My friend and I were discussing the new "masterpiece" from Fiona Apple and after a good number of text volleys, I asked him, "Has there ever been a record reviewed as a masterpiece that actually lived up to the label?"
Was "Sgt. Pepper" reviewed as a masterpiece in 1967?
Was "Blood On The Tracks" reviewed as a masterpiece in 1974?
How about "What's Goin' On?'
The more I thought about it, the less I came up with. I don't ever recall reading a review of a record that was either about to be released or just released where the word "masterpiece" was used right out of the gate. My friend put it this way, "Records that get reviewed as masterpieces out of the gate, rarely are, and the records that are masterpieces, dont get reviewed that way, but grow into their stature."
Or, at least that is how we see it.
This is a two-parter.
A) Examples of records that came out of the gate as masterpieces and truly were
This may be difficult because without time consuming research for evidence, who the hell can recall every review over the last 60 years of rock and roll? Try your best.
and, what we will call "The Moustache On The Mona Lisa"
B) The one song that ruins the masterpiece.
Here are a few of my choices for B to get you started:
"It Ain't Easy" on "Ziggy Stardust," a song that I just don't like by anyone and it seems like everyone in England has covered it.
"Sloop John B" on "Pet Sounds," with respect to the song itself, a terrific pop tune that I've loved my whole life, but feels terribly out of place next to everything else on the album.
"Lily, Rosemary & The Jack Of Hearts" off "Blood On The Tracks." I can't wait for this one to finish so I can hear the rest of Side Two. A good song that just isn't as good as everything else.
The last word comes from my friend HG:
"I would argue that a masterpiece doesn't inherently have to be perfect, it merely has to be a singular work of genius."
50 comments:
First ones to come to mind:
A
1) Elvis Costello Imperial Bedroom - the record company ad listed it, and I seem to remember a lot of superlatives throw around. And I think a lot of people consider it that way, even today.
2) Wilco - Yankee Hotel Foxtrot. Same as above, although it's not my favorite Wilco album. I know there are some here that prefer Sky Blue Sky as well.
B
1) Les Boys by Dire Straits. Making Movies is a Top 10 album for me, but this song is dumb. For me, the album essentially ends with Solid Rock.
Troy,
Yes! I remember that ad for Costello and for me, it sure did live up to it.
I don't know about contemporaneous reviews, but it used to seem like every rock album reviewed afterwards in High Fidelity and S.., S... (can't think of the other one), was held up in comparison to Sgt. Peppers and (hilariously) We're Only In It for the Money. Also, Trout Mask Replica. kind of proves your point.
Pretty sure that My Bloody Valentine's "Loveless" got the masterpiece treatment on its release. I don't have a problem with that, or a less favorite track, but I do view it a little like Sgt. Peppers, as a work that is out there as its own thing. I probably play "Isn't Anything" and "MBV" more often.
I remember in the early 70s, I did not have a lot of money for records. Possibly, two each month. I recall buying a record from a group that I followed (can't remember which) and was bitterly disappointed in that record.
At that point, I swore that I would only buy records that were deemed to be "masterpieces." That term was used in the rock press quite a bit back then. I read a review in Rolling Stone for "There's a Riot Goin' On." Based on that review, I bought that album- - even though I only had a moderate interest in their music. The record is very interesting and I do enjoy it, but I haven't listened to it in a while and I do recall that one or two of the songs clearly did not hold my interest.
Over the years, I have shied away from buying records with the "masterpiece" label and relied more on what I liked or what I am able to glean from music folks that I respect. joe
Funny, I was just listening to Blood on the Tracks this morning and was thinking the same thing about Lilly and her friends. I have to admit I go back and forth on Idiot Wind too. It's a great song, but the caustic tone is a little off from the rest of the album.
The ad for Imperial Bedroom is the first thing that sprang to my mind when I saw masterpiece. That was some ad department cheek, but I do think it's accurate.
Join Me in LA from Warren Zevon's self-titled masterpiece is one that I could do without. Again, a good song that doesn't really fit musically with the rest of the album. Would have been a great B side.
A) "Imperial Bedroom" was the answer -- but this was mentioned already (and rightfully so!). I remember the ads saying "Masterpiece?" touting the release -- and they were spot on about that.
Unfortunately, I didn't read a ton of music press back in the day to remember what albums were flagged with that description when they were released.
I think "Tapestry" is a masterpiece with no flaws.
"Rumors" deserves the label without question (even with "Oh Daddy")
B) ..is harder. "Ruins" is a trigger word. :-)
I don't think "Brass In Pocket" ruins The Pretenders debut, but I think it's the worst song on the album and it just lays there compared to everything else on it the album.
"Beth" does not ruin "Destroyer" for me (I know it does from a lot of other people...)
Ooooh -- I thought of two:
I think "All Over The Place" by the Bangles is a masterpiece -- except for the final track "More Than Meets The Eye" -- it just literally kills everything that came before it.
Same thing goes for "Use Your Illusion II" -- the last track "My World" is...just...no.
Since you mentioned Sgt. Pepper, that to me is a classic case of an amazing record with a huge unlistenable flaw, "Within You Without You."
Two songs I can’t skip fast enough on Automatic for the People - Ignoreland & Everybody Hurts.
Stipe's vocal on "Everybody Hurts" is one of the single worst performances to ever become a hit. Absolutely horrible.
I love "Ignoreland"! Stipe's most in-your-face political lyric (whether or not you agree with it). It's a bit dated now, certainly, but I love it for what it is.
I wonder if the most skipped song in history isn't "Revolution No. 9"
I'm with you on "Sloop John B." Alway disliked the song. However, I loved "It Ain't Easy" from the start and have always been intrigued by ".. Jack of Hearts" because of the structure and lyrics. To the main point, was "Dark Side of the Moon" considered a masterpiece from the start? I just remember everyone being over the top about it, although I don't recall if the 'M'-word was used.
"When I'm Sixty-Four" and "Maxwell's Silver Hammer" do it every time.
‘Sloop John B” was not intended for Pet Sounds and was imposed by Capitol. My theory was that the title of the instrumental that precedes it, Let’s Go Away for a While” was Brian’s wry comment on how inappropriate Sloop was on the album, but I’ve found no evidence this is true.
Dave F
It was before my time, but I wonder how Who's Next was received when it came out. I can't imagine the reviews were anything but glowing.
Final song on the first side of THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS (1972), "It Ain't Easy" was the earliest song recorded for the Ziggy Stardust album, having been laid down at the Trident Studios on 9 September 1971 for possible inclusion on "Hunky Dory"
Written by the American writer Ron Davies (not Ray Davies of The Kinks as some have mistakenly reported) "It Ain't Easy" is the only non-Bowie composition on the Ziggy Stardust album and was a widely covered white-blues song by musicians of the period including Three Dog Knight (1970) and Long John Baldry (1971). The original is to be found on Davie's album SILENT SONG THROUGH THE LAND (1970) and later on his U.F.O (1973) album. Welsh rocker Dave Edmunds even released a version of this song for his album ROCKPILE in June 1972, the same month as David Bowie! It was never performed by Bowie live during his Ziggy Stardust period or since that time http://www.5years.com/iaeasy.htm
"Make You Feel My Love" on Dylan's "Time Out Of Mind." Ruins the mood of what has preceded it with just god awful moon-june lyrics and mawkish sentimentality that I've never understood why its been covered by so many people. Just unlistenable to me.
And while I'm at it, I've never really liked "Run For Your Life" off of "Rubber Soul."
Yellow Submarine is a likeable enough song, but it sure don't need to take up Rain's spot on Revolver.
Rickie Lee Jones debut was well reviewed and the album rock station in Chicago went nuts for it. This is 79 and we are in the middle of the 2nd greatest wave in rnr, with stunning debuts from Dire Straits and Joe Jackson and the Police etc. New wave engulfs punk and they love RLJ.But I love RLJ still today.Not a note out of place. A song that still makes me tear up.
Speaking of Dire Straits debut, there's not a note out of place on it. Lotta love for this album still.
B.) Still speaking about the band Dire Straits, Troy is correct about Les Boys on Making Movies. Good that it is at the end of the album. Often ran over to the turntable to stop it. Same with my choice of Lowell Georges only solo lp, Thanks Ill Eat Here and
Himmlers Ring. More Music hall style music. What was up with that back then? Trying to be McCartney?
Funny that "Automatic for the People" came up because I remember the reviews being absolutely glowing ("One for the ages" Rolling Stone called it), and it remains one of my favorite albums. I CHERISH that album.
but i always skip "Everybody Hurts". Always.
I believe Joni Mitchell's Blue was held in high regard right from the get go. A near perfect album.
Reynardine on Fairport's Leige & Lief can go.
Speaking to Joe;...."There's a Riot Going On" is a stone(d) cold Masterpiece. I find no weak link.
I think The Band's "The Band" was universally hailed by critics upon release, and if anything it has gained in stature.
Sometimes a band or artist can capture a moment.....a universally shared experience that is uniquely personal.....The Pretenders' "Learning To Crawl" comes to mind, as does Bright Eyes' "I'm Wide Awake Its Morning".
I recall Jan Wenner personally reviewed Dylan's "Gotta Serve Somebody" in 1979 because it was so great. (I agree). If he didn't actually use the word masterpiece, it was implied.
As the years went by, and Dylan went through his phases, I noticed that the Rolling Stone canon review changed, and they shelved the Wenner version.
Seems like Sticky Fingers always came out to amazing reviews. Exile on Main Street took time to take hold.
Songs that shouldn't've been on the albums they were on (Actually, should'nt've been on any release schedule):
Nighttime In The Switching Yard off Warren Zevon's Excitable Boy (Pointless and repetitive disco stab).
For Every Heart off The Skeletons' In The Flesh! (Out of place sentimentality in the ultimate party record).
The Long And Winding Road off The Beatles' Let It Be (I've never ever liked this treacly song, and it's not grown on me in the decades since I was introduced to it).
And, speaking of covers of It Ain't Easy, Mr. Rubin off Long John Baldry's It Ain't Easy (Earnest vocals that reveal Mr. Baldry's sometimes-odd choices in phrasing/vocalizations).
These records are all masterpieces in my book, so I'm going with that definition. I like LJB's version of IAE, but I agree that Bowie's version suffers.
I used to skip Revolution #9, but like its ominous undertones so much that I let it play on through; it's especially a good follow-up to McCartney's preceding snippet, and a precursor to Ringo doing his thing on Good Night.
C in California
@C In Cailfornia
I did an about face on "The Long & Winding Road" when I heard live versions post-"Flowers In The Dirt." Just a simple, small band run through with the highlight coming after the solo, a beautiful harmony on the line "but still they lead me back..." not found on the original. It changed the whole song for me and now I love it...well, the live versions, anyway.
https://www.youtube.com/watch?v=Na1BizOMVoc
I will look into that, because it offends my soul to disregard anything by The Beatles! Thanks for the tip.
C in California
Re: Sloop John B
Probably included so Mike Love would stop bitching about the dogs barking.
MBV is a great choice. I offer up Innervisons - Stevie Wonder and Born to Run - Bruce.
As for B, Love Ain't For Keeping on Who's Next.
I sure hope Layla was considered a masterpiece when it arrived, ‘cause it still is. Thorn Tree in The Garden is the example your Part B. But a masterpiece nonetheless. After all it is a double album, with only one bum song. That's a good batting avg.
Like the above poster, Run for Your Life, kills the ending of Rubber Soul. I think that even John disavowed that song later on.
The Jam - Setting Sons, and the Part B of that would be “Girl on the Phone” which doesn’t fit with the theme & feeling of the rest of the lp; it sounds like a leftover from All Mod Cons.
Los Lobos - Kiko. I’m calling it a masterpiece, and I think the critics gave it top reviews. It's still deep and mysterious. Part B: RÃo de Tenampa. Fine song, but not for this album.
This guy makes lists of every album given five stars upon release b Rolling Stone. (I didn't find a list of A+ albums by Christgau.) Perhaps every album that tops the Pazz & Jop poll would be that year's consensus masterpiece? http://www.erikjheels.com/?p=1173
Per the guy, RS gave tons of five star reviews in the 1970s, pulled way back in the 1980s and just three in the 1990s: Pavement's Slanted and Enchanted, Metallica's Metallica and the already discussed Automatic For The People by R.E.M. (which I think is widely considered their bookend masterpiece to Murmur). I'd agree it remains a masterpiece and I don't skip Everybody Hurts.
The moustache on the masterpiece that is Purple Rain? Computer Blue, unless you're straight and lesbian fantasies make it listenable for you.
Oh and in the 2000s Rolling Stone gave five star reviews to reissues and two new albums. Hilariously, they're completely wrong on one and completely right on the other. Radiohead's OK Computer and U2's No Line On The Horizon. No points for guessing which is which.
I think Purple Rain might be just a tad overrated. I like three Prince albums a whole lot more.
Here's someone else's list of some five star reviewed albums by Rolling Stone (they only include ones done before someone got into the R&R Hall of Fame for some reason) and my opinion
Kanye West - Late Registration, 2005 NO (overpraised)
The White Stripes - Elephant, 2003 YES (Sal disagrees)
Beck - Sea Change, 2002 YES
R.E.M. - Automatic for the People, 1992 (inducted in 2007) YES
Metallica - Metallica, 1991 (inducted in 2009) ABSTAIN
Pixies - Doolittle, 1989 NO (but great)
N.W.A. - Straight Outta Compton, 1988 YES
Sonic Youth - Daydream Nation, 1988 NOT FOR ME BUT I WON'T FIGHT YOU
U2 - The Joshua Tree, 1987 (inducted in 2005) USED TO SAY YES BUT NOW NO BUT IT'S GREAT, JUST A WEAKER SIDE TWO
Prince - Sign O the Times , 1987 (inducted in 2005) YES w several moustaches
R.E.M. - Document, 1987 (inducted in 2007) NO
Guns N Roses -- Appetite NOT MY CUP OF TEA
The Smiths - The Queen is Dead, 1986 YES EVEN IF HE IS A DICK
Run-DMC - Raising Hell, 1986 (inducted in 2009) YES
Paul Simon - Graceland, 1986 (inducted in 2001) YES w moustache being All Around The World, feels pedestrian or more accurately out of place compared to what came before)
Parade is my favorite Prince album by far. It's so deep, so funky and not a bad track. It feels NEW, whereas the others feel like they are drawing on great sources like Stevie Wonder and Jimi Hendrix and the Beatles et al. Then Sign O The Times and Purple Rain.
Dirty Mind, Parade and Sign Of The Times all better than Purple Rain, in my opinion.
As for that 5-star list, with the exception of "Graceland," there is not one other "masterpiece" on it. I wouldn't even give the records I love on that list 5-stars.
Ha! Well, I strongly agree with HG that a masterpiece doesn't have to be perfect. Sometimes, the sprawling craziness is part of the appeal. Hence your comment recently that hey, it's the White Album or it's A Wizard, A True Star -- of course it's all over the place. I feel I'm a pretty stingy reviewer. I don't hand out perfect scores (four out of four is my scale) willy-nilly. I don't use the term masterpiece lightly. I'd def say Sea Change is Beck's masterpiece (i.e. a really great album and the peak of his career), whereas most acts don't have one at all. I wouldn't say Sport is Huey Lewis and the News' masterpiece because that would debase the term. (His final ep is kinda sweet, actually.) But if you want to argue Beck never had a masterpiece, despite some very good work, I can bend to that. But I'd def say Prince had two or three masterpieces (I guess Sal thinks he had at most one since he doesn't consider Sign o the Times a masterpiece that leaves only Dirty Mind), Stevie Wonder had three, Paul Simon had four (counting S&G) and Joni Mitchell at least 3 or 4. Is that too generous? Maybe it's not enough for an album to endure and be really great for you to call it a masterpiece? Maybe it has to move the needle, to upend things dramatically the way say Graceland or indeed Sgt Pepper did to be given that honorific? Dylan has quite a few masterpieces but then that's why he's Dylan. And how many masterpieces did Jimi Hendrix have? Three? He certainly batted a .1000
Yours in music,
Michael "Masterpiece" Giltz
@Masterpiece Giltz,
By definition, a masterpiece is "a work of outstanding artistry, skill and workmanship." Based on that, I would argue that all good records are masterpieces. I think there should be different rules for records than say books or film. Records have less amount of time to make the point, so one misstep could bring the grade down from 100% to 90%. Two and you're at 80%, not a very good grade for a masterpiece.
You cite four masterpieces for Paul Simon, so I assume you're including "Bridge Over Troubled Water," which I think is flawed, and pound for pound not even as good as "The Sounds Of Silence," which plays better. "Bookends" is the S&G masterpiece, for my money. And while "The Boxer," "The Only Living Boy In NYC," and "Bridge Over..." might all be masterpieces in their own right, the record has too many speed bumps to get the moniker.
"Are You Experienced" isn't even really an album, as much as it is previously released singles and tracks. A great debut, for sure, but it's product. "Electric Ladyland" is too much and some of it not so great. Still, I love that record, but it's not just "one song/speed bump." As a whole, it can't work for me as masterpiece. I never listen to it all. This leaves "Axis," which is my favorite Jimi because the record plays well.
Maybe that's the added criteria, "playing well." It's why I love "The Who Sell Out" as much as I do. For my ears, it never lets up and with so much happening in so little time, it endures by never giving you time to think about it. Whereas, I never want to hear Side Four of "Quadrophenia." Many cite "Quad" as the Who's masterpiece. I can't because I only ever play Sides One-Three. Same with "Ladyland." It gives me time to realize, I don't want to listen to Side Three.
I think when you boil it all down, there are fewer masterpieces than we all think. Many, many fantastic records. Masterpieces? No.
I've really enjoyed all the comments here. The idea of 'masterpiece' is a slippery one. I'll chime in with, 'What albums do I put on and not skip a song?' There are definitely albums, that, although not every song is marvelous, the whole thing hangs together as an ALBUM. Anyway, I won't call it a masterpiece, but a profound gamechanger: Roxy Music's self-titled first. Now, I bought the record as an import before the American release put 'Virginia Plain' on there, and in that incarnation, the record is a strange and wonderful world unto itself that sounds fresh and challenging to this day. 'For Your Pleasure' comes close, but 'The Bogus Man' is the track I would gladly get off the couch to skip.
I seem to recall Steely Dan’s ‘Aja’ and Talking Heads ‘Remain in the Light’ being considered masterpieces upon release. Certainly are today.
Hello all...no, please remain seated,
Good list. I'll throw in the Cars first album.
Best... RichD
Smackwater Jack never made any sense to me on Tapestry.
My four Paul Simon faves are indeed Bookend...and S&G's Greatest Hits (the greatest greatest hits album of all time), There Goes Rhymin' Simon and Graceland. He was remarkably consistent and great in his studio albums from Bookends through Graceland. All three Jimi Hendrix albums blow my mind and feel like they were recorded tomorrow. As for skipping over tracks or sides, I just can't bring myself to do it. If the album is worth listening to, I listen to the whole thing. That's why I'm not nearly as interested in the radio or playlists and the like. I know the era of the album is over and music history isn't dominated by it and a LOT of my favorite music wasn't created with an album in mind, but I can't help it. I think in terms of albums. As for Roxy Music's debut, if it's a game-changer, it's a masterpiece in my book, however flawed. Ditto Steely Dan's Aja and Talking Head's Remain in Light are awesome. As is Fear Of Music -- to me, that and RiL are genuine masterpieces. dear god, I'm giving out gold stars like candy.
Here's a new approach to this: what albums of the 2010s are masterpieces? Or at least, which ones haven't been eliminated in your mind yet from possible masterpiece status? (The John Sally Ride goes without saying.)
I will say as of now NONE of the albums that came out in 2019 was a masterpiece to me. I don't think I've ever called an album a masterpiece in a review on its release (maybe Sufjan Stevens' Illinois?). I tend to be wary and am content to say it's really really good and see how I feel about an album five or ten years later.
Maybe 2017 produced a masterpiece for me: Cecile McLorin Salvant's Dreams and Daggers. However, it was my first real exposure to her so that was part of the excitement and I'd like to wait and get to know it and her body of work better. Maybe it's the album before that which deserves the accolade. Give me time.
So the albums of the 2010s that I'm still thinking might gain masterpiece status with the passage of time? (Working backwards from 2019, not ranked in order of importance)
Nellie McKay -- Sister Orchid
Cecile McLorin Salvant -- Dreams and Daggers
Sufjan Stevens -- Carrie and Lowell
Sturgill Simpson -- Metamodern Sounds in Country and Western
Sharon Jones -- Give the People What They Want
Joshua Redman and Brad Mehldau -- Nearness
Rumer -- Seasons of My Soul
Branford Marsalis -- Four MFs Playing Their Tunes
Paul Buchanan of Blue Nile: Mid Air
King Creosote and Jon Hopkins -- Diamond Mine
John Luther Adams -- Become Ocean
The Tallest Man on Earth -- The Wild Hunt
Peter Wolf -- Midnight Souvenirs
Ali Farka Toure and Toumani Diabate -- Ali and Toumani
Maybe I've got the definition of masterpiece all wrong.
Had intended to suggest ‘Paul’s Boutique’ but apparently not always revered. But, that did bring to mind De La Soul’s ‘3 Feet High and Rising’ - still one of the greatest albums ever. I’m really enjoying this topic and everyone’s suggestions and comments. Be well
Well, are there any albums from the 2010s you'd still consider might stand the test of time and be considered a masterpiece?
And Dr Wu, absolutely on both. Certainly Paul's Boutique is a masterpiece full stop.
@Michael Giltz,
I would have to do some serious homework to come up with records I love from the 2010s, let alone masterpieces of the 2010s. I'm already questioning the use of masterpiece on records that are universally hailed as masterpieces since the 60s and 70s. There is nothing on your list that to my ears, even comes close to a masterpiece, though I've only heard about half, so it's not fair of me to judge those I haven't heard.
I do want to thank Dr. Wu for pointing out "Paul's Boutique." I do believe, that is indeed, a masterpiece.
If you haven't fallen in love with any new albums from the past decade, what a bummer! You've introduced me to some albums I love. Maybe just stop using the word "masterpiece"? I certainly don't walk around dubbing albums masterpieces except when asked to do so in a column like this. To pick many obvious examples, Van Morrison's Astral Weeks is an album I truly love that stands the test of time and feels mysterious and wonderful and gives me joy when I listen to it. I would never say to someone, "Oh my gosh, you have to listen to it. It's a MASTERPIECE!" Maybe you're just resisting the ponderous, weighty label of MASTERPIECE as an impossible standard that (almost) nothing can handle. It kind of doesn't exist any more than the Great American Novel. (And if the Great American Novel doesn't exist after Moby-dick and The Adventures of Huckleberry Finn and The Age of Innocence and American Pastoral etc I guess it never will.) If you can handle me saying, I LOVE Joni Mitchell's Blue and think you'll love it too, maybe we've agreed all along. If I tout Blue and your immediate thought is to say, "why not Clouds? Or Court and Spark? Why do people always say Blue?" Well then that's a different issue. If you can agree, Yeah, it would be a shame for someone to die without hearing Blood On The Tracks or Louis Armstrong singing on The Hot Fives and Sevens or Billie Holiday in the Decca years or Led Zeppelin II. Maybe you just think MASTERPIECE is a dumb word to use when describing a work of art you love, just like calling some poor bastard with a guitar and some songs the next Dylan. Who needs it? Not me. But you really should listen to NIck Drake's Pink Moon. It's a masterpiece! :)
@Michael Giltz
Of course I have fallen in love with records from the past decade. But this is not what the post was about. If we stop using the word "masterpiece" then sure, "Pink Moon" is great! But I don't think it's as great as "Five Leaves Left" and I don't think any of Drake's three records are masterpieces.
And I don't believe "masterpiece" is an impossible standard. I just think it should be used sparingly, which it isn't. Your "next Dylan" example is perfect. And so was calling Oasis and every other Brit pop band of the 90's the next Beatles, just because they ended their songs on an A Major 7th chord.
I went through ten years of Burning Wood's end of year favorites. More than half of all those records that were my faves of the year beginning in 2011 I don't even remember. Some of them I don't even like, but at the time thought they might have been the best out of slim pickens. Really "Megafaun" was a Top Ten record for me?
Yes, records need to endure and there needs to be that magic that keeps bringing you back, so many times that you no longer have to think about what comes next, or when don't even realize you're playing along to tha little piano fill in the middle of that song. You just do it every time. Or like "Paul's Boutique," mentioned by Dr. Wu, a record that to me, has the same genius and mystique as The Who Sell Out or A Wizard/A True Star, where so much is happening for a sustained period of time, years of playback still offers something new. I just don't hear that or feel that with the recent records on your list above.
Here's a list of records I pulled off both my year end lists and that series I did "The Other 100." I absolutely love every one of these records that I believe all came out after 1999. I still play every one these with the same passion as I do "Pet Sounds" or "Blood On The Tracks," and yet, I don't think I could comfortably call any one of them a masterpiece. Maybe most are masterpieces in my world, but can any one of these records sit comfortably alongside the records from the 60's and 70's that are universally hailed as masterpieces? I don't have the nerve to say so.
Willie Nelson- Teatro
The Darkness- Hot Cakes
The Bees- Free The Bees
ELO- Zoom
The Hot Rats
New Radicals- Maybe You've Been Brainwashed, Too
Steve Earle- The Low Highway
Paul McCartney- Chaos & Creation In The Backyard
Todd Rundgren- Liars
Finn Brothers- Everyone Is Here
David Bowie- Heathen
Stanton Moore- III
Bruce Springsteen- Magic
CC Adcock & Lafayette Marquis
Jon Cleary & The Absolute Gentleman
XTC- Wasp Star
The Rails- Fair Warning
Judas Priest- Firepower
Sparks- Hippopotamus
The Flat Five- It's A World Of Love & Hope
Bruce Springsteen- Wrecking Ball
David Bowie- The Next Day
Maurice Brown- The Cycle Of Love
Thanks for sharing this list! It's been fun chatting back and forth about masterpieces and whether they're unicorns, a creature that once roamed the pleasant valley (Sundays) of the 1960s and 1970s but are now just a memory and seen by some as a mythical creature that never truly existed in the first place.
This, I believe, concludes our Oxford Debate, though I for one can go blathering on forever. :)
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