最烦看榜单了。。。

八古好久没发榜单了。。。

那就发下落！！！

嘿嘿嘿嘿。。。

另外前面50个偶还没看到介绍！！！

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This week NME announced the 100 greatest British albums ever made. Alongside this exclusive rundown of 51-100 you'll find the chance to win the top ten for yourself at the bottom of the page. Good luck.

100 - Derek And Clive
(Live) (Island, 1976)
Recorded by Peter Cook and Dudley Moore in 1973, bootlegs became tourbus essentials for the Stones. Finally released, the world got to hear some fucking exquisite British swearing. Forget Shakespeare, this is Britain’s greatest contribution to the spoken word. PS

99 – Patrick Wolf
Lycanthropy (Faith And Industry, 2004 )
Half trendy teenager with a Nathan Barley haircut and half tortured poet from the depths of the local graveyard, Patrick Wolf stepped up with his mandolin and Dickensian day-wear to produced glorious, creepy tales of London life - complete with bloody pigeons… LC

98 - Roots Manuva
Run Come Save Me (Big Dada, 2001)
The album that made the world take British hip-hop seriously. With his second album, salt of the earth south-Londoner Rodney Smith magically made his beats and rhymes compatible with underground credibility and mainstream success. A true first for the genre. HP

97 - Led Zeppelin
Led Zeppelin IV (Atlantic, 1971)
‘Wayne’s World’ was right; ‘Stairway’ is for ponytailed Total Guitar
readers. No, what makes ‘IV’ indispensable are songs like ‘Black Dog’ and
‘Rock n’ Roll’, thrilling slabs of rhythm and blues by a band at their
absolute bacchanalian peak. BN

96 - Adam And The Ants
Kings Of the Wild Frontier (CBS, 1980)
He may have looked like a prize buffoon, but Adam Ant was a classic British maverick. Here he fashioned a twin-drummed pop album that conquered the world with tribal rhythms and twangy surf guitars. AW

95 - Julian Cope
Jehovahkill (Island, 1992)
Possibly the last true eccentric in British Rock, the ex Teardrop Explodes singer produced a record that features both the disturbing pop of ‘Fear Loves This Place’ and the hymn self-deification ‘Julian H Cope’. Paganistic perfection. AT

94 - The Futureheads
The Futureheads(679, 2004)
Noel Gallagher called it “the weirdest music I’ve ever heard”. Had he added ‘fresh’, ‘exciting’ and ‘soon to be massively influential’, he’d have been spot on. HMC

93 - Brian Eno
Here Come The Warm Jets (Island, 1974)
After leaving Roxy Music, “sound manipulator” Eno released this mix of bizarre lyrics and otherworldly guitar textures that sound like the inside of Kevin Shields’ head. A densely-detailed masterpiece which, even now, sounds like the future. NC

92 - Oasis
(What’s The Story) Morning Glory? (Creation, 1995)
Second album of “left-overs” from Definitely Maybe that took Oasis from NME faves into Tabloidworld (and Number 10) Noel still says he can’t see what all the fuss is about. Bless ‘im. RP

91 - The Fall
This Nation’s Saving Grace (Beggars Banquet, 1985)
After 25 albums, The Fall have become British musical icons. Back in 1985, this album proved they could add catchy melodies to their familiar brutal, barbarous rhythms, without selling out. SW

90 - Supergrass
I Should Coco (Parlophone, 1995)
Getting caught with the blow, joyriding and making sure your teeth are clean. Proof that teenage traumas are brilliant, particularly when they’re so goddamn catchy.
ST

89 - Blur
Parklife(Food, 1994)
More so than ‘Definitely Maybe’ or ‘His’N’Hers’, Parklife isTHE definitive Britpop album from its sketches of a Britain on a Sunday to the love letter to this Emerald Isle ‘This Is A Low’. Made even better by the fact that the Yanks did not get it at all. HMc


88 - Underworld
Dubnobasswithmy headman(Junior Boys Own, 1993)
Pre-Born Slippy second-attempt debut of electronica genius from an old Debbie Harry session guitarist, his geeky ex Nu-Wave mate and a young DJ that proved crucial in the evolution of UK dance music. RP

87 - -Small Faces
Ogden’s Nut Gone Flake (Immediate, 1968)
What happens when mods get stoned: horny R&B, soul and psychedelia, cobbled together into a a daft concept album narrated by Stanley Unwin, all a year before Pete Townshend thought up ‘Tommy’. Plus ‘Lazy Sunday’ PM

86 - -George Harrison
All Things Must Pass (Apple, 1970)
The only solo Beatles album to make the chart, and features a host of unused compositions from the Fab Four era. A sprawling double with no filler, and features an amazing cover short of a mad-looking, bearded Harrison surrounded by garden gnomes. (AW)

85- -ABC
The Lexicon Of Love (Neutron, 1982)
Time has not been kind to this but no one can deny The Lexicon Of Love’s reign at the top of the new-romantic tree. Welding perfect pop tunes to Trevor Horn’s radical production, this is the only album that makes all those white suits and poncey haircuts forgivable. (HP)

84 - Redskins
Neither Washington Nor Moscow… (Decca, 1986)
They were skinheads, Socialist Workers and they were fab. Their horn-driven polemics were as influenced by classic soul and Motown as punk. And you don’t have to be a political animal to love them – you just need to have taste. AT

83- Wire
Pink Flag (Harvest, 1977)
The modern post-punk revival is rightly attributed to the likes of Joy Division and Gang Of Four in the main but Wire’s minimalist rhythms and arty guitar angles are almost as crucial thanks primarily to the 21 (21!) blasts of agit-punk contained herein. HP

82 - Happy Mondays
Pills’N’Thrills And Bellyaches (Factory, 1990)
The Monday’s Ecstasy-fuelled, Paul Oakenfold-produced third studio album that promoted Madchester to the capital of 1990 Britain and Shaun Ryder on a drug bender he never retired from. RP

81 - Antony & The Johnsons
I Am A Bird Now (Rough Trade, 2005)
Chichester’s not normally known for their gender bending singers. But this one with a delicate Warhol fixation and an otherworldly voice that is a like the glorious combo of Little Jimmy Scott, The Trio Bulgarka and Chet Baker. Timeless, desperately sad and surreal all at the same time. PE

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80 - Black Sabbath
Paranoid (Vertigo, 1970)
Before he became the lumbering pater familias of reality TV’s first family, Ozzy was the scariest man in rock, as demonstrated by the brilliant ‘War Pigs’ and ‘Electric Funeral’. Oh, and lets not forget the title track, a riff big enough to sink the Titanic. BN

79 - Teenage Fanclub
Bandwagonesque (Creation, 1991)
The enormously loveable Glasgow four-piece took the best bits of glam, indie and classic rock to create a timeless, hook-laden masterpiece. Part Big Star, part grunge: all brilliant

78 - Aphex Twin
Selected Ambient Works 85-92 (R&S, 1992)
The twisted genius of dance music stalked Britain’s discos, mutating the genre in his own mischievous image. Twitching, pulsing, light, bouncy yet urgent, ‘Selected Ambient Works’ contains pure beauty and pure evil. PS

77 - The Beta Band
The Three EP’s (Regal, 1998)
It’s a fitting mark of their martyrdom that every great idea The Beta Band
ever had was plagiarized by those of lesser imaginations (even Embrace had a
go), but this album stands as testament to their wilful oddness and –on
songs like ‘Dry The Rain’ and ‘She’s The One’ – surprising melodic nous. BN

76 - Cornershop
When I Was Born For The 7th Time (Wiiija, 1997)
After spending most of the 1990s underachieving, Tjinder Singh and Ben Ayers realized their kaleidoscopic musical ambitions with a multi-genre masterpiece and made the entire nation sing the words “everybody needs a bosom for a pillow” for six months solid to boot. HP

75 - Tricky
Maxinquaye (Island, 1995)
From out of Bristol’s darkest corners came Britpop’s worst nightmare. Tricky’s first album still stands as the Holy Bible of trip-hop and also features his take on Public Enemy’s ‘Black Steel’- recasting the strident anti-government rant into one of sly dissent, making it twice as powerful. HP

74 - Prodigy
Music For The Jilted Generation (XL, 1994)
'Jilted Generation' sparked a revolution on the streets of provincial
Britain, and Prodigy's tribal, psycedelic second album that stands as
their masterwork. With 'No Good (Start The Dance)' and 'Poison' they
taught the Britpop generation how to dance, and kick-started a whole
generation of cross-cultural chemistry. DM

73 - Kaiser Chiefs
Employment (B-Unique, 2005)
The rain, the pub, hating your job, falling in love, parties, one night stands, getting drunk, falling over… that’s Britain. Forget glossy tourist brochures, ‘Employment’ celebrates and cherishes the spice and the fizzle that make modern life great – meaning you’ve never had it so good. PS

72 - Joy Division
Closer (Factory, 1980)
The band’s second and last album was released shortly after singer Ian Curtis’ suicide, and the dark overtones of the likes of the magnificently gloomy ‘New Dawn Fades’ and ‘Decades’ can be seen as eerily prophetic in aftermath of such terrible events. A haunting masterpiece. AW

71 - Buzzcocks
Love Bites (United Artists, 1978)
Proving that punks were capable of moving on, Shelley and co’s second has both the youthful zest of their early singles and – gasp! – some acoustic guitars. And it’s got ‘Ever Fallen In Love?’. HMc

70 - Spacemen 3
The Perfect Prescription (Glass, 1987)
The Perfect Prescription (Fire, 1987)
Long before Spiritualized seized the bliss-rock crown Jason Pierce and sonic soul-brother Sonic Boom created this narcotic album of transcendent beauty. NC

69 - Roxy Music
For Your Pleasure (Island, 1973)
Foisting that typically British paradox - the seedy gentlemen with an eye for the ladies but also maybe the fellas - on the nations discerning music fans, this sexually charged mixture of avant-garde pop and sleazy disco paved the way for the cultural whiplash that was the arrival of punk in 1977. LC

68 - The Pretty Things
SF Sorrow (Columbia, 1968)
The original Thamesbeat band’s 1968 psychedelic masterpiece invented the rock opera, but don’t blame them – just marvel at the way ‘SF Sorrow’ gives you new ideas every second. PL

67 - Coldplay
A Rush Of Blood To The Head (Parlophone, 2002)
Where this “bunch of bedwetters”(© Alan McGee) became world-beating multinational botherers, thanks solely to good ol’ fashioned classic songwriting and Chris Martin’s awkward yet massive charisma.HMc

66 - Elvis Costello
This Year’s Model (Radar, 1978)
Fuelled by anger, regret, jealousy, vodka and what Costello euphemistically described as “assisted insomnia”, ‘This Year’s Model’ is a vicious tour of the heart’s dark side. Picking at the fresh scabs of broken relationships, Costello’s launches a spikey tirade, while the Attractions’ new wave stomp ensures his second album is the essential break-up revenge record. PS

65 - Radiohead
Kid A (Parlophone, 2000)
Replacing guitars with warped electronica and Aphex Twin glitches, Radiohead here did what any self-respecting biggest band in the world should do and look at the formula. Destroy it. And make it all over again. HMc

64 - Gang Of Four
Entertainment! (EMI, 1979)
Proto-Franz, proto-Bloc Party, proto-bloody everyone, Gang Of Four's bristling debut matched strident political polemic with edgy guitars and taut rhythms and invented all your favourite spiky guitar bands. MMc

63 - David Bowie
The Rise And Fall Of Ziggy Stardust And The Spiders From Mars (RCA, 1972)
Bowie’s Ziggy was about animal drama, all too revealing catsuits and big choruses. It wasn’t just glam rock- it was a polysexual, personality- crisis-covered-in-glitter masterwork of reinvention that was never seen in the history of rock before.

62 - Saint Etienne
Fox Base Alpha (Heavenly, 1991)
One of the rare occasions where music hacks forming bands turns out to be a good idea, St Etienne were the high concept brainchild of Melody Maker journo Bob Stanley (who wrote rather an accurate, not to say prescient review of the Stone Roses debut) and Pete Wiggs. Fusing kitsch ‘60s stylings to post-acid house electronica and various breathless female singers, their 1990 debut gave the world one of the greatest cover versions of all time. KM

61 - Echo & The Bunnymen
Ocean Rain (Korova, 1984)
Reflecting the decadence of the decade, the Bunnymen threw everything into the mix, but when the result was string-drenched songs as beautiful as ‘Silver’, who cares? NC

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60 - The Human League
Dare! (Virgin, 1981)
The promise of the new decade in miniature, before it all went to shit with the Falklands War and the miners’ strike. Retro themes set to futuristic sounds and – crucially – killer pop tunes. NC

59 - The Clash
The Clash (CBS, 1977)
Punk, for all its admirable ethos and gravity-defying hair, never had much
concept of actual songwriting until The Clash came along. This album changed
all that. It’s still a snarling declaration of intent ( see ‘White Riot’),
but on ‘Career Oportunities’ and ‘Remote Control’ The Clash doffed their
caps to 60’s classicism, with groundbreaking results. BN

58 - Suede
Dog Man Star (Nude, 1994)
As Brett Anderson and Bernard Butler began to drift apart, Suede’s grand and ambitious second album is what emerged from the space between them. Ugly introspection and layer-upon-layer of beautified guitars make Dog Man Star their most powerful listening experience. HP

57 - The Cure
The Head On The Door(Fiction, 1985)
Despite a reputation overshadowed by squalling gothic dirges and the size of Bob Smith’s ever-expanding barnet, The Cure’s 1985 ‘Head On The Door’ album was actually one of the synthesiser-‘80s purest pop moments featuring pop gems in ‘Inbetween Days’ and ‘Close To Me’ . Of course they could never completely escape the macabre - during filming for the video of the latter they nearly drowned when the cupboard they were in was pumped full of water. KM

56 - Portishead
Portishead (Go! Beat, 1994)
Outer space noises, sampling bizarre jazz records and the stench of wintery heartbreak loomed over the Bristolian’s sublimely suffocating debut. “Trip hop”, “chill out”, “after dinner music” it most certainly wasn’t. PE

55 - Bloc Party
Bloc Party (Wichita, 2005)
Is it really a year since Bloc Party became unwitting spokespersons for Britain’s youth? With abrasive guitars, insistent rhythms and adroit lyrics, ‘Silent Alarm’ is a brilliant reflection of life in Blair’s Britain. SW

54 - Morrissey
Vauxhall & I (Parlophone, 1994)
Mozzer's best solo effort was a direct retort to those critics who'd derailed his career in the mid-'90s, as he first wooed them with a clutch of beautiful ballads before savagely taunting them on the closing 'Speedway'. MMC

53 - The Rolling Stones
Let It Bleed (ABKCO, 1969)
Nothing sounded the death knell for the 60’s like this album, from ‘Gimme
Shelter’s apocalyptic promise that ‘War, children/ Is just a shot away’, to
Sir Mick Jagger threatening to ‘Stick a knife right down your throat’ on
‘Midnight Rambler’. Fuck you, hippies. BN

52 - Madness
One Step Beyond (Stiff, 1979)
The nutty boys made the gloomy Thatcher cursed days of the 1980s bearable with their cheeky, chipper stories of life and love with their cockney take on Caribbean ska that could get even the most disheartened skinhead up and skanking. LC

51 - Billy Bragg
Talking With The Taxman About Poetry (Go! Discs, 1986)
In which the Barking Bard tackles such institutions as marriage, trade unions and the family and, on final track ‘The Home Front’, elegantly sums up life in the depressing days of ‘80s Britain with an energy that resonates today. MMC

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1. The Stone Roses – The Stone Roses
2. The Smiths – The Queen Is Dead
3. Oasis – Definitely Maybe
4. Sex Pistols – Never Mind The Bollocks…
5. Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not.
6. Blur – Modern Life Is Rubbish
7. Pulp – Different Class
8. The Clash – London Calling
9. The Beatles – Revolver
10. The Libertines – Up The Bracket
11. Radiohead – The Bends
12. The Specials – The Specials
13. The Verve – A Northern Soul
14. David Bowie – Hunky Dory
15. Primal Scream – Screamadelica
16. Dexys Midnight Runners – Searching For The Young Soul Rebles
17. The Streets – Original Pirate Material
18. Franz Ferdinand – Franz Ferdinand
19. The Smiths – Strangeways Here We Come
20. The Beatles – Rubber Soul
21. Muse – Absolution
22. Super Furry Animals – Radiator
23. New Order – Technique
24. Pet Shop Boys – Please
25. The Kinks – The Village Green Preservation Society
26. The Smiths – Hatful Of Hollow
27. Pj Harvey – Dry
28. Nick Drake – Bryter Later
29. Led Zeppelin – Led Zeppelin II
30. Suede – Suede
31. Massive Attack – Blue Lines
32. The Zombies – Odyssey And Oracle
33. Coldplay - Parachutes
34. The Jam – All Mod Cons
35. Radiohead – Ok Computer
36. The Beatle – The Beatles
37. Manic Street Preachers – The Holy Bible
38. Spritualized – Ladies And Gentlemen We Are Floating In Space
39. Ride – Nowhere
40. Dizzie Rascal – Boy In Da Corner
41. Kate Bush – Hounds Of Love
42. The Jesus And Mary Chain – Psychocandy
43. The Rolling Stones – Exile On Main Street
44. Joy Division – Unknown Pleasures
45. The Streets – A Grand Don’t Come For Free
46. Pulp – His And Hers
47. The Libertines – The Libertines
48. Elastica – Elastica
49. The Who – My Generation
50. The La’s – The La’s

简直么话说了．．

Arctic Monkeys 居然第五．．

离谱了点八！！！虽然还行，但是也没．．．

这榜单看不下去了．．．

鉴定完毕．．．

帮你顶下，前10里面，我喜欢第10张远超第5张。虽然也很喜欢猴子们的表现。但还是浪子们DEATH ON THE STAIRS经典啊。猴子还需要时间考验

不喜欢这个排名，

不过对PETE的新专辑比较失望，他已经不要旋律了……