Wednesday, August 31, 2011

Janis Joplin Charts with Cheap Thrills and “Piece of My Heart”: August 31, 1968

In her Rock and Roll Hall of Fame inductee bio, Janis Joplin is described as “the greatest white urban blues and soul singer of her generation.” In 1968, she was still forging that voice, having come off a triumphant performance at the Monterey Pop Festival the summer before. Her San Francisco-based group, Big Brother & the Holding Company, charted soon after with their self-titled debut, but it stalled at #60. Their second album, Cheap Thrills, fared better, spending a whopping eight weeks atop the charts. Rolling Stone magazine named it one of the 500 greatest albums of all time.

The same week the album launched its chart run, Janis & Co. hit the Billboard Hot 100 with their maiden entry, “Piece of My Heart”. The song peaked at #12, but reached iconic status. It has been inducted into the Grammy Hall of Fame and is featured on the Rock and Roll Hall of Fame’s list of “The Songs That Shaped Rock and Roll”.

The song was written by Jerry Ragovoy and Bert Berns. Erma Franklin, the sister of Rock Hall inductee Aretha Franklin, recorded the song in 1967 and took it to the top ten in the R&B charts. Big Brother & the Holding Company’s rendition a year later has become the definitive version, but it has been notably covered by others, including Dusty Springfield, Sammy Hagar, Faith Hill, and as a duet between Melissa Etheridge and Joss Stone.

Joplin embarked on a solo journey after Cheap Thrills, but her days were numbered. A heroin overdose cut her life short at 27 years old on October 4, 1970. 1971’s Pearl and “Me and Bobby McGee” were posthumous #1 hits.

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Thursday, August 25, 2011

Rock 'n' Roll 101: How to Handle a Dead Star

Originally published in my "Aural Fixation" column on on Aug. 25, 2011. See original post here.

image from

April 10, 1994 was my 27th birthday. That same week my generation’s greatest musical icon – Nirvana’s Kurt Cobain – ended his life with the same number of candles on his recent birthday cake. The music press went into high gear reporting the shock of Cobain’s tragic ending while simultaneously reflecting on its inevitability. After all, he was a troubled soul with a history of substance abuse, failed rehab stints, overdoses, and suicide attempts.

It didn’t take long before finger pointing began. In their grief, family, friends, and fans were reluctant to accept that their loved one died by his own hand. It was easier to blame someone else. Cobain’s marriage to Courtney Love was less than idyllic and she was loathed by many in the Nirvana community. This made her an obvious scapegoat. Eventually, conspiracy theorists floated the idea that Cobain’s death wasn’t a suicide at all, but that Love had him murdered.

While the music community mourned the loss of one of its giants, the spin moved on to Cobain’s legacy. He’d only lived long enough to spearhead three proper studio albums with Nirvana, but in the process was hailed as a revolutionary who’d birthed a new genre of music. Should he be immortalized alongside other musical icons who died at age 27? Was it fair to utter his name in the same breath as Jimi Hendrix, Janis Joplin, Jim Morrison, Brian Jones, and Robert Johnson?

These are all plays straight out of the Rock ‘n’ Roll 101 handbook, specifically the chapter on how to handle a rock star who checks out in his or her prime. It goes like this. First, express shock over Young Rock Star’s death and report on the outpouring of love and respect from the musical community. While that reality is still sinking in, switch gears completely and report on the inevitability of said Rock Star’s demise. After all, in light of his or her habits and lifestyle, who didn’t see this coming?

Next, the public wants answers. Not only should they be offered gory and gruesome details as if this were an episode of CSI or some other crime investigation show, but supplied with detailed exploits of the Young Rock Star’s last days.

The fans also need a target upon whom to vent their anger. Why wasn’t the record company babysitting its star more? Shouldn’t the family have done more to intervene? How about that destructive relationship? Sure the Young Rock Star may have exhibited every sign of a death wish, but can’t we ultimately blame someone else for this?

With Young (now Dead) Rock Star barely in the grave, it’s time to focus on his or her legacy. After all, our beloved hero has been dead for days! It’s about time we move on and figure out our idol’s place in the whole of musical history. How should this Dead Young Rock Star be remembered? Also, to generate controversy, plenty of press should be afforded to detractors who callously lambast Young Rock Star as overrated.

The final matter is two-fold: 1) how can Dead Young Rock Star be immortalized with such a slim discography and; 2) how can record companies shamelessly profit on Dead Young Rock Star’s death by raiding the vaults for unreleased material?

Amy Winehouse’s recent death required anyone associated with the recording industry or music journalism to dust off their Rock ‘n’ Roll 101 manuals. A quick overview shows her story to be eerily reminiscent of Cobain’s. Tabloids salivated over her exploits with substance abuse, failed rehab attempts, and a not quite two-car-garage-and-picket-fence marriage to Blake Fielder-Civil. It didn’t take long before Winehouse’s father publicly blamed his daughter’s death on the ex-husband because he had introduced Amy to drugs.

Conflicting accounts emerged regarding events in the days leading up to her death. Had she gone on a drug-buying spree just the night before? Had a physician just proclaimed her to be in good health? Did she die because she was fighting so hard to overcome her demons that her body collapsed from alcohol withdrawl? Posing these questions naturally draws out anyone who ever partied with Winehouse, sat in on a recording session, or hung out with her in a seedy bar. All of them weigh in with their takes on what she was really like.

Even with the public still grieving, talk turned to Winehouse’s status in Rock ‘n’ Roll Heaven. Does she deserve enshrinement alongside other musicians who passed on to that great gig in the sky, with only 27 years on planet Earth?

The matter of her slim two-album discography led detractors to say no. The jazzy Frank (2003) was critically hailed, but certainly not considered a game changer. The 2006 follow-up, Back to Black, was hailed as a landmark of both retro-soul and neo-soul. No, I’m not sure how it can be both, either. Whatever it is genre-wise, is Back to Black truly deserving of the “classic album” tag?

Whatever title was latched to her sound, it became the consensus that Winehouse launched a wave of white, British, female R&B/pop singers like Adele, Duffy, and Florence & the Machine.

Finally, there’s the “What will the record companies do next?” route. Winehouse hadn’t been dead a week before stories flooded the Internet about what was or wasn’t in the vaults that might see the light of day. Depending on the account, there’s the “let’s respect the family’s wishes” angle or the idea that if there’s a tape of Winehouse farting, let’s release it to the public – you know, because we deserve to hear it all.

Are there three albums worth of material? Is it just a handful of demos? When someone recently broke into her house, how much music did they steal? Will something be released before the end of the year? I think of the song “Paint a Vulgar Picture” by the Smiths: “At the record company meeting/ On their hands a dead star/ And oh, the plans they weave/ And oh, the sickening greed.”

What gets overlooked amidst the sensationalism are detailed expositions on what led to the tragedy. Why does our entertainment culture salivate over both the construction and destruction of its stars? Is the same quality that drives attention seekers to the spotlight what also causes them to self-destruct?

History is littered with artistic geniuses who could barely run their personal lives even as the world worshiped them. The urge to create is often a double-edged sword saddled with a propensity to destroy. Our greatest musical legends are often troubled souls who likely would have had difficult lives in or out of the limelight.

Through it all, however, we should never lose sight of some basics. The Rock ‘n’ Roll 101 Handbook doesn’t acknowledge that its Dead Young Rock Stars had parents, siblings, spouses, children, and friends. They had their problems but were adored by millions. They made music which touched people’s souls and changed people’s lives. The Kurt Cobains, Amy Winehouses, and other musical geniuses who walked this planet for far too short a time deserve to be embraced. They were flawed, but they were also beloved.

R.I.P., Dead Young Rock Stars.

Wednesday, August 24, 2011

Bobby Darin Charts with "Mack the Knife": August 24, 1959

First posted 8/24/2011; updated 4/6/2020.

Mack the Knife

Bobby Darin

Writer(s): Kurt Weill (m)/Mark Blitzstein (l)/Berthold Brecht (l) (see lyrics here)

First Charted: August 24, 1959

Peak: 19 US, 18 CB, 15 HR, 6 RB, 12 UK, 12 CN (Click for codes to singles charts.)

Sales (in millions): 1.0 US, -- UK, 2.0 world (includes US + UK)

Airplay/Streaming (in millions): -- radio, 24.03 video, -- streaming


About the Song:

“Mack the Knife” originated in 1928 as “Moritat,” which translates to “murder deed.” RCG Bertlot Brecht and Kurt Weill wrote the original German song about “a bloodthirsty Berlin gangster” RS500 on the prowl for the musical The Three Penny Opera. Despite the song’s gruesome subject matter, the irresistible melody made the song hit-worthy. KL Instead of translating the lyrics literally, Marc Blitzstein was assigned to give the song a rewrite. SJ

The song had become a standard before Darin ever recorded it. “Mack” charted six times in 1956; the Dick Hyman Trio’s #8 instrumental version being the most successful. However, Darin’s version trumped them all.

A year earlier, at age twenty-two, Darin first hit with the “Splish Splash”, followed by three more hits which cemented his appeal to the teen market. However, Darin wanted the kind of longevity enjoyed by Frank Sinatra. At the time he even told Billboard, “In night clubs I learn to other things. I even do ‘Mack the Knife.’” BB100

For his standards album That’s All, Darin recorded the song, but he never saw it being a single. SJ His record company thought otherwise and the song transformed Darin’s image into that of “a finger-snapping sophisticate at home in the cocktail lounge.” RS500

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Tuesday, August 23, 2011

Nickolas Ashford: 1942-2011

Check the Dave’s Music Database Facebook page for daily music-related posts. Also check out books by Dave Whitaker, including the collection of past blog entries, No One Needs 21 Versions of “Purple Haze”…And Other Essays from a Musical Obsessive.

Nickolas Ashford and Valerie Simpson

August 22, 2011: Songwriter, producer, and performer Nickolas Ashford died of complications from throat cancer at age 70. He was born in Fairfield, South Carolina, on May 4, 1942. He met Valerie Simpson in 1963 and they began working together as writers and performers. They married in 1974.

In the mid-‘60s, the pair composed hits for Aretha Franklin, the Fifth Dimension, Ronnie Milsap, Maxine Brown, the Shirelles, and Chuck Jackson. In 1966, they scored a major break when Ray Charles took his cover of the Coasters’ “Let’s Go Get Stoned” (written by Ashford & Simpson) to #1 on the R&B charts.

Their work with Charles brought them to the attention of Motown’s Berry Gordy. The team then joined Motown where they became the primary writers for the duets between Marvin Gaye and Tammi Terrell, including “Ain’t No Mountain High Enough” (#19 pop, #3 R&B), “Your Precious Love” (#5 pop, #2 R&B), “Ain’t Nothing Like the Real Thing” (#8 pop, #1 R&B), and “You’re All I Need to Get By” (#7 pop, #1 R&B).

At Motown, they also worked with Gladys Knight & The Pips, Smokey Robinson & The Miracles, The Marvelettes, and The Supremes. The pair also wrote and produced hits for Diana Ross, including three 1970 hits – “Reach Out and Touch Somebody’s Hand” (#20 pop, #7 R&B), a cover of “Ain’t No Mountain High Enough” (#1 pop, #1 R&B), and “Remember Me” (#16 pop, #10 R&B).

They left Motown in 1973 but still found success, most notably with Chaka Khan’s 1978 hit “I’m Every Woman” (#21 pop, #1 R&B). Whitney Houston covered the song in 1993 with even greater success (#3 pop, #1 R&B). During their post-Motown years, Ashford & Simpson also found their greatest success as performers with 1984’s “Solid” (#12 pop, #1 R&B).

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Monday, August 22, 2011

Jerry Leiber and Mike Stoller: Top 50 Songs

First posted 8/23/2011 after Leiber’s death; updated 12/11/2019.

l to r: Mike Stoller, Elvis Presley, and Jerry Leiber; image from

Songwriter and record producer Jerry Leiber was born Jerome Leiber on 4/25/1933 in Baltimore, MD. H died on 8/22/2011. Mike Stoller, his songwriting partner and also a producer, was born 3/13/1933 in Belle Harbor, New York City, NY. They were one of the songwriting teams to work in the legendary Brill Building, known for housing some of pop music history’s most famous songwriters and publishers in the 1950s and ‘60s. Three of their songs – “Hound Dog,” “Jailhouse Rock,” and “Stand by Me” – are featured in the DMDB book The Top 100 Songs of the Rock Era, 1954-1999.

For a complete list of their DMDB honors, check out the separate DMDB Music Maker Encyclopedia pages for Jerry Leiber and Mike Stoller.

Top 50 Songs

Dave’s Music Database lists are determined by song’s appearances on best-of lists as well as chart success, sales, radio airplay, streaming, and awards. Many of these songs have been recorded multiple times. Only the highest-ranked version in Dave’s Music Database is included in this list. The recording artist is noted in parentheses. Songs which hit #1 on these charts are noted: United States Billboard Hot 100 pop chart (US), Cashbox (CB), Hit Records (HR), Radio & Records (RR), Billboard adult contemporary (AC), Billboard R&B chart (RB), Billboard country chart (CW), UK pop chart (UK), Canadian pop chart (CN).

DMDB Top 1%:

1. Elvis Presley “Hound Dog” (1956) #1 US, CB, RB
2. Elvis Presley “Jailhouse Rock” (1957) #1 US, CB, RB, CW, UK, CN
3. Ben E. King “Stand by Me” (1961) #1 RB, UK, CN

DMDB Top 5%:

4. Wilbert Harrison “Kansas City” (1959) #1 US, CB, HR, RB, CN
5. The Drifters “On Broadway” (1963)
6. The Drifters “There Goes My Baby” (1959) #1 CB, RB
7. The Coasters “Yakety Yak” (1958) #1 US, CB, HR, RB
8. Elvis Presley “Don’t” (1957) #1 US, CB, CN
9. Sean Kingston “Beautiful Girls” (2007) * #1 US, UK, CN, AU
10. The Coasters “Searchin’” (1957) #1 RB

11. Ben E. King “Spanish Harlem” (written by Leiber with Phil Spector, 1960)
12. The Coasters “Charlie Brown” (1959) #1 CN
13. Warren G with Nate Dogg “Regulate” (1994) **
14. The Coasters “Young Blood” (1957) #1 RB
15. The Clovers “Love Potion No. 9” (1959)
16. The Coasters “Poison Ivy” (1959) #1 RB

DMDB Top 10%:

17. The Coasters “Along Came Jones” (1959)
18. Elvis Presley “She’s Not You” (1962) #1 UK
19. Peggy Lee “Is That All There Is?” (1969) #1 AC
20. The Coasters (as the Robins) “Smokey Joe’s Café” (1955)
21. Michael McDonald “I Keep Forgettin’” (1982) #1 RR

DMDB Top 20%:

22. The Drifters “Dance with Me” (1959)
23. Elvis Presley “Loving You” (1957)
24. Elvis Presley “Treat Me Nice” (1957)
25. Ruth Brown “Lucky Lips” (1957)
26. Elvis Presley “Bossa Nova Baby” (1963)
27. Elvis Presley “Love Me” (1956)
28. Johnny Cash with June Carter Cash “Jackson” (Leiber – credited to his wife Gaby Rogers – with Billy Edd Wheeler, 1967)
29. The Shangri-Las “Past, Present and Future” (by 1966)
30. The Monkees “D.W. Washburn” (1968)

Beyond the DMDB Top 20%:

31. The Coasters “Run Red Run” (1959)
32. The Coasters “One Kiss Led to Another” (1956)
33. The Coasters “What About Us” (1959)
34. Elvis Presley “Just Tell Her Jim Said Hello” (1962)
35. Maria Muldaur “I’m a Woman” (1974)
36. Cheech & Chong “Framed” (1976)
37. Ruth Brown “Jack O’ Diamonds” (1959)
38. The Coasters “Little Egypt (Ying-Yang)” (1961)
39. The Drifters “Fools Fall in Love” (1957)
40. LaVern Baker “Saved” (1961)

41. Elvis Presley “King Creole” (1958)
42. LaVern Baker with Jimmy Ricks “You’re the Boss” (1961)
43. Elvis Presley “You’re So Square, Baby I Don’t Care” (1957)
44. Jay & the Americans “Only in America” (1963)
45. Ben E. King “I Who Have Nothing” (1963)
46. The Coasters “The Idol with the Golden Head” (1957)
47. The Coasters “Down in Mexico” (1956)
48. The Coasters “Shoppin’ for Clothes” (1960)
49. Brook Benton “Do Your Own Thing” (1968)
50. The Boys in the Band “How ‘Bout a Little Hand for the Boys in the Band” (1970)

* contains sample of “Stand by Me”
** contains sample of “I Keep Forgettin’”

Awards (Leiber & Stoller):

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Martha & the Vandellas Chart with “Dancing in the Street”: August 22, 1964

This content is taken from the The Top 100 Songs of the Rock Era, 1954-1999, available at as a standard book or ebook!

Martha Reeves was a secretary at Motown when she got the opportunity of a lifetime – she was given the chance to record a demo. RS500 The song, “Dancing in the Street,” was originally offered to Kim Weston, who would later marry William Stevenson, RS500 one of the writers, but she turned it down. NRR As Stevenson says, though, “When Martha got into the song…that was the end of the conversation!” RS500

Stevenson says the inspiration for the song came from riding through Detroit during the summer with Marvin Gaye, another of the song’s writers. To let the kids cool off, the city would open up the fire hydrants to release the water into the streets. Stevenson says, “They appeared to be dancing in the water.” SF

Of all the dance songs ever written, none come as close as this one to “conveying not only the physical experience but the emotional tenor of what it means to dance publicly.” MA The song’s “primal rhythms [are]…so simple anyone can groove to it and so infectious everyone does.” AMG As “the quintessential hymn of revolution, riot, and rapture” it makes everyone want to join the party. WI


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Sunday, August 21, 2011

Patsy Cline Records "Crazy": August 21, 1961

Check the Dave’s Music Database Facebook page for daily music-related posts. Also check out books by Dave Whitaker, including the collection of past blog entries, No One Needs 21 Versions of “Purple Haze”…And Other Essays from a Musical Obsessive.

According to Dave’s Music Database, Patsy Cline ranks as one of the top 100 country acts of all time, top 100 singers of all time, and makes the top 1000 music makers of all time list. She is a Country Hall of Fame inductee and recipient of the Grammy Lifetime Achievement Award.

What’s astonishing about Cline’s place in country music history is how little impact she had from a chart standpoint. At the time of her tragic death by a plane crash in 1963, she had charted a mere nine songs on the Billboard country charts. She had another ten posthumous hits, but her total of nineteen chart doesn’t even rank her in the top 200 country artists of all time according to the Billboard charts!

However, with several classics to her name, the respect shown to Cline is well deserved. Even if her most cherished song, “Crazy”, were the only thing she’d ever done, it would earn her an acclaimed spot in country music history. Dave’s Music Database ranks it as the #2 country song of all time, behind only Tammy Wynette’s “Stand by Your Man”. It is also featured in the DMDB book The Top 100 Songs of the Rock Era, 1954-1999. The song also gets best-of nods from the Grammy Hall of Fame, the Library of Congress’ National Recording Registry, and NPR’s list of The Most Important American Musical Works of the 20th Century.

The song was written by Willie Nelson before he became one of country music’s most celebrated singers. She needed a follow-up to another one of her classics – “I Fall to Pieces” – and was interested in Nelson’s song “Funny How Time Slips Away”. Unfortunately, Nelson had already given it to his long-time friend Billy Walker. Walker suggested “Crazy”, but Cline was not impressed with it. She didn’t want a slow, torch song, but something more up-tempo. However, her producer Owen Bradley convinced her to give it a shot. The result was her only top ten pop hit and what Willie Nelson called “the favorite of anything I ever wrote.” CL

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Saturday, August 20, 2011

The Top 100 Classic Rock Albums of All Time

Check the Dave’s Music Database Facebook page for daily music-related posts. Also check out books by Dave Whitaker, including the collection of past blog entries, No One Needs 21 Versions of “Purple Haze”…And Other Essays from a Musical Obsessive.

August 20 marks the birth of one of the greatest classic rockers of all-time – Led Zeppelin’s Robert Plant (1948). The day before saw the birthdays of three others – Cream drummer Ginger Baker (1939), Deep Purple singer Ian Gillan (1945), and Queen bassist John Deacon (1951). What better way to celebrate than with a list of the best classic rock albums of all-time, a list on which each of the aforementioned groups appears at least once?

This list was determined by an aggregate of 13 best-of lists focused on classic rock. It is very apparent how much classic rock is an album format when comparing this list to the best-albums-of-all-time list. 49 of the albums on this list also make the top 100 albums of all time list. Another 46 titles make the DMDB list of the top 1000 albums of all time.

Note: This list was originally posted on Facebook on May 2, 2011. Also, most of the album titles (and all of the album photos) below link to more detailed pages about that album.

1. Led Zeppelin: Led Zeppelin IV (1971)
2. Eagles: Hotel California (1976)
3. Pink Floyd: Dark Side of the Moon (1973)
4. The Doors: The Doors (1967)
5. The Beatles: Sgt. Peppers Lonely Hearts Club Band (1967)
6. Pink Floyd: The Wall (1979)
7. Fleetwood Mac: Rumours (1977)
8. The Jimi Hendrix Experience: Are You Experienced? (1967)
9. The Who: Who’s Next (1971)
10. Pink Floyd: Wish You Were Here (1975)

11. The Jimi Hendrix Experience: Electric Ladyland (1968)
12. Boston: Boston (1976)
13. Bruce Springsteen: Born to Run (1975)
14. AC/DC: Back in Black (1980)
15. The Who: Tommy (1969)
16. Led Zeppelin: Led Zeppelin II (1969)
17. Crosby, Stills, Nash, & Young: Déjà Vu (1970)
18. The Rolling Stones: Sticky Fingers (1971)
19. The Beatles: The Beatles (aka “The White Album”) (1968)
20. The Beatles: Abbey Road (1969)

21. Jethro Tull: Aqualung (1971)
22. Aerosmith: Toys in the Attic (1975)
23. Led Zeppelin: Physical Graffiti (1975)
24. Neil Young: Harvest (1972)
25. U2: The Joshua Tree (1987)
26. The Rolling Stones: Exile on Main Street (1972)
27. Peter Frampton: Frampton Comes Alive! (1976)
28. Led Zeppelin: Led Zeppelin I (1969)
29. Queen: A Night at the Opera (1975)
30. Deep Purple: Machine Head (1972)

31. AC/DC: Highway to Hell (1979)
32. Van Halen: 1984 (1984)
33. Van Morrison: Moondance (1970)
34. The Beatles: Revolver (1966)
35. Van Halen: Van Halen (1978)
36. Supertramp: Breakfast in America (1979)
37. Elton John: Goodbye Yellow Brick Road (1973)
38. The Beach Boys: Pet Sounds (1966)
39. Lynyrd Skynyrd: Pronounced Leh-Nerd Skin-Nerd (1973)
40. Cream: Disraeli Gears (1967)

41. The Doors: L.A. Woman (1971)
42. The Rolling Stones: Let It Bleed (1969)
43. Bruce Springsteen: Born in the U.S.A. (1984)
44. The Police: Synchronicity (1983)
45. Eric Clapton: Slowhand (1977)
46. Bad Company: Bad Company (1974)
47. The Who: Quadrophenia (1973)
48. Meat Loaf: Bat Out of Hell (1977)
49. John Lennon: Imagine (1971)
50. Yes: Fragile (1971)

51. Santana: Abraxas (1970)
52. Lynyrd Skynyrd: Street Survivors (1977)
53. Bob Dylan: Blonde on Blonde (1966)
54. The Rolling Stones: Some Girls (1978)
55. Slippery When Wet: Bon Jovi (1986)
56. Rush: Moving Pictures (1981)
57. REO Speedwagon: Hi Infidelity (1980)
58. Black Sabbath: Paranoid (1970)
59. Styx: The Grand Illusion (1977)
60. Eric Clapton: 461 Ocean Boulevard (1974)

61. Bob Dylan: Blood on the Tracks (1975)
62. Rush: Permanent Waves (1980)
63. The Rolling Stones: Beggars Banquet (1968)
64. ZZ Top: Tres Hombres (1973)
65. Guns N’ Roses: Appetite for Destruction (1987)
66. Bob Seger & the Silver Bullet Band: Night Moves (1976)
67. David Bowie: The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)
68. Bob Seger & the Silver Bullet Band: Live Bullet (1976)
69. ZZ Top: Eliminator (1983)
70. Tom Petty & the Heartbreakers: Damn the Torpedoes (1979)

71. Kansas: Leftoverture (1976)
72. Steve Miller Band: Fly Like an Eagle (1976)
73. The Beatles: Rubber Soul (1965)
74. Derek and the Dominos: Layla & Other Assorted Love Songs (1970)
75. Journey: Escape (1981)
76. The Cars: The Cars (1978)
77. Led Zeppelin: Houses of the Holy (1973)
78. The Beatles: Let It Be (1970)
79. Eagles: The Long Run (1979)
80. Foreigner: Foreigner (1977)

81. The Jimi Hendrix Experience: Axis – Bold As Love (1967)
82. Van Morrison: Astral Weeks (1968)
83. Tom Petty: Full Moon Fever (1989)
84. Janis Joplin: Pearl (1971)
85. Styx: Pieces of Eight (1978)
86. The Allman Brothers Band: Eat a Peach (1972)
87. Steely Dan: Aja (1977)
88. Grateful Dead: American Beauty (1970)
89. Kansas: Point of Know Return (1977)
90. Neil Young: After the Gold Rush (1970)

91. John Lennon: Plastic Ono Band (1970)
92. John Cougar (Mellencamp): American Fool (1982)
93. Styx: Paradise Theater (1981)
94. Heart: Dreamboat Annie (1976)
95. Dire Straits: Brothers in Arms (1985)
96. Def Leppard: Pyromania (1983)
97. Aerosmith: Permanent Vacation (1987)
98. Queen: The Game (1980)
99. Jackson Browne: Running on Empty (1977)
100. King Crimson: In the Court of the Crimson King (1969)

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