The Life and Times of Zyklon B Goode

24. Ok Computer (1997)

What the critics say about it: “Radiohead’s OK Computer led the push back against knuckle-dragging Oasis clones who segregated their Boomer rock leanings from the fertile explorations of dance, classic indie, hip-hop, and art-school sensibilities going on throughout the rest of the UK.” - Scott Plagenhoef, Pitchfork Media

Why it’s such a great album: It’s the perfect synthesis of Radiohead’s seemingly conflicted impulses. While their first album is generally seen as a mediocre rock album (with the exception of Creep) and The Bends had a handful of great moments, Ok Computer takes a leap of faith and embraces the group’s musical potential. Yet its subtle electronic rhythms, odd time signatures and complex syncopations would all be mere showmanship if not for the strong song-writing throughout, such as on the shimmering Subterranean Homesick Alien or the gothic crawl of Exit Music (For a Film), which instant cements Radiohead as one of rock’s most inventive and rewarding groups. A timeless classic from one of the greatest bands to ever exist.

Must hear: Paranoid Android, Electioneering

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23. Blackwater Park (2001)

What the critics say about it: “Rare are albums which inspire such a feeling of wonder as Blackwater Park does… strains of dark, distorted intensity with moments of exquisite melancholic beauty.” - Paul Schwarz, Chronicles of Chaos

Why it’s such a great album: Steven Wilson’s influence on Mikael Åkerfeldt. While Opeth had displayed progressive tendencies on earlier albums, having the Porcupine Tree frontman on production duties pushed these to the forefront, creating a sound which seemlessly shifts from traditional death metal to delicate melodies. The best example of this is the stunning Bleak, which opens heavy with sustained death growls before morphing into the soaring beauty of the chorus and giving Åkerfeldt the perfect opportunity to show off his incredible vocal range. As individuals, the songs on Blackwater Park are masterfully crafted, but as a whole they create an emotionally epic piece of art.

Must hear: Bleak, Blackwater Park

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22. Cypress Hill (1991)

What the critics say about it: “Along with Beastie Boys and Public Enemy, Cypress Hill were also one of the first rap groups to bridge the gap with fans of both hard rock and alternative rock… a sonic blueprint that would become one of the most widely copied in hip-hop.” - Steve Huey, Allmusic

Why it’s such a great album: It maintains a wide appeal outside of the hip hop community by breaking new ground with where the sound can go. With their outspoken pro-marijuana message, Cypress Hill unveil an arsenal of sounds ranging from reggae to rock, all firmly rooted in life experiences from the streets of Los Angeles. Rather than capitalize on the violent images prevalent in most gangsta rap, they spin tales of reality that play down the shock factor; How I Could Just Kill a Man, for example, is actually about ghetto-survival techniques instead of plain murder. One could just as easily put Black Sunday here but the precedent set by their self-titled’s carefully crafted soundscape of guitar, bass and drum samples, coupled with fat, stoner beats makes it the more culturally significant of the two.

Must hear: How I Could Just Kill A Man, Hand On The Pump

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21. The Holy Bible (1994)

What the critics say about it: “Its models are PiL’s howling Public Image and Magazine’s staunch Shot By Both Sides… this, and the astonishing conviction in Bradfield’s voice renders The Holy Bible as sonically threatening as ever.” - Gareth Grundy, Q Magazine

Why it’s such a great album: Richey Edwards’ poetically bleak lyrics and James Dean Bradfield’s delivery. A misanthropic commentary on the ever-worsening state of humanity, The Holy Bible attacks subjects any other band flirting with mainstream success would have deemed insane: anorexia (4st 7lb), narcissism (Faster), the Holocaust (The Intense Humming Of Evil), even the evils of embracing a permissive society (Yes). The music vividly brings these lyrics to life, maintaining a morbid atmosphere on the majority of the tracks while still showing plenty of energy and passion, something which could easily be forgotten considering the weightiness of the lyrical content. In the years following Edwards’ disappearance, the Manic Street Preachers’ sound has gradually mellowed, but this album will always stand out as the moment the group revealed their darker side.

Must hear: She Is Suffering, Faster

20. Songs The Lord Taught Us (1980)

What the critics say about it: “Guitarists Poison Ivy and Bryan Gregory take a delight in reverb that I find genuinely engaging… you feel like an anthropologist who’s found an otherworldly culture that’s been developing rock & roll along parallel musical lines but utterly divergent social ones.” - Dave Marsh, Rolling Stone

Why it’s such a great album: Poison Ivy and Lux Interior’s inside out knowledge and respect for the music they were reimagining, combined with Alex Chilton’s perfectly trashy production. Sounding as Link Wray as they do Lou Reed, The Cramps’ debut longplayer is a tangy, reverb-laden slice of voodoo full of originals, as well as the better-than-the-original covers which they were known for. Bryan Gregory should also be mentioned here, as his signature noisy, oozing guitar was conspicuously absent when he was replaced by Kid Congo Powers after Songs The Lord Taught Us’ release. File under sacred music.

Must hear: Garbageman, What’s Behind The Mask

19. Odelay (1996)

What the critics say about it: “ Just as mainstream success was diluting alternative music, Beck waltzed onto the scene... Odelay was just as much a swan song for alternative’s passing era as it was the ushering in of a new generation of pop music that was ever so left-of-center. ” - Paul Schrodt, Slant Magazine

Why it’s such a great album: It breaks popular music down to its base elements and jumbles the pieces before reassembly. Not everyone is a fan of Beck’s awkward white boy rapping, but it’s hard to deny the genius required to take pop, jazz, folk, hip-hop, country, psychedelic, noise rock (plus others I’ve forgotten) and turn the pieces into a coherent album full of solid gold moments. In anyone else’s hands Odelay could have come off as a soulless art project, but with the assistance of the Dust Brothers there’s an unmistakeable warmth to the “get-fresh flow”, with Beck coming across as laid-back rather than pretentious. A must-own for anyone with a broad taste in music.

Must hear: Where It’s At, Devils Haircut

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18. Metropolis Pt. 2: Scenes From A Memory (1999)

What the critics say about it: “This album is classic in every sense of the word. Every note, every riff, every lyric, every drumbeat works perfectly… highly recommended to any music fan out there.” - Jorn van Schaïk, Sputnikmusic

Why it’s such a great album: It’s a concept album with an imaginative story, written and performed by a group of prodigious musicians. Without giving too much away, the story here follows Nicholas, a man who uses hypnotherapy to explore the memories of a past incarnation to solve the mystery of their murder. Everyone here puts in a magnificent performance, most notably on the jam in Beyond This Life…if anyone doubts that Dream Theater are some of the finest musicians on earth, this will quickly put those doubts to rest. Truly an experience from start to finish, I’d go so far as to say that this is the greatest concept album of all time.

Must hear: It all blends together, so it’s hard to recommend any parts in particular. Home or Finally Free would be good places to start.

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17. Blood Sugar Sex Magik (1991)

What the critics say about it: “The Red Hot Chili Peppers’ best album…John Frusciante’s guitar is less overpoweringly noisy, leaving room for differing textures and clearer lines, while the band overall is more focused and less indulgent.” - Steve Huey, AllMusic

Why it’s such a great album: The synergy created by the line-up. Flea is in his prime here, never overplaying as he had on earlier albums and still showing off some of the best grooves the group has ever recorded. Then-newcomer John Frusciante also shines, playing in the established RHCP style while adding a whole new dimension, playing off of Flea to great effect. And Anthony Kleidis, though sex-obsessed as ever, also demonstrates a new-found lyrical maturity on tracks such as Breaking The Girl and the excellent Under The Bridge. Overall, this combines to create an album as infectiously funky as it is slow and uplifting, a perfect point in their career when they had started to grow up but were still up to their juvenile antics.

Must hear: Suck My Kiss, Sir Psycho Sexy

16. The Presidents of the United States of America (1995)

What the critics say about it: “(This) is a definite must have for any alternative rocker. With unique use of three string guitars, two string basses (simplicity is beauty!) and off the wall lyrics, you can’t go wrong.” - Andrew Barr, Sputnik Music

Why it’s such a great album: Its kooky, whimsical sense of humour was the perfect antidote to the self-loathing grunge scene of the early nineties. There are songs about driving spiders, mysterious strippers, peach eating and channel surfing, all of which make for an entertaining if odd listen. Combine this with the band playing “basitar” and “guitbass” and you’d be forgiven for dismissing this as just another novelty record, but unlike most others the songs are rocking and catchy enough to make it progressively better with age.

Must hear: Lump, Peaches

15. Powerage (1978)

What the critics say about it: “Powerage has the required AC/DC attributes: raw power, catchy-as-hell guitar hooks and Bon Scott sass, but it also has the “more” factor; it has cleverer than average lyrics and dare I say it… substance!” - Edwin Faust, Stylus Magazine

Why it’s such a great album: It’s pure rock n’ roll with a mature edge. Bon Scott’s insatiable appetite for booze and women takes a backseat in his lyrics as he sobers up to reality and the Young brothers grow as songwriters, experimenting with how far they can take their sound on tracks like What’s Next To The Moon. But that’s not to say that this is a sombre, thinking-man’s album; this is AC/DC, after all. Frankly, not only is it the best record they’ve ever put out but the best rock n’ roll album of all time, period.

Must hear: Rock n’ Roll Damnation, Sin City

14. It Takes A Nation Of Millions To Hold Us Back (1988)

What the critics say about it: “Because of the media sensation he created, we tend to think of Chuck D as a cultural authority, but in most obvious ways It Takes a Nation—the “greatest” hip-hop has ever produced—doesn’t fulfill the conventional expectations of its genre, which may go a long way toward explaining its unique popularity with rock critics.” - Paul Schrodt, Slant Magazine

Why it’s such a great album: It gave rap a social conscience without being preachy. When most groups at the time were going on about how gangsta they were or just goofing off, Public Enemy recorded an intelligent album of activist anthems with heart, passion and fire. With the likes of drug dealers, the F.B.I., soap-opera watchers and Army recruitment officers firmly in his sights, Chuck D fires off rhymes with powerful purpose as Flava Flav counterbalances with the brutal honesty of a demented court jester. Not only did this album influence the next generation of hip hop but the next generation of rock too, with everyone from Kurt Cobain to Tom Morello citing it as one of their favourites. A true milestone.

Must hear: Bring The Noise, She Watch Channel Zero?!

13. Pink Moon (1972)

What the critics say about it: “Pink Moon was as stark and solitary as one could possibly get… its raw emotion and naked vulnerability laid bare against the calm resignation in Drake’s mellowed voice.” - John Metzger, The Music Box

Why it’s such a great album: Everyone can connect with it regardless of musical preference, for reasons I can’t properly articulate. Perhaps it’s the haunting intimacy of a man and his guitar, the beautiful sadness in the delivery or just the fact that the songs are so well-written. Whatever it is, it’s impossible to listen to this album without it leaving a permanent imprint on your being.

Must hear: Parasite, Things Behind The Sun

12. Damaged (1981)

What the critics say about it: “Greg Ginn is the greatest noise guitarist since Johnny Thunders, new vocalist Henry Rollins can snarl along any tortured contour they serve up… this is powerful stuff.” - Robert Christgau

Why it’s such a great album: It manages to combine a straight up hardcore side one with an heavy art rock side two without either of them feeling out of place. Not to mention that it displays Greg Ginn and Henry Rollins at their best, truly a force to be reckoned with. In my mind, the most timeless album to come out of the early 80s East Coast punk scene.

Must hear: Six Pack, TV Party

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11. F♯ A♯ ∞ (1997)

What the critics say about it: “Godspeed You! Black Emperor’s F# A# ∞ is an amazingly beautiful, epic album… it takes you far away to a place that seems so very different from where you are now, but at the same time it doesn’t seem so far-fetched to think that we could all be there somewhere down the road.” - Channing Freeman, Sputnik Music

Why it’s such a great album: For an avant-garde album, this is one of the few that hasn’t left out beauty and emotion. With minimal narration it tells the story of the end of the world, of mankind wiping itself out and the earth becoming barren in the aftermath, until there is complete nothingness. But from that desperation comes hope, as fragile as it may be, that all will begin anew and life will return to the ruins as it was before. A powerful listen, more an experience than merely an album.

Must hear: The entire album from beginning to end. It only really works as a whole.