155 Led Zeppelin – Led Zeppelin

Led Zeppelin had a fully formed, distinctive sound from the outset, as their eponymous debut illustrates. Taking the heavy, distorted electric blues of Jimi Hendrix, Jeff Beck, and Cream to an extreme, Zeppelin created a majestic, powerful brand of guitar rock constructed around simple, memorable riffs and lumbering rhythms.

154 Quicksilver Messenger Service – Happy Trails

Without question, this follow-up to Quicksilver Messenger Service’s self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group’s critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley’s “Who Do You Love?” and “Mona”. The group finds most of the album boring, and uninspired with the exception of a few of the originals.

153 The Velvet Underground – The Velvet Underground

Upon first release, the Velvet Underground’s self-titled third album must have surprised their fans nearly as much as their first two albums shocked the few mainstream music fans who heard them. After testing the limits of how musically and thematically challenging rock could be on Velvet Underground & Nico and White Light/White Heat, this 1969 release sounded spare, quiet, and contemplative, as if the previous albums documented some manic, speed-fueled party and this was the subdued morning after.

152 Elvis Presley – From Elvis in Memphis

After a 14-year absence from Memphis, Elvis Presley returned to cut what was certainly his greatest album. The fact that From Elvis in Memphis came out as well as it did is something of a surprise, in retrospect

151 Dusty Springfield – Dusty in Memphis

Hoping to reinvigorate her career and boost her credibility, Springfield signed with Atlantic Records, Home of soul greatest Dusty idolized such as Aretha Franklin. Although she was well versed in R&B and soul songs, she had never released an entire album of R&B material. It was there in American Sound Studios that dusty create one of her best albums.

150 Nick Drake – Five Leaves Left

Underrated in his own time Nick Drake had a resurgence after his passing at a young age. On this debut album Drake’s lyrics capture a subtle poetry of emotion while his singing is soft, articulate and sometimes haunting.

149 The Rolling Stones – Let It Bleed

For their next album Let it Bleed The stones would continue the return to the ragged blues rock songs of protest and misery but this time they would do away with any psydelic elements in favor of a country accent. And like the previous album the opening track shows that the Stones only sharpen their licks as gimme shelter sounds like a beautiful siren in the distance before a riotous explosion of guitar and share sets the political anthem on fire.

148 Pentangle – Basket of Light

An unexpected album from the UK folk “supergroup” featuring
Bert Jansch, John Renbourn and Jacqui McShee that moved folk into jazz territory with flourishes of psych.

147 Bee Gees – Odessa

The group members may disagree for personal reasons, but Odessa is easily the best and most enduring of the Bee Gees’ albums of the 1960s.

146 Miles Davis – In a Silent Way

Upon its release, the album was met by controversy among music critics, particularly those of jazz and rock music, who were divided in their reaction to its experimental musical structure and Davis’s electric approach. Grady has a lot to say and Rob thinks he is starting to like Jazz.

145 The Who – Tommy

After the dry run of  the Who’s previous album “ the who sell out”  Pete Townshead spearheaded a new project that was both innovative and ambitious. Tommy was a full-blown concept rock opera complete with overtune, interludes and an interwoven story about a boy Tommy.

144 The Beatles – Abbey Road

The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group

143 Creedence Clearwater Revival – Green River

After the success of Bayou Country producer and primary songwriter John Fogerty would continue his run of great songwriting in this second of the three albums recorded in 1969. The band worked tirelessly shunning the drug scene and breaking free from the drawn out San Francisco psychedelic jams with a straight ahead stripped down southern rock n roll that sounded gutsy and refreshing to critics and listeners alike.

140 Blood Sweat Tears – Blood Sweat Tears

It was commercially successful, rising to the top of the U.S. charts for a collective seven weeks and yielding three successive Top 5 singles. It received a Grammy Award for Album of the Year in 1970. We hate it and Rob loves it because it reminds him of marching band and late nights in Vegas.

139 Crosby Stills Nash – Crosby Stills Nash

Crosby , Still and Nash begin as a loose idea of songwriters all with an affinity for close harmonies blended with folk and pop music. Having been at odds with their previous groups they decided to use their surnames as identification to ensure independence and guarantee that the band could not continue without any one of them.

138 Creedence Clearwater Revival – Bayou Country

Opening slowly with the dark, swampy “Born on the Bayou,” Bayou Country reveals an assured Creedence Clearwater Revival, a band that has found its voice between their first and second album.

137 Captain Beefheart – Trout Mask Replica

Experimental avant-garde/free-jazz artist Don Van Vliet, aka Captain Beefheart, releases Trout Mask Replica, a polyrhythmic, polytonal collection of noise that is either an unlistenable mess or a work of genius.

136 Neil Young – Everybody Knows This Is Nowhere

This marked the beginning of Young’s recording association with Crazy Horse. With them, Young quickly cut a set of loose, guitar-heavy rock songs — “Cinnamon Girl,” “Down by the River,” and “Cowgirl in the Sand” — that redefined him as a rock & roll artist.

135 Mothers of Invention- Were Only in It for the Money

From the beginning, Frank Zappa cultivated a role as voice of the freaks — imaginative outsiders who didn’t fit comfortably into any group. We’re Only in It for the Money is the ultimate expression of that sensibility, a satirical masterpiece that simultaneously skewered the hippies and the straights as prisoners of the same narrow-minded, superficial phoniness

134 The Beatles – The Beatles (White Album)

The one the only white album. We need to talk about it and it’s a long talk.
The Beatles were at the peak of their global influence and visibility in 1968. Sgt. Pepper’s Lonely Hearts Club Band, released the previous year, had enjoyed a combination of commercial success, critical acclaim, and immense cultural influence that had previously seemed inconceivable for a pop release.

133 The Byrds – Sweetheart Of The Rodeo

Initially Sweetheart of the rodeo was going to be a collection of songs that would represent American popular music of the 20th century, encompassing examples of country music, jazz and rhythm and blues, among other genres but the concept was abandoned early on and the album instead became purely a country record

132 Van Morrison – Astral Weeks

Lauded as one of the greatest albums in the rock ’n’ roll canon, Astral Weeks feels less like rock, more like a benediction, a song cycle of rebirth.