Brett Schewitz Brett Schewitz

#421 M.I.A., 'Arular' (2005)

This album is not so much about the music as it is about what the lyrics are saying. Inspired by the music she used to listen to growing up in the UK, ‘Arular’ is a mix of hip hop, grime, ragga and electronic.

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Brett Schewitz Brett Schewitz

#422 Marvin Gaye, 'Let's Get It On' (1973)

This has got to be, if not THE, then definitely in the top 3 most sexy albums of all time. In 1971, Gaye released his most commercially successful album; the socially conscious ‘What’s Going On.’ The success of that record allowed him to renegotiate his record contract.

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#423 Yo La Tengo, 'I Can Hear the Heart Beating As One' (1997)

While critically acclaimed, the band hasn’t received much mainstream success.

‘Moby Octopad’ has such a great walking bass line. Although the second track, it really sets the mood for the album. Next up is second single, ‘Sugarcube,’ which takes at least 30 seconds to get started and includes a lot of experimental guitar solos.

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Brett Schewitz Brett Schewitz

#424 Beck, 'Odelay' (1996)

Beck is one of the most interesting and prolific artists of the past 20 years. In 16 years he has released 14 albums (3 of those were in 1994). I always thought ‘Odelay’ was his second album, but its in fact his fifth. What began as an acoustic record, thanks to the production of the Dust Brothers, ‘Odelay’ became an album so unique in aesthetic.

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Brett Schewitz Brett Schewitz

#425 Paul Simon, 'Paul Simon' (1972)

Paul Simon’s second solo record and first since the dissolution of Simon & Garfunkel. That last S&G record was practically a Paul Simon record in all but name. This album follows sounds and themes from that record and foreshadows his experimentation with different genres on ‘Graceland,’ for example the reggae sounds of ‘Mother & Child Reunion’ (a song named after a chicken and egg dish that Simon had in a Chinese restaurant – think about it for a second).

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Brett Schewitz Brett Schewitz

#426 Lucinda Williams, 'Lucinda Williams' (1988)

The eponymous third album by Lucinda Williams put her at the forefront of the Americana movement. Williams struggled shopping the demo of this record around to labels as most felt it was either to rock to be country or too country to be rock.

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Brett Schewitz Brett Schewitz

#427 Al Green, 'Call Me' (1973)

This is why I find Greatest Hits collections contentious. Al Green’s Greatest Hits appeared at #456. I kinda get it when it’s so culturally important that the collection itself could be an album, but when artists like Al Green have albums as good as ‘Call Me,’ it feels like a wasted spot.

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#428 Hüsker Dü, 'New Day Rising' (1985)

A band rooted in punk rock, this record maintains the sparse, albeit more advanced production of their earlier records, while shifting the sound to more melodic songs. At the time, the band was even accused of “selling out.”

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Brett Schewitz Brett Schewitz

#429 Four Tops, 'Reach Out' (1967)

A classic Motown record, ‘Reach Out’ was the most successful record for Four Tops, featuring six (6!) Top 20 singles. The almost-title track, ‘Reach Out I’ll Be There,’ was the band’s second and final #1 single.

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Brett Schewitz Brett Schewitz

#430 Elvis Costello, 'My Aim Is True' (1977)

The debut album by Elvis Costello is an understated record of back to back genius songwriting. Costello recorded it over six four-hour studio sessions, to total record of 24 hours. He would call in sick from his day job as a data entry clerk to make the recordings; a job he maintained throughout the release of the first two singles.

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Brett Schewitz Brett Schewitz

#431 Los Lobos, 'How Will the Wolf Survive?' (1984)

The album starts off with the rockabilly song, ‘Don’t Worry Baby’ (not a Beach Boys cover). I like me some rockabilly, so good start. ‘A Matter Of Time’ is a slower ballad that wouldn’t be out of place by a teen band from the 1950s. And then comes ‘Corrido #1.’ Holy shit, this song drove me crazy.

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Brett Schewitz Brett Schewitz

#432 Usher, 'Confessions' (2004)

The album is personal and raw. Many of the songs are about the breakdown of his relationship with Chilli from TLC. The album is smooth and sultry, slow and sexy and 16 years later it still drives me nuts. I don’t feel it ever gets started.

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Brett Schewitz Brett Schewitz

#433 LCD Soundsystem, 'Sound of Silver' (2007)

This album kicked a door open in my mind that has since never closed. This album has it all; it’s electronic, it’s punk, it’s indie, it’s funky. It certainly keeps you on your toes.

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#434 Pavement, 'Crooked Rain, Crooked Rain' (1994)

This is one of the most underrated albums of the past 30 years. Last time around, this album was a major highlight on the list for me. It was the first time I’d heard it and I’ve listened to it many times since. On their second album, Pavement delivered a 5-star album of slacker rock. An album that surely inspired artists like Violent Soho, Mac DeMarco, Speedy Ortiz, Car Seat Headrest, Courtney Barnett, Modest Mouse etc.

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Brett Schewitz Brett Schewitz

#435 Pet Shop Boys, 'Actually' (1987)

Next up, is British synth-pop duo, Pet Shop Boys’ second album. Pop music with a conscience. The album was recorded in anticipation of Margaret Thatcher’s re-election and comments heavily on Thatcherism and beyond.

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#436 2Pac, 'All Eyez on Me' (1996)

The final album to be released in Pac’s lifetime came out 7 months before his untimely murder. At 132 minutes over two CDs, this album really showcases the who’s who of ‘90s hip hop on production and features; Dr Dre, Snoop Dogg, Method Man, Redman, Warren G and George Clinton amongst many others.

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#437 Primal Scream, 'Screamadelica' (1991)

‘Screamadelica’ was a major influence on so many people; musicians and fans alike. Released by Creation Records, the label that would go on to sign Oasis, the album was the inaugural winner of the Mercury Music Prize in 1992.

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Brett Schewitz Brett Schewitz

#438 Blur, 'Parklife' (1994)

1994 was a defining year in music. It gave us two of the biggest albums in British music, kickstarting the Britpop music scene. One was Oasis’s debut, ‘Definitely Maybe,’ the other was this, rival band Blur’s third album.

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Brett Schewitz Brett Schewitz

#439 James Brown, 'Sex Machine' (1970)

Ever the showman, James Brown would lead you to believe that this double album is made up completely of live recordings. As it turns out, the first disc was recorded in studio. Reverb was added to it, as was live applause. It’s an unconventional way to present an album, but then James Brown was an unconventional artist.

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Brett Schewitz Brett Schewitz

#440 Loretta Lynn, 'Coal Miner's Daughter' (1971)

‘Coal Miner’s Daughter’ is an autobiographical album released when Lynn was just 39 years old. Although a young age for most, by this stage, Lynn already had 4 children aged 23, 22, 19 and 20. As the title suggests, Lynn was born a coal miner’s daughter.

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