Guardian "Alternative" Top 100 Albums (Some Bob content)
Tiernan Henry
today. Compiled by Tom Cox, it'll raise a few eyebrows, and more than
a few hackles. Send your complaints to the Guardian (I believe
they're looking for feedback). You'll find the list at their site:
www.guardian.co.uk
Follow the links.
Tiernan
______________________________________________________
Uncharted waters
Aren't you sick of the same old records appearing in those 'best
albums of all time' lists? So is Tom Cox -which is why he has asked a
panel of experts to vote for their overlooked favourites
Friday January 29, 1999
No one can resist a list, and 1999, which should have been christened
International List Year, is destined to be 12 months of enumeration,
tabulation and reassessment during which we'll find out who was best
at every activity from zebra-washing to transworld semiotics. Music
fans might feel a bit left out in the midst of all of this chaos,
since most of the major publications, succumbing early to the onset of
millennium fever, have already conducted their Best Albums Of All Time
In The World . . . Ever! polls - a couple of years ago in some cases.
The usual top 10 contenders - Pet Sounds by The Beach Boys, Revolver
by The Beatles, What's Going On by Marvin Gaye, Astral Weeks by Van
Morrison - don't really change, only the order in which they are
arranged. Which must mean either that we have formed an abnormally
well-defined idea of what the century's greatest audio masterworks
are, or that Best Albums Ever lists have become tedious and
counterproductive.
I believe it is a case of the latter: that's one of the reasons I
wanted to conduct an alternative best-ever poll. The other reasons?
Because the British music scene's perception of pop's canon is
currently about an eighth as wide as it ought to be. Because rewriting
the past, giving neglected cult classics greater status than they
achieved during their natural lifetime, is seditious fun. Because the
majority of people I spoke to in the music industry before conducting
the poll protested that the likes of Pet Sounds, Sgt Pepper's Lonely
Hearts Club Band and What's Going On - though good enough - are hugely
overrated and far from the finest achievements of the artists
concerned. Because I am male, and must make at least five lists every
hour.
For the exercise - assemble a well-researched, even-handed top 100,
jam-packed with neglected masterpieces - to be successful, the rules
had to be complicated. Using best-album lists published in Q, Mojo,
the Independent, the Guardian, Rolling Stone, Spin and Virgin's Book
Of All Time Top 1000 Albums for extra research - I made a list of
established "classics", the kind of titles that make pop archivists
yawn. Next, a mixture of historically aware folks from all areas of
the music business were issued with a voting form and asked for their
top 20 albums of all time, in order, excluding those on my yawn list.
A few immediately balked at the idea, couldn't bring themselves to go
through with it when so many of their flexible friends had been
banished. Others blithely assured me that they wouldn't have selected
anything on the yawn list anyway, and acted like they'd been waiting
for this moment all their life, returning their magic 20 within a
matter of minutes. Twenty was too many for some, nowhere near enough
for others. Several critics found the list was a welcome alternative
to real work, particularly those with strict deadlines looming.
With 50 lists lovingly - if not always carefully and correctly-
completed and returned, the totting-up commenced: 20 points for the
number one album in each list, 19 for number two . . . all the way
down to one point for number 20. An extra five points were awarded for
each vote an album received- this ensured that every album in the
final top 100 had amassed at least two votes. Albums on the yawn list
which tried to sneak their way in were ignored. Greatest hits
compilations were ignored. Lemmy from Motorhead's appeal to be allowed
one more vote than everyone else was ignored. Albums from the last two
years were ignored, on the basis that it takes at least two years'
hindsight to see an album's true worth, and as an antidote to the sort
of thinking that made Q crown Radiohead’s OK Computer "Best Album
Ever" three months after its release.
This, then, is a top 100 with a long-term memory, where you just might
stumble across a lost treasure which you never knew existed, or never
knew was any good, or never dared buy because you thought your
housemates would take the piss. It's predictable in places: the
Beatles are represented twice in the top 10, despite having seven of
their albums banned. The seventies dominate, with 47 representatives,
and, according to my calculator, the optimum year for a cult classic
is 1978, which is no surprise, seeing as we're living in an eternal
seventies revival.
Other observations? Singer-songwriters, largely overlooked in
best-ever polls throughout the eighties, are fighting back. The top 20
reads almost like a list of the influences behind Gomez's Mercury
Music Prize-winning Bring It On album. Neil Young is massively
popular, but handicapped by an abundance of fantastic albums. Nick
Drake still pips him to the title of Most Frequently Chosen Artist,
though- not to mention the overall number one spot.
Is Bryter Later as good as Revolver or Pet Sounds, really? It
certainly deserves to be heard by just as many people, as do the other
99 culprits here. This top 100 is by no means definitive - how could
it be when most personal top twenties change from week to week? - but
it does the job it was intended to, opening up the thoroughly
unfashionable (Todd Rundgren, Earth Wind And Fire) for
reinterpretation, trashing some myths (e.g. the "creative famines" of
Brian Wilson and Sly Stone straight after their respective landmarks,
Pet Sounds and There's A Riot Goin' On), and proving that there's an
equally fantastic pop canon lurking in the shadows just behind the one
we all know and eulogise.
The established classics our judges weren't allowed to choose
Friday January 29, 1999
ABC The Lexicon Of Love
The Beach Boys Pet Sounds
The Beastie Boys Licensed To Ill, Ill Communication
The Beatles Sgt Pepper's Lonely Hearts Club Band, Revolver, Let It Be,
Abbey Road, Rubber Soul, Help
Beck Odelay
Björk Debut
Blondie Parallel Lines
Blur Parklife
The Boo Radleys Wake Up Boo!
David Bowie The RiseAnd Fall Of Ziggy Stardust And The Spiders From
Mars, Heroes, Low, Diamond Dogs, HunkyDory
James Brown Live At TheApollo
The Byrds Mr Tambourine Man Fifth DimensionYounger Than Yesterday
CaptainBeefheart Trout Mask Replica
Eric Clapton 461 Ocean Boulevard
The Clash London Calling, The Clash, Give 'Em Enough Rope
ElvisCostello This Year's Model, Armed Forces
Cream Disraeli Gears
Miles Davis Kind Of Blue
De La Soul Three Feet High... And Rising
Dire Straits Brothers In Arms.
The Doors The Doors, LA Woman
Bob Dylan Blonde On Blonde, Highway 61 Revisited, Blood On The
Tracks, Bringin' It All Back Home
The Eagles Hotel California
Eric B And Rakim Paid In Full
Fleetwood Mac Rumours
Garbage Garbage
Marvin Gaye What's Going On,Let's Get It On
Guns N' Roses AppetiteFor Destruction
Happy Mondays Bummed, Pills,Thrills And Bellyaches
Jimi HendrixElectric Ladyland, Are You Experienced?
The Human League Dare
Michael Jackson Thriller, Bad, Off The Wall
The Jam Sound Affects, All Mod Cons
Jesus And Mary Chain Psychocandy
Joy Division Unknown Pleasures, Closer
Carole King Tapestry
The La'sThe La's
John Lennon Imagine, Plastic Ono Band Love Forever
Changes
Madonna Like A Prayer, Like A Virgin
The Manic StreetPreachers Everything Must Go, The Holy Bible,
Generation Terrorists
Bob Marley Legend
Massive Attack Blue Lines
MC5 Kick Out The Jams
Joni Mitchell Blue
The Modern Lovers The Modern Lovers
Alanis Morisette Jagged Little Pill
Van Morrison Astral Weeks,Moondance
New Order Technique, Low-Life
Nirvana Nevermind, In Utero, Unplugged In New York
Oasis DefinitelyMaybe, (What's The Story) Morning Glory
Ocean ColourScene Moseley Shoals
Mike Oldfield Tubular Bells
PinkFloyd Dark Side Of The Moon, The Wall
Pixies Surfer Rosa,Doolittle
Portishead Dummy
The Pretenders ThePretenders
Primal Scream Screamadelica
Prince Sign O' The Times, Purple Rain
The Prodigy Music For TheJilted Generation, Fat Of The Land
PublicEnemy It Takes A Nation Of Millions To Hold Us Back
PulpDifferent Class, His'n'Hers
Radiohead OK Computer, The Bends,Pablo Honey
The Ramones The Ramones
Otis Redding Otis Blue
Lou Reed Transformer
The Rolling Stones ExileOn Main St, Beggars Banquet, Let It Bleed,
Sticky Fingers
The Sex Pistols Never Mind The Bollocks
Simon And Garfunkel Bridge Over Troubled Water, Bookends, Sounds Of
Silence
Sly And The Family Stone There's A Riot Goin' On
Smashing Pumpkins Siamese Dream, Melon Collie And The Infinite
Sadness
Patti Smith Horses
The Smiths The Queen Is Dead, Meat IsMurder, The Smiths, Hatful Of
Hollow
Bruce Springsteen Born To Run, Born In The USA
The Stone Roses The Stone Roses
The Stooges The Stooges
Suede Coming Up, Dog Man Star, Suede
Teenage Fanclub Bandwagonesque
Television Marquee Moon
U2 The Joshua Tree
Various Saturday Night Fever
The Velvet Underground The Velvet Underground & Nico
The Verve A Northern Soul
Paul Weller Stanley Road, Wild Wood
The Who Who's Next, The Who Sell Out
Wings Band On The Run
Stevie Wonder Songs In The Key Of Life, Innervisions, Talking Book
Neil Young After The Goldrush, Harvest, Rust Never Sleeps
The alternative top 100
Friday January 29, 1999
1 Nick Drake
Bryter Layter
(Island, 1970)
Look at Nick Drake on the front cover of his second album, hunched
over his acoustic guitar, half lost in his hair, unable to commit to
the camera. Isn't it obvious? He wants to be left alone. Just because
he makes tormented, elegant folk music, it doesn't mean he should have
to communicate with the rest of the human race.
Bryter Layter's belated acclaim might be accounted for by the haunting
idea of the enigmatic Drake as much as its value as a consummate piece
of art.
His fellow folkie John Martyn once described him as "the most
withdrawn person I've ever met," but that's about as deep as the
average profile of Drake's character gets. Drake destested gigging,
was known to spend weeks on end without seeing another soul, and only
ever conducted one formal interview.
Almost as soon as he was "discovered" by Fairport Convention bassist
Ashley Hutchings, he was fading away. The "real" Nick has to be
unravelled from the bleakest recesses of his three-album legacy: a bit
like attempting to interrogate a ghost.
Bookended by meandering, jazzy instrumental doodles, Bryter Later is
far from perfect. But it's the flaws - Drake's desperately frail
voice, the rice-paper fragility of his intricate guitar picking -
which compel the listener to venture inside its melancholic,
tubercular universe again and again.
1972's Pink Moon (which Drake left anonymously at the reception of his
record company, Island, wrapped in a plastic bag) might be the most
ghoulish and unlistenable Drake album, but Bryter Later is the work
that so many of our voters have found themselves returning to most
frequently, intrigued by the demons which lay just underneath its
lavish topsoil. The myth that it's his "cheeriest" record lasts for
approximately as long as it takes for you to crawl all the way inside
it.
The mental picture of its creator locked inside his dank, Gothic Chalk
Farm bedsit wearing last week's clothes, without a telephone or
central heating, the ultimate tortured artist, gets clearer and more
disturbing with every listen, but the questions don't get any easier
to answer. What was this man - who died on November 25, 1974 from an
overdose of anti-depressants - all about? Why was he so fed up, when
he could make music as flowery and graceful as Hazy Jane II (the
blueprint for Belle And Sebastian's entire career thus far) and the
self-questioning Poor Boy ("a poor boy - so sorry for himself… so
worried about his health") and, despite his lack of fame, secure the
services of backing musicians as revered as Richard Thompson and John
Cale? Why would nobody buy his records? Did he actually want anyone to
buy his records?
Juxtaposing a peculiarly urban, subterranean psychiatric darkness with
gentle rivers, summer picnics and sunny meadows, Bryter Later -
stately, precious, tragic - leaves a trail of mysteries in its wake
and a recurring icy sensation in the bones of everyone who hears it.
Next time someone tells you that white boys can't sing the blues, lend
them a copy.
2 Tom Waits
Rain Dogs
(Island, 1985)
What are Rain Dogs, anyway? More to the point, what is Tom Waits? Part
lounge-lizard, part barfly, part Jabba The Hut, he lives in an
underground, bourbon-soaked world, where millionaires shovel coal
(Claphands) and the rain sounds like a round of applause. Not a
flicker of daylight creeps in on this faultless, 18-track nightmare of
rotting blues, last-orders boogie and low-life poetry. It works
because the actual tunes - always low-pitched, somehow skeletal and
dense at the same time - have an ugly-beautiful, nursery-rhyme quality
to them; it's only the delivery which is smoky, scary and bleak.
Hang Down Your Head is one of the most graceful songs ever written
after swallowing a cigarette kiosk. Rain Dogs itself is a perfect
example of how to make a mainstream album without being a mainstream
artist.
Rod Stewart has hits with Waits songs. The songwriter's last London
appearance saw him croak much of his material through a megaphone.
Waits also has a movie career. He did the soundtrack for his One From
The Heart played a lead in Jim Jarmush's Down By Law and was a
wonderfully unhinged Renfield in Interview With The Vampire. He also
co-wrote his first play, Frank's Wild Years with his wife Kathleen
Brennan. Waits is 50 this year. He has written his own epitaph. It
reads: "I told you I was sick."
3 The Band
The Band
(Capitol, 1969)
The Band's second and greatest album tells the listener more about
1769 than it does about 1969. It's the tale of pilgrims (Across The
Great Divide), farmers (King Harvest) and sailors (Rockin Chair),
rather than fried egos and psychedelics. These five enthusiastically
hirsute men sound as old as their homeland, centuries of toil and hard
work evident in their voices, and combine to make a brand of roots
rock as rich in texture as America's best-tended soil.
"The album tells no lies," American critic Greil Marcus wrote in his
legendary Mystery Train collection. It touches the size and age of the
country, takes on its fabulous multiplicity. Busier than their debut,
Music From Big Pink, The Band - which lingers in your head as a map as
much as a record - was a testament to the strength of community and
democracy, in both the manner it was created and the lives it
celebrated.
Their iconic American band status was, in fact, ironic as they came
from Canada - hence the lumberjack beards.
4 Gene Clark
No Other
(Asylum, 1974)
Clark, the most talented of the original Byrds line up by several
miles, is praised for his ability to convey the universal language of
love through stripped-down, simplistic folk-rock. No Other is widely
considered to be his tour de force, but for different reasons
altogether. This is Clark as cosmic glam warrior instead of recently
dumped acoustic troubadour, overspending and overindulging in the
studio, dressing up in drag for the sleeve photo, confronting his
mortality through choral and gospel influences, and - on Life's
Greatest Fool and The True One - revitalising the most clichéd
philosophising with a disarming, eternal loftiness. Clark's record
company virtually disowned No Other, and friends told him it was too
far out - which can only bring one to the conclusion that he was
living among a group of dead souls. You'd have to be made out of steel
not to be moved by this.
5 Nick Drake
Five Leaves Left
(Island, 1969)
Drake, aged 20, emerged almost fully-formed with his debut album. But
even fully-formed, Drake was a slight, painfully shy figure with a
wispy, breathy voice that sounded like it was about to crumble to dust
before your very ears.
Like his nearest American counterpart, James Taylor, he was a brittle
stick-insect of a man with a pastorally inclined acoustic guitar and a
gentle voice; unlike Taylor, he could scare you as much as he soothed
you. Time Has Told Me and Day Is Done are lush with a forgotten
Englishness, but they could also be the score to a never-made pagan
horror movie (a follow-up to The Wicker Man, perhaps). Fruit Tree -
"Fame is but a fruit tree / so very unsung / you can never flourish
until its stock is in the ground" - is terrifyingly prophetic: Drake
seemed to sense that his success would be posthumous. Five Leaves Left
was the record he left for the bedroom bohemians and wannabe romantic
poets of the future.
6 The Beatles
A Hard Day's Night
(Parlophone, 1964)
The pre-drugs, pre-experimental Beatles at their best. A Hard Day's
Night, often eaten up by the slipstream of excitement surrounding the
film it accompanied and written off as only a soundtrack, is the
pivotal Fabs album: the first to feature nothing but original
compositions, the last to showcase a truly unified Lennon and
McCartney, the first to hint at any sort of darkness beneath the
cuddly exterior, the one which seemed to announce the real beginning
of the sixties. Thematically, it doesn't get much further than
variations on the timeless boy-meets-girl interface -
boy-warns-girl-to-stop-flirting (You Can't Do That),
boy-is-pleased-to-find-that-girl-is-good-cook-upon-returning-from-work
(the title track) - but it still emerges as the Beatles' most
consistent, uplifting and influential LP. A millon young Americans
went out and formed a band after hearing it.
7 Curtis Mayfield
Curtis
(Buddah, 1970)
A debut LP of cutting-edge bad taste (check out Curtis's yellow suit
on the cover), good vibes (the durable feel-good funk marathon Move On
Up, which opens the LP), and omnipotent social messages from the
former Impression. Miss Black America is a cheesy indulgence (with
Mayfield asking his daughter, "my little love child", what she wants
to be when she grows up), but the rest is masterful, searing urban
soul - angry, busy and righteous on the inside, smooth, serene and
danceable on the outside. One of the most sampled records of all time,
impossible to sit still to, preachy and conscientious without being
cloying, realistic but ultimately optimistic - it doesn't matter what
your destination happens to be, Curtis provides you with the impetus
to move on up.
8 Todd Rundgren
A Wizard, A True Star
(Bearsville, 1973)
Meatloaf got him to produce Bat Out Of Hell, Liv Tyler thought he was
her dad for a while, and he made one of prog-rock's most reviled
albums (1975's Initiation). The other Todd Rundgren, one of pop's most
eccentric, experimental masterminds, exists beneath the bland terror
of these facts, clandestine to the world. A Wizard... is the Rundgren
obsessive's Rundgren album, his most complex work. Songs? They're in
here somewhere, overlapping in a chaotic acid soup of guitar
pyrotechnics, soul medleys, and spitting amplifiers - beautiful,
baffling snatches which vanish into a lysergic black hole sooner than
they've arrived, resembling the indecipherable thoughts which line the
conscience of a day. A Wizard... is like being bombarded with three
unmissable conversations whilst your TV, radio and dishwasher all do
their stuff in the background.
9 George Harrison
All Things Must Pass
(Apple, 1970)
Let It Be's For You Blue and Abbey Road's Something, which Frank
Sinatra described as the most beautiful love song ever written, hint
at which Beatle was best able to keep focused in the midst of the
petty squabbling which severed the group's alliance. All Things Must
Pass, a triple album largely made up of material written at a similar
time, suggests that Harrison hit a prolific peak in the late sixties
and found his output strictly rationed by his curmudgeonly colleagues.
The best, mellowest and most sophisticated of the Beatles' solo
albums, it's chock full of Something's more developed, revelational
brothers, levitating to greatness from the lotus position with the
help of slide guitars, gospel backing vocals and Phil Spector's
sweeping production. The third disc, however, is about as interesting
as watching George tune his guitar for half an hour. But there is
always the option of leaving it in its sleeve.
10 Todd Rundgren
Something/Anything?
(Bearsville, 1972)
To hear Something/Anything? - one of the purest, prettiest and most
complete albums ever made - is to understand why Todd Rundgren elected
to follow it with his sprawling scream-of-consciousness concept LP, A
Wizard, A True Star, in 1973. Over four equally astonishing sides,
Rundgren - monster of rock, romantic balladeer and gadget-obsessed
nerd all rolled into one - exhausts the possibilities of the
conventional pop format via blue-eyed schmaltz (Cold Morning Light),
power-pop (Couldn't I Just Tell You), white soul (Hello It's Me), and
crotch-rock (Wolfman Jack). Imagine an enormous bag of life-affirming
sweets which never make you sick. With three sides created entirely
alone by Rundgren, Something/ Anything? is Pet Sounds' prodigal
offspring, a DIY bedroom opera all about love and the infinite
potential of the eight-track tape recorder.
11. Pink Floyd The Piper At The Gates Of Dawn (EMI Columbia, 1967)
12. Big Star Radio City (Ardent, 1974)
13. The Flying Burrito Brothers The Gilded Palace of Sin (A&M, 1969)
14. Earth Wind And Fire I Am (ARC, 1979)
15. Jeff Buckley Grace (Columbia, 1994)
16. My Bloody Valentine Isn't Anything (Creation, 1988)
17. Scott Walker Scott 4 (Philips, 1969)
18. Buffalo Springfield Again (Atco, 1967)
19. Laura Nyro New York Tendaberry (Columbia, 1969)
20. Sly And The Family Stone Fresh (Epic, 1973)
21.The Beach Boys Holland (Brother, 1973)
22. Dexy's Midnight Runners Searching for the Young Soul Rebels (EMI,
1980)
23. Joni Mitchell Court and Spark (Asylum, 1974)
24. The Boo Radleys Giant Steps (Creation, 1993)
25. Steely Dan Countdown to Ecstasy (Probe, 1973)
26. Dusty Springfield Dusty in Memphis (Philips, 1969)
27. John Cale Music for a New Society (Ze, 1982)
28. Roxy Music For Your Pleasure (Island, 1973)
29. Funkadelic Maggot Brain (Westbound, 1971)
30. Blue Nile Hats (Linn/Virgin, 1989)
31. Public Enemy Fear Of A Black Planet (Def Jam, 1990)
32. Leonard Cohen I'm Your Man (Columbia, 1988)
33. Talking Heads Fear Of Music (Sire, 1979)
34. Chic Risque (Atlantic, 1979)
35. Rod Stewart Every Picture Tells A Story (Mercury, 1971)
36. Joni Mitchell The Hissing Of Summer Lawns (Asylum, 1975)
37. John Coltrane A Love Supreme (Impulse, 1965)
38. Iggy And The Stooges Raw Power (Columbia, 1973)
39. Lou Reed Berlin (RCA, 1973)
40. Tim Hardin Tim Hardin 2 (Verve Forecast, 1967)
41 The Stooges Funhouse (Elektra, 1970)
42 Alan Vega And Martin Rev Suicide (Ze, 1980)
43 David Bowie Young Americans (RCA Victor, 1975)
44 Neil Young Tonight's The Night (Reprise, 1975)
45 Run DMC Raising Hell (Profile, 1986)
46 Aretha Franklin Young, Gifted And Black (Atlantic, 1972)
47 Robert Wyatt Rock Bottom (Virgin, 1974)
48 Captain Beefheart Clear Spot (Reprise, 1972)
49 The Band Music From Big Pink (Capitol, 1968)
50 Tom Waits The Heart Of Saturday Night (Asylum, 1974)
51 Dexy's Midnight Runners Don't Stand Me Down (Mercury, 1985)
52 The Jayhawks Hollywood Town Hall (Def American, 1992)
53 Public Image Limited Metal Box (Virgin, 1979)
54 Hüsker Dü Warehouse: Songs And Stories (Warners, 1987)
55 Grateful Dead Live /Dead (Warners, 1970)
56 Moby Grape Moby Grape (Columbia, 1967)
57 Pavement Slanted And Enchanted (Big Cat, 1992)
58 Miles Davis Sketches Of Spain (Columbia, 1960)
59 The Beach Boys Today (Capitol, 1965)
60 Laura Nyro Eli And The Thirteenth Confession (Columbia, 1968)
61 The Slits Cut (Island, 1979)
62 Dexy's Midnight Runners Too-Rye-Ay (Mercury, 1982)
63 Al Green The Belle Album (Hi, 1977)
64 Roxy Music Stranded (Island, 1973)
65 The Velvet Underground The Velvet Underground (Verve, 1969)
66 Little Feat Dixie Chicken (Warners, 1973)
67 Pere Ubu The Modern Dance (Blank, 1977)
68 Aphex Twin Selected Ambient Works 85-92 (R&S, 1992)
69 Kraftwerk Radioactivity (Capitol, 1975)
70 The Velvet Underground Loaded (Atlantic, 1970)
71 Neil Young On The Beach (Reprise, 1974)
72 The Everly Brothers Roots (Warners, 1968)
73 Blondie Eat To The Beat (Chrysalis, 1979)
74 P J Harvey To Bring You My Love (Island, 1995)
75 Todd Rundgren Todd (Bearsville, 1974)
75 Jane Siberry When I Was A Boy (Reprise, 1993)
76 Big Star Sister Lovers (Rykodisc, 1979)
77 The Zombies Odessey (sic) And Oracle (CBS, 1968)
78 A R Kane Sixty-Nine (Rough Trade, 1988)
79 Isaac Hayes Hot Buttered Soul (Enterprise, 1969)
80 Nick Drake Pink Moon (Island, 1972)
81 The Mothers Of Invention We're Only In It For The Money (Verve,
1968)
82 The Beach Boys Sunflower (Brother, 1970)
83 Neil Young Arc/Weld (Reprise, 1991)
84 Hüsker Dü Zen Arcade (SST, 1984)
85 The Rolling Stones Get Yer Ya Ya's Out (Decca/London, 1970)
86 Crowded House Temple Of Low Men (Capitol, 1988)
87 Tim Buckley Starsailor (Straight, 1970)
88 The Doors Strange Days (Elektra, 1967)
89 Van Morrison Tupelo Honey (Warners, 1971)
89 Miles Davis Bitches Brew (Columbia, 1969)
90 The Lilac Time Paradise Circus (Fontana, 1989)
91 Al Green Al Green Is Love (Hi, 1975)
92 REM Lifes Rich Pageant (IRS, 1986)
93 Beach Boys Summer Days (And Summer Nights) (Capitol, 1965)
94 Pavement Crooked Rain, Crooked Rain (Big Cat, 1994)
95 The Millenium Begin (Columbia, 1968)
96 Prefab Sprout Steve McQueen (Kitchenware, 1985)
97 TLC CrazySexyCool (Arista, 1995)
98 Tribe Called Quest Midnight Marauders (Jive, 1993)
99 Iggy Pop The Idiot (RCA, 1977)
100 Dr. John Gris Gris (Atco, 1968)
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Tiernan Henry
Department of Engineering Hydrology
National University of Ireland, Galway
Galway
IRELAND
PH: +353-91-524411, ext 2619
FAX: +353-91-524913
http://rexel.ucg.ie/hydrology/
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