My Overall Chart: 1301-1400
by 
Romanelli 
- Chart updated: 06/03/2026 01:45
- (Created: 02/08/2024 02:21).
- Chart size: 100 albums.
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1981 – ROLLING STONES
Produced By THE GLIMMER TWINS
1. Start Me Up
2. Hang Fire
3. Slave
4. Little T & A
5. Black Limousine
6. Neighbours
7. Worried About You
8. Tops
9. Heaven
10. No Use In Crying
11. Waiting On A Friend
One of the most misunderstood and mis-rated albums in the history of ever. My personal opinion is that the Stones should have hung it up immediately after Some Girls in 1978. That album was followed up with the disappointing Emotional Rescue in 1980. In 1981, they were getting ready to tour, but had no album to promote. Their engineer put together a bunch of outtakes and song fragments and told the band they could make something usable out of those. The result was Tattoo You. Hailed as a return to form, it was really the band leaning back on their recent past, to a time when they were still on fire and writing productively. The album was a success, and it put on temporary hold the truth that the band was done as far as being a force in the studio. Yes, it has its moments…but it should not be ignored that this release was done with a lot of smoke and mirrors.
None of the songs here were written for Tattoo You…but many of them (not all) were finished for it. The big hit, “Start Me Up”, was mostly recorded during the Some Girls sessions. “Waiting For A Friend” and “Tops” were so old (1973) that they included Mick Taylor on guitar, and not Ronnie Wood. The album’s most underrated song, “Little T & A”, was from the Emotional Rescue sessions. Fact is, most of what was new for Tattoo You were Mick Jagger’s lead vocals and the sax solos by Sonny Rollins on two songs. And yet, Tattoo You has been hailed as one of their better albums. Probably because at the dawn of their decline, these songs shone much brighter than they should have, and gave a ray of hope that the Stones were still relevant. It does have enjoyable moments, but it’s most definitely not the great comeback studio album that many believe it to be. That album simply never happened. [First added to this chart: 04/15/2026]
Produced By THE GLIMMER TWINS
1. Start Me Up
2. Hang Fire
3. Slave
4. Little T & A
5. Black Limousine
6. Neighbours
7. Worried About You
8. Tops
9. Heaven
10. No Use In Crying
11. Waiting On A Friend
One of the most misunderstood and mis-rated albums in the history of ever. My personal opinion is that the Stones should have hung it up immediately after Some Girls in 1978. That album was followed up with the disappointing Emotional Rescue in 1980. In 1981, they were getting ready to tour, but had no album to promote. Their engineer put together a bunch of outtakes and song fragments and told the band they could make something usable out of those. The result was Tattoo You. Hailed as a return to form, it was really the band leaning back on their recent past, to a time when they were still on fire and writing productively. The album was a success, and it put on temporary hold the truth that the band was done as far as being a force in the studio. Yes, it has its moments…but it should not be ignored that this release was done with a lot of smoke and mirrors.
None of the songs here were written for Tattoo You…but many of them (not all) were finished for it. The big hit, “Start Me Up”, was mostly recorded during the Some Girls sessions. “Waiting For A Friend” and “Tops” were so old (1973) that they included Mick Taylor on guitar, and not Ronnie Wood. The album’s most underrated song, “Little T & A”, was from the Emotional Rescue sessions. Fact is, most of what was new for Tattoo You were Mick Jagger’s lead vocals and the sax solos by Sonny Rollins on two songs. And yet, Tattoo You has been hailed as one of their better albums. Probably because at the dawn of their decline, these songs shone much brighter than they should have, and gave a ray of hope that the Stones were still relevant. It does have enjoyable moments, but it’s most definitely not the great comeback studio album that many believe it to be. That album simply never happened. [First added to this chart: 04/15/2026]
Year of Release:
1981
Appears in:
Rank Score:
1,756
Rank in 1981:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
1980-MCA
Produced By GARY ROSSINGTON, ALLEN COLLINS & BARRY HARWOOD
1. Prime Time
2. Three Times As Bad
3. Don't Misunderstand Me
4. One Good Man
5. Opportunity
6. Getaway
7. Winners And Losers
8. Misery Loves Company
9. Sometimes You Can Put It Out
The Rossington Collins band is the Lynyrd Skynyrd reunion. They replaced Artimus Pyle (who has been in a car accident and couldn't participate) with Derek Hess. Ronnie Van Zant and Steve Gaines, who were killed in the plane crash, were replaced by female singer Dale Krantz and guitarist Barry Harwood. The band had Skynyrd's 3 guitar attack, as well as Billy Powell on keyboards and Leon Wilkerson on bass. But this doen't sound a lot like Skynyrd. Replacing Van Zant with Krantz (who sang backup with .38 Special) gives everything a strange feel. The raspy voiced Krantz just doesn't have the same power that Ronnie did, and the songs, while layered with guitars, aren't as strong as any of Skynyrd's albums. "Don't Misunderstand Me" was a hit, but this band wasn't going to ever replace Lynyrd Skynyrd.
After this album, Allen Collins lost his wife and began deteriorating, which was the beginning of the end. He ended up in a car crash that left him paralyzed in 1986, and he died in 1990. Rossington and Krantz married. Rossington is the only remaining original member in what is left of the current Lynyrd Skynyrd. This album is just okay...nothing too special about it. [First added to this chart: 04/16/2026]
Produced By GARY ROSSINGTON, ALLEN COLLINS & BARRY HARWOOD
1. Prime Time
2. Three Times As Bad
3. Don't Misunderstand Me
4. One Good Man
5. Opportunity
6. Getaway
7. Winners And Losers
8. Misery Loves Company
9. Sometimes You Can Put It Out
The Rossington Collins band is the Lynyrd Skynyrd reunion. They replaced Artimus Pyle (who has been in a car accident and couldn't participate) with Derek Hess. Ronnie Van Zant and Steve Gaines, who were killed in the plane crash, were replaced by female singer Dale Krantz and guitarist Barry Harwood. The band had Skynyrd's 3 guitar attack, as well as Billy Powell on keyboards and Leon Wilkerson on bass. But this doen't sound a lot like Skynyrd. Replacing Van Zant with Krantz (who sang backup with .38 Special) gives everything a strange feel. The raspy voiced Krantz just doesn't have the same power that Ronnie did, and the songs, while layered with guitars, aren't as strong as any of Skynyrd's albums. "Don't Misunderstand Me" was a hit, but this band wasn't going to ever replace Lynyrd Skynyrd.
After this album, Allen Collins lost his wife and began deteriorating, which was the beginning of the end. He ended up in a car crash that left him paralyzed in 1986, and he died in 1990. Rossington and Krantz married. Rossington is the only remaining original member in what is left of the current Lynyrd Skynyrd. This album is just okay...nothing too special about it. [First added to this chart: 04/16/2026]
1994 – ATLANTIC
Produced By TORI AMOS & ERIC ROSSE
1. Pretty Good Year
2. God
3. Bells For Her
4. Past The Mission
5. Baker Baker
6. The Wrong Band
7. The Waitress
8. Cornflake Girl
9. Icicle
10. Cloud On My Tongue
11. Space Dog
12. Yes, Anastasia
1994 was the golden age of all things alternative and grunge. Pearl Jam. Nirvana. And…Tori Amos. After a failed career in the 80’s as a new wave singer, she blasted into the alt rock arena with not much more than her piano in 1992 with her debut solo album, Little Earthquakes, and the single “Crucify”. Great. What would this fiery redhead do for an encore? She proved that she was no fluke with Under The Pink. Once again driven by the power of one song (“Cornflake Girl”), Amos delivered a really good album that has stood the test of time, although it was dismissed by many at the time of its release. Unlike her live shows during this period which were the girl and her piano, Amos utilizes a band and even a string section to get her points across. And it works quite well.
“Cornflake Girl” kept Amos on the charts, along with “God”: “Past The Mission” and “Pretty Good Year” are also notable. She’s strong musically, although you minght find yourself a bit stuck in the mud with her lyrics, which tend to wander. Under The Pink became her only album to reach #1 (on the UK charts), but it’s still kind of an underrated gem in her discography. Despite being very good, it’s not quite as strong as Little Earthquakes, and not as stark as her next effort, Boys For Pele. But the truth is this: especially in the decade of the nineties, Tori Amos was on her game. So even though this may not stand out as her finest work of the time, it’s still a powerful and fine record by one of the strongest female voices of her generation. And that’s worth a lot. [First added to this chart: 04/29/2026]
Produced By TORI AMOS & ERIC ROSSE
1. Pretty Good Year
2. God
3. Bells For Her
4. Past The Mission
5. Baker Baker
6. The Wrong Band
7. The Waitress
8. Cornflake Girl
9. Icicle
10. Cloud On My Tongue
11. Space Dog
12. Yes, Anastasia
1994 was the golden age of all things alternative and grunge. Pearl Jam. Nirvana. And…Tori Amos. After a failed career in the 80’s as a new wave singer, she blasted into the alt rock arena with not much more than her piano in 1992 with her debut solo album, Little Earthquakes, and the single “Crucify”. Great. What would this fiery redhead do for an encore? She proved that she was no fluke with Under The Pink. Once again driven by the power of one song (“Cornflake Girl”), Amos delivered a really good album that has stood the test of time, although it was dismissed by many at the time of its release. Unlike her live shows during this period which were the girl and her piano, Amos utilizes a band and even a string section to get her points across. And it works quite well.
“Cornflake Girl” kept Amos on the charts, along with “God”: “Past The Mission” and “Pretty Good Year” are also notable. She’s strong musically, although you minght find yourself a bit stuck in the mud with her lyrics, which tend to wander. Under The Pink became her only album to reach #1 (on the UK charts), but it’s still kind of an underrated gem in her discography. Despite being very good, it’s not quite as strong as Little Earthquakes, and not as stark as her next effort, Boys For Pele. But the truth is this: especially in the decade of the nineties, Tori Amos was on her game. So even though this may not stand out as her finest work of the time, it’s still a powerful and fine record by one of the strongest female voices of her generation. And that’s worth a lot. [First added to this chart: 04/29/2026]
Year of Release:
1994
Appears in:
Rank Score:
1,117
Rank in 1994:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
1998 – MAVERICK
Produced By GLEN BALLARD & ALANIS MORISSETTE
1. Front Row
2. Baba
3. Thank U
4. Are You Still Mad
5. Sympathetic Character
6. That I Would Be Good
7. The Couch
8. Can’t Not
9. UR
10. I Was Hoping
11. One
12. Would Not Come
13. Unsent
14. So Pure
15. Joining You
16. Heart Of The House
17. Your Congratulations
It's easy to say in hindsight, but even while Jagged Little Pill was riding high on the charts, you kinda got the feeling that Alanis Morissette wasn’t going to be able to maintain her stardom. Just a year before Jagged, she was known primarily as the Debbie Gibson of Canada, as she had released two below average albums of teen dance pop. Jagged Little Pill, of course, changed everything…but the question soon became, what would she do for an encore? Supposed Former Infatuation Junkie came out of the gates like a rocket and sold a gazillion copies, of course…and a few weeks later, it plummeted down the charts, sending Alanis back to obscurity. So, what happened? Why did this young woman who struck pure gold with her angry and vengeful persona fall so quickly?
First of all, she ditched the anger in favor of a serenity she got on a trip to India. Putting it simply, tranquil, happy and zen Alanis was not nearly as much fun as the pissed off jilted lover she had been just an album before. The best track here is “Thank U”, and only because the chorus is great. Here, her once adventurous songwriting became badly repetitious, and she stopped singing about experiences and started singing what sounded like lists she had made of things she may have felt. Content and mellow Alanis, it turns out, had not much of anything to say, and her music, without the excitement of those loud power chords, was dull and had no edge. And so it was that Alanis became what she has always been before…ordinary. That Jagged Little Pill now had smooth edges…which made it ultimately much less interesting. [First added to this chart: 05/04/2026]
Produced By GLEN BALLARD & ALANIS MORISSETTE
1. Front Row
2. Baba
3. Thank U
4. Are You Still Mad
5. Sympathetic Character
6. That I Would Be Good
7. The Couch
8. Can’t Not
9. UR
10. I Was Hoping
11. One
12. Would Not Come
13. Unsent
14. So Pure
15. Joining You
16. Heart Of The House
17. Your Congratulations
It's easy to say in hindsight, but even while Jagged Little Pill was riding high on the charts, you kinda got the feeling that Alanis Morissette wasn’t going to be able to maintain her stardom. Just a year before Jagged, she was known primarily as the Debbie Gibson of Canada, as she had released two below average albums of teen dance pop. Jagged Little Pill, of course, changed everything…but the question soon became, what would she do for an encore? Supposed Former Infatuation Junkie came out of the gates like a rocket and sold a gazillion copies, of course…and a few weeks later, it plummeted down the charts, sending Alanis back to obscurity. So, what happened? Why did this young woman who struck pure gold with her angry and vengeful persona fall so quickly?
First of all, she ditched the anger in favor of a serenity she got on a trip to India. Putting it simply, tranquil, happy and zen Alanis was not nearly as much fun as the pissed off jilted lover she had been just an album before. The best track here is “Thank U”, and only because the chorus is great. Here, her once adventurous songwriting became badly repetitious, and she stopped singing about experiences and started singing what sounded like lists she had made of things she may have felt. Content and mellow Alanis, it turns out, had not much of anything to say, and her music, without the excitement of those loud power chords, was dull and had no edge. And so it was that Alanis became what she has always been before…ordinary. That Jagged Little Pill now had smooth edges…which made it ultimately much less interesting. [First added to this chart: 05/04/2026]
Year of Release:
1998
Appears in:
Rank Score:
737
Rank in 1998:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
[First added to this chart: 03/29/2024]
Year of Release:
1971
Appears in:
Rank Score:
4,050
Rank in 1971:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
1984 – ARISTA
Produced By ALEX SADKIN & TOM BAILEY
1. Doctor! Doctor!
2. You Take Me Up
3. Day After Day
4. Sister Of Mercy
5. No Peace For The Wicked
6. The Gap
7. Hold Me Now
8. Storm On The Sea
9. Who Can Stop The Rain
10. Leopard Ray
11. Doctor! Doctor!
12. Panic Station
13. Down Tools
14. Hold Me Now
15. Funeral Dance
1. Compass Points
2. Still Water
3. You Take Me Up (Machines Take Me Over)
4. Sister Of Mercy
5. Let Loving Start
6. You Take Me Up (High Plains Mixer)
7. Nurse Shark
8. Passion Planet
9. You Take Me Up (Instrumental)
10. Out Of The Gap (Megamix Extended Version)
Into The Gap is the fourth album by the British band Thompson Twins, who were an ever changing group with an ear for world music. It’s also their commercial peak, and probably their best overall album. The songs that put the Thompsons on the map are here…”You Take Me Up”, “Hold Me Now”, “Doctor! Doctor!” and “Sister Of Mercy” are all classically 1984 synthesizer heavy, immediately catchy, and a perfect representation of what was popular that year. The synths do sound quite dated now, but the songs themselves are fine, and show why the band was so big, even for the short period of time they were on top. The original nine song album is quite good on its own, even with the dated sound and the fact that the lesser tracks aren’t quite as memorable. You do get to gaze fondly on the cheesiness of the album cover, the clothes and hairstyles that made Thompson Twins fit right in with what 1984 was all about.
As for the rest of this…I hadn’t counted on a full 2 disc monstrosity, but what I ended up with was the 2008 reissue that has more bonus tracks (16 of them) than the original album. Some are needless instrumental versions, some are single versions, alternate takes and remixes. None of them are what I would consider to be necessary, and none of them add to the overall experience of the original Into The Gap album. My rating is based on the entire package, both discs. On it’s own, I’d rate the album a full star higher…this is just too much. Thompson Twins continued on with diminishing success for four more albums before changing their name to Babble in 1994 and moving into a more world music and less pop oriented sound. That lasted for two albums. The group disbanded in 1996. A good best of will suffice, but if you can find a copy of Into The Gap without all the extra stuff, that would be the best way to go. [First added to this chart: 03/28/2026]
Produced By ALEX SADKIN & TOM BAILEY
1. Doctor! Doctor!
2. You Take Me Up
3. Day After Day
4. Sister Of Mercy
5. No Peace For The Wicked
6. The Gap
7. Hold Me Now
8. Storm On The Sea
9. Who Can Stop The Rain
10. Leopard Ray
11. Doctor! Doctor!
12. Panic Station
13. Down Tools
14. Hold Me Now
15. Funeral Dance
1. Compass Points
2. Still Water
3. You Take Me Up (Machines Take Me Over)
4. Sister Of Mercy
5. Let Loving Start
6. You Take Me Up (High Plains Mixer)
7. Nurse Shark
8. Passion Planet
9. You Take Me Up (Instrumental)
10. Out Of The Gap (Megamix Extended Version)
Into The Gap is the fourth album by the British band Thompson Twins, who were an ever changing group with an ear for world music. It’s also their commercial peak, and probably their best overall album. The songs that put the Thompsons on the map are here…”You Take Me Up”, “Hold Me Now”, “Doctor! Doctor!” and “Sister Of Mercy” are all classically 1984 synthesizer heavy, immediately catchy, and a perfect representation of what was popular that year. The synths do sound quite dated now, but the songs themselves are fine, and show why the band was so big, even for the short period of time they were on top. The original nine song album is quite good on its own, even with the dated sound and the fact that the lesser tracks aren’t quite as memorable. You do get to gaze fondly on the cheesiness of the album cover, the clothes and hairstyles that made Thompson Twins fit right in with what 1984 was all about.
As for the rest of this…I hadn’t counted on a full 2 disc monstrosity, but what I ended up with was the 2008 reissue that has more bonus tracks (16 of them) than the original album. Some are needless instrumental versions, some are single versions, alternate takes and remixes. None of them are what I would consider to be necessary, and none of them add to the overall experience of the original Into The Gap album. My rating is based on the entire package, both discs. On it’s own, I’d rate the album a full star higher…this is just too much. Thompson Twins continued on with diminishing success for four more albums before changing their name to Babble in 1994 and moving into a more world music and less pop oriented sound. That lasted for two albums. The group disbanded in 1996. A good best of will suffice, but if you can find a copy of Into The Gap without all the extra stuff, that would be the best way to go. [First added to this chart: 03/28/2026]
1999 – ATLANTIC
Produced By BRENDAN O’BRIEN
1. Down
2. Heaven & Hot Rods
3. Pruno
4. Church On Tuesday
5. Sour Girl
6. No Way Out
7. Sex & Violence
8. Glide
9. I Got You
10. MC5
11. Atlanta
Stone Temple Pilots had changed their sound for their third album, Tiny Music…Songs From The Vatican Gift Shop. That record was more 60’s psychedelic influenced, and seemed like a good direction for the band. Those changes were ditched on their fourth album, aptly titled No. 4. Here, STP goes back to what made them famous in the first place…hard and heavy rock. A good move, as it turned out, but the problem here isn’t their style…the problem is that the band was running out of songs. And also energy. The first half of No. 4 sounds pretty good, but the second half is where they seem to really run out of gas. And by the album’s closer, “Atlanta”, they seem to be almost asleep. There was a time when energy would have been the last thing you would think these guys would run out of. But they did.
“Sour Girl” and “Down” are both fine enough songs to have kept the STP ship from sinking. “No Way Out” and “Heaven & Hot Rods” are also very good. As for the rest…you can live without them. Scott Weiland is in good enough voice here, but he’s not as prominent as he had been in the past. Stone Temple Pilots had spent most of the nineties trying to not be in the shadow of Pearl Jam (many saw them as a copycat band, which was not the case), and now that they had expended their sound, they were then retreating backward. After one more record in 2001, STP broke up and regrouped a decade later. They’ve released 3 albums since (Weiland was fired, then died in 2015), with none reaching the heights of the first four discs. No. 4 is not their greatest, but it is really the last from their earliest and best period. [First added to this chart: 06/01/2026]
Produced By BRENDAN O’BRIEN
1. Down
2. Heaven & Hot Rods
3. Pruno
4. Church On Tuesday
5. Sour Girl
6. No Way Out
7. Sex & Violence
8. Glide
9. I Got You
10. MC5
11. Atlanta
Stone Temple Pilots had changed their sound for their third album, Tiny Music…Songs From The Vatican Gift Shop. That record was more 60’s psychedelic influenced, and seemed like a good direction for the band. Those changes were ditched on their fourth album, aptly titled No. 4. Here, STP goes back to what made them famous in the first place…hard and heavy rock. A good move, as it turned out, but the problem here isn’t their style…the problem is that the band was running out of songs. And also energy. The first half of No. 4 sounds pretty good, but the second half is where they seem to really run out of gas. And by the album’s closer, “Atlanta”, they seem to be almost asleep. There was a time when energy would have been the last thing you would think these guys would run out of. But they did.
“Sour Girl” and “Down” are both fine enough songs to have kept the STP ship from sinking. “No Way Out” and “Heaven & Hot Rods” are also very good. As for the rest…you can live without them. Scott Weiland is in good enough voice here, but he’s not as prominent as he had been in the past. Stone Temple Pilots had spent most of the nineties trying to not be in the shadow of Pearl Jam (many saw them as a copycat band, which was not the case), and now that they had expended their sound, they were then retreating backward. After one more record in 2001, STP broke up and regrouped a decade later. They’ve released 3 albums since (Weiland was fired, then died in 2015), with none reaching the heights of the first four discs. No. 4 is not their greatest, but it is really the last from their earliest and best period. [First added to this chart: 06/01/2026]
1993 – ATLANTIC
Produced By PAUL EBERSOLD
1. Shakin’ The Blues
2. Ride The Tide
3. Somethin’ Else
4. This Is The Time
5. Slow Burn
6. Leave Your Pride (At The Front Door)
7. Jami
8. Sister Mercy
9. Majestic
10. Moses Brown
11. Let It Flow
Firstly…I really dislike the name of this band. Putting that aside, this is the self titled debut album from this Nashville Southern Rock funky jam band unit, riding in on the crest of the success of The Black Crowes, along with the 1993 debuts of Cry Of Love and Brother Cane. The Wheelies basically were a dance band for Deadheads who liked their music a bit heavier. This album had small success…it made a blip on the charts and had a minor hit with “Shakin’ The Blues”, which garnered the band some nice opening act slots over the next decade. But overall, while this band has its fanbase, they were never able to reach far beyond the label of funky Southern blues jam band. And their rather unfortunate name.
This album rocks, but the riffs are more for the sake of funkiness and dance grooves than anything else. Yes…you can dance to it. But singer Mike Farris does nothing that Chris Robinson didn’t do a whole lot better, and the songs here don’t really stand out…especially when taken as an eleven song album. It’s basically a Southern rock album based entirely on funk. Which doesn’t work as well as you might think. The Wheelies lasted just over a decade. They released four more studio albums, plus (of course) a couple of live sets before calling it a day in 2005. If the Southern rock revival is your thing, stick to bands like The Crowes and Drivin’ N Cryin. [First added to this chart: 06/02/2026]
Produced By PAUL EBERSOLD
1. Shakin’ The Blues
2. Ride The Tide
3. Somethin’ Else
4. This Is The Time
5. Slow Burn
6. Leave Your Pride (At The Front Door)
7. Jami
8. Sister Mercy
9. Majestic
10. Moses Brown
11. Let It Flow
Firstly…I really dislike the name of this band. Putting that aside, this is the self titled debut album from this Nashville Southern Rock funky jam band unit, riding in on the crest of the success of The Black Crowes, along with the 1993 debuts of Cry Of Love and Brother Cane. The Wheelies basically were a dance band for Deadheads who liked their music a bit heavier. This album had small success…it made a blip on the charts and had a minor hit with “Shakin’ The Blues”, which garnered the band some nice opening act slots over the next decade. But overall, while this band has its fanbase, they were never able to reach far beyond the label of funky Southern blues jam band. And their rather unfortunate name.
This album rocks, but the riffs are more for the sake of funkiness and dance grooves than anything else. Yes…you can dance to it. But singer Mike Farris does nothing that Chris Robinson didn’t do a whole lot better, and the songs here don’t really stand out…especially when taken as an eleven song album. It’s basically a Southern rock album based entirely on funk. Which doesn’t work as well as you might think. The Wheelies lasted just over a decade. They released four more studio albums, plus (of course) a couple of live sets before calling it a day in 2005. If the Southern rock revival is your thing, stick to bands like The Crowes and Drivin’ N Cryin. [First added to this chart: 06/02/2026]
1999 – MERGE
Produced By STEPHIN MERRITT
1. Absolutely Cuckoo
2. I Don’t Believe In The Sun
3. All My Little Words
4. A Chicken With Its Head Cut Off
5. Reno Dakota
6. I Don’t Want To Get Over You
7. Come Back To San Francisco
8. The Luckiest Guy On The Lower East Side
9. Let’s Pretend We’re Bunny Rabbits
10. The Cactus Where Your Heart Should Be
11. I Think I Need A New Heart
12. The Book Of Love
13. Fido, Your Leash Is Too Long
14. How Fucking Romantic
15. The One You Really Love
16. Punk Love
17. Parades Go By
18. Boa Constrictor
19. A Pretty Girl Is Like…
20. My Sentimental Melody
21. Nothing Matters When We’re Dancing
22. Sweet-Lovin’ Man
23. The Things We Did And Didn’t Do
1. Roses
2. Love Is Like Jazz
3. When My Boy Walks Down The Street
4. Time Enough For Rocking When We’re Old
5. Very Funny
6. Grand Canyon
7. No One Will Ever Love You
8. If You Don’t Cry
9. You’re My Only Home
10. (Crazy For You But) Not That Crazy
11. My Only Friend
12. Promises Of Eternity
13. World Love
14. Washington, D.C.
15. Long-Forgotten Fairytale
16. Kiss Me Like You Mean It
17. Papa Was A Rodeo
18. Epitaph For My Heart
19. Asleep And Dreaming
20. The Sun Goes Down And The World Goes Dancing
21. The Way You Say Good-Night
22. Abigail, Belle Of Kilronan
23. I Shatter
1. Underwear
2. It’s A Crime
3. Busby Berkeley Dreams
4. I’m Sorry I Love You
5. Acoustic Guitar
6. The Death Of Ferdinand De Saussure
7. Love In The Shadows
8. Bitter Tears
9. Wi’ Nae Wee Bairn Ye’ll Me Beget
10. Yeah! Oh, Yeah!
11. Experimental Music Love
12. Meaningless
13. Love Is Like A Bottle Of Gin
14. Queen Of The Savages
15. Blue You
16. I Can’t Touch You Anymore
17. Two Kinds Of People
18. How To Say Goodbye
19. The Night You Can’t Remember
20. For We Are The King Of The Boudoir
21. Strange Eyes
22. Xylophone Track
23. Zebra
Ambition. Let’s talk about ambition for a bit, shall we? 69 Love songs is, indeed, 69 songs. Not actually about love, but about love songs. There is a huge difference. Stephin Merritt settled for 69 songs (the original idea was 100), and he made it happen. This could have easily been a horrible beast, but it is not. Merritt wrote 69 songs indeed, but there’s nothing tedious about it. He touches so many genres (pop, rock, country, and everything pretty much else) that the three discs never hit a rut. Some of the songs seem shaky and weak when taken on their own, but as part of the entire collective of 69, it all somehow works. The key to this three disc behemoth is that Merritt knows when to switch things up. Just when his voice starts to get tedious, the lead vocals suddenly switch to drummer and pianist Claudia Gonson. Switching genres at lightning speed helps as well, as does the wide variety of subject matter that the concept allows for.
If you want to take the position that three discs is too much to take in at once, I won’t argue with that. This album clocks in at just under three hours. No one should be expected to sit through that much of one album. But try it one disc at a time…and you’ll be pleasantly pleased and amazed at just how good this whole thing is. Some of the songs are snippets that clock in under a minute, some are fully realized stories. The Magnetic Fields has had a unique career…never a big hit, they released one album consisting of song titles that began with “I”, and a trilogy of albums with no synthesizers…followed by an album with all synthesizers. They are always interesting, and always pushing the boundaries of what is normal for a pop band. 69 Love Songs, despite its daunting length, is the band at its most accessible, and at its very best. You’ll be stunned, and pleasantly surprised. [First added to this chart: 04/14/2026]
Produced By STEPHIN MERRITT
1. Absolutely Cuckoo
2. I Don’t Believe In The Sun
3. All My Little Words
4. A Chicken With Its Head Cut Off
5. Reno Dakota
6. I Don’t Want To Get Over You
7. Come Back To San Francisco
8. The Luckiest Guy On The Lower East Side
9. Let’s Pretend We’re Bunny Rabbits
10. The Cactus Where Your Heart Should Be
11. I Think I Need A New Heart
12. The Book Of Love
13. Fido, Your Leash Is Too Long
14. How Fucking Romantic
15. The One You Really Love
16. Punk Love
17. Parades Go By
18. Boa Constrictor
19. A Pretty Girl Is Like…
20. My Sentimental Melody
21. Nothing Matters When We’re Dancing
22. Sweet-Lovin’ Man
23. The Things We Did And Didn’t Do
1. Roses
2. Love Is Like Jazz
3. When My Boy Walks Down The Street
4. Time Enough For Rocking When We’re Old
5. Very Funny
6. Grand Canyon
7. No One Will Ever Love You
8. If You Don’t Cry
9. You’re My Only Home
10. (Crazy For You But) Not That Crazy
11. My Only Friend
12. Promises Of Eternity
13. World Love
14. Washington, D.C.
15. Long-Forgotten Fairytale
16. Kiss Me Like You Mean It
17. Papa Was A Rodeo
18. Epitaph For My Heart
19. Asleep And Dreaming
20. The Sun Goes Down And The World Goes Dancing
21. The Way You Say Good-Night
22. Abigail, Belle Of Kilronan
23. I Shatter
1. Underwear
2. It’s A Crime
3. Busby Berkeley Dreams
4. I’m Sorry I Love You
5. Acoustic Guitar
6. The Death Of Ferdinand De Saussure
7. Love In The Shadows
8. Bitter Tears
9. Wi’ Nae Wee Bairn Ye’ll Me Beget
10. Yeah! Oh, Yeah!
11. Experimental Music Love
12. Meaningless
13. Love Is Like A Bottle Of Gin
14. Queen Of The Savages
15. Blue You
16. I Can’t Touch You Anymore
17. Two Kinds Of People
18. How To Say Goodbye
19. The Night You Can’t Remember
20. For We Are The King Of The Boudoir
21. Strange Eyes
22. Xylophone Track
23. Zebra
Ambition. Let’s talk about ambition for a bit, shall we? 69 Love songs is, indeed, 69 songs. Not actually about love, but about love songs. There is a huge difference. Stephin Merritt settled for 69 songs (the original idea was 100), and he made it happen. This could have easily been a horrible beast, but it is not. Merritt wrote 69 songs indeed, but there’s nothing tedious about it. He touches so many genres (pop, rock, country, and everything pretty much else) that the three discs never hit a rut. Some of the songs seem shaky and weak when taken on their own, but as part of the entire collective of 69, it all somehow works. The key to this three disc behemoth is that Merritt knows when to switch things up. Just when his voice starts to get tedious, the lead vocals suddenly switch to drummer and pianist Claudia Gonson. Switching genres at lightning speed helps as well, as does the wide variety of subject matter that the concept allows for.
If you want to take the position that three discs is too much to take in at once, I won’t argue with that. This album clocks in at just under three hours. No one should be expected to sit through that much of one album. But try it one disc at a time…and you’ll be pleasantly pleased and amazed at just how good this whole thing is. Some of the songs are snippets that clock in under a minute, some are fully realized stories. The Magnetic Fields has had a unique career…never a big hit, they released one album consisting of song titles that began with “I”, and a trilogy of albums with no synthesizers…followed by an album with all synthesizers. They are always interesting, and always pushing the boundaries of what is normal for a pop band. 69 Love Songs, despite its daunting length, is the band at its most accessible, and at its very best. You’ll be stunned, and pleasantly surprised. [First added to this chart: 04/14/2026]
Year of Release:
1999
Appears in:
Rank Score:
3,447
Rank in 1999:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
[First added to this chart: 04/13/2026]
Total albums: 100. Page 1 of 10
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| Decade | Albums | % | |
|---|---|---|---|
| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 0 | 0% | |
| 1960s | 6 | 6% | |
| 1970s | 16 | 16% | |
| 1980s | 25 | 25% | |
| 1990s | 25 | 25% | |
| 2000s | 24 | 24% | |
| 2010s | 4 | 4% | |
| 2020s | 0 | 0% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
|||
| The Beatles | 2 | 2% | |
| Bob Dylan | 2 | 2% | |
| Van Morrison | 2 | 2% | |
| The John Butler Trio | 2 | 2% | |
| King Crimson | 2 | 2% | |
| Kate St. John | 1 | 1% | |
| Rank And File | 1 | 1% | |
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