What was the point?
If there’s one thing in media journalism and analysis that’s sure to attract an audience, it’s crafting a list article. Whether it’s a top 10 best or worst album, film of the year, or even a top 10 best places to inject heroin—regardless of the topic—you’re bound to upset someone with your choices. For instance, “between the toes” won’t even crack the top 10.
Before Apple Music, numerous publications tried to define the best albums of all time and rank them precisely, down to the nitty-gritty details of why one project was placed above another. Realistically, audiences only care if they see their favourite album on the list. I don’t understand why people get so heated online when it’s not. Most of us claim not to care about lists unless you’re Rob running a record shop, but secretly we do. The reassurance and satisfaction of seeing our favourite artists getting recognition from industry professionals and influencers is all some people want, especially the hardcore fans.
When I saw Apple Music attempting this, I actually believed they could create something that wouldn’t be torn apart by YouTube commentators. But as they released the next 10 batches of albums, working their way down to the top 10, I could see the confusion and frustration in the responses due to some baffling decisions by the list curators. From clear recency bias to why some artists were granted more than one entry while others weren’t, and some of the most insane snubs I’ve ever seen on a best albums list, I will go through the list, pointing out what stood out to me, my confusions, and appreciations.
Regardless of their placement, here are the albums I’m glad to see on the list based on personal preference.
97. Rage Against the Machine – Rage Against The Machine
96. Pure Heroine – Lorde
93. A Seat at the Table – Solange
92. Flower Boy – Tyler, The Creator
87. Blue Lines – Massive Attack
84. Doggystyle – Snoop Dogg
80. The Marshall Mathers LP – Eminem
79. Norman Fucking Rockwell! – Lana Del Rey
74. The Downward Spiral – Nine Inch Nails
70. Straight Outta Compton – N.W.A
67. Dummy – Portishead
64. Baduizm – Erykah Badu
58. (What’s the Story) Morning Glory? – Oasis
43. Remain in Light – Talking Heads
40. I Never Loved a Man the Way I Love You – Aretha Franklin
39. Illmatic – Nas
37. Enter the Wu-Tang (36 Chambers) – Wu-Tang Clan
35. London Calling – The Clash
29. The Low End Theory – A Tribe Called Quest
26. My Beautiful Dark Twisted Fantasy – Kanye West
23. Discovery – Daft Punk
9. Nevermind – Nirvana
7. good kid, m.A.A.d city – Kendrick Lamar
5. Blonde – Frank Ocean
1. The Miseducation of Lauryn Hill – Lauryn Hill
While I’m glad to see these albums getting their due recognition, their inclusion raises questions about why some of their genre contemporaries are absent and why these albums were chosen over arguably better works by the same artists.
Starting from the lower rankings, Lorde’s “Pure Heroine” is an impressive feat for an artist so young, crafting a genre-defying piece of pop music. However, “Melodrama” is widely regarded as her magnum opus. Similarly, Tyler, The Creator’s “Flower Boy” appears on the list instead of his more refined and tightly constructed “Igor.” But the most contentious omission is Kendrick Lamar’s “To Pimp a Butterfly.” While “good kid, m.A.A.d city” is a phenomenal work deserving of recognition, the decision to exclude “TPAB” over “GKMC” might be one of the most controversial choices in any best albums list I’ve encountered.
Other notable snubs that puzzle me include the absence of pioneering works within specific genres. With the inclusion of Trip-Hop classics like “Dummy” and “Blue Lines,” why isn’t Tricky’s “Maxinquaye” acknowledged? Similarly, while Oasis’ “What’s The Story) Morning Glory?” is featured, no projects by Blur represent the Britpop movement of the 90s. “Parklife” and “The Great Escape” rival Oasis in both popularity and quality, yet are missing.
The argument over multiple entries for certain artists is also prevalent. Kanye West, despite recent controversies, has at least three projects that could have been included: “The College Dropout,” “Late Registration,” and “Graduation.” These could have easily replaced some less deserving entries. A Tribe Called Quest also merits more recognition, with albums like “We Got It from Here… Thank You 4 Your Service,” “Midnight Marauders,” and “People’s Instinctive Travels and the Paths of Rhythm” deserving the same respect as “The Low End Theory.”
Some albums are so iconic and influential that their exclusion is unthinkable. Their legacies, solidified over time, make them indispensable on any best albums list.
99. Hotel California – Eagles
90. Back in Black – AC/DC
78. Goodbye Yellow Brick Road – Elton John
77. Like a Prayer – Madonna
69. Master of Puppets – Metallica
66. The Queen Is Dead – The Smiths
63. Are You Experienced – The Jimi Hendrix Experience
62. All Eyez on Me – 2Pac
60. The Velvet Underground & Nico – The Velvet Underground & Nico
56. Disintegration – The Cure
52. Appetite for Destruction – Guns N’ Roses
50. Hounds of Love – Kate Bush
48. Paul’s Boutique – Beastie Boys
46. Exodus – Bob Marley & The Wailers
41. Aquemini – Outkast
34. It Takes a Nation of Millions to Hold Us Back – Public Enemy
32. Ready to Die – The Notorious B.I.G
28. The Dark Side of the Moon – Pink Floyd
24. The Rise and Fall of Ziggy Stardust and the Spiders From Mars – David Bowie
21. Revolver – The Beatles
20. Pet Sounds – The Beach Boys
17. What’s Going On – Marvin Gaye
16. Blue – Joni Mitchell
12. OK Computer – Radiohead
11. Rumours – Fleetwood Mac
9. Back to Black – Amy Winehouse
6. Songs in the Key of Life – Stevie Wonder
4. Purple Rain – Prince & The Revolution
3. Abbey Road – The Beatles
2. Thriller – Michael Jackson
All these picks are fairly unarguable. They’re safe, beyond safe—some might even say boring—but you can’t dispute such universally agreed-upon choices. Being a streaming service, Apple Music might as well push for the classics to boost their numbers, especially since many of these projects are still primarily owned physically by audiences and continue to achieve impressive physical sales. This includes albums from the ’60s and ’70s like “Abbey Road” and “The Dark Side of the Moon.”
While you can’t argue against the inclusion of the albums I’ve previously mentioned, the next batch of projects is seriously confusing to justify. Although not all of them are inherently bad—they each have their pros and can be considered good—when you consider what’s been left out, it makes me shake my head in disbelief. Recency bias truly undermines the credibility of this list.
98. Astroworld – Travis Scott
89. The Fame Monster – Lady Gaga
85. Golden Hour – Kacey Musgraves
76. Un Verano Sin Ti – Bad Bunny
72. SOS – SZA
59. AM – Arctic Monkeys
55. Anti – Rihanna
47. Take Care – Drake
30. WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? – Billie Eilish
18. 1989 (Taylor’s Version) – Taylor Swift
15. 21 – Adele
10. Lemonade – Beyonce
Now, I am by no means a hater of modern pop. In fact, I believe it is moving in a radical and progressive direction with its various sub-genres. However, some of these inclusions on a list of the greatest albums of all time are baffling to me. As good as “Lemonade” is, are we really saying it’s the tenth-best album in the entire history of music? Better than “Rumours,” “OK Computer,” “What’s Going On,” or even “The Dark Side of the Moon”? Come on, let’s be realistic. I respect Beyoncé as the queen she is, but the 10th-best album of all time? The recency bias with “SOS” and “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” is pretty ridiculous as well. Billie Eilish will undoubtedly become one of America’s biggest pop stars, but placing her debut so high, especially when “Happier Than Ever” is, in my opinion, a much better album, seems excessive. The same goes for “SOS” compared to “CTRL,” which has had time to breathe and cement itself with its audience.
Taylor Swift fans, don’t come for me, or do—I don’t care. “1989” is good and has some of her best hits. That’s about all I can say about it. Including her version rather than the original seems like a political move. I know the backlash if they didn’t include “1989” (or any Taylor album, to be honest) would be critical and could potentially lead to a loss of subscribers for Apple Music.
The inclusion that bothers me most is “Take Care.” This isn’t about Drake’s recent loss in his beef with Kendrick or any dent in his legacy. First, I don’t believe any Drake album belongs on a list of the 100 best albums of all time. Second, if you had to include one to save a loved one’s life, “Nothing Was The Same” is a much better album in his catalogue. Third, just refer back to my first point—louder this time. When I discuss my worst snubs, you’ll understand why “Take Care” being here infuriates me. “AM” by Arctic Monkeys is another case like Drake’s, with the band having at least two better projects. It feels like a token inclusion for British rock albums.
Now, let’s put things into perspective. The snubs I’m about to list should outrage anyone with the ability to hear. This could go on forever.
To Pimp A Butterfly – Kendrick Lamar
Melodrama – Lorde
Madvillainy – Madvillain
The Money Store – Death Grips
Merryweather Post Pavilion – Animal Collective
Maxinquaye – Tricky
Parklife – Blur
The Collage Dropout – Kanye West
Strange Mercy – St Vincent
Atrocity Exhibition – Danny Brown
Richard D. James Album – Aphex Twin
In Rainbows – Radiohead
A Crow Looked At Me – Mount Eerie
In the Court of the Crimson King – King Crimson
In the Aeroplane Over the Sea – Neutral Milk Hotel
Either/Or – Elliot Smith
Unknown Pleasures – Joy Division
Doolittle – Pixies
Donuts – J Dilla
Carrie & Lowell – Sufjan Stevens
The Infamous – Mobb Deep
Igor – Tyler, The Creator
Fetch the Bolt Cutters – Fiona Apple
Screamadelica – Primal Scream
Suede – Suede
Pulp – Different Class
A Grand Don’t Come for Free – The Streets
Konnichiwa – Skepta
Silent Alarm – Bloc Party
Boy in da Corner – Dizzee Rascal
Skeleton Tree – Nick Cave & The Bad Seeds
Stankonia – Outkast
Motomami – Rosalia
Elephant – The White Stripes
I’m going to leave it at that because the more I write, the more irritated I get. Yes, I understand that you can’t fit everything into a single list, and not everyone will agree with the choices. But come on, if we’re going to label pieces of art as the greatest there ever were and ever will be, we need to maintain the integrity of our opinions—especially for a brand as big as Apple Music. This list isn’t going to change now, so let’s make sure that if we do this again, we take the time to thoroughly research the ever-changing landscape of music. Consider the impact of the missing works on those included. You might be able to push the agenda on some people, but the majority see through it, and it’s not a good look. What’s done is done, but maybe leave the lists to the magazines next time, Apple.
Scott Rudd 