cram fills ever. They had James Taylor on Hammond, one of the all-time bang-up Hammond players. They equitable didn ’ metric ton fold to any rules. If they ’ five hundred been round in the ’ 60s, they would have been huge. ”

30. McCarthy – ‘I Am A Wallet’ (September Records)

Nicky Wire of Manic Street Preachers : “ For me, this is the greatest political album ever made. In terms of lyrics, some people might think that it ’ sulfur awkward, but to me it ’ south precisely brilliant. ‘ The International Narcotics Traffic ’ – bright entitle. In fact, all the titles are brilliant. There ’ mho a bright one, ‘ Anti-Nature ’, that Richey thought was amazing – we wrote a birdcall called ‘ Anti-Love ’ after that ( which never saw the light of day ! ). They were lumped in with C86, but they were the alone Marxist, Communist C86 ring, very !

29. Arthur Russell – ‘Calling Out of Context’ (Audika Records)

Lewis Bowman of Chapel Club : “ Over the stopping point few years, I ’ ve come to regard Arthur Russell as one of the four or five most significant musicians of the twentieth hundred. For anyone new to Arthur Russell, the commemorate you have to hear is the posthumous compilation Calling Out of Context. I don ’ metric ton know how to describe it other than as the sound of person who has found and truly understands his own artistic voice. The music exists at the crossroads where New York disco, hip hop, spaced out electronica and arrant, perfect tune converge. Oh, and cello .

28. Floraline – ‘Floraline’ (Minty Fresh)

Cee-Lo Green : “ It has that kind of Euro golf club, 80s synth thing, a disco thing with female vocals. You hear this sound popularised and done more modern these days, but when I heard it, I thought that they had done the best rendition. My favorite chase is the one called ‘ Fade ’. It kind of strike me the room that Amy Winehouse ’ s album did. You can associate it with a clock period, but it ’ s indeed well done, her voice is therefore genuine, and it ’ s a dependable narrative, for her so it ’ randomness sing with that earnestness. ”

27. Jay Farrar and Benjamin Gibbard – ‘One Fast Move Or I’m Gone’ (Atlantic)

Alex Trimble of Two Door Cinema Club : “ I discovered this album in a record store in San Francisco earlier this year. I wasn ’ thymine conversant with Jay Farrar but I ’ ve been a huge fan of Ben Gibbard since I can remember, from Death Cab for Cutie to The Postal Service and All Time Quarterback. This unharmed album is an court to a Kerouac novel. With great concern, Farrar and Gibbard lifted original text from the novel and placed it on top of their music. I have read that there was a lot of controversy around this at the time .

26. Pop Levi – ‘The Return to Form Black Majick Party’ (Counter Records)

Pop Levi could have gone either way : the biggest ace the global has ever seen, or a fringe cult curio. No respect for guessing which way the nasty pants rip. The interpolate ego of a little chap from Liverpool who used to be in Ladytron, Pop Levi is a fantasy glam-rock asterisk of amazing abilities, combining the arch strut of Marc Bolan, the enigmatic browbeat of Bowie, and the erotic craft of Prince .

25. The Associates – ’Sulk’ (Beggars Banquet)

Björk : “ My love affair with the Associates started when I was 15. I was looking for my identity as a singer and I truly admired the way Billy Mackenzie used and manipulated his voice on that commemorate. He was an incredibly ad-lib and intuitive singer, raw and dangerous. At the lapp meter, he always sounded like he was very plugged into nature. I ’ ve hear people describe him as a white soul singer, but I ’ ve constantly thought his voice was more hedonist and primitive, and for me that ’ south much more rare and interesting .

24. Magazine – ‘Real Life’ (Virgin)

Jarvis Cocker : “ This was such an significant record for the fourth dimension because it showed that you could still do something that had fire to it combined with a real news, without going into ponce territory. Punk established a year Zero because you weren ’ metric ton very allowed to reference things from the past, even though people ended up doing that. Magazine were seen as the Great New Hope when the single “ Shot by Both Sides ” came out, but I remember them getting criticised when the album came out for using synthesizers and for having long songs .

23. The Field Mice – ‘Skywriting’ (Sarah Records)

Jacob Graham of The Drums : “ The production on this is pretty impressive. It ’ sulfur kind of like our output in that it ’ s all it needs to be and nothing more. Anything more on ‘ Skywriting ’ would seem extraneous, and anything less wouldn ’ thymine be quite adequate. This album is what a draw of people would call lo-fi but I don ’ thyroxine very consider it that at all. It anything, it ’ sulfur kind of mid-fi. It ’ randomness precisely what it should be, and it ’ s just right field. ”

22 Eliane Radigue – ‘Adnos I-III’ (Table Of The Elements)

Zola Jesus : “ Eliane Radigue ’ second work could be considered celestial, dream-like soundscapes that dawdler then quietly the ear scantily takes notice. But to me, they are rougher than that. Her use of tone in the Adnos assemble creates a frequency I frequently hear in my own head, among the muteness of an empty room. There is no apparent motion, no sound, no early bodies, but it is so loudly. The mind is running ; thoughts are taking form and lento growing into a firestorm of anxiety, interview, fear, hope, desire, fantasy, worry, criticism. It grows and grows until that inner voice cries “ make it stop !

21 Satisfact – ‘The Unwanted Music Of Satisfact’ (Up Records)

Angus Andrew : “ It ’ s a in truth great night pop record, with a fortune of synths, and danceable noise. This set put out a few records in the 90s. I think they were from Portland, Oregon. I beginning hear of them when we were on our first base enlistment and there was this other band and one of them had that record, even at that target it was erstwhile. It was kind of a precursor to the early 2000s and electroclash, it had that use of synth and that darkness but besides those bellow, Paul Banks-from-Interpol-style vocals. But I guess they missed their window. ”

20. The Zombies ‘Odessey & Oracle’ (CBS)

Paul Weller : “ When it came out in 1968, no-one bought it, and by the time it had come out the band had split. I didn ’ thyroxine hear it until the mid- ’ 70s, but when I did it barely blew my head off. Me and my teammate used to sit around in his directly, as teenagers, in the Autumn with leaves on the ground everywhere in Woking parking lot, listening to this, writing songs, making plans… It ’ s obviously a very English-sounding record, and melancholy. There ’ sulfur wind and classical influences in there, vitamin a well as the psychedelic touches. ”

19 The Television Personalities – ‘They Could Have Been Bigger Than The Beatles’ (Whaam! Records)

Andrew Van Wyngarden of MGMT : “ It might not be to some people, but this is psychedelic to me. It ’ s decidedly an album that was directly influenced by psychedelia. The first song on it is ‘ Three Wishes ’, and it ’ s a pretty unique-sounding song ; I very love ‘ Anxiety Block ’ as well : that ’ s another song we were covering, only in soundchecks, for a while. We were going to play it on the last UK go, but we found out that band Titus Andronicus had already released a top of it, so they beat us to it. not that it matters, very, we should have done it anyhow. ”

18. The Red Crayola – ‘Parable Of Arable Land’ (International Artists)

Andrew Van Wyngarden of MGMT : “ I was pretty blown away by the fact that people were making sounds before ‘ Piper At The Gates Of Dawn ’ and all the other ‘ classic ’ psychedelic albums, and that the sounds were being made by guys in Texas doing shitloads of LSD and making these completely wild records.. I think it ’ south good that more people listen to them, because they go unheralded a set of the time. ”

17. The Electric Prunes – ‘Underground’ (Reprise Records)

Andrew Van Wyngarden of MGMT : “ I was in a parsimony store in North Carolina a long time ago and I came across this. I didn ’ deoxythymidine monophosphate know anything about the Electric Prunes. It wasn ’ t until we were working on the end MGMT album that I very got into it. It all made smell. Like, the Spacemen 3 song ‘ Big City ’ precisely comes square from a song on there called ‘ Big City ’. There ’ s loads of bang-up songs on there : the opener, ‘ The Great Banana Hoax ’ is brainy, and we ’ ve covered a song on there called ‘ I Happen To Love You ’ earlier. ”

16 Love – ‘Da Capo’ (Elektra)

Andrew Van Wyngarden of MGMT : “ This international relations and security network ’ metric ton ‘ lost ’ actually, but it ’ second one of my favourites, and not angstrom celebrated as ‘ Forever Changes ’ is. I like it more than that album – it ’ s a much more capricious record, in truth psychedelic. It has loads of flutes, and I ’ thousand all about flutes ! There ’ sulfur besides a brazilian influence. I don ’ thyroxine know how or where musicians from back then were getting music from around the world, but they decidedly were. The second side is just one 18-minute sung ‘ Revelation ’ which is a nice contrast to the first. ”

15. Euphoria – ‘A Gift From Euphoria’ (See For Miles Records)

Andrew Van Wyngarden of MGMT : “ I got hold of this before we started making the first MGMT album. I equitable found this on some random guy ’ s psychedelic web log. I spend a lot of clock on those sites going through and downloading stuff : records that are super-rare and you might spend $ 300 to get the physical copy. I guess you could call the whole album psychedelic-country. It sounds about like Spiritualized or something, there ’ s no way you would think it was made in 1969. ”

14. John Philips – ‘John Wolfking Of LA’ (Dunhill)

Bobby Gillespie : “ I like the standard atmosphere, it ’ s kind of darkness but warmly, acoustic-y, rather area gospel soul record. It makes me feel quick and safe. The Mamas & The Papas are one of my favorite bands, but the fact that John Phillips made this read that ’ s a bit more down and blue and weird – it ’ mho just got that end-of-the-sixties sound, it ’ sulfur kind of druggy. It ’ s a personal record .

13. Jonathan Richman and the Modern Lovers – ‘Modern Lovers 88’ (Demon)

Win Butler of Arcade Fire : “ This is not one that I knew of in the canon, but the lyrics… there ’ south this song on it called ‘ I Love Hot Nights ’ which is one of my front-runner ever tracks lyrically, he ’ south talking about walking approximately in the summer, at night, and he barely nails it precisely, the feel of when the weather first gets warm. To me that ’ s like a actual classic that I never hear of as a authoritative. ”

12. Atlas Strategic – ‘That’s Familiar’ (self-released)

Win Butler of Arcade Fire : “ There ’ s a isthmus in Montreal called Wolf Parade and one of the lead singers is Dan Boeckner, who played in Atlas Strategic. Their second album, ‘ That ’ mho Familiar ! ’ has this birdcall called ‘ Smooth Nights ’ that is one of my favorite songs. It holds up truly dependable, particularly for something that was probably done by a 19-year-old. It ’ second kind of got a punk feel, somewhere between Bruce Springsteen and Jonathan Richman, but they were the first band I ever knew of that didn ’ metric ton have a bass guitar, it was good in truth raw guitar and drums. ”

11. Bad Brains – ‘ROIR’ (ROIR)

Dave Grohl : “ The Bad Brains studio apartment albums are capital, but for me ‘ R.O.I.R ’, this unofficial bootleg, comes closest to capturing their live sound on tape. I was living in DC in the early ‘ 80s and got into the hard-core scene but cipher else blew me away arsenic much as Bad Brains. I have never always, ever, always, always seen a ring do anything even airless to what Bad Brains used to do live. They were connected in a way I ’ five hundred never seen ahead. They made me absolutely determined to become a musician, they basically changed my life, and changed the lives of everyone who saw them .

10. Felt – ‘Forever Breathes The Lonely Word’ (Creation)

Felt are one of those bands about whom there sometimes seem to be more good tales than there are tunes. Most excellently, there was Lawrence ’ second compulsion with symmetry : He was determined Felt would exist for 10 years, during which they would release precisely 10 albums and 10 singles. But this rigorous order did not constantly extend to the music itself. By Felt ’ s fifth album, all but their most devoted of followers had given up on them. At which point, Lawrence delivered his masterpiece, comprised of wall-to-wall melodic classics. This sincerely, truly is pure pop music, from start to finish.

9. The Shaggs – ‘Philosophy OF The World’ (Third Word Records)

Kurt Cobain [ primitively from melody Maker in 1992 ] : “ They were all sisters, with their evil uncle make plans for them. I heard this one exist sung – a Carpenters song, possibly ? – where they must have been playing a day center, and the yell in the background are louder than the music. The Shaggs are another archetypal K ring. Am I a Calvinist ( named after Clavin Johnson, drawing card of Beat Happening and founder of K records in Olympia, where Kurt used to live ) ? No .

8. Jad Fair – ‘Great Expectations’ (Bad Alchemy)

Kurt Cobain [ in the first place from melody Maker in 1992 ] : “ I like to listen to Jad Fair and Half-Japenese with headphones on walking around the shop malls, in the heart of american culture. I just think that, if people could hear this music correct now, they ’ five hundred melt, they wouldn ’ metric ton know what to do, they ’ vitamin d start bouncing off the walls and hyper-ventilating. So I turn up the speakers in truth forte and pretend it was blasting through the loudspeaker on the malls. ”

7. Shonen Knife – ‘Burning Farm’ (K Records)

Kurt Cobain [ in the first place from tune Maker in 1992 ] : “ Eventually, after a week of listening to it every day, I just started crying. I barely couldn ’ metric ton believe that three people from a wholly different acculturation could write songs american samoa adept as those, because I ’ d never heard any other japanese music or artist who always came up with anything adept. Everything about them is precisely so fucking endearing I ’ m certain that I was twice a anxious to meet them as they were to meet us .

6. The Wipers – ‘Is This Real?’ (Park Avenue)

Kurt Cobain [ in the first place from melody Maker in 1992 ] : “ The Wipers were a Portland punk rocker band who started in the recently ‘ 70s by Greg Sage and released possibly four or five albums. The first two were wholly classical, and influenced the Melvins and all other punks rock bands. They ’ re another set I tried to assimilate. Their songs are sol good. Greg Sage was reasonably much the quixotic, quiet, airy kind of guy. What more can I say about them ? They started Seattle dirt rock in Portland, 1977. ”

5. Young Marble Giants – ‘Colossal Youth’ (Rough Trade)

Kurt Cobain [ primitively from tune Maker in 1992 ] : “ This music loosen you, it ’ s total atmospherics. The drum machine has to be the cheesiest sound ever. I had a crushed leather on the singer for a while – didn ’ t everyone ? I don ’ metric ton know much about them. I first heard ‘ Colossal Youth ’ on the radio, after I started getting into K music when I live in Olympia. It was a year before I put out the ‘ Bleach ’ album. At the prison term, I was fair painting and doing art stuff. I still do, but now I use oils because I can afford them. I like Goya a batch – I use animated dolls a clean total .

4. Leadbelly – Last Session (Folkways)

Kurt Cobain [ in the first place from melody Maker in 1992 ] : “ Burroughs said that if you want to hear truthful, honest music with mania, then you should hear Leadbelly. The songs are fair amazingly dear. ledbetter was this hapless black serviceman in the early 1900s who went to jail a few times for wife-beating and looting and getting into fights and bootlegging liquor. While he was in prison, he started playing the guitar, and he sang thus well that the governor started to like him and let him out of jail .

3. Jenny Wilson – ‘Love And Youth’ (Rabid Records)

La Roux : “ It ’ s a great good afternoon album. There ’ south nothing better than putting the unharmed thing on and pottering around the house. It ’ s got at least four out and out singles on it. She ’ randomness been blessed with this ability to effortlessly write truly sweet and catchy melodies. Whether I ’ thousand playing it to my mum or to my friends, they ’ re constantly actually into it. I think she ’ sulfur from Scandinavia or somewhere like that. She ’ s actually odd looking, besides. Sound-wise, it ’ s fairly poppy, but overall has this odd European-sounding spin. Those melodies ! a soon as I hear them I ’ m like, ‘ Oh my god ! Give me more ! ”

2. Performance – ‘We Are Performance’ (Too Much Information Records)

Theo Hutchcraft of Hurts : “ The first time I heard ‘ Surrender ’ by Performance, all of a sudden a sparkle lit up inside my brain. I was 18, and ‘ Surrender ’ was a pop song with an godhead globe-straddling tune, electronics which had the depth of M83 and Depeche Mode and lyrics so vivid and abstract, they split my thinker tip open. At the time Performance were flying the sag for Manchester – a city which hadn ’ thymine had one flown for a farseeing time. equal parts New Order and The Smiths, and so far something wholly clean.

1. Clor – ‘Clor’ (Parlophone)

Clor were a band out of time when they released their self-titled only album in 2005. back then it was all about The Rakes, Editors and Babyshambles, Kaisers, The Cribs and The White Stripes. Clor, with their retro-futurist laboratory-pop and Sparks obsession never stood a casual. Had they been birthed twelve months late, they ’ d have been facing off against more comfortable contest like Hot Chip, CSS and Lily Allen. rather, five months later Clor separate .

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