Rexorcist's Forum Replies

Exodus: Bonded By Blood

In the eyes of many metalheads, heaviness canbe a more defining factor than writing ability. This is why some more simplistic albums, like Kreator's Pleasure to Kill, are more well-received than many of their more creative efforts later on. So since this is Exodus' debut, it's not much of a surprise that a few of the songs have the same tempo and vibe. This album helped to push the limits of what was generally accepted in metal at the time. You can tell from the structures of the songs that these guys listened to a fair bit of that old-fashioned NWOBHM stuff like Iron Maiden, which explains the thankful focus on melody and riffs being handled and treated like equals. That's a difficult thing to do for a lot of thrash bands. Unfortunately for me, I'm a Metallica guy, and I'm that way because their golden age is diversified, exceptionally poetic and has a vocalist who doesn't need all those effects to maintain a form of power. I'm certain this singer here's done that without effects on other albums, but it was a faint distraction for me.

Now if I wanna pump myself up, I might choose a couple of songs from this album for the sake of that. The fact that each song goes for the same vibe, core and genre does in fact mean it's not a very creative effort in that vein, but the balance of melody and riffs is quite impressive, ensuring that Bonded By Blood is a consistently great effort and a good example of how to do thrash right, even if it's technically just one way.

90/100

Never could get into Mechina.  A lot of their songs are overlong and sound the same.

It's not a perfect process, but then there really isn't one. It's the one that I enjoy using and feel happiest with the results.

That's the only thing that matters.

I take all of those things into account in my individual track ratings Rex. That's one of the reasons that I'm so meticulous about listening to releases from start to finish & in their entirety as a complete piece of art.

Another place where I find that the methodology Ben & I use isn't perfect is when you've got a lengthy single-track release like Meshuggah's "I" E.P. for example. You end up with a flat score for the release that doesn't differentiate it with smaller percentages. It's not a major problem but it's worth noting nonetheless. It's better when those lengthy tracks are broken up so that you can score the individual parts (see the Spotify version of Edge of Sanity's "Crimson" for example).

Something that long is typically a chance to see how long the thrill of the ride lasts, to put it basically.  It's kind of like the one-hour piece I just heard by Pat Metheny, for whatever reason separated into four tracks: The Way Up.  It's really one long piece dividing the audio clip, but for a hour of Metheny-style jazz fusion it was absolutely wonderful.  The thing is, if it's one piece, I'd rather treat it as one piece instead of judging individual parts, so if the ride keep all its thrills throughout, even if a couple parts are a little weaker, it's still an incredible achievement because it's so rare to get something like that right.  In the end, it still gets a numerical score to compare with all the others, so even though we must remain analytical, the end result will be the same.

It's an average track rating Rexorcist (that also takes into account the length of each track).

As for Daniel's comment that it's extremely difficult for a release to achieve a 5 star rating using our technique, that's very true. It's for this reason that I tinkered with mine a bit. For me, any release that scores a 4.60 or higher gets 5 stars (I've also made it easier to get 3 stars and less). When I wasn't doing that, I found that about 90% of releases I was checking out were getting between 3.5 and 4.5, which wasn't a particularly good use of the 5 star rating spectrum. I now have a wider spectrum of ratings, but it results in Daniel and I not agreeing on what albums are rated, despite us pretty much giving them the same decimal score (I think I rated one of Sepultura's releases 5 stars and he gave it 4.5, but when we were comparing notes we found we had exactly the same track ratings).

I likely don't have to tell anyone who's been in this field longer than I have this, but looking at the album as a whole is just as important as the track-by-track basis, and in my opinion can make up for less-than-ideal averages.  For example, I'm willing to forgive a 7/10 track on a collective of nine songs, ex. The Lady in My Life.  The album is only 40 minutes, anyway.  A different example would be an hour-long album like Hysteria, where Love and Affection is just a nerfed version of previous tracks, while The Lady in My Life has its own identity which is similar to Human Nature at the very most.  So that's one song I won't forgive.  It could've been left off easily, thus Thriller gets a 100 and Hysteria gets a 98.

Now I won't forgive a song I don't like.  No 100's there.  The first example that comes to my mind is Rape Me on in utero.  It's just a recycled and more noisy Smells Like Teen Spirit with overly repetitive lyrics that are somehow praised by "What If" haters.  If not for that one song, in utero would be my IDEAL grunge album.  It's actually extraordinarily rare that I get an album with more than six tracks and all of them are five-stars.  The idea of raw perfection throughout is nearly impossible in that vein.  Closest I can think of is Paranoid, which has a 95/100 minimum for all eight in my opinion.

This is where I take into account other things.  The flow of the album is extremely important in that vein and can potentially forgive any imprefect yet enjoyable song, and I'll allow for some experimentation as long as the emotional boundaries feel consistent, such as the occasional dark humor on Bloody Kisses or the point of variety made early on in Planet Hemp's A invasão do sagaz homem fumaça.  Sticking within the same genre is a good idea on paper, but unless you can work within all the constraints of that one genre like Slayer showed in South of Heaven, chances are you could end up overlong or monotonous very quickly, like any Trapt album.

One example of flow being totally fucked with is an album everyone loves: In the Court of the Crimson King.  21st Century Schizoid Man is a flawless, hyperactive, jazz-rock gemstone, and I'll forgive the immediately shift into folksy rock on the second song.  I encourage that.  But the other three songs follow in the vein of the second and not in the first, making the best song feel out of place.  This is why I favor Red: none of it feels out of place.

Of course, taking into account the length isn't something I ever thought of.  I typically only do that when it comes to determining genres in the event that many songs of a genre are too short or long.

Daniel's correct. I use the exact same technique. It has been extremely helpful in my latest attempt to finally put together a list of my top 50 metal albums of all time, as it allows me to rank them quite precisely. As Daniel mentioned, things can be massaged when I'm not entirely comfortable where a release sits, but for the most part it works pretty well. I still have another 250 releases to thoroughly listen to and rank before I'll have covered all the releases I know will be around the 4.5 to 5.0 rating, along with a stack of releases I've never heard before but that I feel have a possibility to achieving such a rating.

I plan to unveil my top 50 at some point, so won't display any of that just yet (no spoilers!), but to give you an idea, here are the releases currently ranking 100 to 120 on my list. It's all completely subjective of course.

And to think I was afraid of rating something 99.4.  I might actually start using more in-depth decimals.  Or is that an average track rating?

I have a ranked list of nearly 15000 albums.  I've been working on it ever since it was at a measly 35 that were off the top of my head, and I decided to exclude comps.  That was 12 years ago, and I'm extremely happy with the top 100 I have.  It really helped me shape my ideals as to what I consider great music, and it's interesting to go back and see both the typical and the unconventional choices.  Example: I have a new #2 punk album that I put in my top 100 just yesterday (not counting post-punk), and I didn't really expect it: Sex Made by NoMeansNo.  And keeping this list has also helped me balance out which genres I need to explore more.  One great example is how there's plenty of spiritual jazz in my top 100 jazz albums and very few "bop" albums.

But it's cool to look through other lists just to get an idea of what they like.  The idea of a list also helps the creator keep their opinions consistent when they aren't entirely sure of an opinion.  The more you work on them, the more sure you are.  But even then, you can still become certain of something new with the addition of one more album, because your standards can always change, even slightly.

Pat Metheny - The Way Up (2005)

Genres: Jazz Fusion

Really surprised at how easily Pat makes holding a half-hour song feel.  The group kept that first part extraordinarily fresh throughout, making it look easy to do, especially since it also remains accessible the whole time.  I mean, Pat Metheny was always good at accessible jazz fusion, but I didn't think he had this kind of power in him.

Grateful Dead - Blues for Allah

Genres: Psych Rock, Folk Rock, Jazz-Rock

Bro, I don't even know if I'm gonna finish it tonight.  I had to help out with a pregnant goat and cleaning a bunch of stuff up, and now I'm worn out.  I can't even finish that Black Dresses album because I need something more chill right now.

Nice review, Rex, though I consider The Land of Rape and Honey an industrial metal album, therefore a Sphere album, with the same level of industrial metal as in Killing Joke's Extremities, Dirt and Various Repressed Emotions.

The latter seems heavier to me, switching evenly between rock, metal and post-punk.

Ministry - The Land of Rape and Honey

Genres: Electro-Industrial, Industrial Rock

I swear I've heard this album before, but it's not on my log for some reason.  That Kind of annoys me, so I'm fixing that right now.  I know I did at some point, because I remember thinking to myself, "this album is certainly not metal enough to be industrial metal."  I didn't get that with the other Ministry albums; I all tagged the properly.  And after listening to it, I still feel that way.  I can't really vote on that, though, so forget the hall for now.

So the album seems to almost be more punk than metal, and its repetition is both aesthetically appealing to a punk fan like me, but also a bit disappointing concerning the other electro-industrial bands at the time who focused more on composition, like Skinny Puppy and Front Line Assembly.  I was pretty happy when the more psychedelic route was taken on Golden Dawn, but I felt the twist came a little late.  But I can really get behind that proud independent power.  Instead of focusing on dancing, it's basically pumping you up to the max.  And while melody can sometimes DRASTICALLY suffer for this, the shouted vocals and raw abrasion can still satisfy.  I gotta say, I love that mutant army vocal effect on You Know What You Are.

I like my industrial music with a little more melody, but this certainly sufficed otherwise.  Hardcore punk attitude, great vocal effects and some good noisy production make this an improvement over Twitch.

82

All That Remains - Antifragile

Genres: Melodic Metalcore

Well, it's Friday again, and I've got an ass-ton of albums to check out.  My first new release for the day was last week's Mogwai, and now I'm on the new All That Remains.  Never really was a fan of this type of music, but I explored some of it due to my sister and he ex-husband's interest in it.  I've heard their first five albums, and all of albums are between 62 and 68 save one 52, and I don't think it really matters if I tell you which is which at this point.  Lemme just tell you what I got: almost exactly what I expected.  They obviously focused on melody and vibe here, so they belted out some pretty decent stuff here.  But this doesn't change the fact that, partially due to them, I've heard this album 50,000 times before.  Tempos, moods, instrumentation styles, they're all the same, and it does in fact get a bit tiring halfway through.  In other words, this album is strictly for the fans. However, I found that the ratings on some places are a bit better that all the albums I haven't bothered with yet, so this might actually be their best album in a while.  I have very little interest in confirming that, but I enjoyed this album well enough for its type.

58

Train - Train Does Led Zeppelin II

Genres: Hard Rock, Blues Rock

I listened to all previous Train albums in preparation for this one.  Now as I mentioned in my top 100 thread recently, Led Zeppelin is my favorite band, but I give EVERYTHING a fair chance.  If it works, it works.  if it doesn't, it doesn't.  I even gave Train a multitude of chances, only knowing one song that they did (Hey, Soul Sister) and not even being aware that they wrote other songs I've heard.  Cute and catchy, but not much else.  That describes every album before this one.

Apparently, these guys were once a Zep cover band before doing their own thing.  What the fuck happened?  No one was prepared for this.  To the majority of the world, this was as questionable as Gus Van Sant's almost duplicated Psycho remake, and almost as questionable as the next year's Tom and Jerry Wonka crossover.  But you know, if they really love Zep so much, the least they could've done is mingle a few hard reock singles in their long-running career.  it's not like it would've actually hurt their career.  They were pretty much ruling modern, ahem, "rock's" say on radio once people started saying "rock is dead."  But the irony here is that singer Patr Monahan claims Led Zeppelin is his favorite band, and throughout the band's album career, they did absolutely nothing to replicate that since 1998.  So now that it was 18 years into their career, how do they "honor" Zep?  A full-on cover album, almost note-for-note, ripping them off.

Ironically, this is the style they coulda/shoulda gone with, and it might've provided a more interesting alternative to the tenth-assed chord progressions that may or may not be played on a different string instrument just to pretend their being more diverse than they were on their debut album.  But as far as practical copies as opposed to covers go, Train is missing two things.

A: The spirit is only partially there.  They obviously love Zep, but seeing them try to replicate that sound only comes off as part of the way there.  Hell, it was more impressive when I saw Joe Satriani almost nailing but still visibly struggling to capture Eddie's guitar style when I saw him play with Sammy Hagar.  Part of it is that this just isn't heavy enough.  The edge is slightly watered down.

B: Subconsciously, I can't help but keep comparing Patty Mayonnaihan's voice to Robert Plant's, and it just gets in the way.  Pat's trying to adjust his voice to the Robert Plant style, but it comes off as worse than his usual singing voice on all of Train's singles.  The cruel irony.

However, considering that the music is very similar, it's kind of impossible for me not to enjoy the music anyway.  Ironically, although the existence of the previous album erases all necessity to listen to this album even once, the enjoyment factor isn't necessarily cancelled out.  It's nice to know that they were at least able to partially replicate a better band, which is a major step forward from the simple pop tripe they've been putting out since after For Me It's You, from Save Me San Francisco onward.

Okay, so what's my consensus?  The irony of this is simple: it's still a better album that practically everything else they've done before.  It does have a couple of serious distractions, but at least Train tried to mix it up, and I'm not going to hate on the album just because they didn't get it perfect.  There was only the slimmest chance of them doing that.  Hell, I spent the entire album thinking about how I would've done the album in a personal style I decided on myself, and even found myself proud of the mental decisions I made (I might not be a musician, but I have life-long practice with trying to mix things up).  Basically, this is a pointless album which is still basically enjoyable, but the cruel irony is that there is no reason to ever listen to it again for either Train or Zeppelin fans.

67/100

Ornette Coleman - Dancing in Your Head

Genres: Jazz Fusion, Avant-Garde Jazz

Not really a Coleman guy.  I mean, I "get" his talent, but I don't "get" HIM.  Good, if not great, but a bit overrated IMO.  I'm hoping the fusion and funk of this album will make it a standout for me.

Abigail Williams - In the Shadow of a Thousand Suns

Genre: Symphonic Black Metal

This debut album is basically what would happen if a bunch of metalheads discovered real extremities for the first time, decided that Born of Osiris was just as good as Emperor, and then thought they would be the coolest thing on Earth if they decided to mash the two.  Well, they didn't end up the coolest thing on Earth, but it's not that bad of a debut.

The most important thing to keep in mind are the veterans these guys got to help with the album, notable a couple of metal veterans: Emperor drummer Tryn, and metal producer James Murphy.  High grade celebs.  The worst thing to keep in mind is the constant deathcore-infusion, which the symphonics can't quite drown out.  The writing itself is pretty good, going into a lot of complex and unpredictable parts while maintaining a constant vibe.  But with the album always switching between another blast beat, violins and the bare essentials that symphonic black metal needs, it pretty much becomes 46 minutes of the same thing; it's variations of the same song that gradually get less original and slightly worse overtime.  Now this doesn't mean the album eventually sucks.  In fact, the first two songs: The World Beyond and Acolytes, are actually very good.  Acolytes is almost incredible in a way, largely due to a keen awareness of what extreme metal needs to sound like.  Obviously, we have our two veterans to thank for that.  But eventually, the album bears the same originality as any Fleshgod Apocalypse album.  Thankfully, there's one shining example of great writing on side B: Empyrean.  That song really carries some of the Emperor spirit and is one of the heavier tracks.  I might even say it's my favorite song on that album.

So, starts of great, finishes decent, has instances of brilliance.  Stays brutally heavy throughout, and beautifully produced.

82/100

Sixteen Horsepower - "Sackcloth 'n' Ashes" (1996)

I discovered the debut album from this Los Angeles artist a couple of years ago & have thoroughly enjoyed my first revisit this week. In fact, they may well make the best country music I've ever heard, albeit with a strong gothic element to it. This is some bad ass shit featuring a front man with serious charisma as well as artistic talent. Great stuff!

For fans of Jay Munley, Tarantella & Me and That Man.

4/5

Same here.  This has been in my top 100 for a long time.  All of their albums are great, though.  Too bad they broke up after only four.  Haw, For Heavens Sake and especially Black Soul Choir are among my favorite country songs.  The only country album I rank higher than this album is At Folsom Prison.

Nice choice Rex. I've always been a big Mahavishnu fan & bought "Between Nothingness & Eternity" on CD around three decades ago. I might pull it out for a revisit shortly.

I've played a couple other albums of theirs today, the last one was The Lost Trident Sessions, which currently stands as my favorite of their works.  For my last album of the day, I'm going with Travels by Pat Metheny.

Mahavishnu Orchestra - Between Nothingness & Eternity

Genres: Jazz-Rock, Jazz Fusion

Orange Goblin - Time Travelling Blues

Genres: Stoner Metal, Stoner Rock

Orange Goblin was one of the first stoner metal bands I checked out, and I used to love their works, but now I just think it's great but certainly not masterful.  This album's made of all of the typical ingredients a real stoner album needs: the metal side, the rock side, the drugs, the motorcycles, the psychedelia, the obsession with Motorhead, etc.  Honestly, there's really nothing unique about this album.  It's mostly a standout because of its attitude.  Everything about it is well-delivered enough to keep things fun.  Honestly, personality is their strongest trait, and it manages to shine through what might've been simply standard without it.

For this relisten, I still think it's a good grade for its type, but I'm lowering it.  it was once a 9.5 between Tango in the Night and Song for My Father, but now it's more of a 9 between They Might be Giants and La sanie des siècles.

10. Jay-Z
Genres: East Coast Hip Hop

Hip Hop was a long and difficult road for me to get into, and favorites were rare for me. Then came along Jay-Z, who gave me everything I could ever want in a hip hop album on multiple occasions. Scattered among his lower-grade and underdeveloped sellout albums are also works of pure hip hop genius. The hip hop attitude that everyone loves is pretty much his entire personality. If anyone deserved to be called the "hip hop god," then I'd say Jay-Z's self-proclaimed title isn't far off.

The Blueprint: 100
Reasonable Doubt: 100
Black Album: 100
Unplugged: 98.5
American Gangster: 97

Score: 99.1 / 5
Staying Score: 100

9. Tim Buckley
Genres: Folk, Singer/Songwriter, Psych Folk, Avant-Folk

A lot of Bandcamp.com jokers try the whole "surreal folk" thing like that suddenly makes them arteests, but none of them even came close to Tim Buckley, let alone Nico. But no matter how weird Buckley's music gets, he stays true to the form of personal, emotional and soulful folk music that everyone loves. Buckley's music is folk beauty in all of its forms.

Dream Letter: Live in London 1968: 100
Starsailor: 100
Happy Sad: 100
Blue Afternoon: 99
Goodbye and Hello: 97

Score: 99.2 / 5
Staying Score: 100

8. Frank Zappa
Genres: Exp. Rock, Jazz-Rock, Jazz Fusion, Comedy Rock

When I was first getting into albums, Freak Out was my first venture into experimental rock, and I loved every effed-up second of it. That raw level of boldness in Zappa's music is justified by his absurd personality. The guy knows how to write what's potentially the worst music on Earth, and make it more fun than a drunken night out on the town. And why? Why did we need Zappa? Simple. Sometimes, we just need to let loose.

Freak Out!: 100
Hot Rats: 100
Apostrophe: 100
Over-Nite-Sensation: 99
Joe's Garage, Act I: 97

Score: 99.2 / 5
Staying Score: 100

7. John Williams
Genres: Cinematic Classical, Symphony, Romanticism

Williams' music has practically defined the histories of moviegoers worldwide. Tell me. When you read that name, did the Star Wars theme NOT blast in your head? Or was it the Indiana Jones theme? Jurassic Park maybe? Or maybe it's just... baaaa-DUM. Baaa-DUM. Baaa-DUM da DUM da DUM. And on an artistic note, even his lesser known pieces for movie soundtracks drive entire albums with incredible cinematic flair, transitioning both ends perfectly.

Star Wars: 100
Return of the Jedi: 100
Indiana Jones and the Temple of Doom: 100
The Empire Strikes Back: 98
Raiders of the Lost Ark: 98

Score: 99.2 / 5
Staying Score: 100

6. The Beatles
Genres: Pop Rock, Psych Pop, Psych Rock, Merseybeat

Even though you've got enough great songs between the debut and Help to put together a damn good best of comp, The Beatles kept getting better as they went along. They're exactly my kind of pop rock band: the type that's willing to try and create dozens of different types of pop not just for the fun of it, but because they have that serious passion. Now, the Beatles themselves considered their band to be overrated, and I'd say that's only slightly true.

Sgt. Pepper's Lonely Hearts Club Band: 100
Abbey Road: 100
Revolver: 100
The White Album: 99
Magical Mystery Tour: 97

Score: 99.2 / 5
Staying Score: 100

5. Beach Boys
Genres: Baroque Pop, Pop Rock, Surf Rock, Sunshine Pop

The Beach Boys are at the top of pop for me. No "pop" acts beyond radio bands will appear anymore. They're basically the American equivalent to the Beatles IMO. While the Beatles were rocking merseybeat before their heyday, Beach Boys were in charge of the surf scene. And then they became ARTISTS, and they could flow easily within various kinds of pop by just being themselves.

Pet Sounds: 100
Smile Sessions: 100
Surf's Up: 100
Today: 99
Smiley Smile: 97

Score: 99.2 / 5
Staying Score: 100

4. Vangelis
Genres: Electronic, Prog Electronic, Ambient, New Age

Vangelis is a very rare breed here. While I typically list genres that this artists are merely good at, very few of them remain at the "top" of each genre save the one I list first. But Vangelis is different. He is my choice for the best electronic artist, ambient artist and new age artist period. All three of these are essential components to his mastery of music. This is why I put Oceanic in with his other albums, because it's a perfect album to showcase what he's capable of.

Blade Runner: 100
1492: 100
Oceanic: 100
Albedo 0.39: 100
Voices: 97

Score: 99.4 / 5
Staying Score: 100

3. Pink Floyd
Genres: Art Rock, Prog Rock, Psych Rock

An awe-inspiring debut and several classic 70's works gave them five perfect albums to put up here. Floyd is just as easy to enjoy at the workplace for sing-along songs or bangers by bands like Deep Purple and as they are the kind of musical act that you just have to absorb, like Coil. While all the other prog bands in Britain and Germany were messing around with pianos and time signatures, Floyd separated themselves from them with a fixation on astral atmospheres, and kept enough melody intact to become overplayed radio staples.

The Dark Side of the Moon: 100
Wish You Were Here: 100
Pulse: 100
The Wall: 100
The Piper at the Gates of Dawn: 100

Score: 100 / 5

2. Miles Davis
Genres: Cool Jazz, Jazz Fusion, Jazz-Funk, Modal Jazz

I know, I know, Miles is a pretty typical choice for a number one jazz act. But let's be real here: this guy put all of the effort he could into perfect every jazz genre he touched. And even though some stand out much more than others, his large body of works makes it difficult to pick favorites. There are even many these days that say Kind of Blue is no more than an excellent introduction into jazz rather than the jazz standard itself. Me, my ideal choice for the jazz standard is In a Silent Way, an album that reinvented jazz with ambient, classical and rock influences in the same way After the Rain did with blues.

In a Silent Way: 100
Kind of Blue: 100
'Round About Midnight: 100
Dark Magus: 100
Sketches of Spain: 100

Score: 100 / 5

And now, we're finally at my number one.

1. Led Zeppelin
Genres: Hard Rock, Blues Rock, Folk Rock

Led Zeppelin had a five-album run of total brilliance, even though the early stuff was unofficial remakes in the same illegal manner of A Fistful of Dollars. But damn, did everything they touched turn to gold. They reinvented blues rock by introducing heavy metal to the mix with Dazed and Confused, took a further step into playing with genres a la Beatles with number 2, created a folk rock AND hard rock staple with 3, and with IV they created what I've considered the greatest album ever made for the last 12 years. And finally, they just went wild with Houses of the Holy (I even like The Crunge) where they had a reggae song and a Floydian knockoff, both of which were INCREDIBLE. The only blemish on this amazing five-album run is Moby Dick, and that blemish is easily healed with the inclusion of my favorite live album of theirs, BBC Sessions.

Led Zeppelin IV: 100
Led Zeppelin: 100
Houses of the Holy: 100
BBC Sessions: 100
Led Zeppelin III: 100

Score: 100 / 5

Thank you everyone, for following along with my top 100.

20. Herbert Von Karajan
Genres: Western Classical, Symphony, Choral

Karajan was the first classical conductor I hit when I started getting into classical, and to this day he remains my choice for the best to bring the classics of the past to the modern world. His eye for the emotional depth of old-time classical is unparalleled, especially when it comes to the more dramatic works like New World Symphony or Requiem.

Requiem (1987): 100
Symphonie No. 9 / Moldau (1985): 100
Le nozze di Figaro: 100
New World Symphony / The Moldau (1959): 97
Symphonie Nr. 5: 95.5

Score: 98.5 / 5
Staying Score: 100

19. Nina Simone
Genres: Vocal Jazz, Soul, Soul Blues

Right from the start, Nina was one of the best voices in jazz, soul and blues. Her range in the recording department is extraordinarily ambitious, and she flows through all of these genres and make it look like the easiest thing on Earth. Nina's everything a proper soul artist needs to be, and my favorite vocal jazz artist as well.

Pastel Blues: 100
Wild Is the Wind: 100
I Put a Spell on You: 100
Little Girl Blue: 98
Nina Simone Sings the Blues: 95

Score: 98.6 / 5
Staying Score: 100

18. Johnny Cash
Genres: Country, Americana

Just as Nina is perfect for soul, Johnny Cash is perfect for country. He pretty much perfected everything country was about at the time, and was always able to release a good single or two every so often to keep both the genre and his career a little fresh. He was already the biggest name in country before his fantastic American Recordings series came out, redefining his career yet again.

At Folsom Prison: 100
American IV: 100
At San Quentin: 100
VH1 Storytellers: 97
American III: 96

Score: 98.6 / 5
Staying Score: 100

17. King Crimson
Genres: Prog Rock, Art Rock

Although the studio albums are often unrealistically good, I still prefer them live. Throughout their career, King Crimson kept trying to find new ways to redefining the genre Fripp himself coined and grew to hate the term for, steering into hyperactive jazz, beautiful folk, hard-hitting metal and funky fresh new wave, all being just as essential to their live albums as they were toward their more limited but still highly creative studio works. In fact, Live in Chicago is my number 1 prog album.

Live in Chicago: 100
Red: 100
Absent Lovers: 100
Discipline: 97
In the Court of the Crimson King: 96

16. Swans
Genres: Post-Rock, Exp. Rock, Post-Punk

Swans is darkness enhanced. They are the darkness that overtook Egypt, being so thick that you could feel it. Once they got out of the no wave scene, they were able to tackle darkness in all of its forms at the time, invent a few new ones, and helped change rock for the better with Soundtracks for the Blind. Thankfully reuniting, their post-rock era is easily their best thus far. The song Apostate will pretty much tell you everything that Swans is about.

The Seer: 100
Children of God: 100
Soundtracks for the Blind: 100
To Be Kind: 97
The Great Annihilator: 96

Score: 98.6 / 5
Staying Score: 100

15. Metallica
Genres: Thrash Metal, Heavy Metal

Here we go, my number one metal band of all time! Sorry, but no metal in the top 10 so far. Metallica's Ride the Lightning is basically my ideal choice for a metal album. Even though their general style wasn't polished yet, its lo-fi production and sound paired together for a perfectly acidic sound that has never been replicated. And although they couldn't quite hack it as a hard rock band, their first five albums are one of my favorite runs in all of music.

Ride the Lightning: 100
Live Shit: 100
And Justice for All: 100
Master of Puppets: 97
Metallica: 96

Score: 98.6 / 5
Staying Score: 100

14. Coil
Genres: Electronic, Experimental, Industrial

There are absolutely no limits to Coil. Their ability to create surreal atmospheres and constantly find new ways to do so is just poetic, even better than anything David Lynch was capable of. They are certainly not for the faint of heart, but I really believe you should check their stuff out first chance you get. My introduction to them was The Ape of Naples, and it only made me much more interested in genres like darkwave, industrial, ambient, etc.

The Ape of Naples: 100
Music to Play in the Dark: 100
And the Ambulance Died in His Arms: 100
Live - Copenhagen 2002: 98
Horse Rotorvator: 97

Score: 99 / 5
Staying Score: 100

13. Pharoah Sanders
Genres: Spiritual Jazz, Avant-Garde Jazz

Pharoah Sanders is my favorite for the spiritual side of jazz. Although he's a very diversified artist (which proved to be problematic sometimes), the man never let any of his versatility distract from the heavenly atmospheres of his music. I sometimes find myself just stopping everything so I can just relax to his music. I DO NOT DO THIS ON A REGULAR BASIS. IT'S SUPER RARE.

Karma: 100
Tauhid: 100
Pharoah: 100
Black Unity: 98
Village of the Pharoahs: 97

Score: 99 / 5
Staying Score: 100

12. Simon and Garfunkel
Genres: Folk Pop, Folk Rock, Singer/Songwriter

Simon and Garfunkel already had a good thing going on for their lesser-known debut album, but it's the next four albums that build on their greatness, as well as the live recording of their concert in Central Park, the one concert I would choose to go back in time to see. Simon's lyrical genius and Garfunkel's angelic voice were just what the folk world needed, going far beyond that of a person with a guitar and a record deal. They weren't just artists: they were their own museum.

Bridge Over Troubled Water: 100
Bookends: 100
The Concert in Central Park: 100
Sounds of Silence: 98
Parsley, Sage, Rosemary & Thyme: 97

Score: 99 / 5
Staying Score: 100

11. Stevie Wonder
Genres: Soul, Prog Soul, Pop Soul

This child, blind since near-birth, was writing his own music ever since he was twelve, and over the years he kept getting better and better until he was as big of a name in soul as Nina Simone. Stevie is one with the very concept of love for humanity, and there isn't a single artist or act in this or any list I can think of who is even more in tune with that concept. It drives all of his best and most classic albums. I'm also of an unconventional opinion that his most advanced, and the best testament to his abilities, is Fulfillingness' First Finale. Very poppy, very experimental, not bloated. In fact, it's my number 2 of all time.

Fulfillingness' First Finale: 100
Innervisions: 100
Songs in the Key of Life: 100
Talking Book: 100
Music of My Mind: 95

Score: 99 / 5

TOP TEN SOON.

We're back on track now.

30. Blind Guardian
Genres: Power Metal, Symphonic Power Metal, Speed Metal

It should come as no surprise to anyone who knows my taste that power metal is one of my favorite metal genres, and Blind Guardian are the ultimate testimony to it. Blind Guardian's music, notably the album Imaginations from the Other Side, had a huge say in the vibes of my debut novel. They helped redefine power metal as a symphonic kind of genre, paving the way for bands like Rhapsody, Twilight Force and Nightwish to take that call.

Imaginations from the Other Side: 100
The God Machine: 100
Nightfall in Middle-Earth: 99
Somewhere Far Beyond: 98
ANATO: 96

Score: 98.6 / 5

29. Gato Barbieri
Genres: Spiritual Jazz, Latin Jazz

Spiritual jazz is one of my two favorite jazz genres, and Gato Barbieri is a very personal choice for his clever inclusion of Latin jazz. Although there will be other spiritual jazz artists up here, Gato's the king of Latin Jazz. He captures all of the musical beauty of his heritage like it's the easiest thing on Earth. Every time I listen to him I envision traveling through Latin America, like I'm going on a world tour or a journey of self-discovery.

Chapter One: Latin America: 100
Chapter Four: 100
Chapter Two: Hasta siempre: 99
Chapter Three: 97
The Third World: 97

Score: 98.6 / 3

28. Kamasi Washington
Genres: Spiritual Jazz, Jazz Fusion

Kamasi Washington is the only musical artist on this list with only three albums. I chose to leave him this high this time because I wanted others to pay attention to him if possible. Kamasi Washington is the best thing to happen to jazz since the 60's, IMO. His albums The Epic and Fearless Movement proved one thing: Kamasi Washington understands everything that makes the African-American community relevant in America. Fearless Movement to me is the definition of "cool," as it perfectly blends African culture with the vibes of modern African-American culture on a deeply spiritual level.

Fearless Movement: 100
Harmony of Difference: 100
The Epic: 97

Score: 99 / 3

27. Yes
Genres: Symphonic Prog, Prog Rock, Prog Pop

At the height of symphonic prog is one of the 70's scenes most melodic bands. Yes were poets both lyrically and instrumentally. There's a rare kind of magic that goes into their compositions that many symphonic bands try to recapture but tend to fail at. Even greatest like Genesis can only scratch the surface.

Close to the Edge: 100
Live at the Apollo: 100
Fragile: 98.5
Relayer: 98.5
Yessongs: 98

Score: 99

26. John Coltrane
Genres: Avant-Garde Jazz, Spiritual Jazz, Free Jazz, Modal Jazz

I told you I loved spiritual jazz... though maybe a little too much. But John Coltrane was the biggest reason for the genre during his lifetime, and I've grown a strong appreciation of the genre largely through replaying his albums. I agree that he deserves to be a jazz icon as he pushed the acceptable levels of what listenable jazz entailed, and rewrote avant-garde jazz as a whole. Even now I don't feel like I've grasped the full Coltrane. Funny. usually I find his albums to be just slightly too long, but otherwise he's flawless.

Sun Ship: 100
Ascension (Edition I): 100
Ole Coltrane: 99
My Favorite Things: 99
A Love Supreme: 99

Score: 99.4 / 5

VIP'S

This section is exclusively for those who've achieved three perfect albums. From this point onward, their average scores will only be used against other VIP's while they keep a score of 100 for that rare and valuable achievement.

25. Arcade Fire
Genres: Indie Rock, Chamber Pop

Arcade Fire's Funeral is the album that rewrote the whole way I look at music. I was under a false and biased assumption that classic rock was the superior genre due to my limited exposure to great music, largely relying on the radio for info. Arcade Fire introduced me to the world beyond the radio with some of the most incredible songs I've ever heard. Their first three albums all greatly succeed at what the band strove for, and Funeral remains my #4 album to this day.

Funeral: 100
The Suburbs: 100
Neon Bible: 100
WE: 86
Reflektor: 84.5

Score: 94.1
Staying Score: 100

24. Symphony X
Genres: Prog Metal, Neoclassical Metal

Symphony X represents everything a good classical-infused metal album should be about. Even though they needed some practice for the first two albums, their third one showed an absolute mastery of riffage to largely make up for the sameyness. And even then, they fixed that problem on Twilight in Olympus, perfected their craft with V, and was able to perfect the art while leaving behind the neoclassical sound with Paradise Lost. I'll be eagerly awaiting the day that they even DECIDE what direction to go with for their next album.

V: 100
Twilight in Olympus: 100
Paradise Lost: 100
The Divine Wings of Tragedy: 98
The Odyssey: 89

Score: 97.4 / 5
Staying Score: 100

23. The Clash
Genres: Punk, New Wave

Now The Clash were real artists. Unlike some bands like Ramones and The Sex Pistols, who had to basically keep rewriting the same song, The Clash were able to write an unbelievable multitude of various kinds of hits ranging from punk to new wave to pop rock to reggae rock to oldschool rock. These talents came into play as early as their incredible debut.

London Calling: 100
The Clash: 100
From Here to Eternity: 100
Live at Shea Stadium: 96
Black Market Clash: 93

Score: 97.8 / 5
Staying Score: 100

22. Joe Hisaishi
Genres: Cinematic Classical, New Age, Neoclassical New Age

Hisaishi is the leading figure in Ghibli soundtracks, and right from the Nausicaa soundtrack and its many variants, he proved that he is a genius with manipulating genres for the best possible results. I went on a HUGE Hisaishi binge a couple months ago before putting this list together, and it was one of the best musical marathons I ever went on. Actually, I like his soundtrack for Sonatine much more than I do the whole movie.

Nausicaä of the Valley of Wind: 100
Sonatine: 100
Spirited Away: 100
Nausicaa Symphony: 96
My Neighbor Totoro Image Song Collection: 95

Score: 98.2 / 5
Staying Score: 100

21. Muddy Waters
Genres: Electric Blues, Chicago Blues, Delta Blues, Blues Rock

Muddy Waters has THE perfect blues voice. It's deep, soulful and raspy enough to scratch the throats of whoever listens to him. And thankfully, he had the artistic knowhow to deliver the instrumentation necessary for such a grand voice. Even though he faced backlash with his incredible album After the Rain, the man reinvented blues a couple of times. Even Mannish Boy can get away with its glaring repetition just because of Muddy Waters' powerful presence.

After the Rain: 100
Hard Again: 100
Muddy "Mississippi" Waters Live: 100
Muddy Waters at Newport 1960: 99
Folk Singer: 94

Score: 98.4 / 5
Staying Score: 100

MAJOR DAMMIT.  Every kind of dammit.  I made a huge mistake.  I incorrectly assumed Apostrophe was a Mothers album when it was solo Zappa, and now I have to chuck that album out and replace it with The Grand Wazoo, score at 92 instead of 100, meaning I have to chuck an average of 1.6 of off the Mothers entry and redo the previous posts.  I am really mad about that.  I'll be fixing them right now, and then I'll post the next ten.

EDIT: The Mothers has left the top 100 and at the bottom enters Gentle Giant.

Before I post this, I must note that there has been an update to the rules that I forgot to mention. Because certain bands like say "Tom Petty and the Heartbreakers" are also counted as part of an artist's main career, there will be a "namesake rule" that states that a solo act can count their time with a band as part of their major career, especially since some bands continue without their frontman, and can still be two separate entries, such as the difference between The Mothers of Invention and Frank Zappa. Thus, the band and the frontman can have two separate entries. This does not count for duets like Simon and Garfunkel, but for a frontman and a named band sharing album title credits.

40. Helloween
Genres: Power Metal, Heavy Metal, Speed Metal

For the longest time, Helloween was THE band to beat once power metal found its way from Germany to other European countries, America and even Japan. Right from their debut EP and debut album, they had a proper insight on the writing quality necessary to match raw ferocity. They are likely the biggest reason for power metal's existence. They even managed to have some amazing works after their heyday.

Helloween (2021): 100
Better Than Raw: 100
Keeper of the Seven Keys Part II: 98
Keeper of the Seven Keys Part I: 96
Walls of Jericho: 96

Score: 98 / 5

39. Leonard Bernstein
Genres: Western Classical, Romanticism, Symphony

Classical music needs the right conductor to capture the full essence of the original composer's vision, and Bernstein is one of the best at this. He was one of the first conductors I checked out in early explorations of classical and I've checked him out on and off. Especially when you put him with Stravinsky, Bernstein understands the composers of the past and what they set out to achieve.

Le sacre du printemps: 100
Rhapsody in Blue; An American in Paris: 100
Requiem: 97
Symphonie fantastique: 97
Symphonie No. 9 »Aus der neuen Welt«; 3 slawische Tänze: 96

Score: 98 / 5

38. Jimi Hendrix
Genres: Psych Rock, Blues Rock, Acid Rock

The Experience and Hendrix's careers will be counted separately, but for multiple reasons, notably the "namesake rule" and any comments about the relevance to his body of work, I'm going to do things the RYM way and count both the Experience and solo works in his entry. Jimi Hendrix is the definition of "guitar-driven rock." He was one of the great geniuses in the world of riffs, and I'm thankful that we have so many demos and other recordings coming out after his death.

Electric Ladyland: 100
:Blues: 100
Are You Experienced: 99
Axis: Bold as Love: 96
Jimi Plays Monterey: 95

Score: 98 / 5

37. Susumu Hirasawa
Genres: Art Pop, Prog Pop, Electronic

Hirasawa was a discovery I made last year after checking out some Japanese synthpop and new wave. Hirasawa's solo works stood out from his days with P-Model, as his works were much more focused, varied and consistent. Many of his solo albums have driven me into states of utter shock. His balance between atmosphere and melody is heavenly. His soundtracks for Satoshi Kon films might be a bit challenging at first, but his Millennium Actress soundtrack is to die for.

Millennium Actress: 100
Byakkoya: 100
Technique of Relief: 97
Switched-On Lotus: 97
Paprika: 97

Score: 98.2 / 5

36. Type O Negative
Genres: Goth Metal, Doom Metal

I had been familiar with the works of Type O Negative before, but I never grew ti love them until after I got more serious about goth metal. Now I'm so much of a fan that I would go as far as to say that Bloody Kisses is the second greatest metal album I've ever heard, being one of the few to overtake my original number two: Paranoid. Many of their albums test the boundaries of the metal genres they're largely known for, and their switches between serious and dorky all depend on what's called for. Honestly, I admire their gusto, and Peter Steele as a whole is the kind of person I'd base characters off of for my stories.

Bloody Kisses: 100
The Least Worst Of: 100
World Coming Down: 98
October Rust: 97
The Origin of Feces: 96

Score: 98.2 / 5

35. Nick Cave & the Bad Seeds
Genres: Post-Punk, Goth Rock, Alt-Rock, Art Rock

When you have a forty-year career of nearly 20 albums, and your worst is Nocturama, you're doing a lot right. Nick Cave's albums often share the same themes of love, loss and even death, but he always has fresh new ways of delivering these themes because he knows how to work with practically every genre he touches from the wacky world of punk blues to slow and somber ambient. Not only is Abattoir Blues / The Lyre of Orpheus the perfect collective of his sounds up to 2004, but I consider it top five of all time.

Abattoir Blues / The Lyre of Orpheus: 100
Let Love In: 100
The Good Son: 98
Henry's Dream: 97
Tender Prey: 96.5

Score: 98.3 / 5

34. Bob Marley and the Wailers
Genres: Roots Reggae

I was inspired to go through all of the classic Bob Marley albums again after seeing One Love with my brother, and that revisit was long overdo. After a hundred or so reggae albums, I can easily say that The Wailers are the most consistent. Their love of the human condition, God, and all that make reggae good helped reggae to rise above an obscure worldly genre and become an influential staple in music worldwide. We have reggae rock bands taking after The Clash's love of Jamaican music, and of course, Japanese band Fishmans started out as a dub group. Although other reggae groups helped with that, Exodus was the perfect album to bring reggae to the rest of the world.

Exodus: 100
Wailin': 100
Natty Dread: 98
Catch a Fire: 97
Live: 97

Score: 98.4 / 5

33. Dead Can Dance
Genres: Neoclassical Darkwave

Darkwave is something I rarely ever explore, partially because Dead Can Dance already perfected it to its prime. So many bands can't get the gothic ambient sound of darkwave right at all, but Dead Can Dance makes it look easy on a regular basis. They understand the emotion that goes with the atmosphere, and have each album is just different enough to reintroduce it in new ways.

Toward the Within: 100
Within the Realm of a Dying Sun: 100
The Serpent's Egg: 99
Spleen and Ideal: 97
Aion: 96

Score: 98.4 / 5

32. Charles Mingus
Genres: Avant-Garde Jazz, Post-Bop

Everyone loves Mingus to the point where The Black Saint and the Sinner Lady is seen as a better jazz standard than Kind of Blue, and although it's not my number one like it is on RYM, I agree that it's a perfect testament to Mingus' abilities. Mingus was an innovator who constantly broke the constraints of "genre" without going too far, greatly earning my respect for his ability to balance out a world of influence.

The Black Saint and the Sinner Lady: 100
Mingus Mingus Mingus Mingus Mingus: 100
Mingus Ah Um: 98
Let My Children Hear Music: 97.5
Money Jungle: 97

Score: 98.5 / 5

31. David Bowie
Genres: Glam Rock, Art Rock, Pop Rock, Exp. Rock

I find myself whisper-singing David Bowie to myself on a regular basis, mostly Changes, Aladdin Sane, Life on Mars, Starman, Magic Dance and sometimes even Blackstar. Bowie stands at the top of the glam rock chain as far as I'm concerned, and he's got a good say in experimental rock as well. I chose Aladdin Sane as his number one for a good reason: although Ziggy and Hunky are both fantastic, Ziggy's a little too rock and not glam enough, and Hunky's too glam and not rock enough. Not only is Aladdin Sane perfectly balanced between the two, but introduced the experimental side.

Aladdin Sane: 100
Blackstar: 100
Cracked Actor: 98
Ziggy Stardust: 98
Hunky Dory: 97

Score: 98.6 / 5

A few comments on today's post:

 90% of guitarists never learn how to read music so Eddie's not really anything unusual in that regard. It's not really necessary unless you're a jazz or classical guitarist. In saying that, Eddie was my absolute idol growing up & I worshipped the ground that he walked on.

And it was likely people like Eddie who influenced them.  It They flonly formed in the mid-70's after all.

Well the big bosses said no, so it ain't gonna happen, but I was thinking it would be a good idea specifically because of the polarizing opinions. It would give the fans of that stuff a place to go, and it would also filter that stuff away from the more pure traditional stuff.

Going outside the chosen clans should suffice for those who'd like to break tradition.

50. The Moody Blues
Genres: Prog Pop, Prog Rock, Psych Pop

This might be a ranked list based on scores, but as far as atmosphere goes, I am head-over-hells for The Moody Blues. The Moody Blues practically invented prog with their 1967 album Days of Future Passed, a major prog staple that predates In the Court of the Crimson King. The Moody Blues understood symphonics, psychedelics and knew everything about combining these dense atmospheres and melodies with some of the most beautiful lyrics you could ever find.

Days of Future Passed: 100
In Search of the Lost Chord: 100
To Our Children's Children's Children: 98.5
On the Threshold of a Dream: 95
A Question of Balance: 95

Score: 97.7 / 5

49. Sufjan Stevens
Genres: Indie Folk, Singer/Songwriter, Chamber Pop

Sufjan is one of the softest and most beautiful folk artists in the world, but he's also extraordinarily ambitious. Illinois alone is all you need to grasp both sides of the careful artistry that defines his catalogue. And the best part is that he really doesn't need a heyday. He makes more albums than he should, but every few albums he produces something brilliant. Honestly, Javelin is one of the greatest folk albums of the modern age, and even 20 years into his career I get impatient for his next album.

Illinois: 100
Carrie & Lowell: 100
Javelin: 98.5
Carrie & Lowell Live: 98
Michigan: 92

Score: 97.7 / 5

48. Tangerine Dream
Genres: Berlin School, Prog Electronic, Space Ambient

There are artists who keep putting out five albums a year in the hopes that something good will come out of it and it never does (lookin' at you, Plastic Neesound), and there are artists who can get away with it because they've proven themselves. Tangerine Dream is one of the best bands of a scene I greatly admire, the 70's German electronic scene. During the 70's they put out several amazing live and studio albums that are difficult to match.

Phaedra: 100
Ricochet (Live): 98
Poland (Live): 98
Force Majeure: 97
Rubycon: 96

Score: 97.8 / 5

47. Jerry Goldsmith
Genres: Cinematic Classical

Yes, I listen to cinematic classical. Any wide-ranging "albumist" worth his salt should. Jerry Golsmith has a deep understanding of cinematic moods, and has created many of the most iconic pieces of soundtrack music you'll ever heard, including one of my personal favorites: the Star Trek Motion Picture theme, later used as the theme to TNG.

Alien: 100
Star Trek: The Motion Picture: 99
Planet of the Apes: 97
The Omen: 97
Under Fire: 96

Score: 97.8 / 5

46. Judas Priest
Genres: Heavy Metal, Hard Rock

Back when I was exploring rock radio, I really couldn't get into them. And then when I started logging albums, my debut into their catalog was Painkiller, which changed my whole perspective of them. I'd explore them on and off until one day last year I just decided to check out a bunch of their albums at once. Now I can safely say that their singles don't do them justice. Their greatness shows a wider range of incredible songs that goes beyond "Living After Midnight" and "Breakin' the Law." Sin After Sin was an excellent bridge from the fantasy worlds of Sad Wings of Destiny to their iconic sound that they perfected on Stained Class.

Painkiller: 100
Sin After Sin: 100
Unleashed in the East: 97
Stained Class: 97
Screaming for Vengeance: 95

Score: 97.8 / 5

45. The Allman Bros. Band
Genres: Southern Rock, Blues Rock, Jam Band

The Allman Bros. Band is the only band that beats Lynyrd Skynyrd in the southern rock department. Although the "jam band" is frowned upon by a lot of albumists for whatever dumb reason, Allman Bros. were one of the absolute best jammers in the scene. They carry the full spirit of the South in spades. Simply, they are the PERFECT southern rock band to me, although Skynyrd came close. Allman are much more... homely.

At Fillmore East: 100
Eat a Peach: 100
The Allman Bros. Band: 98
Live at the Atlanta International Pop Festival: 96
Brothers and Sisters: 95

Score: 97.8 / 5

44. Black Sabbath
Genres: Heavy Metal, Hard Rock

Here we are, the band responsible for cementing metal as metal. Now I have to agree with the DM of the Metal Academy Dungeon, Daniel, when he says the debut isn't metal enough. But Paranoid is one of those few albums that cemented my ideals of what a five-star should be: diversified, consistent, perfectly flowing and completely spirited. Master of Reality does this as well with a doomier sound. And even after Ozzy left, Dio certainly provided an excellent side to their catalog.

Paranoid: 100
Master of Reality: 100
Sabbath Bloody Sabbath: 98
Black Sabbath: 96
Heaven and Hell: 95

Score: 97.8 / 5

43. Emperor
Genres: Symphonic Black Metal, Traditional Black Metal

OK, don't kill me. Seriously, I've got a Remington. Emperor is one of the very, very few bands that created an album that overtook Paranoid: Prometheus. Again, Remington. Emperor redefined black metal by committing a taboo worse than human transmutation: synthesizers in metal. And they NAAAAAILED IT 2017 Dewey Duck style. Even though their debut was a little samey by the end, it was still an incredible feet in metal. And they kept expanding their sound for four albums until they perfected it with Prometheus.

Prometheus: 100
Emperial Live Ceremony: 100
Anthems: 98
In the Nightside Eclipse: 96
IX Equilibrium: 95

Score: 97.8 / 5

42. Herbie Hancock
Genres: Jazz-Funk, Jazz-Fusion, Modal Jazz

Herbie Hancock is one of jazz's freshest and most innovative artists. He and Miles Davis were the real innovators of jazz-funk, but of the two, Herbie was better at the funky stuff. And even before that, he was rocking the bop scene with some extra-beautiful works, like Empyrean Isles. Honestly, I am 50 kinds of happy that this man is still alive. It just feels so cool that one of the golden age's classic innovators is still alive when so many of them died young.

Head Hunters: 100
Flood: 98
Empyrean Isles: 98
Sextant: 97
Death Wish: 96

Score: 97.8 / 5

41. The Rolling Stones
Genres: Blues Rock, Rock

These guys deserve to be one of the most played bands in rock radio. They released an azaming amount of hit singles back in the days when the art of the album mattered as much as the art of the single. They're hot streak ran all the way from Aftermath to Exile on Main Street; a five-album streak of magnificence. And even then, they'd have a few essential hits from albums like Some Girls and Tattoo You later on.

Exile on Main St.: 100
Let it Bleed: 99
Sticky Fingers: 98
Beggars Banquet: 97
Out of Our Heads: 95.5

Score: 97.9 / 5

In the only wise words of French Stewart as Inspector Gadget: NO.  NO NO NO NO NO NO NO NO NO NO NO NO NO.

The only reason it's called "metal" is because of the production style.  The riffs aren't heavy enough to reach basic metal, and only a few key bands were metal enough to count.  The day we put Poison up here is the day I blow up a nursing home.

610. Iron Maiden
Genres: Heavy Metal

Iron Maiden is one of those verty few bands responsible for giving us the metal that we know and love today. Much heavier than other influences in the scene, including Priest, Sabbath and (to an extent) Van Halen, Maiden was the leading figure in the New Wave of British Heavy Metal for the best possible reason: they kept the songs incredible and spirited while managing to blast out heavier than anyone had ever done at that time.

Seventh Son of a Seventh Son: 100
Somewhere in Time: 98
Powerslave: 97.5
Live After Death: 96
The Number of the Beast: 95

Score: 97.3 / 5

59. Sade
Genres: Smooth Soul, Sophisti-Pop

Sade stands at the top of the ladder for both genres detailed. Honestly, Sade's voice is one of my favorites in the world of soul. This group understands sexuality and mood. Sade is either perfect coffee shop music for helping you to wake up, or perfect night music for that kind of mood. I seriously suggest that you check out Lovers Live. It improves on almost every song featured.

Lovers Live: 100
Diamond Life: 98.5
Love Deluxe: 98
Promise: 95
In Concert 348: 95

Score: 97.3 / 5

58. Septicflesh
Genres: Symphonic Death Metal, Death Metal

Most believe that the symphonic side of classical is quite cheesy. Me, I say if you can nail it, you're more talented than other bands who fail to make it appropriately metal. Septicflesh do this on a consistent basis while mainting unholy levels of extremities. On top of that, they made a point of being a highly diversified band since their fantastic debut, Mystic Places of Dawn, going into gothic and even psychedelic territory.

The Great Mass: 100
Communion: 100
Mystic Places of Dawn: 98.5
Codex Omega: 96
Infernus Sinfonica MMXIX: 92

Score: 97.3 / 5

57. Therion
Genres: Symphonic Metal

How appropriate that Therion should appear immediately after I get done bragging about how great the symphonics of Septicflesh are. Therion needed some practice before reaching these heights, but they have a perfect sense of the deeper and darker worlds throughout world mythology and have a perfect idea of how to translate that aura through music. Therion's music can send you to Heaven, damn you to hell, take you through Atlantis or bury you in a tomb.

Celebrators of Becoming: 100
Theli: 98
Live Gothic: 97
Secret of the Runes: 96
Vovin: 96

Score: 97.4 / 5

56. Van Halen
Genres: Hard Rock, Arena Rock, Pop Metal

Here we go! Arena rock's ultimate rockers! Van Halen is extra special due to their lead guitarist never having learned to read music! He just picked up a guitar, played with it, made some melodies and the band became the ultimate rock staple, achieving what Zeppelin and Black Sabbath did in the past: redefining rock everywhere with incredible single after incredible single.

1984: 100
Van Halen: 100
Van Halen II: 96
5150: 96
Fair Warning: 95

Score: 97.4 / 5

55. Hawkwind
Genres: Space Rock, Psych Rock

My first Hawkwind album was their beloved live album Space Ritual, which sent me on an astral psychedelic journey no band had done for me before. Many of their heyday albums are beautifully written magnum opi to what psychedelia can do for the soul, and even if their later albums aren't reaching the same heights, I'm still really happy that they're trying. Hell, their atmospheres in this world hadn't been topped until Spiritualized came around.

Space Ritual: 100
Warrior on the Edge of Time: 99
Doremi Fasol Latido: 97
Hall of the Mountain Grill: 96
The '1999' Party: Live at The Chicago Auditorium: 95.5

Score: 97.5 / 5

54. Joy Division / New Order
Genres: Post-Punk, New Wave, Synthpop, Alt-Dance

What, you didn't know? When Joy Division formed, they made a pact to change their name if a member should leave. Their singer died, and they became New Order. But whether this changed their style or not, I'm happy that they did. They might've become a leading name in post-punk due to their two incredible albums as Joy Division, but when trhe synth era came around, they stayed relevant by expanding their horizons and even making it to the forefront of the alt-dance scene in the 90's! That's just unbelievable.

Substance: 100
Unknown Pleasures: 97
Power, Corruption & Lies: 97
The Peel Sessions (1987): 97
Closer: 95

Score: 97.6 / 5

53. Elvis Presley
Genres: Rock 'N' Roll, Pop Rock, Rockabilly, Country Soul

Do I even have to write a paragraph for this guy at this point? I mean, we all grew up with Elvis to an extent, whether your parents bought a best of compilation or you just got introduced to him through Lilo & Stitch. Elvis Preseley is synonymous with charisma, and the guy knew how to write songs for 100 different genres, and he could pull it off because his could sing either very hard and heavy unlike anything people had ever heard before, or incredible soft and soulful. This dorky rocker was a genius through and through.

Elvis: TV Special: 100
Elvis' Golden Records: 100
Elvis Presley: 98
From Elvis in Memphis: 96
Elvis Country (I'm 10,000 Years Old): 94

Score: 97.6 / 5

52. Neurosis
Genres: Atmo-Sludge Metal, Post-Metal

Neurosis wasn't cutting it as a punk band, but when they became a sludge band their incredible talents immediately shown through. From Souls at Zero to The Eye of Every Storm, Neurosis had a major hot streak of six powerful albums that each added their own two cents in reinventing the sludge genre that Melvin invented back in the 80's. And thanks to these differences, they, much like The Beatles, have a six-run stream that gets the fans arguing about the best album constantly, even though Through Silver in Blood and Times of Grace still tend to bleed through the arguments as the best of them.

Through Silver in Blood: 100
Souls at Zero: 98
A Sun That Never Sets: 97
Enemy of the Sun: 97
The Eye of Every Storm: 96

Score: 97.6 / 5

51. Fleetwood Mac
Genres: Pop Rock, Soft Rock, Blues Rock

Now these guys were already good as a blues band, but Peter Green's leaving might've been the best thing for them. Turning into a pop rock band didn't work out at first, but with the inclusion of Buckingham and Nicks, they quickly became the biggest thing in pop rock. From 1975 to 1987, Fleetwood mac was responsible for a large number of wonderful pop tunes that get stuck in your head really easily, and are still much better than all the other bands that get stuck in your head. I know they had a larger say in nostalgia for me than most bands, if not all of them.

Rumours: 100
The Dance: 100
Fleetwood Mac 1975: 97
Live at the Boston Tea Party: Part One: 96
Tango in the Night: 95

Score: 97.6 / 5

The Future Sound of London - From the Archives, Vol. 9 (2018)

Genres: Ambient Techno, IBM, Chillout

This is a bit like a combination of what we got during the early era and some influence from Klaus Schulze, getting better as it goes along.  if they keep this up, they'll become my new favorite EDM act.

Howdy.  We definitely need more metalheads here.

Welcome, David! I would recommend the Iced Earth album The Dark Saga. It's a thrashy heavy/power metal concept album based on Spawn.

And I second this.

70. Death / Control Denied
Genres: Death Metal, Tech Death Metal, Prog Metal

Yes, I'm counting them as one band. Fight me, bite me. Death is the first death metal band I checked out thanks to RYM. If you don't know the story, they invented death metal's sound, and the genre was quickly named after them. But their more complex and instrospective works from the later stages flat-out own their earlier works, even if the heaviness ended up being sacrificed a little. Honestly, their technical work is difficult to beat even after thousands of emulators.

Symbolic: 100
The Sound of Perseverance: 98
Human: 98
Individual Thought Patterns: 98
The Fragile Art of Existence: 91.5

Score: 91.5

69. Otis Redding
Genres: Deep Soul, Southern Soul

Redding wasn't just another soul artist looking to pass out some singles. His attention to detail and proper vocal delivery drove his albums as the bandmates were barely able to keep up with him. It seems to me that Redding has a deeper passion for soul music that many other soul artists who will appear on this list.

Otis Blue: 100
Live in Europe: 99
Complete & Unbelievable: 97.5
The Soul Album: 96
The Immortal Otis Redding: 93

Score: 97.1 / 5

68. Morbid Angel
Genres: Death Metal

If you're going to continue into death metal after checking out the genre's namesake, one of your FIRST stops should be Morbid Angel. Their ability to shred is even greater than that of Death's, and despite having very few prog elements, they never run out of ideas. Though it helps that every albums sounds a little different, giving the fans a lot to talk about.

Formulas Fatal to the Flesh: 100
Covenant: 98
Altars of Madness: 97
Gateways to Annihilation: 96
Domination: 94.5

Score: 97.1 / 5

67. Bob Dylan
Genres: Folk, Folk Rock, Singer/Songwriter

When I still (trusted) Spotify, I challenged myself to get through ALL of the Bob Dylan studio albums. I managed that, and now I'll be waiting eagerly for the next one. He manages to overcome his voice with some of the deepest, most incredible lyrics you'll ever hear. Dylan might be limited vocally, but otherwise he's a pure genius.

Highway 61 Revisited: 100
Blonde on Blonde: 99
The basement Tapes: 97
Desire: 96
The Freewheelin' Bob Dylan: 95

Score: 97.2 / 5

66. Death Grips
Genres: Industrial Hip Hop, Exp. Hip Hop, Abstract Hip Hop, Hardcore Hip Hop

You know what Death Grips sounds like, and they are probably not for the faint-hearted. But these powerful industrial dynamics and rancid noise are key parts of the Death Grips personality. They're metal without being metal, punk without being punk, flat-out evil without being demonic, and perfectly balanced between intruging and RAW.

Exmilitary: 100
The Money Store: 100
Bottomless Pit: 97
Jenny Death: 96
Year of the Snitch: 93

Score: 97.2 / 5

65. Lynyrd Snynyrd
Genres: Southern Rock, Hard Rock

Don't JUST play Free Bird. Play all of their other fantastic hits (although you might wanna hold off on Sweet Home Alabama as it's a bit overplayed). Snynyrd is one of two bands I can think of that capture everything that makes southern rock so incredible. Many of their sing-along songs are both deep and poppy at the same time, and their riffs are some of the best in the genre.

(pronounced 'lĕh-'nérd 'skin-'nérd): 100
One More From the Road: 100
Second Helping: 98
Southern by the Grace of God: 95
Street Survivors: 93

Score: 97.2 / 5

64. Outkast
Genres: Southern Hip Hop

I really hate that they broke up after five albums. They're basically hip hop's Simon and Garfunkel. Andre's high-pitched and soulful voice made the perfect yin to Big Boi's yang: his deeper and more powerful voice. They rocked five legendary albums in a row that maximized the potential of southern hip hop, making it one of my favorite hip hop genres.

Aquemini: 100
ATLiens: 100
Stankonia: 96
Speakerboxxx / The Love Below: 95
Southernplayalisticadillacmuzik: 95

Score: 97.2 / 5

63. Portishead
Genres: Trip Hop, Exp. Rock, Electronic

Portishead is at the front of the trip hop scene, and is a bit of an acquired taste. But once you acquire it, you just might fall in love with them. They combined electronic with soul and jazz in ways nobody thought were possible, and still amazed the world when they became and experimental rock band.

Dummy: 100
Roseland NYC Live: 100
In Concert - 652: 98
Third: 96
Portishead: 92

Score: 92.7 / 5

62. Talking Heads
Genres: New Wave, Post-Punk, Art Punk

It took me a while to build this appreciation for Talking Heads. Their punk stuff took a couple tried for me to really "get," and even then they're more 9/10. But then they went further into the disco and funk influences, and their talents were maximized. Byrne' wacky-ass personality is the perfect thing for new wave music.

Remain in Light: 100
Speaking in Tongues: 100
Stop Making Sense: 98
Fear of Music: 97
Talking Heads 77: 91

Score: 92.3 / 5

61. Funkadelic / Parliament
Genres: P-Funk, Funk Rock

I grew up with the film Good Burger, and to this day, Knee Deep is a spiritual song for me. Funk was a difficult genre to get right on an album since many of the songs sounded the same, but George Clinton and his band had an uncanny ability to draw out their funk songs to fifteen minutes and keep them funky fresh. They did this several times on full length albums, making them the perfect band for getting into the funk atmos.

Maggot Brain: 100
Mothership Connection: 98
One Nation Under a Groove: 97.5
Funkadelic: 96
Standing on the Verge of Getting It On: 95

Score: 97.3 / 5

80. Art Blakey and the Jazz Messengers
Genres: Hard Bop

I'm not typically a hard bop guy, and I never go back and listen to it on a regular basis. But if I'm ever in the mood for it, then I feel pressured by myself to go check out more Art Blakey. This guy has some of the absolute best hard bop you're going to find. Its structures are beyond catchy and its moods are some of the best that hard jazz has to offer.

Moanin': 100
Mosaic: 98
Indestructible: 97
Free for All: 97
Paris Jam Session: 92

Score: 96.8 / 5

79. Scorpions
Genres: Hard Rock, Arena Rock, Heavy Metal

Scorpions was the first metal band I got deeply invested in, thanks to teen MP3 nostalgia. Whenever there's a Scorpions album I haven't heard, I'm one of the first to look for it online. As Scorpions kept evolving over the course of their first few albums, they eventually became one of the dominant examples of heavy metal energy on the radio, belting out excellent album after excellent album that oftentimes showed them making a case of keeping the filler nearly as good as the singles.

Taken By Force: 100
Lovedrive: 97
Blackout: 96
World Wide Live: 96
Love at First Sting: 95

Score: 96.8 / 5

78. McCoy Tyner
Genres: Post-Bop, Spiritual Jazz, Avant-Garde Jazz

What I love about McCoy Tyner is that he keeps things original thanks to a grand range, easily flowing between multiple genres one at a time or all. Because of his versatility, he rarely ran out of ideas during his heyday. He was both catchy and mysterious at the same time, and many of his albums could serve as excellent intreoductions for anyone looking to get into jazz, poppy or experimental.

The Real McCoy: 100
Sama Layuca: 98
Enlightenment: 96
Asante: 96
Sahara: 94

Score: 96.8 / 5

77. Siouxsie and the Banshees
Genres: Post-Punk, Goth Rock, Art Pop, Art Rock

Siouxsie and the Banshees is more than just a goth rock band. Their glittery sound isn't made of cheap silver confetti: it's the pixie dust that lets you fly. Their excellent melodies and instrumentation can bring the lister deep into ancient tombs just so you can dance with the dead. And of course, Siouxsie's voice is one of the greatest female voices in rock, on par with Ann and Nancy Wilson and Jarboe.

Peepshow: 100
Juju: 97
Tinderbox: 96
Kiss in the Dreamhouse: 96
Kaleidoscope: 95

Score: 96.8 / 5

76. John Mayall
Genres: Blues Rock, British Blues

And now into the pub walks one of the coolest acts in this entire list. Before the blues died out, John Mayall was one of the kings of this scene, whether with his band, solo, or teamed up with Eric Clapton and John McVie. Unlike a lot of blues acts that kept writing the same songs over and over again, Mayall was all about taking British Blues and flowing into every territory that the genre would allow.

Blues Breakers: 100
The Turning Point: 97
Blues from Laurel Canyon: 97
Crusade: 96
A Hard Road: 95

Score: 97 / 5

75. B.B. King
Genres: Electric Blues, Soul Blues, Blues Rock

Speaking of kings of blues, there's one edge that B.B. King has on John Mayall: the soul music influence was a bit stronger, and there was a slightly stronger spirit to his music IMO than Mayall's. Seriously, these two are extremely close, but I have to give the edge to B.B. King.

Live at the Regal: 100
Completely Well: 100
Live in Cook County Jail: 97
Indianola Mississippi Seed: 96
B.B. King Wails: 92

Score: 97 / 5

74. Converge
Genres: Metalcore, Mathcore

Converge is the first metalcore band I checked out, and to this day they remain the best. They're much heavier and more surprising than any metalcore band I can think of, including all the deathcore ones, becuase these guyds are all about raw punk spirit and dense metal textures.

Jane Doe: 100
All We Love We Leave Behind: 100
Jane Live: 97
You Fail Me: 96
The Dusk in Us: 92

Score: 97 / 5

73. Full of Hell
Genres: Grindcore, Powerviolence, Noise, Industrial

Now THESE guys are completely understated. Whether they're performing grindcore or noise, they are aural geniuses whose music reaches terifying levels of darkness. And the best part is that they like to mix up the albums themselves and then try for a completely different album afterwards, always staying fresh. And they're one of the better Merzbow collaborators as well.

Coagulated Bliss: 100
Sister Fawn: 100
Rediments of Mutilation: 97
Full of Hell & Merzbow: 96
One Day You Will Ache Like I Ache: 92

Score: 97 / 5

72. Charly Garcia
Genres: Art Rock, Art Pop, Pop Rock, New Wave

Charly Garcia is one of the more recent discoveries I've made since putting together this top 100. I wish I discovered him sooner, because Garcia is a pop rock artist whose creativity rivals that of Talking Heads. I originally explored him for new wave education, but as a pop rocker and art rocker he's even more relevant.

Parte de la Religion: 100
Filosofía barata y zapatos de goma: 98
Modern Clix: 97
Piano Bar: 96
Yendo de la cama al living: 94

Score: 97 / 5

71. Ween
Genres: Alt-Rock, Neo-Psych, Art Rock

Wanna learn how to tie your shoes? Or would you rather learn that the infectiously catchy 30-second song from Spongebob is certainly not the best they can do. In fact, no matter how obnoxious they get, they can do some amazing things. Personality is at the forefront of this extremely talented band who can tell a good joke while performing a great song at the same time.

The Mollusk: 100
Quebec: 99
White Pepper: 97
At The Cat's Cradle, 1992: 95
Chocolate and Cheese: 94

Score: 97 / 5

I published a second novel, but only one person has bought it.

90. Deep Purple
Genres: Hard Rock, Proto-Metal

Deep Purple started out as a good prog band, but when hard rock took over, their abilities greatly improved. There are very few bands out there, even 50 years later, who understand the art and energy it takes to be a real hard rock band, and that's why we have heavy metal these days, even if they only occasionally ambled into metal.

Made in Japan: 100

Deep Purple in Rock: 100

Machine Head: 98

Deep Purple: 94

Perfect Strangers: 91

Score: 96.6 / 5

89. My Dying Bride

Genres: Goth Doom Metal, Death Doom Metal, Goth Metal

Bet you didn't expect this, did you? I have a bit of a guilty pleasure for Gothic vibes, and My Dying Bride represents everything that's great about it. With a little practice, their first few albums produced some of the darkest, most heartwrenching Gothic rhythms and lyrics you've ever heard, but the craft was perfected on one of the few albums that reepresents metal at its core: The Dreadful Hours.

The Dreadful Hours: 100

Turn Loose the Swans: 98

The Angel and the Dark River: 97

Songs of Darkness, Words of Light: 95

The Light at the End of the World: 93

Score: 96.6 / 5

88. Animal Collective

Genres: Neo-Psych, Psych Pop

I didn't used to be a fan of these guys. It took a little effort and some dedication to examining and exploring neo-psych as a whole first. Now I'm the kind of guy who can't wait for their next album, because there's as good of a chance of it being great as their is of being bad. Mastering atmosphere on their first go, before the name came around, they're a perfect band for just chilling out with headphone music, while still being challenged at the same time.

Strawberry Jam: 100

Spirit They've Gone, Spirit They've Vanished: 99

Merriweather Post Pavilion: 97

Live at The Ritz April 13, 2016: 96

Feels: 91

Score: 96.6 / 5

87. The Prodigy

Genres: Breakbeat

Yes, this must be a huge surprise for you. The biggest reason is because I actually hold a couple of their lesser-beloved albums in high regard. The Prodigy isn't just about catchy rhythms in the club. They've got real attitude and personality. They knew who they wanted to be from the moment they formed to the moment they sold out, and they kept going strong. If you want my pick for the best EDM album I've ever heard, it's their sophomore: Music for the Jilted Generation.

Music for the Jilted Generation: 100

Invaders Must Die: 99

The Fat of the Land: 97

World's On Fire: 96

Experience: 91

Score: 96.6 / 5

86. Kanye West

Genres: Pop Rap, Exp. Hip Hop

In the midst of an entire army of pop rap artists who write cheap club stuff to make a few bucks, we have a man focused on the art of the album itself, slaying every one of those Philistines without a jawbone. Kanye West might be pop rap, but that doesn't halt his obsessive need to experiment. Controversial though he may be, he is one of hip hop's best examples of proof that hip hop is just as musical as classical.

My Beautiful Dark Twisted Fantasy: 100

Late Orchestration: 98

The College Dropout: 96

Late Registration: 96

The Life of Pablo: 93e

Score: 96.6

85. Godspeed You Black Emperor

Genres: Post-Rock, Exp. Rock

The radio might've been plagued by alt-rock during the mid-90's, but you still had those who wanted to reinvent rock and turn it into something more intriguing. For their first two studio albums, Godspeed You Black Emperor completely mastered that thought process. I have never heard rock that was more beautiful and intriguing at the same time. They might be on a bit of a downward turn this day and age, but they still let their music ferment so that you can still enjoy it.

Lift Yr. Skinny Fists: 100

F♯A♯∞: 100

Yanqui U.X.O.: 96

Slow Riot for New Zerø Kanada: 96

'Allelujah! Don't Bend! Ascend!: 91

Score: 96.6 / 5

84. Kate Bush

Genres: Art Pop, Prog Pop, Exp. Pop

Kate Bush never really stopped being a revolution, did she? She certainly started out as one with her single Wuthering Heights. All of her albums, different though they may be from each other, have incredible levels of creativity that challenge your whole idea of pop. Hounds of Love might be the big winner for its more conventional outlook, but if you want the best example of what Bush can do, check out The Dreaming.

The Dreaming: 100

Before the Dawn: 100

The Kick Inside: 96

Hounds of Love: 96

Never for Ever: 91

Score: 96.6 / 5

83. The Velvet Underground

Genres: Art Rock, Pop Rock, Exp. Rock

Speaking of re0inventing rock, here were some guys that took a few cues from The Beatles and said "screw radio conventions. We're gonna do whatever we want, and make sure it sounds damn good." All four of the TVU studio albums, not counting Squeeze, are masterful works of art that take on some very strange subjects and turn them into poems, all the while the group shows mastery in soft and cutesy stuff or heavy, raw and experimental noise.

The Velvet Underground & Nico: 99

The Velvet Underground: 97.5

White Light / White Heat: 97

Loaded: 95

The Complete Matrix Tapes: 95

Score: 96.7 / 5

82. The Band

Genres: Roots Rock, Folk Rock

The Band is one of the best examples of the heart and soul of 60's rock. The roots rock scene was built on the works of blues, country, folk, pop and soul, and The Band knew how to write and perform every single one. Evn their live album The Last Waltz, as well as the documentary, stand as the best testament to the capabilities of rock radio of the 70;s.

The Last Waltz: 100

Music from Big Pink: 98.5

The Basement Tapes: 97

The Band: 97

Stage Fright: 91

Score: 96.7 / 5

81. Jorge Ben

Genres: MPB, Samba-Rock, Samba;Soul

Jorge Ben is the definition of range. I've heard a decent amount of MPB out of utter curiosity, and one of my favorite to go to was Jorge Ben because his voice is just so wonderful and his ability to write and perform songs from a plethora of genres matches that of The Band's, if not tops it. If you're going to introduce youself to MPB, then I seriously suggest checking out Jorge Ben first.

A Tábua de Esmeralda: 100

África Brasil: 98

Jorge Ben: 96

Fôrça bruta: 96

Negro é lindo: 95

Score: 96.8 / 5

Might as well post my top 10 ambient albums.  Won't include ambient pop.  Most of these are quite diverse, but still have ambient as a primary.

1. Vangelis - Blade Runner

2. The Future Sound of London - Lifeforms

3. Angelo Badalamenti - Soundtrack From Twin Peaks

4. William Basinski - The Disintegration Loops

5. Tim Hecker - Ravedeath, 1972

6. Uboa - Impossible Light

7. Vangelis - Oceanic

8. Daniel Lopatin (Oneohtrix Point Never) - Replica

9. Vangelis - Albedo 0.39

10. Geinoh Yamashirogumi - Symphonic Suite AKIRA

Fuck Brian Eno.

That's a pretty extreme statement. I'd take a number of Eno releases over "In den Gärten Pharaos" personally. He's thoroughly deserving of his status as a god in ambient music circles as far as I'm concerned.

That was really just general snarkiness to illustrate my amazement upon hearing PV for the first time.  Eno ain't bad.  But truthfully, while I acknowledge Eno's talent, I never really "got into him.' I prefer him as a rock artist rather than an ambient artist, and even then I find some of his albums overrated.  whereas Popol Vuh is reversed.  For me, his innovations paved the way for others to dethrone him.

Still, neither hold a candle to Vangelis IMO.

I guess a few dystopian novels such as 1984, Brave New World, Fahrenheit 451, Slaughterhouse 5 and I, Robot have been quite influential on metal themes too.

I've actually been on a Kurt Vonnegut binge.  Slaughterhouse Five feels a bit more prog rock to me than metal.  But 1984 has had a huge say in dystopianism in concept albums.

Popol Vuh - "In den Gärten Pharaos" (1971)

The sophomore album from these German experimentalists is an early classic of the ambient genre. I've been a big fan of it for decades now & bought the CD re-release with bonus tracks around twenty years ago. Unlike most people, I find it hard to split the first two Popol Vuh records but the two bonus tracks included give this one a slight edge due their proto-techno leanings. Where "Affenstunde" (i.e. their debut album from earlier the same year) is more of a conventional ambient record, "In den Gärten Pharaos" sits somewhere between tribal ambient & drone with both of the lengthy tracks creating a wonderful transcendental tension.

For fans of Fripp & Eno, Klaus Schulze & Cluster.

4/5

YES.  This is one of the first ambient albums I grew a strong appreciation for, strong enough to say "fuck Brian Eno."  Absolutely genius, and the reason we have acts like Gas.  German experimental music from the 70's is platinum.

Not sure what you mean Rex. Do you mean novels related to actual metal music or novels that cover the themes and spirit that metal thrives on, such as fantasy for power and heavy metal, horror for death metal and the occult for black metal?

If it's the latter then I have always thought of William Gibson's seminal cyberpunk novel Neuromancer as thematically quite metal. Any of Michael Moorcock's Elric series are definitely metal fodder - Cirith Ungol often use Elric cover paintings as their album covers.

I was going for the spiritual definition, but I'm also allowing for some subjectivity i.e. the clan system.  Neuromancer is a good example based on what I've heard.  I would even include Stephen King's Gunslinger.  I haven't read the other books in the series yet.

This really does suck, but you have to do what you need for your health.  That's obviously more important.

Jurassic metal.  Sounds like a doom sludge hybrid with apocalyptic classical undertones and deep reptilian growls.  I like the idea.

I think the only major change is how much power metal played into writing my debut.  My second book had nothing to do with power metal, but as I was proofreading the final stages, I played Type O Negative's Paranoid a lot.

I think in little ways, the clan system got me interested in exploring other areas for conversational purposes, which is likely why I like TON so much now, as well as Septicflesh.

Lots of Christmas work stuff going on at Dunkin.  DND tonight.  Trying to diversify my year lists so that metal isn't plaguing them.  1988's been a pain in the ass because I had six metal albums in the top 10, and they're all 98-100.  It really WAS an incredible year for metal.  I got so done with taking the risk of imperfection that I would shut off an album if it shows any blemish.  But with When In Rome by Penguin Cafe Orchestra flat out taking me into the deepest depths of the forests and back into the sunlight on a Popol Vuh-style whirlwind of springtime imagination, looks like I'm finally able to get the top ten down to four metal albums. Didn't expect those little bits of folksy country instrumentation.

Choose whichever albums best suit your needs as a music buff and sort them out from there.

I didn't really think the compositions themselves matched the heaviness, but it was a perfectly operable sludge album that was always fun and powerful.  I gave it an 8.5.

Toiday I got through some "albums" by a powerviolence band called Sidetracked.  They're always writing the same two-minute album full of five-fifteen second bursts of powerviolence, and there's rarely any creativity, but the EP's have made excellent fodder to balance he ratings on my log.

I also went through a couple albums in the "new romantic" scene, two by Icehouse and Flesh + Blood by Roxy Music.  Now I'm on the soundtrack to Millennium Actress.  I went on a Susumu Hirasawa binge a while back, so if I had known he had done the soundtrack to Millennium Actress, I'd have gotten on that during the binge.  I got through six of his albums, all impressive, a couple near-genius.  His biggest flaw seems to be drawing out his songs at times, and this often effects his albums.  otherwise, he's an atmospheric genius with impressive range.