Finally we are to part 3 of this pointless list. Have you found any new music that you hadn’t yet discovered this year? If so great, if not too bad you wasted your time.
We assure you that our picks from #33 to #1 will have at least one album you haven’t heard yet. If not, well we lied and that’s your problem not ours.
Not as much shit talking as the last two installments, but I will tell you now that some of the albums that made our top spots suck so bad. It’s embarrassing really, but our ranking / voting system is seriously flawed so what can you do. Why fix something that is clearly severely broken. Right?
We also hit a new level of fuckery by somehow ranking an album from 2016 into spot #24. Insanely stupid!
Try and enjoy this list if you can.
Best Albums of 2017: 33 – 01
33. Land of Talk- Life After Youth
Okay so maybe this wasn’t the tour de force return from Elizabeth Powell that we were all hoping for, following her seven year, self-imposed exile from the music industry, where she opted to try to care for herself, as well as for her father following a stroke. Powell, following up 2010’s Cloak and Cipher, doesn’t owe us anything. She didn’t have to come back at all, and Land of Talk could have just faded away into indie rock obscurity like so many other mid-2000s buzz acts.
However, she did return, and on the concise Life After Youth, Powell blends the ramshackle guitar driven sound of the band’s earliest days, with a newfound maturity and penchant for experimentalism that developed in her time away. “I don’t wanna waste it this time,” she sings, in a near pleading voice, early on in the record– something that gives a listener hope that this isn’t just a one-off return, and that Land of Talk is, for the foreseeable future at least, back for good. – Kevin Krein
Welcome back Lizzy Powell! – Isaac Atencio III
See, this amazing album almost got stuck all the way back at #80 where’s Spoon’s garbage music now occupies. Life After Youth is much deserving of a #33 ranking if not higher. I love Land of Talk and I am glad to have Ms. Powell back. – Jon
32. Kelly Lee Owens – Kelly Lee Owens
Kelly Lee Owens has released the most beautiful piece of Electronica in 2017. This sounds perfect for the chill-out room in a club, but it could equally get the party going when played as loud as possible. It reminds me a lot of The Orb and The Beloved, that Dream-Pop, Trance infused music of the late 80’s and early 90’s which acted as a countermeasure to Madchester and Grunge in my life. With this debut, Kelly Lee Owens has stated her claim to being the new Queen of Electronica, this album is damn good! – Eddie Carter
Back in March of this year ya’ boi Phil Maye called this ‘therapy techno’. I totally agree, Kelly Lee Owens music heals the soul, it makes you feel calm, it makes your feel complete. – Jon
31. The By Gods – Move On
There’s nothing worse than seeing bands you once loved, growing old and trying too hard to stay hip. Former power houses like Pearl Jam, Alice In Chains, and even The Foo Fighters, are steadily making what some call the worst thing to happen to rock n’ roll: Dad Rock. As stated in my review of Move On, The By Gods have delivered a grunge rock album for modern times. They may pay tribute to the era of Nirvana and and The Pixies but never once feel the urge to play the nostalgia card. There’s plenty of call backs to the by-gone grunge era but make no mistake,everything is relevant and in many ways, timeless. The By Gods just might be the genre’s best kept secret and Move On proves that rock is not dad. – Aaron Cooper
30. Cloakroom – Time Well
Taking cues from both Hum and Failure, the Indiana-based trio seamlessly blend sludgy, stoner metal with space rock, without foregoing their pop sensibilities. A dense, murky record that is still very listener friendly, boasting a number of songs that are, believe it or not, catchy. -Kevin Krein
Cloakroom has consistently been on the top of all my year-end lists. Time Well is no exception. If I had a band I would rip off this power-trio’s sound, they are gods. – Isaac Atencio III
29. Spirit of the Beehive – Pleasure Suck
The debut full-length album from Philadelphia’s Spirit of the Beehive is weird – like, Syd Barrett weird. In fact, Pleasure Suck probably stands as 2017’s fringiest side of the indie sound arising from Philadelphia these days. Economically packed with surprising chord and time changes, unusual instrumentation (including sludge guitar and violin), and strange conversation samples, this music invites the kind of urban ambivalence one might expect from Philly’s transforming, but still gritty neighborhoods (I’m thinking of you Northern Liberties and Fishtown).
The album’s tunes are best characterized by disorderly noise rock tempered with attractive melodies, which are abruptly halted with fits of further instrumental distortion (these moments offer the album’s greatest pleasures). This all makes Pleasure Suck seem fresh, creative, and flexible – an approach I look forward to seeing Spirit of the Beehive explore in future efforts. – Nate Jones
28. St. Vincent – MASSEDUCTION
It’s hard to say how well MASSEDUCTION will age. It’s a huge gamble for Annie Clark, arriving a decade after her debut as St. Vincent. The album, her fifth solo outing, finds her making a big, bold, nervy pop statement that has moments both welcoming and inaccessible. It’s a difficult album for these difficult times– the kind of technicolor pop music that a fearless artist would make in a year like 2017. – Kevin Krein
I need “Pills Pills Pills” to listen to this album. Just kidding, I agree on all fronts with Kevin, but I wonder if Annie Clark’s aesthetic is becoming more important than her music?- Jon
27. SZA – CTRL
In what may be one of the most auspicious full length debuts of all time, Solana Rowe spent the three years following the release of her EP Z toiling away on what would wind up being CTRL— the album had famously been scrapped, rewritten, and re-recorded a number of times until the final version of the album started to take shape. An effortless blend of soul, R&B, hip-hop, and pop, Rowe has, in a sense, crafted an album that arrives like a scrappy kid sister to Solange Knowles’ A Seat at The Table, touching on race, identity, gender, sexuality, and anxiety, among other things throughout the album’s 14 tracks. -Kevin Krein
“Doves in the Wind” is song of the year! – Jon
26. The Black Angels – Death Song
This album was such a nice surprise to me this year. I did not expect The Black Angels to have these tunes in them after their long and expansive career so far. Every single song hits home directly and slyly worms its way into your earhole never to leave again. The production stands out on this one as well, weaving the psychedelics into the songs seamlessly without losing any power in the songwriting. Out of all the psychedelic rock records I listened to this year (and there were many) Death Song is no doubt the most memorable. – Jasper Hesselink
25. Vince Staples – Big Fish Theory
Vince Staples does not give a shit what you think about him. On his debut album, he painted a vivid picture of life on the streets of Long Beach as a crip, garnering comparisons to Kendrick’s good kid, m.A.A.d. city. And just like Kendrick, Staples has proven that he can’t be pigeonholed. Rather than embracing his fame and living a life of excess, Staples challenges the notions of success in the rap world when he’s not just mocking them outright.
There’s some weird shit on here, including a lengthy clip of an old Amy Winehouse interview that leads into a thoughtful verse from Staples that samples and interpolates an old Temptations song. The production on Big Fish Theory is similarly contrarian, ditching the ‘90s nostalgia (that Vince was never really even part of) for sparse-but-bumpin’ beats. A shout-out to Rick Ross in the chorus of the appropriately named “Homage” should remind you that Vince Staples is way younger than you and that he thinks your taste in rap sucks.
There’s even a guest spot from Kendrick himself on “Yeah Right” in which both MCs rip apart the boastful nature of modern rap. “Party People” continues the trend with probably the best lyric from the entire year: “How I’m supposed to have a good time when death and destruction’s all I see?” However, “Bagbak” does give that line a run for its money with the equally incisive “Tell the government to suck a dick.” -Ricky Vigil
24. Zeal and Ardor – Devil Is Fine
For me as a European this does not count as a 2017 release, however since it features on this list I will just say that if you haven’t heard this you definitely should! Black metallized gospel for your hearing pleasure. -Jasper Hesselink
Pretty sure Jasper covered this last summer (in 2016!!!!!!!) so I don’t know what the fuck it is doing on this Best of 2017 List?! WTF?! – Jon
23. Brockhampton – Saturation 1,2, & 3
Glory, glory, hallelujah! These three insane, heart-pumping hip hop albums dropped all in the same year, entitled the Saturation Trilogy. While I do favor Saturation 1 and 3 the best, they are all worthy of high praise. Songs like “Heat” and “Boogie” are prime examples of how Brockhampton are able to dominate pre-existing boundaries of hip hop and yet still manage to chart new territories in fresh, enticing ways. There are very few slumps found within the 48 tracks, and don’t be surprised if you end up playing these records again and again. They are utterly infectious. – Haley Lewis
22. Old Iron – Lupus Metallorum
Seattle delivered my favorite heavy album of the year. Old Iron doesn’t waste time trying to fit into the hip metal crowds so you may have missed the boat if you don’t explore and think for yourself. Crushing journeys of fantastical nature will open your third eye while obliterating your earthly mind. Fantastic. – Matt Jamison
21. Tuxedo – Tuxedo II
In a year where all hell is breaking loose, Tuxedo II is the album the world needs. It is just pure fucking fun, plain and simple. Anyone in need of an instant dance party can put on this funky gem and get down to some of the catchiest jams courtesy of Mayer Hawthorne and Jake One. This album ranked right up at the top of my personal list. If you don’t “Fux with the Tux” (the title of Tuxedo II’s opening track) be sure to also check out Tuxedo’s self-titled album as well. It is sure to please. – Isaac Atencio III
20. Anacondas – Gracer / Disgracer
This three piece Britghton based band fucking owns me! I was obsessed with their debut album Sub Contra Blues and have been patiently waiting for a follow up, but I wasn’t expecting a two album concept follow up.
According to the band:
“Gracer/Disgracer is a two-part conceptual album exploring avenues of love, rejection, social chaos, modern day living, oppression and belonging.
Gracer/Disgracer will take you on a ride through slow doom passages and hi-octane hardcore with some surprises along the way.”
Anacondas do all kinds of heavy in all kinds of ways, but the melody and dynamics they mix in to the heaviness is something truly unique. Find me a ‘heavy’ band that does vocal work better than Anacondas and I will call bullshit, because no ‘heavy’ band does it better.
If you can’t appreciate Anacondas creativity than we are not friends. Gracer/Disgracer are my #1 albums of the year… and that’s why they get two music embeds. Again, because I’m the editor of this stupid list so I do what I want.
I also owe these guys an interview too, but again stuff like this stupid list takes me away from doing the fun stuff that I really want to do. – Jon
19. Lees of Memory – The Blinding White of Nothing At All
It takes guts to drop a double album in an era where a lot of artists feel albums are irrelevant. The devil-may-care attitude and knack for going against the current is what makes The Lees Of Memory one of the most unpredictable bands of the last few years.
One year, they’re shoegaze then arena rock the next year. At 24 songs deep, The Blinding White of Nothing At All tackles everything from country, blue-eyed soul, blues, and even jazz but never feels bloated or in need of an edit. The Lees Of Memory have only been around for 5 years and have already crafted albums that stand shoulder to shoulder with Big Star, Husker Du, and My Bloody Valentine. But with this album, they’ve entered the short list of artists like The Beatles and Prince, who are full-on capable of justifying a double album. -Aaron Cooper
18. Joey Bada$$ – All-Amerikkkan Badass
Honestly, I hadn’t heard Joey Bada$$’ music before this release. I knew him more from Mr. Robot than from rapping. This young rapper was somewhat disrespected by Pitchfork. Indicating he has less answers than questions on All-Amerikkkan Badass. But that is what we need right now. The youth to question what’s going on. He is a hero and I can’t wait to see where he goes from here. Also, the guest spots are grade A. The beats hit all the right spots. Joey’s flow was bested by nobody in my opinion. Rap album of the year! – Matt Jamison
All-Amerikkkan Badass was easily one of my favorite listens this year. The album is a funky head-bobber, catchy as hell, and so lyrically and socially potent. The first half of this record hits especially hard touching on racially inequality, the Black Lives Matter movement, police brutality. It is so rich with message and meaning, all while pointing out the inequality and providing a positive message of solidarity and resilience.
It may not provide answers to any problems, but it sheds a light on current political climate while being approachable. There are moments on this record that legitimately got me emotional and brought a tear to my eye. Joey Bada$$ is on fire, I cannot wait to hear more from this dude. – Isaac Atencio III
One of the best rap releases of the year. Political, smart, and greatly mixed. – Haley Lewis
17. Transylvania Stud – Red Queen
It’s somewhat contradictory to have hooks in hard rock and radio-friendly runtimes. It’s these elements that make Transylvania Stud so unique. Each track on Red Queen establishes thick grooves, thunderous percussion, and skull-rattling guitars without sacrificing smooth vocals and choruses that beg you to sing along. It’s just completely uncommon these days.
I love hard rock, but I’ll admit, it’s been a long time since anyone of that genre has done anything remotely interesting. Transylvania Stud combines elements of desert rock, experimentation, and even doom metal with a pop sensibility to create something truly satisfying. Look, Chris Cornell is dead, Queens Of The Stone Age suck now, and who knows when or if Failure will make another record. Red Queen not only fills that void with only four tracks, but tells me Transylvania Stud is the most promising artist in hard rock. – Aaron Cooper
Shout out to Coop for showing my the greatness of T-Stud. Hoping for another EP or LP very soon. Also, my favorite cover art of the year. – Jon
16. Elder – Reflections Of A Floating World
This is the go-to record for guitar players this year. It doesn’t really get better than this if you’re into riffs and skills. Besides that this album is just such an adventurous journey and rewarding listen that you can -no have to- listen to this album for days. In a world of stoner bands and riffrock outfits copying each other to no end it is vital to have a band like Elder transcend any genre and just rule. – Jasper Hesselink
15. Alvvays – Antisocialites
With their new LP, Molly Rankin and company show their debut’s success wasn’t a fluke. Over ten songs, they deliver pop hooks and jangling guitars, albeit ones with more than a little fuzz and haze, like it’s nobody’s business. It’s maybe the best record to come out of Canada this year, and puts them in the conversation for the best rock act up here, too. – M. Milner
14. Cloud Nothings – Life Without A Sound
Despite being slightly longer and little darker than previous releases, Cloud Nothings continue their streak of quality punk flavored alternative albums. Life Without A Sound doesn’t exactly reinvent the wheel in turns of sound but there’s a reason why this album ranks so high on this year end list. It’s because it’s Cloud Nothings! They do themselves so well, they’re core sound never gets boring. On the surface tracks like “Modern Life” and “Internal World” might sound like power pop anthems on the surface, but lyrically they’re battle cries of anxiety and the human condition. That’s Cloud Nothings for you. – Aaron Cooper
13. Lorde – Melodrama
New Zealand’s Lorde (not to be confused with the Finnish band Lordi) has grown a lot since Pure Heroin, her second album Melodrama can be seen as a coming of age piece, one that sees a young lady find love, have her heart broken, party the night away, and find hope mixed with regret in the same situation. Songs like “Homemade Dynamite”, “Green Light”, and “Perfect Places” are the sound of an artist on the rise. The growth shown cannot be underestimated, there is more to come from Lorde and this is just the start – Eddie Carter
Lordy Lordy Lorde.
It’s hard to think with her meteoric rise that Lorde is still only 21. Many of the themes featured on Melodrama have seldom been presented so accurately by any musician twice the age of Lorde. Much of the praise has to be given to Lorde in her blend of avant garde and pop approach but a special mention has to be given to producer Jack Antonoff who, together with Lorde have formed a formidable musical partnership. Melodrama really does feel like it’s been plucked directly from Lorde’s brain, with Antonoff acting as channeller. Also, “Green Light” is probably one of the best tracks of the year. – David Dring
It is baffling to me that so many of the writers at B.G.M. like this album and ranked it so high. I am bummed that it is all the way up at #13. Clearly I don’t get it so I guess I’m the asshole. – Jon
12. Mogwai – Every Country’s Sun
After releasing two soundtracks in 2016, Every Country’s Sun is Mogwai’s first studio output since Rave Tapes in 2014. For a while if we’re all honest, Mogwai had been playing it safe, their music was enjoyable, but it was hardly a patch on their earlier works. With Every Country’s Sun, Mogwai has taken their own template and pushed themselves and their audience to the limit. This is an incredibly bleak album, but there is also a fragmented beauty to the sound of this record. Every note was perfectly placed, every beat hit with precision, every song a new favourite. For my money, Mogwai have topped Mr. Beast, I cannot give higher praise than that. – Eddie Carter
I don’t get high, but this album got me close. A remarkable feat of beautiful instrumentation and atmospheric bliss. Simply amazing. – Jeremy Erickson
11. The National – Sleep Well Beast
If any band has embraced their true dad rock status, The National would have to be exhibit number one. Now at the point in their career where albums and singles top the charts, Matt Berninger and crew push beyond the confines of former underdog origins circa Alligator and Boxer. Where fellow indie titans like Arcade Fire push for scraps of fading youth in their material, The National find solace in tapered down compositions, with the Dessner brothers adding soft layers of electronics to an already comfortable formula.
As evidenced by quirky documentaries and even by stereotyping five aging, balding hipster dudes, the Sleep Well Beast era of The National is simply another entry into a storied discography. Now as they grow older, the festivals they play (and curate) get bigger, the seated venues increase (c’mon Portland…), and the encores feature more and more tributes to boomer-era music legends.
That’s not to say the songs aren’t fresh by any means. Lead single “The System Only Dreams In Total Darkness” features a guitar solo. “Turtleneck” is Berninger dreaming of a punk alternate reality. Everything else in between is his sad boy routine, complemented by moody piano as seen on Trouble Will Find Me. The National have hit a comfortable stride in life, and I’m all for that. -Daniel Carlson
10. King Krule – The OOZ
For a record as loungey an jazzy as this, King Krule, a.k.a. Archy Marshall really opened a can of worms stylizing as many genres as he could cram into one record. It’s as eerie as Spiderland on tracks like “Midnight 01 (Deep Sea Diver)”, rocks hard on tracks like “Dum Surfer”, and invokes the same feeling of introspection with atmosphere and experimentation not seen since Frank Ocean’s Blonde.
I feel like I just need to keep throwing out as many references to other works as I can to accurately describe it, but The OOZ truly is its own masterwork. Marshall was already a hype, wonderkid type before any of these songs surfaced this year, but 2017 is King Krule coming in to his own as a songwriter, as a music icon, and as a performer. I was never a big fan prior, but The OOZ simply blew me out of the water. – Daniel Carlson
Love this album and I love King Krule! – Jon
9. Paramore – After Laughter
In September this year, on the Sunday night of Riot Fest, Chicago, I grabbed a $30 bottle of wine from the festival bar and had one of the greatest live experiences of my life. Paramore played a very After Laughter heavy set and it was perfect. It was a warm autumn evening, I was wine drunk, surrounded by some of the loveliest people and I sang and danced myself into a stupor. Paramore really do not get enough credit for how good they are as a live band lately and if I happened to see them at their absolute best then I will forever feel truly blessed. Thank you Hayley Williams for making my weekend.
As for After Laughter, I can’t help falling for the poppy goodness and the 80’s goodness. “Hard Times” is the most fun track I’ve heard all year, while “Rose-Colored Boy” and “Fake Happy” have hooks bigger than your mum. There honestly ain’t a song on here I don’t love. Although many fans jumped ship once Paramore completely ditched their emo sound over the years, I couldn’t be happier seeing them release a pop album that clearly sounds like an album they wanted to make. – David Dring
8. Pissed Jeans – Why Love Now
Fifth album from Sub Pop’s premier noise rockers delving deep into the male psyche, sex, and shame. As uncompromising and gloriously aggressive as ever, Why Love Now is the sound of band absolutely hitting their stride and getting ready to take their place amongst the genre greats like The Jesus Lizard, Cows, and Melvins. Alongside label mates Metz, Pissed Jeans are taking the underground into the stratosphere. So why love now? Because they’re fucking incredible, that’s why. – Steve Wheeler
“I was a boy, spending nights kickin’ life’s big behind / Yeah the only thing I had too much to spend was time / Hospitals and funerals meant as much to me / As rerun sitcoms blaring on the TV /
Sugary dinners and candy snacks at night / Sleep til whenever doesn’t matter if it’s getting bright
But now I’m waiting on my horrible warning…
Waiting on my horrible warning
Never thought about when you’re actually halfway through life / Emotional labor piled up on the wife
Back’s thrown out just trying to tie my shoes / Let me tell you, I used to play punk, now I’m just singing the blues
Just waiting for a headache that never goes away / Just waiting for a lump that gets bigger every day
Yeah I’m waiting to locate my terminal deficiency / Waiting to have my children come to visit me
All it takes is one test to find out that it’s my time…
You see I’m waiting on my horrible warning / Just waiting on my fucking warning / I’m waiting on my horrible warning / Oh I’ll just keep waiting for my horrible warning” -Matt Korvette,
“Waiting on My Horrible Warning”, opening track on Why Love Now. This album rules and I don’t need to repeat what Steve mentioned above. – Brandon Perras
7. Julien Baker – Turn Out The Lights
This album is heartbreaking in the most beautiful way imaginable. It crushes my soul and that’s really all I got. – Aaron Cooper
6. Kendrick Lamar – DAMN.
Are you supposed to play it forward? Are you supposed to play it backward? How next level is it that this thing works both ways? Arriving two years after Lamar’s bombastic, weighty To Pimp A Butterfly, DAMN scales thing back in a sense. It’s accessible, but it’s still a dark, dense, difficult listen. Lamar’s narrative on spirituality, fate, race, and identity is complicated, but it’s always compelling and often energetic in delivery. -Kevin Krein
All hail, King Kendrick. This man is super-human and unstoppable. Do yourself and listen to the first season of the podcast Dissect, and tell me that you don’t think he is one of the most brilliant musicians to have ever graced this planet. – Isaac Atencio III
5. Liars – TFCF
I’ve been listening to Liars for over 15 years and the most interesting thing about their catalog is how no two records sound alike. TFCF takes that a step further seeing as Liars is now an Angus Andrew solo act. TFCF features all the avant-garde experimentation found on every Liars album, but on this go around it just feels more personal and direct.
I had the opportunity to interview Andrew at Riot Fest this year and he explains TFCF is about the deterioration of the creative union between himself and Liars co-founder Aaron Hemphill. The underlying sadness gives depth to the music in ways that may have been missing in previous Liars releases. That kind of vulnerability alone makes TFCF one of my favorite albums of 2017. – Aaron Cooper
4. Thundercat – Drunk
Drunk is the sound of a musical maverick on fire, the noise of someone at the top of their game and the soundtrack to one of the best parties you’ll ever go to. Mixing Jazz Fusion, Funk, R&B, and Electronica, Thundercat has created an album that gets better with each subsequent spin. – Eddie Carter
I thought I had this year’s top 10 list figured out. I knew who my #1 choice was, however when I looked at which albums I actually listened to the most, I realized I wasn’t so sure. Thundercat’s Drunk was by and far my most listened to record of the year. Drunk is the type of effort that just keeps giving. With every listen I hear or learn something new. Each track is utterly incredible. Ranging from sonically insane, to geeky and cheeky, slightly demented, and funky as all hell. Drunk is the real deal, and should be in the #1 or #2 spot. – Isaac Atencio
3. Phoebe Bridgers – Stranger in the Alps
I’ve been hooked since “Smoke Signals” at the start of the year, and what a sign of what was to come. This young musician is unparalleled in her musical and lyrical prose, easily beating Julien Baker in my book and a muse who will stand the test of time. I can’t get tired of this album, or her voice, or of the heartbreaking honesty from which she sings. Even in the best of moods, her music gets me every time. And music that makes me cry is my favorite kind. – Kelsey Simpkins
2. Glassjaw – Material Control
Oh baby! A Glassjaw record in 2017? I must have been a good boy this year. The only thing more surprising than this record dropping is just how feverishly the band have promoted it before and after release. Glassjaw have always been staunchly cryptic so to see them actively push the album on social media is crazy.
I’m very, very happy with how Material Control turned out though. Vocalist Daryl Palumbo wails and screeches his way through mysterious lyric after mysterious lyric, backed up by long time guitarist Justin Beck and newly installed rhythm section, ex-Glass Cloud members Travis Sykes and Chad Hasty. The record flows from urgent and frantic to brief calm moments that allow you to catch your breath. Opener “New White Extremity” feels like “Tip Your Bartender” 2.0 and “Bibleland 6” features Palumbo at his cynical, poetic best. – David Dring
It’s great to have Glassjaw back. Especially with an album that is an instant classic, but even better than their previous work. How lucky the hipsters are! – Jeremy Erickson
1. Oxbow – Thin Black Duke
If I remember 2017 for anything, it’ll be for the moment I heard Thin Black Duke. With their first studio album in ten years, Oxbow have unleashed eight moments of musical genius. Is it for everyone? No, not even close, as this is not cookie-cutter, one size fits all, happy on Valium pop.
This is music as it should be, it’s challenging and it never let’s you feel comfortable. From the start of “Cold and Well-Lit Place” to the final bars of “The Finished Line”, you will be abused and confronted at every step of the way. Because of its confrontational nature and its uncompromising status, Thin Black Duke is not only one of my most memorable records of 2017, but the Bearded Gentle Music #1 as well! – Eddie Carter.
The fact that a forward-thinking, quirky, unique and absolutely free spirited record like this ends up on top of this list makes me happy to still be a part of this writer collective. Go Bearded Gentlemen Music! -Jasper Hesselink
Liam Gallagher’s As You Were was better. – David Dring
Seriously, you’re all the way down here to the end. Why? Were you bored?
I guess I should say thank you for scanning through this entire thing. I really hope you didn’t read all of it. If you did you need a hobby or something.
Also, you can also tell us how horrible or great our picks were in the comment options below. What album did we leave off? Oh really?! Well that album really sucked, but we needed to put suckier albums in it’s place. Sorry.