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top 10 albums of all time in my opinion

22 May

This top 10 is about what i like as my top ten music albums ever, based on liking every song on the album, the amount of times ive listened to it, i am choosing a one band one alkbum policy or the list would be mainly all pink floyd.

10..FRANKIE GOES TO HOLLYWOOD – WELCOME TO THE PLEASUREDOME – 1984

FGTH - Welcome To The Pleasuredome 1984

FGTH – Welcome To The Pleasuredome 1984

Welcome to the Pleasuredome is the debut studio album by Frankie Goes to Hollywood, first released on 29 October 1984, by ZTT and Island Records. Originally issued as a vinyl double album, it was assured of a UK chart entry at number one due to reported advance sales of over one million. The album was also a top ten seller internationally in countries such as Switzerland, Sweden, and New Zealand.

While commercially successful, the album also drew criticism for containing new versions of all of the songs from the group’s (already much-remixed) hit singles from the same year (“Relax” and “Two Tribes“, plus B-side “War“), as well as a surfeit of cover versions in lieu of much new original material. It was later revealed that Trevor Horn’s production dominated the record so thoroughly that the band’s own instrumental performances were often replaced by session musicians or Horn himself. Frankie’s second album, Liverpool, actively featured the full band.

However, the album’s evergreen ballad “The Power of Love” subsequently provided the group with their third consecutive UK number one single. I cannot find a full album on you tube, so i have included a best of remix set.

CLICK THE YOU TUBE LINK  BELOW TO LISTEN TO IT.

09.. ALPHAVILLE – FOREVER YOUNG – 1984

Alphaville - Forever Young 1984

Alphaville – Forever Young 1984

Alphaville formed in early 1982, when Marian Gold and Bernhard Lloyd met at the music project Nelson Community. Many months later, Frank Mertens joined the project. Together the three wrote Forever Young and recorded their first demo of the same name. In 1984, the newly renamed Alphaville released their debut single, “Big in Japan”, which Gold wrote in 1979 after hearing the music of Holly Johnson’s band Big in Japan. In autumn 1984, they released their debut album, Forever Young, produced by Colin Pearson, Wolfgang Loos and Andreas Budde. Despite its success, Frank Mertens left the band that year and was replaced in January 1985 by Ricky Echolette (born Wolfgang Neuhaus, in Cologne on 7 August 1960), who was credited on the Afternoons in Utopia album.

“Big in Japan” was Alphaville’s biggest hit, topping the charts in Germany, Greece, Switzerland, Sweden, Turkey, Venezuela, and the US Billboard Dance Chart (the group’s only Top 10 on any Billboard chart). The single also reached the Top Five in Italy, the Netherlands, Norway, Austria, Ireland and South Africa. It became the group’s only Top 20 single in the UK, peaking at No. 8.

The band’s next two singles, “Sounds Like a Melody” and “Forever Young,” were also both European Top 5 successes, although the former track failed to make an impression on the American charts.

Amid reports that pop star Laura Branigan was featuring the song on her next album, Hold Me, Alphaville’s “Forever Young” was re-released as a single in the US, but it did not prove to be massively popular. Branigan’s version, though promoted on stickers adorning the album, subsequently remained an album cut in the US. She would go on to perform the song as an encore at nearly every concert she performed, until her death in 2004. The Alphaville version was released a third time in the US in 1988, to promote Alphaville: The Singles Collection, and peaked at No. 65, their highest charting (and also last) single on the Billboard Hot 100. International re-releases of Alphaville’s “Forever Young” followed in 1989, 1993, 1996, 1999, 2001, 2005 and 2009. Several covers have been recorded featuring male or female vocalists often erroneously attributed to be Alphaville’s Marian Gold or Laura Branigan.

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08..THE DOORS – THE DOORS – 1967

The Doors - The Doors 1967

The Doors – The Doors 1967

The Doors is the debut album by American rock band The Doors, recorded in August 1966 and released in January 1967. It was originally released in different stereo and mono mixes, and features the breakthrough single “Light My Fire“, with three different music videos, extended with an instrumental section mostly omitted on the single release, and the lengthy song “The End” with its Oedipal spoken word section. The Doors credit the success of the album to being able to work the songs out night after night at the Whisky a Go Go and the London Fog. The album has become one of the most influential albums in the progression of psychedelic rock, and remains one of the most prolific and popular albums in all of popular music. The Doors was ranked #42 on Rolling Stone magazine’s list of the 500 Greatest Albums of All Time. It has sold over 16.5 million copies worldwide.

The Doors final line-up was formed in mid-1965 after Ray Manzarek‘s two brothers left and Robby Krieger joined. They were initially signed to Columbia Records under a six-month contract, but the band agreed to a release after being unable to secure a producer for the album from Columbia. After being released from the label, the Doors played club venues including the London Fog and Whisky a Go Go until they were signed toElektra Records by Jac Holzman.

The album was recorded at Sunset Sound Studios in California over six days, with producer Paul Rothchild and audio engineer Bruce Botnick. A four track tape machine was used for recording using mostly three tracks, bass and drums on one, guitar and organ on another with Jim Morrison‘s voice on the third. The fourth track was used for overdubbing. During recording of the album session bassist Larry Knechtel was present on some of the songs, while on stage Manzarek used a left-handed keyboard bass. For “The End” and “Light My Fire” two takes were worked of each and cut together to achieve the final song.

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07.. NIRVANA – NEVERMIND – 1991

Nirvana - Nevermind 1991

Nirvana – Nevermind 1991

Nevermind is the second studio album by the American rock band Nirvana, released on September 24, 1991. Produced by Butch VigNevermind was the group’s first release on DGC Records. Frontman Kurt Cobainsought to make music outside the restrictive confines of the Seattle grunge scene, drawing influence from groups such as the Pixies and their use of song volume dynamics.

Despite low commercial expectations by the band and its record label, Nevermind became a surprise success in late 1991, largely due to the popularity of its first single, “Smells Like Teen Spirit“. By January 1992, it had replaced Michael Jackson‘s album Dangerous at number one on the Billboard 200 chart. The album also produced three other successful singles: “Come as You Are“, “Lithium“, and “In Bloom“. The Recording Industry Association of America has certified the album Diamond (over 10 million copies shipped), and the album has sold over 30 million copies worldwide. Nevermind was in part responsible for bringing alternative rock to a large mainstream audience, and has been ranked highly on lists of the greatest albums of all time by publications such as Rolling Stone and Time.

Nirvana was a band from Aberdeen, Washington, formed by Kurt Cobain and Krist Novoselic, that had signed to Seattle independent record label Sub Pop. The group released its debut album Bleach in 1989, with Chad Channing on drums. However, Channing left Nirvana in 1990, and the band was in need of a permanent drummer. During a show by hardcore punk band Scream, the group’s drummer, Dave Grohl, impressed Novoselic and Cobain. When Scream unexpectedly disbanded, Grohl contacted Novoselic, made his way to Seattle, and was soon invited to join the band. Novoselic said in retrospect that when Grohl joined the band, everything “fell into place”.

Meanwhile Cobain was writing a number of new songs. At the time Cobain was listening to bands like The MelvinsR.E.M.The Smithereens, and the Pixies. Feeling disillusioned by the heavy detuned rock popular in the Seattle grunge scene upon which Sub Pop had built its image, Cobain—inspired by his contemporary listening habits—began writing songs that were more melodic. A key development was the single “Sliver“, released on Sub Pop in 1990 (before Grohl joined the band), which Cobain said “was like a statement in a way. I had to write a pop song and release it on a single to prepare people for the next record. I wanted to write more songs like that.” Grohl said that the band at that point often made the analogy of likening their music to children’s music, in that the band tried to make its songs as simple as possible.

By the start of the 1990s, Sub Pop was experiencing financial difficulties. With rumours that Sub Pop would sign up as a subsidiary for a major label, the band decided to “cut out the middleman” and start to look for a major label. A number of labels courted the band, but Nirvana ultimately signed with Geffen Records imprint DGC Records based upon the recommendation of its management company Gold Mountain, who also managed the band’s idols (and recent Geffen signings) Sonic Youth, and Sonic Youth’s Kim Gordon.

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06.. SEX PISTOLS – NEVERMIND THE BOLLOCKS – 1977

Sex Pistols - Nevermind The Bollocks 1977

Sex Pistols – Nevermind The Bollocks 1977

Never Mind the Bollocks, Here’s the Sex Pistols is the only studio album by English punk rock group Sex Pistols, released on 27 October 1977, through Virgin Records. Fans and critics alike generally regard it as one of the most important albums in the history of rock music, citing the lasting influence it has had on subsequent punk rock musicians, as well as other musical genres that were influenced by such punk rock artists.

Due to the album’s long completion time, the Pistols and McLaren decided to release “Holidays in the Sun” backed with “Satellite” as the band’s fourth single. “Holidays in the Sun” was not as successful as past singles—it charted at number eight and dropped out of the top 20 after four weeks—which Heylin attributed to the group’s announcement that their album would be released on 4 November and that the single would be included on the LP, despite previous statements to the contrary. In an attempt to stem criticism over the decision to include all four previously released Sex Pistols singles on the forthcoming LP, Virgin indicated the possibility of an “alternative album” being issued simultaneously, featuring a new title and two new songs replacing “two of the former hit singles”. A label spokesman stated, “We’ve put the singles on the LP because most people wanted it that way. But the alternative set would enable us to overcome the multiple stores’ ban”. A ten-song test pressing was made, though no new cuts were included, with “Satellite” and “Submission” instead being added as bonus tracks.

The Sex Pistols’ contract with Virgin stated that its music would be distributed by Virgin in the United States provided Branson matched any competing offers McLaren received. However, McLaren wanted to negotiate separate deals in every territory, regardless of what the contract stipulated, which angered Branson, as the clause for American distribution was an important one he had fought for. Branson knew he had been outmanoeuvred by McLaren, for he could not sue to enforce the contract or else be perceived as acting like EMI or A&M. Competition for the band in the United States narrowed down to Warner Bros.AristaColumbia and Casablanca Records, with Warner Bros. signing the band on 10 October for £22,000.

Before Virgin could release Never Mind the Bollocks, Richard Branson discovered that two other Sex Pistols albums were competing with his label’s. In October, a bootleg named Spunk featuring high-quality recordings of Sex Pistols demos and recording sessions with Dave Goodman was released on a label called Blank. Among the rumours of who was behind the release of the tapes included Goodman, Glen Matlock and McLaren, who has always considered Goodman’s versions to be a more accurate representation of the band. Meanwhile, the French pressing of Never Mind the Bollocks on Barclay had added “Submission” to the slated 11-song tracklist, and was due for release a week before the Virgin’s edition. As McLaren’s separate deal with Barclay meant that the French release could not be halted and given the Virgin head was aware of how easy it was for import records to arrive in Britain, Branson rushed production of Never Mind the Bollocks to ensure it would come out a week earlier than intended. Nevertheless, the Barclay version was already available in the UK at the time Virgin had its version ready. Ten thousand copies of Virgin’s pressing erroneously only listed 11 tracks on the sleeve yet contained 12 on the actual record.

Even with the availability of Spunk, the release of Never Mind the Bollocks, Here’s the Sex Pistols was eagerly awaited in the United Kingdom. With advance orders of 125,000 copies, Never Mind the Bollocks debuted at number one on the UK Album Charts the week after its release. A ban of the album enacted by major retailers resulted in the record selling well through independent vendors instead.

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05..MARILLION – MISPLACED CHILDHOOD – 1985

Marillion - Misplaced Childhood 1985

Marillion – Misplaced Childhood 1985

Misplaced Childhood is the third studio album of the neo-progressive rock band Marillion. It was released in 1985 and has been their most commercially successful album, reaching number one in the UK album charts in June 1985 and spending a total of 41 weeks on the chart, the longest chart residency of a Marillion album.

The album features the band’s two most successful singles, the guitar-led “Kayleigh“, which reached No. 2 in the UK and was a worldwide success, and the piano-led “Lavender“, which reached No. 5. The name Kayleigh was devised by Fish to slightly obscure the name of a former girlfriend named “Kay Lee” (with “Lee” being the middle name), whom the song was mostly about.

Misplaced Childhood was the band’s first full concept album, consisting of two continuous pieces of music on the two sides of the vinyl. In live concerts preceding the album, Fish had originally claimed as a teaser that the next album would consist of only two tracks, ‘Side One’ and ‘Side Two’. Then, during the Misplaced Childhood tour, Fish would announce “Now there is time for one more track… the name of the track is ‘Misplaced Childhood'”, and the band performed the entire album in sequence.

The story has thematic elements of lost love, sudden success, acceptance, and lost childhood, along with an upbeat ending. As Fish explains, he conceived the concept during a 10-hour acid trip. Several of the songs and titles contain notable autobiographical references; one example is that track 2 (“Kayleigh”) references past girlfriends. Another example is track 5 (“I was born with the heart of Lothian“), which is a reference to a traditional region of Scotland – Fish himself being from Midlothian – and a reference to the Heart of Midlothian (Royal Mile) – a mosaic heart in the pavement of Edinburgh’s Royal Mile.

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04..THE VELVET UNDERGROUND & NICO – THE VELVET UNDERGROUND & NICO – 1967

The Velvet Underground & Nico 1967

The Velvet Underground & Nico 1967

The Velvet Underground & Nico is the debut album by American rock band The Velvet Underground and vocal collaborator Nico. It was originally released in March 1967 by Verve Records. Recorded in 1966 during Andy Warhol‘s Exploding Plastic Inevitable multimedia event tour, The Velvet Underground & Nico would gain notoriety for its experimentalist performance sensibilities, as well as the focus on controversial subject matter expressed in many of its songs including drug abuseprostitutionsadism and masochism and sexual deviancy.

Though a commercial and critical failure upon release, the record has since become one of the most influential and critically acclaimed rock albums in history, appearing at number thirteen on Rolling Stone magazine’s list of the 500 Greatest Albums of All Time as well as being added to the 2006 National Recording Registry by the Library of Congress.

The Velvet Underground & Nico was recorded with the first professional line-up of the Velvet Underground: Lou ReedJohn CaleSterling Morrison and Maureen TuckerGerman singer Nico was also featured, having occasionally performed lead vocals for the band at the instigation of their mentor and manager, Andy Warhol. Nico sang lead on three of the album’s tracks—”Femme Fatale“, “All Tomorrow’s Parties” and “I’ll Be Your Mirror“—and back-up on “Sunday Morning“. In 1966, as the album was being recorded, this was also the line-up for their live performances as a part of Warhol’s Exploding Plastic Inevitable.

The bulk of the songs that would become The Velvet Underground & Nico were recorded in mid-April, 1966, during a four-day stint at Scepter Studios, a decrepit recording studio in New York City. This recording session was financed by Warhol and Columbia Records‘ sales executive Norman Dolph, who also acted as an engineer with John Licata. Though exact total cost of the project is unknown, estimates vary from $1,500 to $3,000.

Soon after recording, Dolph sent an acetate disc of the recordings to Columbia in an attempt to interest them in distributing the album, but they declined, as did Atlantic Records and Elektra Records. Eventually, the MGM Records-owned Verve Records accepted the recordings with the help of Verve staff producer Tom Wilson, who had recently moved from a job at Columbia.

With the affirmation of a label, three of the songs, “I’m Waiting for the Man“, “Venus in Furs” and “Heroin“, were re-recorded in two days at T.T.G. Studios during a stay in Hollywood later in 1966. When the record’s release date was postponed, Wilson brought the band into a New York studio in November 1966 to add a final song to the track listing: the single “Sunday Morning”.

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03.. THE STONES ROSES – THE STONE ROSES – 1989 –

The Stone Roses - The Stone Roses 1989

The Stone Roses – The Stone Roses 1989

The Stone Roses are an English rock band formed in Manchester in 1983. They were one of the pioneering groups of the Madchester movement that was active during the late 1980s and early 1990s. The band’s most successful lineup consists of vocalist Ian Brown, guitarist John Squire, bassist Mani, and drummer Reni.

The band released their debut album, The Stone Roses, in 1989. The album was a breakthrough success for the band and garnered critical acclaim, with many critics regarding it as one of the greatest British albums ever recorded. At this time the group decided to capitalise on their success by signing to a major label; then, their current record label Silvertone would not let them out of their contract, which led to a long legal battle that culminated with the band signing with Geffen Records in 1991, and then releasing their second album Second Coming, which was met with lacklustre reviews in 1994. The group soon disbanded after several lineup changes throughout the supporting tour, which began with Reni first departing, followed by Squire.

Following much intensified media speculation, The Stone Roses called a press conference on 18 October 2011 to announce that the band had reunited and would perform a reunion tour of the world in 2012, including three homecoming shows in Heaton Park, Manchester. Plans to record a third album in the future were also floated. In June 2012, Chris Coghill, the writer of the new film which is set during the Stone Roses 1990 Spike Island show, revealed that the band “have at least three or four new tracks recorded”. In June 2013, a documentary about the band’s reformation directed by Shane Meadows and titled The Stone Roses: Made of Stone was released.

In 1988 and early 1989 The Stone Roses recorded their debut album at Battery Studios and Konk Studios in London and Rockfield Studios in Wales, produced by Leckie. The first single for Silvertone, “Elephant Stone“, made little impact, and in early 1989 the band’s performances outside the north-west were still attracting small audiences. “Made of Stone” received more press attention and was picked up for airplay by DJ Richard Skinner on his late night Radio One show, but peaked at number ninety on the UK Singles ChartThe Stone Roses was released in April / May 1989, initially to mostly positive reviews, and entered the UK Albums Chart at number 32 in mid-May, the highest position it would reach that year. This was followed with the single “She Bangs the Drums“, which gave them a top forty UK hit, and a number one on the UK Independent Chart, and by that point they were receiving much greater press attention and were selling out shows across the country. The band gained widespread notoriety when, one minute into a live 1989 TV performance on the BBC’s The Late Show, the power failed, prompting Ian Brown to repeatedly roar “Amateurs!” at Tracey MacLeod. Later in 1989 the band released a double A-side single, “Fools Gold/What the World Is Waiting For“, which reached number eight on the UK Singles Chart in November.[61] Originally intended as a B-side, “Fools Gold” quickly became the Roses’ most famous song and a performance of it on Top of the Pops cemented their national fame. It gave them their first top ten hit and the album rose to number nineteen in the chart early the following year.

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02.. JOY DIVISION – UNKNOWN PLEASURES – 1979

Joy Division - Unknown Pleasures 1979

Joy Division – Unknown Pleasures 1979

Joy Division formed in Salford, Greater Manchester (where I live) in 1976 during the first wave of punk rockBernard Sumner and Peter Hook had separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall on 4 June 1976, and both embraced that group’s simplicity, speed and aggression. Forming a band with their friend Terry Mason on drums, Sumner on guitar and Hook on bass, they advertised for a vocalist. Ian Curtis, who Sumner and Hook already knew, applied and, without having to audition, was taken on. After a number of changes of drummer, Stephen Morris joined the band—at that time called Warsaw—in August 1977. To avoid confusion with the London punk band Warsaw Pakt, they renamed themselves Joy Division in late 1977.

After signing with RCA Records in early 1978, Joy Division recorded some demos; however, they were unhappy with the way their music was mixed and asked to be released from their contract. The band’s first recording was the self-produced extended play (EP), An Ideal for Living, which was released in June 1978. They made their television debut on Tony Wilson‘s local news show Granada Reports in September 1978. According to Hook, the band received a £70,000 offer from Genetic Records in London However, the band’s manager, Rob Gretton, approached Wilson about releasing an album on his Factory Records label. Wilson explained that Gretton had calculated that with Factory’s 50/50 split of profits, the group could make as much money with the indie label as it could signed to a major label. Wilson added that one of Gretton’s main reasons for approaching Factory about an album release was so “he wouldn’t have to get on a train to London every week and ‘talk to cunts‘. No one could use the word ‘cockney’ with as much contempt as Rob”. Gretton calculated that the album would cost £8,000 to produce; however, Wilson said in 2006 that the final up-front cost was £18,000.

CLICK THE YOU TUBE LINK  BELOW TO LISTEN TO IT.

01.. PINK FLOYD – THE DARK SIDE OF THE MOON 1973 – 

Dark_Side_of_the_Moon

Pink Floyd – The Dark Side Of The Moon 1973

The Dark Side of the Moon is the eighth studio album by the English progressive rock band Pink Floyd, released in March 1973. It built on ideas explored in the band’s earlier recordings and live shows, but lacks the extended instrumental excursions that characterised their work following the departure in 1968 of founder member, principal composer, and lyricist, Syd BarrettThe Dark Side of the Moon‘s themes include conflict, greed, the passage of time, and mental illness, the latter partly inspired by Barrett’s deteriorating mental state.

Developed during live performances, an early version of the suite was premiered several months before studio recording began; new material was recorded in two sessions in 1972 and 1973 at Abbey Road Studios in London. The group used some of the most advanced recording techniques of the time, including multitrack recording and tape loopsAnalogue synthesizers were given prominence in several tracks, and a series of recorded interviews with the band’s road crew and others provided the philosophical quotations used throughout. Engineer Alan Parsons was directly responsible for some of the most notable sonic aspects of the album as well as the recruitment of non-lexical performer Clare Torry. The album’s iconic sleeve, designed by Storm Thorgerson, features a prism that represents the band’s stage lighting, the record’s lyrical themes, andkeyboardist Richard Wright‘s request for a “simple and bold” design.

The Dark Side of the Moon was an immediate success, topping the Billboard Top LPs & Tapes chart for one week. It subsequently remained in the charts for 741 weeks from 1973 to 1988. With an estimated 50 million copies sold, it is Pink Floyd’s most commercially successful album and one of the best-selling albums worldwide. It has twice been remastered and re-released, and has been covered in its entirety by several other acts. It spawned two singles, “Money” and “Time“. In addition to its commercial success, The Dark Side of the Moon is one of Pink Floyd’s most popular albums among fans and critics, and is frequently ranked as one of the greatest albums of all time.

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Posted by on May 22, 2014 in Top Tens

 

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