Top 20 Personal Favorite Albums of All Time / My Extreme Anglophilia sets in

1. The Beatles – Revolver (1966)

• My absolute favorite Beatles album. Contrary to the sparse production of Sgt. Pepper's Lonely Hearts Club Band, Revolverhas a rich production value that can't be rivaled. The album is full of ideas and genres, ranging from west coast psychedelia, northern soul, Motown, folk, folk rock, hard rock, pop, music hall (the english equivalent of american vaudeville), experimental rock and electronica, pre-dating it by nearly 20 years.
• Lessons Learned: Genre jumping is not a bad thing; being diverse can be artistically, commercially and satisfactorily done, Taking chances is a very good thing, Coping other people is a great idea, Good songs help too!

2. Beach Boys - Pet Sounds (1966)

• If one dislikes the Beach Boys, then you haven't heard them. Pet Sounds is the apex of pop music in any shape or form. Bridging classical music with then modern day pop music, Brian Wilson created Pet Sounds to surpass the Beatles' Rubber Soul in 1966. The album showcases the Beach Boys' rich harmonic vocal sounds with the best session musicians in the California area.
• Lesson Learned: Production is key!

3. Franz Ferdinand – Franz Ferdinand (2004)

• Quite Possibly the best album to ever come out of Scotland, and hands down the best to come out of the UK since 1995. The independent gem that is Franz Ferdinand's debut LP change my life in more ways anything else has in the world. When deciding on how to pick the albums that change my life I looked to this album. This album brought me back to music and has influenced me more than Bowie and the Beatles combined. The sparse nature of the album's production and songs made music interesting, intellectual and very simple. The album is quintessentially simple. Down to it's fibers it is DIY to the utmost.
• Lesson Learned: Keep it simple, stick to your guns; Don't compromise on your goal on an overall sound

4. Squeeze – Singles: 45’s and Under (1982)

• Pop has never been so quirky and well written. The Beatles maybe the best at, well, everything, but Squeeze might have the best singles. From the Pub Rock scene of New Wave, Squeeze almost brought back guitar based music to the forefront in the late 70's/early 80's. Whether or not they did, Squeeze made some pretty good records, as uneeven as they might be. 45's and Under is the quite possibly the best compilation in music, up against the Rolling Stones' Hot Rocks and the Buzzcocks' Singles Going steady (which unfortunately didn't make the cut). Too bad Squeeze didn't get as big as the Beatles, what if they did? The music press was wrong to compare the songwriting duo of Glen Tilbrook and Chris Difford to Lennon and McCartney. Their partnership was closer to that of Rogers and Hammerstien, Ira and Geoirge Gershwin, Kurt Weil and Bertolt Brecht,and Johnny Mahr and Morrissey, one supplying lyrics while the other contributes music.
• Lessoned Learned: Take chances, melodies melodies melodies

5. David Bowie – Hunky Dory (1971)

• I think Bowie was coasting up until this point in his career. Hunky Dory, compared to his previous efforts, is significantly different in style, order and execution. The Led Zeppelin/prot-metal of The Man Who Sold the World is out of Bowie's system along with the psychedelic folk of Space Oddity and the dreadful music hall leanings of his first album, leaving Bowie to take up the singer/songwriter genre than dominated the early 70's. The Chameleon that Bowie is, it wouldn't be a surprise that he would join the ranks of Todd Rundgren, Elton John, carole King, James taylor, Joni Mitchell on a more M.O.R. album.
• Lesson Learned: Big melodies, big (no pun intended) changes reap new rewards artistically, knowing multiple chord based instruments can lead to different types of songs

6. The Kinks – The Kinks are the Village Green Preservation Society (1968)

• Much like surf gods the Beach Boys, I think The Kinks have been under-appreciated in America in the mainstream. It's not hard to explain why, Ray Davies didn't make it a point to make the Kinks relevant in the late 60's, the 70's, or the 80's. Davies turned a blind eye towards the english psychedelia of the Small Faces, the Pink Floyd and the Hollies (which I have to admit all abandoned it immediately when it became unfashionable) and fine tuned his skills as a commentator of modern and the once forgotten, though never existed, Great Britain. In my opinion, if it wasn't for psychedelic music this album would have translated well since just a few years earlier the Kinks scored hits with 'Well Respected Man' and 'Sunny Afternoon'. Both had lyrical themes that were the foundation of the Village Green PReservation Society album. In terms of influence, the album is up there with anything the Beatles, Stones, Queen and Pink Floyd have done. Davies has created a masterpiece that has spawned new genres and inspiriting bands such as Blur, the Jam, Madness, and the Kaiser Chiefs to carry on his vision of a Britain that was lost, but never obtained.
• Lesson Learned: Go against the grain and listen to your heart

7. Roxy Music – Country Life (1974)

• Roxy Music is one of those bands where you listen to them and find out where nearly a whole generation of bands stole their stuff from. Duran Duran is pretty much a Country Life/Siren rip off with out the violin and saxophone treatments (see Out of the Blue, Both Ends Burning), David Bowie nicked a few things from Bryan Ferry and worked with Brian Eno extensively and the Talking Heads took some notes from this band and worked with Brian Eno on a few things (see Love is the Drug and Psycho Killer, hell, David Byrne's singing, Remain in Light, More Songs about Buildings and Food, and Fear of Music). So, if Roxy Music wasn't as commercially recognized, artistically and in terms of influence they are one of the biggest bands on the planet. Country Life is the band's best album hands down.
• Lessons Learned: Be weird but be really good at it, take chances, embrace other things besides pop music like Broadway, synthesizers and guitar treatments than don't come out of a box

8. Fountains of Wayne – Utopia Parkway (1999) Total 90.75

• Concept albums are really good, i am a sucker for them. British concept albums can range from very scripted (Tommy and Quadrophenia both by the Who, The Village Green Preservation Society by the Kinks) to very abstract (Sgt. Pepper's Lonely Hearts Club Band by the Beatles, The Who Sell Out by the Who, Modern Life is Rubbish by Blur). Unfortunately, American pop groups never ventured so strictly as the Brits did, country music takes up that mantle. Fountains of Wayne take a chance and make an attempt a Ray Davies inspired commentary album. It's hard to make Fountains of Wayne as an American band, they have more in common with most british bands of yesteryear than their contemporaries. It's hard to see Weezer writing an album with this kind of lyrical prowess.
• Lessons Learned: Do what you like and be true to yourself and your music; don't listen to critics or fans

9. The Clash – London Calling (1979) Total – 89.75

• The Clash have a lot more in common with English pop music than the nihilistic tendencies of punk music. Joe Strummer was the personification of a punk, but his music, I believe, is rooted somewhere else. He believe in the DIY, libertine ascetic of the punk movement, but he saw the destructive nature of the genre/movement. That explains why the Clash had a career unlike most of their contemporaries who were here today and gone tomorrow. The diversity of London Calling is evident of the Clash's music and ideals. There's roots rock 'n' roll, music hall, new wave, ska, funk, Northern soul, proto-hip hop, along with punk. It might be a long album, but it goes by fast. the material is enjoyable and constantly genre hopping. The lack of focus on genre bending makes it easy to swallow, which Sandinista!, Big Auido Dynatimte had trouble with.
• Lessons Learned: Be diverse, even though you have three chords in every single song

10. Blur – Modern Life is Rubbish (1993) Total – 91.5

• Suede herald the coming of Britpop, but Blur was it's Kings. AFter the dreary shoegaze and baggy infused first album, Blur regrouped with Modern Life is Rubbish and took the crown of great English pop kings. Takings advice from classic English pop, punk, new wave, 2 tone ska, glam rock, and music hall, Blur created Britpop. The album maybe be patchy, dated and long winded in certain areas, but proves that the Brits know how to write pop music better than most Americans. THe lyrical themes are similar to those found on The Rise and Fall by Madness and the aforementioned Village Green Preservation Society, but modernizes it in a modern guitar based, genre bending way. As much as the Kinks and Madness are projected through the album, the Clash's and the Beatles' diversity and genre bending is used and further explored on Modern Life's sequels Parklife and the Great Escape. The trilogy of Blur's Britpop albums, in my opinion, make London Calling, Rise and Fall, Revolver, Village Green Preservation Society, Odgen's Nut Gone Flake stepping stones in some long winded British take over of popular music that might never happen.
• Lessons Learned: Building on an artists' works for music as much as it does for art, architecture or anything else that's creative

11. The Rolling Stones – Hot Rocks, 1964-1971 (1971)

• The Rolling Stones, unfortunately, never carved out their signature sound until they released Jumpin' Jack Flash in May of 1968, a few months before Hot Rock was released. One of the greatest compilations, Hot Rocks was not authorized by the band, but the groups manager at the time. WHen the group found out they were a bit disappointed. Ironically, it's the group's best selling album. Full of great tracks during their, british invasion run and transformation into Rock 'n' roll legends. The songs are spectacular, though it's a fault that they are copy cats throughout the whole album. Blues and Chess Records rock 'n' roll is heard on Side A of Disc 1 which then transforms into their interpretation of the Kinks' commentary-based folk rock and gloomy psychedelic/music of the Beatles on Side B. Disc 2, Side A is a brief look at what the Rolling Stones where becoming in rapid succession. I don't mind that the Rolling STones copy the Kinks and the Beatles. I embrace it, in fact. It yielded some of the best material they've ever offered and some of my favorite songs in the world. It demonstrates how devoted Mick and Keith and to a lesser extent Brian Jones were so devoted to rock and roll. Just read the lyrics and you'll see.
• Lessons Learned: Write good lyrics, copying other artists isn't a bad thing if the songs aren't bad, If you can't find out what you sound like initially try everything

12. Badfinger - Straight Up (1971) Total - 85

• Badfinger is one of the most tragic bands in rock 'n' roll. Badfinger's success was eluded by horrible managers and lack of promotional help by both the band itself and it's record labels. It didn't stop them from creating some of the best pop music. One thing their firs manager made them do was write great songs, other than that I don't know if he did anything else great. Straight Up is the band's most complete effort. Although their other albums have great songs, this album is a perfect representation of power pop.
• Lessons Learned: Good melodies are really important

13. The Monkees - Pisces, Aquarius, Capricorn & Jones Ltd. (1967)

• I guess this is sorta lame to include this but I don't know any other band or artists that represents American songwriters at the time. Let's leave out the fact that the Monkees were a manufactured band and had more in common with the Partridge Family than the Beatles, it's a silly argument considering everything in modern music is manufactured, so nay sayers who never listened to this album need to shut the hell up. If this was listen-able in 1967, I think people would go absolutely bonkers if they heard how music was made today. Overdubs and second generation tapes plagued the Monkees career (that downgrading creates hiss). Compared to most albums in 1967 it doesn't sound like a brand new record, it sounds older, but besides that the songs are complete fantastic and that's the real merit of the album. You can't go wrong with a Nilsson song, a Boyce/Hart song and a Goffin/King song on the same album. That's like if God wanted to make an album he'd call them up to submit a song.
• Lessons Learned: Can't write a song right now or at all? Then cover it or hire someone

14. The Beatles – Sgt. Pepper’s Lonely Hearts Club Band (1967)

• Sgt. Pepper's Lonely Hearts Club Band is fantastic, there is no doubt about that. But I rarely see it as the most ultimate album in the world. It's influence is astronomical and spreads beyond the realm of music, but as an overall Beatles album it does not work. Truthfully it's a joint solo album by John and Paul with a guest appearance by George and Ringo. All of Paul's material was performed solely by himself and/or sessions musicians. Ideas and new sounds are abundant but there is more to be desired as whole band on some songs. Maybe that's what the John, Paul and George Martin wanted at the time.
• Lessons Learned: Solo project or band: pick one or the other

15. The Zombies - Odessey and Oracle (1968)

• The jazz injected pop music of the Zombies was unique to them and solely them during the British invasion. Not releasing a full album including their hit singles or any other kind of album for that matter, Odessey & Oracle was their first and last album. With the shift in popular musical styles in 1967, the Zombies went along with the Beatles, (for a short time) the Rolling Stones, (also for s short time) the Who and the Small Faces. Not doing what the Kinks did, the Zombies embraced the psychedelic route, incorporating into their jazz-pop sound, which, to my astonishment did not start a new sub-genre of psychedelic music. Unfortunately, like most of the albums on this list, the album never made a big impact on the mainstream culture, but on hardcore music fans.
• Lessons Learned: good songs and melody are very important, following the trend might not be a bad thing, incorporate new genres into your own already developed sound will yield spectacular results

16. David Bowie – The Rise & Fall of Ziggy Stardust & the Spiders from Mars (1972) Total 91.25

• Building up on what was left on Hunky Dory, David Bowie created the glam rock hero Ziggy Stardust. More complete as a concept, but not as strong as his previous effort, Ziggy Stardust catapulted Bowie into superstardom which was renounced in his follow up Aladdin Sane. A loose concept album based on ideas and characters than an overall storyline works well and does not frustrate or tire out the listener, much like other highly scripted concept albums. Bowie devised Stardust as a performance piece which makes sense since other songs from his past albums were included in the Ziggy Stardust shows.
• Lessons Learned: Performance does not stop at the concert hall, concepts can be loose and not strict

17. XTC – Black Sea (1980) Total 78.25

• Talking Heads were making pop music in a smart way, though not confining themselves to the pop form. Treading lightly, doing it once and a while, but in their own way. XTC made weird pop music. Not as experimental as the Heads, XTC took the pop format and wrote some really wacky melodies and songs. This is when it was starting to come together as was the previous album, Drums and Wires. Borrowing certain elements of the Beatles, the Kinks, Talking Heads, Roxy Music and their contemporaries, XTC began to craft their pastoral atonal pop music. Unfortunately, Andy Partridge got side tracked during the mid 80's when he discovered the synthesizer and drum machine (Mummer and The Big Express). Getting back on track with the sonically gorgeous Skylarking and psychedelic side project the Dukes of Stratosphear, most of what made XTC quirky had been lost in a psychedelic undercurrent.
• Lessons Learned: Stay the coarse for an album, I'm not sure about a whole careeer, but hell XTc made some really really great records so there really is any complaining

18. Madness – One Step Beyond (1979) Total 83. 5

• I don't know why Madness gets pinned as being strictly a ska band. THat sells them way too short. Madness was a pop band in the simplest way, they just happened to be playing and influenced ska along with pop music. Building up on The Kinks' Village Green Preservation Society and related works, Madness simplifies the proto-brit pop form under their trademark 'nutty sound.' The depth of their music sets them apart from their ska contemporaries, which makes them more relevant than the others. The inclusion of pianos and intellectual Davies-Inspired theme let them keep going until this very decade
• Lessons Learned: Do not limit yourself to one specific genere, incorporate differetn instruments in a genre that is flooded by a certain instrument

19. Oasis - Definitely Maybe (1994)

• Strictly rock and roll, Oasis was. Not as artsy as Suede, punk as Supergrass, or intellectual as Blur, Oasis provided the missing piece in the four tier-apex of the Brit-pop genre. Taking the crown of guitar based rock from the Stone Roses, who once took it from the Smiths, Oasis became even bigger than both groups in the UK for a time in 1995. Blur claims having a hit in the US, but Oasis didn't know how to change from the guitar based pop of Brit-pop to the post-brit-op and grunge slam of bands like Radiohead and Pavement. A sister to My Bloody Valentine's Loveless, Definitely Maybe plays like a missing classic. Guitars in abundance, the record is the equivalent of a non-dance based shoegaze record.
• Lessons Learned: Know the pop format

20. Madness –The Rise & Fall (1982) Total – 79.75

• Developing further, the Rise and Fall and it's accompanying singles reach the pinnacle of their nutty sound and interpretation of the Ray Davies lyrical style. Leaning towards more gothic sounding ska, Madness paints a picture more of the Britain of now and traditional values that haven't and have not changed since the release of the album. The romanticism of Davies' is infinitely deleted from the Nutty Boy's songs. The songs are more political, gothic and nursery rhyme -like which fit the band better than Davies's yearning for a lost England. These lyrical themes would be broaden even further by Blur's Damon Albarn.
• Lessons learned: Fine tuning a craft yields, by far, the greatest results

Honorable Mentions (in no order)

1. Kasabian - The West Ryder Puaper Lunatic Asylum

2. Talking Heads- Talking Heads: 77

3. Frank Zappa - Over-Nite Sensation (1973)

4. The Doors -The Doors (1967)

5. The Who - Tommy (1969)