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/curators/detailsCurator Details
Get a curator or radio show: description, host, playlists and its page sections.
QUERY PARAMS
Apple Music curator ID or any music.apple.com curator link (editorial brands, radio shows and external curators).
Examples:
- ID:
1526756058 - URL:
https://music.apple.com/us/curator/apple-music-hits/1526756058
2-letter country code of the Apple Music storefront to read. Defaults to the pasted link's country, else US.
Allowed values: any code from /countries (US, GB, IN, DE, FR, JP, ...)
Language of names, genres and editorial text. Defaults to the country's own language.
Allowed values: a language tag supported by the country (en-US, en-GB, fr-FR, es-MX, ja, ...)
{
"id": "1526756058",
"name": "Apple Music Hits",
"link": "https://music.apple.com/us/curator/apple-music-hits/1526756058",
"short_name": "Hits",
"curator_type": "apple",
"kind": "genre",
"show_host_name": null,
"description": null,
"artwork": {
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"width": 1080,
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"playlists": [
{
"id": "pl.21e8899aaaeb455397c3d9a6faf18908",
"name": "Today’s Hits: Best of 2025 ",
"link": "https://music.apple.com/us/playlist/todays-hits-best-of-2025/pl.21e8899aaaeb455397c3d9a6faf18908",
"curator_name": "Apple Music Hits",
"playlist_type": "editorial",
"editorial_kind": null,
"editorial_sub_kind": null,
"track_count": 50,
"artist_names": "Sabrina Carpenter, Alex Warren, Bad Bunny, HUNTR/X, and more",
"audio_traits": null,
"is_chart": true,
"has_collaboration": false,
"is_sing_along_available": false,
"last_modified_at": "2025-11-19T16:12:57Z",
"description": {
"title": "Today’s Hits: Best of 2025",
"tagline": "Best of 2025",
"short": "Sabrina Carpenter leveled up and had another unstoppable year in music.",
"full": "Today’s Hits is home to the biggest songs in pop, hip-hop, R&B, and more. Here are the biggest hits anywhere and everywhere—and you can’t talk hits in 2025 without mentioning Sabrina Carpenter. After the massive success of her sixth album Short n’ Sweet, which spawned hits “Espresso” and “Please Please Please,” the singer-songwriter leveled up again with her seventh album Man’s Best Friend. With its brutally honest, witty, and catchy lyricism, Man’s Best Friend dominated the Apple Music charts; churned out viral anthems “Manchild,” “Tears,” and “When Did You Get Hot?”; and solidified Carpenter as a mainstay in pop music. Get familiar with Sabrina Carpenter on Today’s Hits—as if you aren’t already—and if you hear a song you like, add it to your library."
},
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{
"id": "pl.a7e15641f20542418b0fb4a6057d165a",
"name": "Today’s Hits: Best of 2024",
"link": "https://music.apple.com/us/playlist/todays-hits-best-of-2024/pl.a7e15641f20542418b0fb4a6057d165a",
"curator_name": "Apple Music Hits",
"playlist_type": "editorial",
"editorial_kind": null,
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"track_count": 50,
"artist_names": "Billie Eilish, Teddy Swims, Benson Boone, Sabrina Carpenter, and more",
"audio_traits": null,
"is_chart": true,
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"last_modified_at": "2024-12-10T18:40:09Z",
"description": {
"title": "Today’s Hits: Best of 2024",
"tagline": "The Best of 2024",
"short": "Few songs in 2024 hit a high note quite like Billie Eilish’s “BIRDS OF A FEATHER.”",
"full": "Few songs in 2024 resonated quite like Billie Eilish’s “BIRDS OF A FEATHER,” a warm, weightless, pan-genre pop tune that felt right for any mood or circumstance this year. It’s Eilish’s most airy and accessible music to date, but just as importantly, it represented real growth: It’s the sound of the (now two-time) Apple Music Artist of the Year purely herself, pushing her voice and putting herself out there like never before. “It’s the highest I’ve ever belted in my life,” she told Apple Music Radio’s Zane Lowe of the song’s soaring finish. “I was alone in the dark, thinking, ‘You know what? I’m going to try something.’ And I literally just kept going higher and higher. This is a girl who could not belt until I was literally 18. I couldn’t physically do it. So I’m so proud of that. I remember coming home and being like, ‘Mom! Listen!’”"
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{
"id": "pl.5f05a72609e94665b88979f84f548ccd",
"name": "Heaps Local Hits",
"link": "https://music.apple.com/us/playlist/heaps-local-hits/pl.5f05a72609e94665b88979f84f548ccd",
"curator_name": "Apple Music Hits",
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"track_count": 103,
"artist_names": "Sonny Fodera, Keenan Te, Vera Blue, Dom Dolla, PASH, and more",
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"last_modified_at": "2026-10-01T14:00:13Z",
"description": {
"title": "Heaps Local Hits",
"tagline": "New Playlist",
"short": "Australian tunes don’t get any bigger—or better.",
"full": "Good luck finding a song you don’t know in this bumper crop of modern Australian hits. Whether it’s pop, rock, hip-hop, or another mainstream genre, this is the best of the best. So prepare yourself for a local sing-along that will keep going and going."
},
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{
"id": "pl.858951ca360b4f04ad0df9c01fe52f79",
"name": "’70s Australian Hits Essentials",
"link": "https://music.apple.com/us/playlist/70s-australian-hits-essentials/pl.858951ca360b4f04ad0df9c01fe52f79",
"curator_name": "Apple Music Hits",
"playlist_type": "editorial",
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"track_count": 88,
"artist_names": "Little River Band, AC/DC, Peter Allen, Bee Gees, Leo Sayer, and more",
"audio_traits": null,
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"last_modified_at": "2024-10-25T07:23:43Z",
"description": {
"title": "’70s Australian Hits Essentials",
"tagline": "New Playlist",
"short": "For those about to rock (or pop), we salute you.",
"full": "AC/DC rose to the fore during this decade, with Sherbet, Skyhooks, and Daddy Cool each bringing their own individual flair to pub rock. Meanwhile, Olivia Newton-John and Helen Reddy empowered women all the world over. Rediscover the decade’s chart-toppers, classics, and lost favorites."
},
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"id": "pl.b46cbd4db2cc41ab8a556eefdf79ba56",
"name": "’80s Australian Hits Essentials",
"link": "https://music.apple.com/us/playlist/80s-australian-hits-essentials/pl.b46cbd4db2cc41ab8a556eefdf79ba56",
"curator_name": "Apple Music Hits",
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"track_count": 100,
"artist_names": "John Farnham, Kylie Minogue, INXS, Olivia Newton-John, and more",
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"last_modified_at": "2024-10-26T10:13:24Z",
"description": {
"title": "’80s Australian Hits Essentials",
"tagline": "New Playlist",
"short": "Guitars ring out, but so do strong female voices.",
"full": "As Cold Chisel became a quintessential Aussie rock band, peers like Midnight Oil, Crowded House, INXS, and AC/DC broke through overseas—as did strong-minded women like Kylie and Chrissy Amphlett. Rediscover the decade’s chart-toppers, classics, and lost favorites."
},
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{
"id": "pl.ab8535ecb7644d6199851a31c3fa3e32",
"name": "’90s Australian Hits Essentials",
"link": "https://music.apple.com/us/playlist/90s-australian-hits-essentials/pl.ab8535ecb7644d6199851a31c3fa3e32",
"curator_name": "Apple Music Hits",
"playlist_type": "editorial",
"editorial_kind": null,
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"track_count": 98,
"artist_names": "Killing Heidi, BZ, Taxiride, Silverchair, Yothu Yindi, and more",
"audio_traits": null,
"is_chart": false,
"has_collaboration": false,
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"last_modified_at": "2024-10-26T07:23:32Z",
"description": {
"title": "’90s Australian Hits Essentials",
"tagline": "New Playlist",
"short": "End the century right with these enduring smashes.",
"full": "Dial into the century-capping pop smashes of Savage Garden and Tina Arena, alongside the teenage grunge of Silverchair and the cultural significance of “Treaty” and “My Island Home.” Rediscover the decade’s chart-toppers, classics, and lost favorites."
},
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{
"id": "pl.969c8bb09bdb4a139f0dc131f168c977",
"name": "2000s Australian Hits Essentials",
"link": "https://music.apple.com/us/playlist/2000s-australian-hits-essentials/pl.969c8bb09bdb4a139f0dc131f168c977",
"curator_name": "Apple Music Hits",
"playlist_type": "editorial",
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"track_count": 97,
"artist_names": "Jet, Gabriella Cilmi, Hilltop Hoods, Shannon Noll, and more",
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"last_modified_at": "2025-08-15T06:44:15Z",
"description": {
"title": "2000s Australian Hits Essentials",
"tagline": "New Playlist",
"short": "Modern classics you just can’t get out of your head.",
"full": "Relive the highlights in a seismic era for Australian music. That includes Kylie’s big comeback, Powderfinger going mainstream, the rise of Missy and Delta, and a post-’90s alt-rock boom. Rediscover the decade’s chart-toppers, classics, and lost favorites."
},
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{
"id": "pl.1280c1b3e3494387b563cdfdeba53b4c",
"name": "100 Most-Streamed Dance Songs",
"link": "https://music.apple.com/us/playlist/100-most-streamed-dance-songs/pl.1280c1b3e3494387b563cdfdeba53b4c",
"curator_name": "Apple Music Hits",
"playlist_type": "editorial",
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"track_count": 99,
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"last_modified_at": "2022-07-11T10:45:45Z",
"description": {
"title": null,
"tagline": null,
"short": "The life-affirming soundtrack of UK dance floors—and beyond.",
"full": "This playlist reveals the century of hits that have kept the UK dancing—through good to the most challenging of times. It’s a snapshot of the zeitgeist across British dance floors since 2015, with certain genres flexing their muscles and a few key artists rising up. The playlist’s king? Step forward, Calvin Harris. His own evolution from DIY dance-pop architect to genre-surfing one-man global hit factory mirrors dance music’s own purposeful evolution through the period. Harris helped encourage A-list pop talent from Rihanna to Dua Lipa to explore dance spheres—something artists including David Guetta, Clean Bandit and Sigala have also done with extraordinary success. \n\nBut it’s not all starry hook-ups on this playlist. You’ll find reworked ’90s R 'n' B smashes, an iconic garage moment, Ibiza anthems and almost everything in between. Moreover, you’ll find memories. Memories of unforgettable nights and hazier nights, memories of car sing-alongs and holiday hits and memories you might just make this weekend. Enjoy the rarefied air of these classics here."
},
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{
"id": "pl.522bfa17859d419ca9ef8cdbf91efcf0",
"name": "The 100 Songs That Built the UK",
"link": "https://music.apple.com/us/playlist/the-100-songs-that-built-the-uk/pl.522bfa17859d419ca9ef8cdbf91efcf0",
"curator_name": "Apple Music Hits",
"playlist_type": "editorial",
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"track_count": 99,
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"last_modified_at": "2024-05-21T09:02:01Z",
"description": {
"title": "The 100 Songs That Built the UK",
"tagline": null,
"short": "Did your favorite make our cut?",
"full": "In a landmark year for the UK, we set ourselves a challenge. Could we—Apple Music editors and Apple Music radio hosts—arrive at a century of songs that we feel truly built the modern United Kingdom in all its diverse glory? It was, entirely predictably, one of the greatest challenges we’ve ever taken on: How do you distill 70 years of music excellence down to just 100 songs? But after much impassioned debate, here we are. Songs that, we feel, represent the key genres, talent, culture, and movements of UK music."
},
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{
"id": "pl.1ca0fa0ad3334e0ebf5a04bc19e0da62",
"name": "Morgan Evans: Favorite Aussie Songs",
"link": "https://music.apple.com/us/playlist/morgan-evans-favorite-aussie-songs/pl.1ca0fa0ad3334e0ebf5a04bc19e0da62",
"curator_name": "Apple Music Hits",
"playlist_type": "editorial",
"editorial_kind": "artist_franchise",
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"track_count": 26,
"artist_names": "Paul Kelly, Keith Urban, Silverchair, Natalie Imbruglia, and more",
"audio_traits": null,
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"last_modified_at": "2025-10-30T23:59:11Z",
"description": {
"title": "Morgan Evans: Favorite Aussie Songs",
"tagline": null,
"short": "The country artist’s handpicked faves, from Silverchair to John Butler Trio.",
"full": "He may be a country singer-songwriter, but Morgan Evans’ favorite Australian songs stretch out through country, alternative, rock, and beyond. He grew up in Newcastle in the late ’80s and ’90s, and many of his picks are nostalgic favorites with special memories attached. “There are a bunch of great songs and artists missing from this list,” he tells Apple Music, “but these feel like a good mix of what I’m listening to now, music that really influenced me as a guitar player and songwriter, as well as some uniquely Aussie stuff that takes me back in the best way.” Read on for more on his favorite selections.\n\nKeith Urban, “Somebody Like You”\n“I remember the first time I heard this. It was live, at Newcastle Leagues Club, at a show mum had dragged me along to. I got the Golden Road record soon after and just became obsessed with everything about it. The songs, the guitar playing, the production—it really turned my attention to Nashville for the first time. It really changed my life.” \n\nSilverchair, “Straight Lines”\n“Diorama is my favorite album and this is my favorite Silverchair song. I remember the first time I heard it, live, at WaveAid [Festival, 2005].”\n\nThe Teskey Brothers, “Man of the Universe”\n“I discovered The Teskey Brothers at the ARIA Awards in 2019; they played ‘Rain’ and I was in. This is the perfect Sunday drive tune!”\n\nKasey Chambers & Shane Nicholson, “One More Year”\n“This might be the most underrated song of all time. It just hurts. Achingly beautiful in its simplicity.” \n\nThe Seekers, “A World of Our Own”\n“The Seekers at Newcastle Entertainment Centre was my first concert ever. Judith Durham’s voice was a staple at the Evans house, and this song was a childhood favorite.” \n\nJohn Williamson, “Rip Rip Woodchip”\n“Singing this song as a kid was the first time I heard and understood music as a vehicle for protest, change, and conservation.” \n\nThe Living End, “Second Solution”\n“That first Living End record taught me how to play guitar. This song takes me back to my first guitar, an electric-blue Strat copy, plugged into a solid-state Marshall amp turned up to 11.”\n\nPowderfinger, “These Days”\n“This song still gets better every time I hear it.”\n\nJohn Butler Trio, “Ocean”\n“This song, every version of it, just takes me somewhere. As a songwriter, I find it hard not to listen to music and analyze the lyric or the arrangement, asking myself, ‘Why do I like this?’ But this instrumental is the perfect antidote. I think John Butler is still a hugely underrated guitar player.”"
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"full": "A great song can lift you up or get you over the hump; it can be a mirror when you’re feeling strong and a rock of support when you’re feeling weak. In other words, certain types of pop music can speak to the heart in ways that make you feel grateful just to be alive. From soaring ballads to surging dance anthems with touches of electronic and indie rock, here are the biggest tracks inspiring us today: the sound of good news. Our editors update these tracks regularly. If you hear something you like, add it to your library."
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"short": "Luis Fonsi invites Dalvin La Melodia to enhance “Me Despido.”",
"full": "¡Dale Play! remains the place to hear the biggest Latin tracks from your favorite Spanish-language artists from around the world. Headlining the playlist this week are Luis Fonsi and Dalvin La Melodia with “Me Despido (Remix).” As if the Puerto Rican pop hitmaker’s romantic regret-laden bachata single wasn’t sensational already, this inclusion of the rapidly rising Dominican artist imbues the song with even greater emotional resonance. This playlist is updated often, so if you hear something you like, add it to your library."
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"full": "Like its stylistic cousin hip-hop, R&B has some major overlap with modern pop—at times, the charts are virtually indistinguishable from one another. Put another way, the biggest R&B songs are often the biggest songs in any genre, period. Whether you call it crossover R&B, pop&B, or something else entirely, this is where you’ll find its hugest new chart smashes, updated every week. We always keep this playlist refreshed with the latest tunes. If you like something, add it to your library."
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"full": "In 2016, Calgary’s Tate McRae became the first Canadian to end up in the finals on the reality show So You Think You Can Dance, but at the time, viewers had no idea the then-13-year-old phenom could also sing. That became apparent the following year when McRae uploaded the solo-piano breakup ballad “One Day,” revealing a vocalist graced with a fearless vulnerability and deeply affecting poeticism. “I do not open up quickly to people, so my songwriting is definitely my way of expressing myself,” McRae tells Apple Music. “Once you get to know me, I am a very open book—extremely honest and straight-up, just like in my writing.” Buoyed by the viral success of “One Day” (and her subsequent signing to RCA), McRae has taken to dressing up her stark songwriting in immersive synth atmospheres, trap beats, and R&B production tics that position her as a Canadian counterpoint to Billie Eilish (who co-wrote McRae’s dramatic 2019 single “tear myself apart”). But with a string of revelatory singles released in 2020—including her ominous international breakthrough hit “you broke me first” and the deceptively sunny folk-hop jingle “r u ok”—McRae has emerged as a singular modern-pop force, wielding a sound that’s as amorphous and unpredictable as the messy emotions chronicled within her songs. To complement this playlist of her signature tracks, McRae tells Apple Music the stories behind some of them.\n\n“you broke me first”\n“My writing is all straight emotions from my gut. This song is all about knowing your self-worth and moving on from toxic situations in your life. I believe that you should never let a person manipulate how you live your life, and that’s what ‘you broke me first’ speaks about. I wrote it about multiple people; therefore, there are so many layers within it and it makes me feel so many different things. I honestly remember walking into the studio in a great mood, with no intentions of writing a sad song. It wasn’t until about four weeks later when I reheard the song that I realized how deep it actually was. I definitely think it was my subconscious brain talking and writing the entire session.”\n\n“r u ok”\n“This is a song that I never thought I’d write. It has a very sassy and feisty tone, which made it a challenge to dive into that perspective, as I think I’m quite the opposite. I love that there is a lot of emotional meaning behind the lyrics, with very trappy, bright, and contrasting production at the same time.”\n\n“lie to me”\n“Ali [Gatie] and I have very different styles, but they somehow mesh really well together. We both put all of our emotion into the lyrics and the recording of this track. It went from Instagram DMs to a global pandemic to Zoom calls to recording and editing, and, last but not least, meeting each other. It was definitely a cool moment when it all came together.”"
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"short": "Her one-of-one career balances exploration and empowerment.",
"full": "In hindsight, Destiny’s Child was only the beginning of our long love affair with Beyoncé Knowles. After the top-tier girl group pushed themes of female empowerment and sisterhood with hits like 1999’s “Say My Name” and 2001’s “Survivor,” Knowles quickly became a household name when the trio finished up. Her 2003 collab with future husband JAŸ-Z, “Crazy in Love,” was a pop smash of the highest order, going multi-platinum in multiple countries and announcing her as a solo star. From there she has been more or less unstoppable, gifting us with earworm R&B ballads (2006’s “Irreplaceable”), sassy clapbacks (2008’s “Single Ladies (Put a Ring on It)”), groovy 1970s flashbacks (2011’s “Love on Top”), and swaggering feminist anthems (2014’s “Flawless”) that continually reinforce not just her powerhouse vocals but also her uncanny versatility.\n\nThen came her 2016 concept album Lemonade, an era-defining work that tackled infidelity (“Hold Up”), civil rights (“Formation”), and political frustration (“Freedom”) while exploring the most adventurous music of her career. It features on Apple Music’s 100 Best Albums list and emboldened Knowles to devote herself to genres outside her usual comfort zone. She plunged into the history and culture of house music on 2022’s RENAISSANCE, saluting the genre’s queer and Black roots on “BREAK MY SOUL” and strutting disco forebears on “CUFF IT.” Even more surprisingly, she went full country on 2024’s COWBOY CARTER, topping charts around the world with lead single “TEXAS HOLD ’EM” and finally earning a long-overdue Grammy for Album of the Year. Knowles’ work positions her as a first-rate musician and cultural archivist who knows the responsibility of uplifting the past while sowing seeds for the future. It’s entertainment, yes, but also a kind of ambassadorship."
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"short": "Fred again.. and others brought deep emotion and physicality back to dance music.",
"full": "Few artists had a year like Fred again... Between his moving Coachella performance, his absolutely bonkers Boiler Room, and releasing his third solo album Actual Life 3, the London DJ/producer dominated dance music—in the sincerest, most sensitive way possible. He helped reintroduce not just a sense of real humanity into dance music, but also an intimacy and physicality so sorely needed after a couple pandemic years of mostly dancing on our own. He also helped blur club music’s subgenres even further across some of this year’s key tracks, such as the sleek, piano-led electro-pop of “Lights Out” featuring Romy and HAAi; the propulsive, bassy cut “Jungle,” which he made with Four Tet; the emotional directness of “Delilah (pull me out of this)”; and the atmospheric \"Turn On The Lights again..” with Future and Swedish House Mafia. \n\n“I think the feeling that I’ve become really obsessed with is taking very fleeting moments and exposing as much beauty as is in them,” Fred told Apple Music earlier this year. House in general continued to tap into the euphoria of returning to the dance floor, which you can hear in highlights from SHM (who properly returned to the fray this year with an actual debut LP), John Summit, and Kaskade and deadmau5’s Kx5 collab. And speaking of that recommitment to getting physical, tracks such as Eliza Rose & Interplanetary Criminal’s “B.O.T.A. (Baddest Of Them All)” and LF SYSTEM's “Afraid to Feel” nudged tempos up a few BPMs to ensure that we weren’t just dancing, but sweating too. Check out all the biggest tracks that lit up danceXL this year, and add your favorites to your library."
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"short": "Nearly three decades into his career, Tiësto stayed on top with “The Business.”",
"full": "Electronic dance music has become so popular over the past decade that its influence can be felt across all of music, sweeping up once tight-knit genres like country, Latin, and hip-hop with a festival-sized gust of bleep-bloops and oontz-oontz-oontzes. These days, almost all mainstream pop songs sound like they’ve been mixed with an EDM producer in the booth (and in all likelihood, they were).\n\nTiësto’s ascent predates all this by many, many years. The Dutch DJ-producer (real name: Tijs Michiel Verwest) started making music in the mid-’90s and released his first album in 2001, earning DJ Mag’s “Best DJ in the World” title the next year. The pool was relatively small then, but it isn’t now, yet Verwest has remained one of dance music’s most influential DJ-producers, continuing to tour extensively and cross genre lines even as he entered his fifties. Then, in late 2020, after lockdown had shut down live music entirely, with a particularly detrimental effect on festivals and nightclubs, he released a track titled “The Business” which became his biggest hit yet.\n\nThe smooth deep house track was initially released with an unattributed pitched-down vocal, but in January, Verwest released a new version featuring R&B singer Ty Dolla $ign which soared up the Apple Music charts. This summer, it became an unofficial soundtrack to the joyous but measured return of festivals and clubs as electronic music fans made their way back onto the dance floor. But unlike the majority of Tiësto’s big, clubby back catalog, “The Business” has a decidedly pop sensibility: It’s sexy, simple, and irresistibly singable, with the sort of sticky melody that lingers long after the track has faded."
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"short": "The Beatles’ grand exit is also the ultimate entry point into their universe.",
"full": "100 Best Albums Giles Martin, son of legendary Beatles producer George Martin, once told Apple Music that Abbey Road is the perfect gateway into the Beatles universe because it sounds so contemporary. And it’s true: While other Beatles albums conjure a specific moment frozen in amber—the matching suits and mop-tops or the mid-period mischievous experimentation with pop form or the technicolor burst into psychedelia—Abbey Road sounds like nothing more or less than four extremely gifted humans playing one indelible song after another in the same room together.\n\nThe 11th and penultimate album in The Beatles’ historic catalog was the last on which all four members worked in the studio as a unit, all at the same time. And while singling out one album as their most impactful is a fool’s errand, 1969’s Abbey Road is indeed the most ageless, simply an immaculate, unmatched collection of songs by a world-changing band at their creative peak.\n\nFollowing the sprawl of 1968’s White Album, Abbey Road is a relatively concise representation of The Beatles’ entire deal: wholesome (“Here Comes the Sun”), a little freaky (“Come Together,” “Polythene Pam”), macabre and wholesome (“Maxwell’s Silver Hammer”), first-wedding-dance romantic (“Something”), whimsical (“Octopus’s Garden,” “Mean Mr. Mustard”), and, with its album-closing eight-song, 16-minute medley, playful with form. The embers of pop music’s most dynamic collaborative force were dying out, but not before yielding one final and definitive document of unmatched creativity and camaraderie."
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"short": "Sprawling and minimalist, a definitive statement by a generational artist.",
"full": "100 Best Albums In the four years between Frank Ocean’s debut album channel ORANGE and his second, Blonde, he had revealed some of his private life—he published a post on social media about having been in love with a man—but still remained as mysterious and skeptical towards fame as ever, teasing new music sporadically and then disappearing like a wisp on the wind. Behind great innovation, however, is a massive amount of work, and so when Blonde was released one day after a 24-hour streaming performance art piece (Endless) and alongside a limited-edition magazine entitled Boys Don’t Cry, his slipperiness felt more like part of a carefully considered mystique. Even the apparent indecision over the album title’s official spelling can be seen in hindsight as being characteristically mischievous.\n \nEndless featured the mundane beauty of Ocean woodworking in a studio, soundtracked by abstract and meandering ambient music. Blonde built on those ideas and imbued them with more form, taking a left-field, often minimalist approach to his breezy harmonies and ever-present narrative lyricism. His confidence was crucial to the risk of creating a big multimedia project for a sophomore album, but it also extended to his songwriting—his voice surer of itself (“Solo”), his willingness to excavate his weird impulses more prominent (“Good Guy” and “Pretty Sweet,” among others). \n\nThough Blonde packs 17 tracks into one quick hour, it’s a sprawling palette of ideas, a testament to the intelligence of flying one’s own artistic freak flag and trusting that audiences will meet you where you’re at. They did. And Ocean established himself as a generational artist uniquely suited to the complexities and convulsive changes of the second decade of the 21st century."
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"type": "album",
"id": "1440788438",
"name": "Songs in the Key of Life",
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"artist_name": "Stevie Wonder",
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"short": "One of the most ambitious, adventurous albums ever made.",
"full": "100 Best Albums In 1974, Stevie Wonder was the most critically revered pop star in the world; he was also considering leaving the music industry altogether. So when Songs in the Key of Life was released two years later, demand was so high that it became, at the time, the fastest-selling album in history. Wonder positioned himself as the purveyor of a vast self-drawn cosmos, one with a remarkable cache of songs: Songs in the Key of Life, which runs nearly 90 minutes, is effortlessly melodic, broad in scope, deeply personal—and often just plain weird.\n\nStart with the brassy and positively effusive chart-topping singles “Sir Duke” and “I Wish,” both nostalgic and modern-sounding at once. At the other end of the spectrum: the stark reality of “Village Ghetto Land” and “Pastime Paradise,” on which Wonder decries the abandonment of the civil rights dream. Then there’s the joyous “Isn’t She Lovely,” celebrating the arrival of Wonder’s daughter Aisha.\n\nAs Songs in the Key of Life nears its conclusion, Wonder returns to the dance floor for 15 minutes of sumptuous gospel-disco in “As” and “Another Star,” each expressing a deep passion in layers of instrumentation and impressive vocal runs. But Stevie isn’t done; another defining moment on the album is a bonus track, one originally issued as an extra 45 with the album’s vinyl release. It starts in deep space with the Afrofuturist fantasia “Saturn,” and then, as its last synthesizer chords fade out, Wonder zooms light-years to an urban playground where we can hear the sound of children skipping Double Dutch. Sonically, culturally, and emotionally, Songs in the Key of Life is much more than a gigantic collection of songs—it forms an entire worldview."
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"type": "album",
"id": "1422677780",
"name": "Back To Black",
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"short": "Her blend of brassy retro-soul and brash lyrics is inimitable and immortal.",
"full": "100 Best Albums Producer Mark Ronson remembers when Amy Winehouse came in with the lyrics for “Back to Black.” They were at a studio in New York in early 2006, their first day working together. Ronson had given her a portable CD player with the song’s piano track, and Winehouse disappeared into the back for about an hour to write. What she reemerged with was masterful: bleak, funny, tough, hopelessly romantic. The chorus, though, kept tripping him up because it didn’t rhyme: “We only said goodbye with words, I died a hundred times.” He asked her to change it, but she just gave him a blank look: That’s just how it came out, she didn’t know how to change it.\n\nFor all her brashness, what makes Back to Black so moving is the sense that Winehouse is constantly trying to punch through her pain—not to suppress it exactly, but to wrap it in enough barbed wire that nobody could quite reach its core. The appeal to soul music is obvious: the Motown horns (“Rehab,” “Tears Dry on Their Own”), the girl-group romance (“Back to Black”), the organic quality of the arrangements (“You Know I’m No Good”)—much of it courtesy of Brooklyn outfit The Dap-Kings. \n\nBut Winehouse’s presentation and otherworldly, timeless vocals still make her music feel different—not so much an attempt to recreate the past as to honor the music she loved while still being true to the trash-talking, self-effacing millennial she was. Years before the next generation learned to temper their misery with sarcasm, memes, and deadpan fatalism, we had Amy Winehouse, fluttering around words so crass you could barely believe she was singing them at all, let alone with a horn section. The sound of Back to Black might appeal to retro-soul fans and jazz classicists, but the attitude is closer to rap. Yes, she was funny. But she wasn’t kidding."
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"type": "album",
"id": "1440783617",
"name": "Nevermind",
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"artist_name": "Nirvana",
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"short": "When hyperbole about changing the world is somehow an understatement.",
"full": "100 Best Albums Even now, years after you first felt its edges, the chorus of “Smells Like Teen Spirit” still sounds too dangerous—too loud, too ugly, too upset—for any mainstream. And yet Nevermind’s opening salvo didn’t just mark an unlikely breakthrough for the Seattle trio, it upended popular culture in ways we haven’t seen since. Punk became pop, grunge became global vernacular, industry walls broke into rubble, and lead vocalist Kurt Cobain was anointed the reluctant voice of a generation in need of catharsis, all seemingly overnight. But what makes Nirvana’s second album special isn’t its rage, but its innocence. For as haunting and corrosive as it can often be, it was never at the expense of melody or songcraft or humanity. \n\nThe old guard was actually still alive and well: Both Metallica’s Black Album and Guns N’ Roses’ two-volume Use Your Illusion famously came out within weeks of Nevermind. And while the album went on to sell about as well as those—even displacing Michael Jackson’s Dangerous as the best-selling album in the United States for a brief moment in 1992—Nirvana’s influence extended well beyond sheer economics, cutting a path for generations of forward-looking artists that stretches from Radiohead to Billie Eilish. They presented themselves not as rock gods, but ordinary (and highly sensitive) mortals. As an alternative to the pinup in leather pants, they offered the proud feminist, screaming until his voice gave out (“Territorial Pissings”). In place of the glossy power ballad, they delivered something fragile and raw (“Polly,” “Something in the Way”).\n\nNirvana’s angst didn’t only come across in the lyrics, but in the delivery. None of Cobain’s wisdom or fury would have resonated in the culture-shaking way it did if not for the sort of tunefulness that has always had a way of making wisdom and fury go down a little easier."
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"type": "album",
"id": "1460430561",
"name": "Lemonade",
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"artist_name": "Beyoncé",
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"short": "Sometimes even Beyoncé has to summon her inner Beyoncé.",
"full": "100 Best Albums There’s one moment critical to understanding the emotional and cultural heft of Lemonade, Beyoncé’s genre-obliterating blockbuster sixth album—and it arrives at the end of “Freedom,” a storming empowerment anthem that samples a civil-rights-era prison song and features Kendrick Lamar. An elderly woman’s voice cuts in: “I had my ups and downs, but I always find the inner strength to pull myself up,” she says. “I was served lemons, but I made lemonade.”\n\nThe speech—made by her husband JAŸ-Z’s grandmother Hattie White on her 90th birthday in 2015—reportedly inspired the concept behind this radical project, which arrived with an accompanying film as well as words by Somali British poet Warsan Shire. Both the album and its visual companion are deeply tied to Beyoncé’s identity and narrative (her womanhood, her Blackness, her marriage) and make for her most outwardly revealing work to date. \n\nThe details, of course, are what make it so relatable, what make each song sting. The project is furious, defiant, anguished, vulnerable, experimental, muscular, triumphant, humorous, and brave—a vivid personal statement, released without warning in a time of public scrutiny and private suffering. It is also astonishingly tough. Through tears, even Beyoncé has to summon her inner Beyoncé, roaring, “I’ma keep running ’cause a winner don’t quit on themselves.” This panoramic strength—lyrical, vocal, instrumental, and personal—nudged her public image from mere legend to something closer to real-life superhero.\n\nEvery second of Lemonade deserves to be studied and celebrated (the self-punishment in “Sorry,” the politics in “Formation,” the creative enhancements from collaborators like James Blake and Karen O), but the song that aims the highest musically may be “Don’t Hurt Yourself”—a Zeppelin-sampling psych-rock duet with Jack White. “This is your final warning,” she says in a moment of unnerving calm. “If you try this shit again/You gon’ lose your wife.” In support, White offers a word to the wise: “Love God herself.”"
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"type": "album",
"id": "594061854",
"name": "Rumours",
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"artist_name": "Fleetwood Mac",
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"short": "Songs that somehow outshine the melodrama that forged them.",
"full": "100 Best Albums To understand what made Rumours so impactful, you have to look at the music that came out around it. This was the era of the Eagles and Linda Ronstadt: artists who, like Fleetwood Mac, combined the intimacy of singer-songwriters with a softened take on rock ’n’ roll. But it was also the era of Boston, Foreigner, Pink Floyd and a wave of bands that scaled up the ambition of ’60s rock to blockbuster heights—stuff that parents who loved doo-wop and early Beatles records might not care about, but millions of teenagers would. Not to mention Barry Manilow and Neil Diamond, ABBA and the Bee Gees, and The Clash and Patti Smith—all of whom were totally different, but who collectively drove pop-rock to greater extremes of showmanship, polish, and rebellion.\n \nAnd there, in the middle of the road, is Rumours. When they rock, they do it gently (“The Chain”), but with a bite that sets them apart from their adult-contemporary contemporaries (“Go Your Own Way”). And while they capture the carefree positivity of the good life (and the Baby Boomers living it), they don’t shy away from the pains it took to get there (“Don’t Stop,” “Dreams”). As beautifully as their musical personalities meld (the blues-raised rhythm section of Mick Fleetwood and John McVie, the romanticism of Christine McVie, pop perfectionism of Lindsey Buckingham, and mysticism of Stevie Nicks), you can always hear them tugging gently on each other, an internal drama that’s all the more poignant given how restrained the final product is.\n\nRadical? No: In some ways, Rumours sounds like it doesn’t know the wilder developments of the late 1960s—psychedelia, experimental, and progressive rock—even happened. But for an album that went on to sell more than 10 million copies, it’s tougher and more unsettling than it probably should be. The band has given plenty of interviews over the years attesting to how they strove to serve the song, no matter how painful or personal—which, in the context of Buckingham’s “Go You Own Way” or Nicks’ “Dreams,” must’ve been very, let alone John McVie backing up his newly ex-wife on a song about how fulfilled she is in her current relationship (“You Make Loving Fun”). Co-producer Ken Caillat remembers watching Buckingham and Nicks scream at each other during recordings, only to compose themselves just in time for the tape to start rolling. It’s a good metaphor: Even if you ignore the album’s soap opera (which included the implosion of three relationships, two of them between couples in the band), Rumours captures the pain of a band keeping it perfectly together while in the midst of falling apart."
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"type": "album",
"id": "1097861387",
"name": "OK Computer",
"link": "https://music.apple.com/us/album/ok-computer/1097861387",
"artist_name": "Radiohead",
"release_type": "album",
"record_label": "XL Recordings",
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"short": "A dozen songs of terror and oblivion and hope.",
"full": "100 Best Albums Few albums so audacious, innovative, and anxious have ever captured the popular imagination like OK Computer, the 1997 Radiohead triumph that not only announced a new frontier of rock exploration, but also articulated budding pre-millennial interest in—and concern over—our technological toys. Here are a dozen songs of terror and oblivion, their singer so alienated by the society spinning around him that he pines to be abducted by aliens so that he may witness “the world as I’d love to see it.” There are car crashes and stolen thoughts, clouds of death and specters of persecution, malevolent robots and a Macintosh LC II that deadpans the new rules for living. It remains a deeply unsettling song cycle that is also deeply magnetic, its reordering of rock ’n’ roll’s sounds with classical ambition making it one of the form’s most radical and necessary statements.\n\nRadiohead had not learned its lessons from “Creep.” After wearing themselves thin promoting their first album, they rode the road even harder for The Bends, playing nearly 200 shows in 1995 alone and prowling the United States in a bus emblazoned with an airbrushed stallion. Thom Yorke crowded spiral-bound notebooks with his unease and expressions of isolation, even as he and his pals moved from one crowded room to another. But Radiohead’s relentless devotion to promotion afforded them complete creative control from a label surprised by their success. They reassembled the dream team that had first worked on The Bends—young engineer turned trusted producer Nigel Godrich and artist Stanley Donwood—and decamped to a palatial estate in the British countryside to wrestle with their worries.\n\nDebates about Radiohead’s motivations and intentions have raged since OK Computer’s release: Were Yorke and the band lashing out at the work that was almost killing them, or were they concerned about what technology would do to our humanity? Both roots, however, lead to the same sense of desperate isolation that OK Computer captures so well. The narrator in “Subterranean Homesick Alien” can no longer smell their surroundings, while the survivor in “Karma Police” can no longer think their thoughts in safety. Love is a final act of desperation during “Exit Music (For a Film),” friendship a cover for raptor-like predation during “Climbing Up the Walls.” The band animates these ideas perfectly, alternately stripping the arrangement until it feels like an icy chill, or adding 16 violins clawing at each other to invoke mental claustrophobia. OK Computer is every lump in your throat, turned into a succession of anthems.\n\nFor all of its dread, OK Computer is ultimately an act of hope, the expression in a belief that our inexorable path of progress does not have to cost us our goodness. Above the hangman riff of “Lucky,” Yorke pines to be pulled back from this abyss’ edge, to be resurrected in love. “It’s gonna be a glorious day,” he sings, and you have to believe it at least could be true. And if there is a remedy to the dizzying pace of, well, everything, it’s simple enough: “Idiot, slow down,” he sings for the last words of closer “The Tourist,” his falsetto newly resolute. “Slow down.” In the decades since OK Computer made Radiohead rock’s new standard-bearers, its grievances—namely, our accelerating isolation—have only mounted. But the answers and the hope it holds linger still."
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"id": "201281514",
"name": "Highway 61 Revisited",
"link": "https://music.apple.com/us/album/highway-61-revisited/201281514",
"artist_name": "Bob Dylan",
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"copyright": "℗ Originally Released 1965 Sony Music Entertainment Inc.",
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"short": "Dylan goes electric—and brings the entire culture with him.",
"full": "100 Best Albums “I need a dump truck, baby, to unload my head,” Bob Dylan howls toward the middle of his epiphanic 1965 album, Highway 61 Revisited, shooting out of a ragged harmonica solo during the rollicking “From a Buick 6” to diagnose his own condition. At that moment, the twenty-something Dylan—the unofficial youth poet laureate of the United States, as well as the sneering voice of an emergent counterculture—had a lot on his mind, and perhaps more on his professional plate. When he returned stateside after a breakneck British tour in May 1965, he was exhausted, having released five albums—including four certifiable landmarks—in just three years. Was he out of things to say, out of the drive to say them?\n\nBut, as legend has it, a long stream-of-consciousness manuscript later that month yielded “Like a Rolling Stone,” an anthem of youthful restlessness and grit aimed at a world of know-it-all cynics. Dylan cut it early that summer above Al Kooper’s roaring organ line, then headed to Newport to debut his electric band to a crowd incensed by his folk volte-face. When he returned to the studio just a few days later with a fresh producer—the largely unproven Bob Johnston—he indeed had a lot to unload, and he’d air his grievances via his newly perfected, warped blues-rock sound.\n\nDylan’s frustration comes through on these nine songs, which find him railing against the world’s barbaric weight (“Just Like Tom Thumb’s Blues”), against high society’s superficial wisdom (“Ballad of a Thin Man”), and against the heart’s tangles and briars (“It Takes a Lot to Laugh, It Takes a Train to Cry”). The direct appeals of his earlier works have yielded to deeply referential poetry, resulting in a self-made associative universe in which lovers walk like Bo Diddley, God dispatches Abraham to the Blues Highway along the Mississippi River, and where Einstein slips into Robin Hood’s garb. These were the images of an overheated mind, acting out the theater of human experience—youth versus age, freedom versus oppression, joy versus anxiety—in rock song.\n\nAs controversial as it may have been to some, Dylan’s electric pivot on all of these songs, save the brilliant capstone “Desolation Row,” could not have arrived at a better time. The dancehall crackle of the title track, the gothic groan of “Ballad of a Thin Man,” and the amphetamine shimmy of “Tombstone Blues”—they all ground these songs in magnetic rock ’n’ roll trappings that gave listeners something to hold onto as the language, lessons, and landscape of rock shifted in real time—something that absolutely happened on, and because of, Highway 61 Revisited."
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"type": "album",
"id": "1492263092",
"name": "Blue",
"link": "https://music.apple.com/us/album/blue/1492263092",
"artist_name": "Joni Mitchell",
"release_type": "album",
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"tagline": "Featured in 100 Best Albums",
"short": "An exploration of love and loss both intimate and universal.",
"full": "100 Best Albums For most, a greasy skillet is a nuisance in the kitchen sink, an upcoming chore. But for Joni Mitchell, it’s a ripe romantic metaphor in waiting. In “My Old Man,” the second track on her fourth album, 1971’s Blue, the singer-songwriter plays the piano while singing a sunny ode to the life she shared with a “singer in the park” and “dancer in the dark” who keeps her blues at bay. She boasts of their bond, as strong as a marriage without the formality of it (“We don’t need no piece of paper from the city hall”), and pays him one of the highest compliments a musician can bestow (“He’s the warmest chord I ever heard”). But the bridge of “My Old Man” offers a chilly, atonal changeup in the midst of Mitchell’s warm affection that bubbles up from a deeper, darker place than the pleasantries: “But when he’s gone, me and them lonesome blues collide/The bed’s too big, the frying pan’s too wide.”\n\nBlue is brimming with moments like this—otherwise pedestrian snapshots that Mitchell renders eternal. It’s not enough for her to say she’s lonely when her lover leaves; her ache is visceral, one that’s felt in the space he leaves behind in a tangle of bedsheets and the skillet that makes one breakfast instead of two. When Mitchell wrote Blue, she had long since moved on from the Saskatchewan stages of her early years and the folk scene of Toronto: Then three albums deep into her career, she had built an international following on the strength of her songwriting, her cloud-grazing voice, and the intimacy she conjures when she brings both to the microphone. Her preceding album, 1970’s Ladies of the Canyon, delivered the effervescent “Big Yellow Taxi,” one of her biggest hits, along with the moody “Woodstock” and sing-along classic “The Circle Game.” She became a Laurel Canyon fixture as the ’60s roiled into the ’70s, as well as the favorite singer-songwriter of some of the world’s favorite singer-songwriters—from Graham Nash (her longtime love and likely muse for “My Old Man” and “A Case of You”) and David Crosby (who produced her debut album) to Leonard Cohen (another former flame who’s also rumored to have been the inspiration for “A Case of You”) and James Taylor, with whom she struck up a romance at the top of the decade.\n\nBlue took shape in a moment of personal transition for Mitchell, right after the end of her relationship with Nash and just as she was falling for Taylor: She wrote her way out of an old love and into a new one, all while infusing her lyrics with the nostalgia, pain, joy, excitement, and appreciation for all that bubbled to the surface in that period. And while Blue offers a glimpse into the recesses of Mitchell’s heart at the time, it explores all love and loss, not just of the romantic sort (“Little Green” is an ode to the daughter she gave up for adoption, which she wouldn’t reveal until the ’90s). Long hailed as her magnum opus, Blue is as much a testament to her talent as it is the readiness with which she’s willing to share her most intimate truths."
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"type": "album",
"id": "1538081586",
"name": "What's Going On",
"link": "https://music.apple.com/us/album/whats-going-on/1538081586",
"artist_name": "Marvin Gaye",
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"short": "Proof that soul music can still be both confrontational and soothing.",
"full": "100 Best Albums When Marvin Gaye brought the title track of 1971’s What’s Going On to Motown founder Berry Gordy, Gordy reportedly said it was the worst thing he’d ever heard. The music was too loose, the lyrics too political. Too political? Gaye countered. This is the 1970s: You’ve got the Vietnam War; you’ve got growing poverty and systemic racism; you’ve got an environment under threat. Even Elvis was singing protest songs (1969’s “In the Ghetto”)—why couldn’t Marvin Gaye?\n\nThe album’s genius is in its lightness. Songs drift and breathe; performances feel natural, even offhand—Eli Fontaine's saxophone part on the title track, for example, was recorded when Fontaine thought he was just warming up. As Sly & The Family Stone channeled their anger into into bitter funk (1971’s There’s a Riot Goin’ On), Gaye sublimated his in lush string sections and Latin percussion—signals not just of musical gentleness, but cultural sophistication. Even in the face of bleakness (the addiction portrait of “Flyin’ High [In the Friendly Sky],” “Inner City Blues [Make Me Wanna Holler]”), he floats.\n\nThe revelation is that political music doesn’t have to be confrontational—it can be mellow and inviting too, the province not just of radicals, but the same mixed, middle-class audiences that had been buying Gaye’s albums all along. You catch more flies with honey than with vinegar, and as Gaye seems to say on What’s Going On, you don’t have to be a hippie to be worried by what you see—you just have to be human."
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"type": "album",
"id": "1713845538",
"name": "1989 (Taylor's Version) [Deluxe]",
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"artist_name": "Taylor Swift",
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"copyright": "℗ 2023 Taylor Swift",
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"short": "Leaving country behind for pop, Taylor uses nostalgia to move forward.",
"full": "100 Best Albums When Taylor Swift announced that 1989 (Taylor’s Version) was finally seeing release, she mentioned that, of all the albums she’s faithfully rerecorded in her quest to retake her master tapes, this one was special. “The 1989 album changed my life in countless ways,” she wrote on Instagram. “To be perfectly honest, this is my most FAVORITE re-record I’ve ever done because the 5 From The Vault tracks are so insane. I can’t believe they were ever left behind.”\n\nFrom “Now That We Don’t Talk” (on which, wowee zowee, she sings, “I don’t have to pretend I like acid rock/Or that I’d like to be on a mega-yacht/With important men who think important thoughts”) to “Say Don’t Go” to “Is It Over Now?”, one gets a real feel for the ferocity and focus with which she was writing at the time, a new audience in sight. It’s not just that any one of the newly uncovered songs here is more than strong enough to have been included (or strong enough to have launched the career of a less prolific artist); it’s that, even on material previously deemed inessential, Swift sounds comfortable bordering on imperious—like she’d been making lush, montage-ready pop music all along. \n\nNearly a decade later—and at the tail end of a 2023 in which her every move seems to have determined pop-cultural weather—it’s weirdly easy to forget that in 2014, she was still approaching (nah, engineering) an inflection point in her life and career, reintroducing herself (at just 24) as the all-conquering, planet-like presence we know today. She’d already started adjusting the ratio of country to pop on 2010’s Speak Now and 2012’s Red, working with Swedish superproducers Max Martin and Shellback on the latter. On 1989, Swift did away with the idea of ratios entirely—just launched them into the ocean, and went all the way. \n\nMusically, it wasn’t just her embrace of big beats and shiny surfaces, but a sense of lightness and play as well. Where 2008’s Fearless and Speak Now take their dramas to Shakespearean heights, 1989 celebrates a newly liberated life of flings (“Style”), weekend getaways (“Wildest Dreams”), and the kind of confidence a younger Taylor Swift was too passionately involved to grasp. So while “Welcome to New York” is her way of letting everyone know that she’s at least momentarily done with country music and Nashville and the constrictions they put on her image and sound, it’s also a song about turning your eye outward and surrendering to the possibilities only a city like New York can offer. And where she may have taken things personally in the past, now she’s just trying to have fun (“Shake It Off”). “Blank Space” even manages to make light of her gravest and most well-protected subject: Taylor Swift.\n\nLike Shania Twain’s Come On Over or even Bob Dylan’s Bringing It All Back Home, 1989 is an instance in which an artist deliberately defies expectations and still manages to succeed. Swift didn’t exactly grow up with the synthesized, ’80s-inspired sounds that producers like Martin, Shellback, Ryan Tedder, and future bestie Jack Antonoff help her create here; as the album’s title reminds you, she wasn’t even born until the decade was ending. But just as she played with the traditions and conventions of country music on her early albums, Swift uses the nostalgia of 1989 not to look back, but to move ahead."
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"type": "album",
"id": "1668460963",
"name": "The Chronic",
"link": "https://music.apple.com/us/album/the-chronic/1668460963",
"artist_name": "Dr. Dre",
"release_type": "album",
"record_label": "ARY, Inc. under exclusive license to Interscope Records",
"copyright": "℗ 2023 ARY, Inc., under exclusive license to Interscope Records",
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"short": "God-tier street rap powered by weed, vitriol, and G-funk.",
"full": "100 Best Albums It isn’t long into Dr. Dre’s Death Row Records debut that a then-promising MC named Snoop Doggy Dogg draws a hard line in the sand. “Oh, yeah, PS, fuck Mr. Roarke and Tattoo, AKA Jerry and Eazy,” Snoop says towards the end of “The Chronic (Intro).” “Sincerely yours, these motherfuckin' nuts.” In standing with Dre, newly freed from what the producer and MC saw as an exploitative Ruthless Records deal—one for which he blamed former N.W.A. groupmate Eazy-E and business partner Jerry Heller—Snoop wanted to be crystal clear about where his alliance lay. “I don't love Eazy, I don't love Jerry, I don't love Ruthless Records,” he continued. “Frankly, I don't love nothin' they got to do with.” And this before anyone on the album spits a single bar.\n\nDr. Dre’s The Chronic is a record powered in equal parts by weed, vitriol, and G-funk, a West Coast hip-hop subgenre that Dre founded by way of optimizing some of the funkiest and most innovative sounds of his adolescence and young adulthood. The album contains samples from Parliament, George Clinton, James Brown, Led Zeppelin, Gil Scott-Heron, Bill Withers, and Malcolm McLaren, to name but a few of the universally recognized innovators and geniuses from whom Dre borrowed inspiration. And atop their rejiggered masterpieces? A bevy of then still-bubbling yet incomparably talented MCs who, in that moment, shared an insatiable hunger to make a name for themselves in rap.\n\nAmong them were as-yet-unproven versions of Nate Dogg, Kurupt, Daz Dillinger, Warren G, The Lady of Rage, and, of course, a young Snoop Dogg, who authored so many of the album’s verses—his and other people’s—that he’d wonder, in conversation with fellow onetime Death Row signee Crooked I some decades removed from the album’s creation, “How the fuck was I on damn near every song?” The answer can be found in just about any verse he can be heard spitting on the album. The Dogg simply had what it took. The Chronic, in fact, would set the tone for Death Row Records as an incubator—and more notoriously, the inevitable saboteur—of some of the most memorable talents in Los Angeles street rap history.\n\nAnd street rap is exactly and exclusively what you find herein. The album, named for a high-grade marijuana of its time, contains a multitude of disses for both Eazy-E and Heller—and also Luke Campbell, Tim Dog, and Ice Cube—disseminated within fiercely competitive posse cuts (“Deeez Nuuuts,” “Lyrical Gangbang,” “Stranded on Death Row”), vivid depictions of the lives of young hustlers (“Let Me Ride,” “Nuthin’ But a ‘G’ Thang,” “Rat-Tat-Tat-Tat”), and a handful of ruminations on the perils of street life and also solidarity in the Black community (“Lil’ Ghetto Boy,” “A N***a Witta Gun,” “The Day the N****z Took Over”). All of which is not to mention an undeniably healthy dose of misogyny (“Bitches Ain’t Shit,” etc.). But The Chronic was then, and is still, everything the legendary Death Row Records would become known for—god-tier street rap as orchestrated by the label’s onetime golden goose, the incomparable Dr. Dre."
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"type": "album",
"id": "1440841241",
"name": "Pet Sounds",
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"artist_name": "The Beach Boys",
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"short": "When you’re young, everything hits with the weight of an orchestra.",
"full": "100 Best Albums No matter where you’re at in life, stepping into Pet Sounds can feel like stepping back into childhood. The colors are brighter, the scale bigger. There are moments of wonder and excitement (“Wouldn’t It Be Nice”) and moments of profound pain (“I Just Wasn’t Made for These Times”). Brian Wilson’s arrangements brought a complexity to rock music that nobody had heard before, but they also captured a simple, poetic point: When you’re young, everything hits with the weight of an orchestra.\n\nWilson was a child of Southern California and Disney, of the great suburban myths that shaped America after World War II: The joke is that his brother Dennis was the only Beach Boy who actually surfed, while the rest just held boards to sell a story. At a mid-’60s moment when bands like The Velvet Underground were starting to use pop to explore rough, bracing realities, Pet Sounds reached back to the fantasies of ’30s pop and ’50s exotica, of old Hollywood and early television. And as sacred as the album’s mood is (Wilson called his next project, Smile, a “teenage symphony to God”), it makes sense that its co-lyricist, Tony Asher, had come from advertising: No matter how ambitious he got, he also knew he needed to project something neat, immediate, and universal.\n\nOf all Pet Sounds’ legacies, the most profound is the idea that pop music—something accessible and extroverted—could be used to express deep, internal worlds. Wilson’s experiments with LSD aren’t obvious in any garish, cartoonish way. But you can hear him trying to excavate feelings buried so deep in the underbrush of shame and memory that seeking them out is an adventure on par with any. Pet Sounds is a reminder that the core of courage is innocence, and that just because you can’t change the past doesn’t mean it doesn’t still hurt."
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"short": "Less than three years after Beatlemania, the Fab Four set pop on a new course.",
"full": "100 Best Albums One of the great, possibly true stories about 1966’s Revolver concerns an exchange between Paul McCartney and Bob Dylan at London’s Mayfair Hotel about what they were currently working on. (In Dylan’s case, it was Blonde on Blonde.) On hearing the tape loops and death poetry of “Tomorrow Never Knows,” Dylan allegedly said to McCartney, “Oh, I get it. You don’t want to be cute anymore.” \n\nIt’s not entirely true. Part of what makes Revolver appealing is that it’s as much “Yellow Submarine” and the domestic sweetness of “Here, There and Everywhere” as it is “She Said She Said” and “Tomorrow Never Knows.” But Dylan’s point was well-taken: For a band that put out “I Want to Hold Your Hand” less than three years earlier, the relative complexity of Revolver—in both sound and subject matter—not only challenged The Beatles’ image as the pop band the whole family could agree on (as opposed to, say, The Rolling Stones), but it also put pop on a course toward unfamiliar horizons.\n\nNot only were The Beatles able to bridge their interest in the relatively uncommercial worlds of psychedelia, experimental, and Indian classical music with Motown (“Got to Get You Into My Life”) and what we now think of as classically Beatlesque pop (“Good Day Sunshine”), but they also gave us a template for the pop album as the kaleidoscopically varied studio construction we think of it as today. Cute, but more. \n\nOn the occasion of the album’s 2022 Super Deluxe reissue—which, in addition to a new mix in Spatial Audio by Giles Martin and Sam Okell, features some extraordinary rehearsals, outtakes, and demos—we’re taking a look back at what shaped Revolver and what Revolver shaped in turn.\n\nBefore: The R&B Backbeat\nRevolver is the last Beatles album where you can really hear the influence of American soul and R&B. “Taxman” is obvious, as is “Got to Get You Into My Life,” which John called “our Tamla-Motown bit.” But you can also hear it in “And Your Bird Can Sing” and “Love You To,” whose Indian influence is anchored by a beat heavy enough to drive a dance floor regardless of the continent it’s on. And where the beat of “Tomorrow Never Knows” is rightly cited as a precursor to techno and drum ’n’ bass, it’s also a take on the syncopations of James Brown drummer Clyde Stubblefield, who said he got his style, in part, from listening to washing machines and trains—the funk of daily life. Their growing conceptual interests didn’t get in the way of their roots as a bar-and-dance band, and their ability to bridge the two—or, more importantly, to dissolve the distinction between them—is part of what makes Revolver Revolver. Four people, one room.\n\nBefore: British Humor and the Surrealism of Daily Life\nFor however mystical Revolver can seem, squint and you hear an album mostly about ordinary life. “Eleanor Rigby,” “Doctor Robert,” the “Taxman,” the lovebirds of “Here, There and Everywhere,” and the eccentric of “I’m Only Sleeping”: these are the people in your neighborhood, and if they’re stranger than you remember, it might be because you never really looked. The Kinks were experts in this field. And John, in particular, was a fan of the Scottish singer Ivor Cutler, whose novelty songs masked a sense of surrealism that pointed toward more cosmic realms. The point isn’t just that Revolver was strange, but that it located its strangeness in places easily dismissed as familiar. So, while John borrowed the first line of “Tomorrow Never Knows” from a book connecting LSD with The Tibetan Book of the Dead, its title came from a more historically modest source: Ringo Starr.\n\nBefore: Power of the Experiment\nGiven their cultural stature, it’s easy to forget that The Beatles didn’t really know what they were doing at the time. So, while Revolver’s experimental qualities—the tape loops of “Tomorrow Never Knows,” the dislocated horn sections of “Got to Get You Into My Life”—could seem pretentious or alienating, they’re better understood as an embrace of the same unknowns that led to “Yesterday” or “Norwegian Wood (This Bird Has Flown).” Namely, can this be done? Though the band’s interest in avant-garde composers like John Cage or Luciano Berio wasn’t always obvious in their sound, it spoke to a sense of experimentation and open-mindedness that spurred them on when they could’ve easily and comfortably stayed in the same place.\n\nBefore: Pop as Art\nPart of The Beatles’ story is that of pop’s transformation into something like art. Not that Revolver was without precedent. Frank Sinatra’s serial-like string of albums in the ’50s (In the Wee Small Hours, Only the Lonely, No One Cares), Ray Charles’ Modern Sounds in Country and Western Music, the sound sculptures of producers like Phil Spector and Joe Meek, the arrangements of The Beach Boys’ Pet Sounds—all undoubtedly pop music. But they’re also examples of artists stretching pop to accommodate a sense of depth and conceptual ambition that hadn’t been there before. As George said around the time of Revolver’s release, selling a lot of records was nice. Now the point was to make them better.\n\nAfter: Psychedelia for the Mainstream\nThe real psychedelic quality of Revolver wasn’t its sound but its subject. Time, memory, the inevitability of death: With the exception of Bob Dylan and The Byrds, no mid-’60s pop artists were wading as deeply into inner space as The Beatles. And because, in George’s words, they’d “had a few hits,” their ideas landed on audiences that probably wouldn’t have encountered them otherwise, or at least ones that might’ve been more hesitant to hear them out. The effect was to expand our sense of the terrain that pop music could cover and introduce a sense of headiness and ambiguity that gave way to everything from Jimi Hendrix and Prince to the inward-facing stance of alternative rock. Revolver tried to touch what can’t be touched.\n\nAfter: The Studio as Instrument\nBefore Revolver, the studio was, by and large, a place where bands went to record music they’d already worked out. After Revolver, it became a kind of instrument of its own. It wasn’t just the unprecedented amount of time The Beatles spent making it (220 hours to Rubber Soul’s 80) or their experiments with new technology; it was the way they opened their process to the concept of music being less a set of notes than a sequence of sounds—an attitude that evolved into everything from dub to shoegaze to hip-hop. Paul remembers meeting with producer George Martin before they went into the studio to play him what they’d been writing. When they got to “Tomorrow Never Knows,” Martin was curious but puzzled: there were no chord changes, no verses, no chorus. In other words, it wasn’t a song. The blueprint was in the band’s collective head, but you couldn’t make sense of it until the work was done.\n\nAfter: Pop as Playground\nRevolver helped define the pop album as a loose, collagelike space where you could get any number of sounds and moods thrown at you. Paul’s sweetness, John’s cynicism, the experimental and the straightforward, Western R&B and Eastern classical—and each of them somehow as much a part of the band’s identity as the others. Not only was the shift an important step toward understanding artists as people who curate and arrange the world rather than creating it out of thin air, but it also gave us a template you can still hear in everything from Thriller to Purple Rain, M.I.A.’s Kala, and Frank Ocean’s Blonde. Revolver wasn’t just a marketing tool; it was an experience. And the band’s eclecticism wasn’t a lack of commitment—it was liberation."
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"short": "Distilling epic narratives into anthems turned a young star into The Boss.",
"full": "100 Best Albums Bruce Springsteen’s third album is as close to a perfect record as he would ever make. His first two efforts had featured epic tales, populated with wild characters. But with Born to Run, released in 1975, he finally cracked the cipher on how to compress and tighten those long-form stories—making the songs easier for listeners to absorb, and for radio DJs to spin.\n\nSpringsteen envisioned Born to Run as a song cycle, one that starts at daybreak and ends at dawn, with the harmonica in “Thunder Road” acting as reveille, and with “Jungleland” at the end bringing the curtain down—in more ways than one. In between, there’s plenty of drama and noir, with Springsteen’s vivid characters getting into trouble down dark alleys, where they fight for freedom (or, at least, redemption). The mid-album highlight is the title track, which Springsteen would later pinpoint as the moment he learned to successfully combine power and emotion—lyrically and musically—in a shorter form, while still delivering the same impact his longer epics did. “Born to Run” became an anthem for FM rock radio, with stations in cities like Cleveland and New York playing it at 5 pm on Fridays to commemorate the start of the weekend.\n\nBorn To Run also marks the first record in which Springsteen had more impact on the album’s overall sound. He sought help in its arrangement and production from his good friend Steven Van Zandt, as well as the music writer Jon Landau (who’d later become Springsteen’s manager). Together, they fashioned a record that sounded like a grittier, more fantastical version of Phil Spector’s infamous Wall of Sound. Perhaps most importantly, though, Born to Run was the album that solidified the lineup of the E Street Band: Pianist Roy Bittan and drummer Max Weinberg had recently joined the group, giving Springsteen a backing team that not only had solid musical chops, but also an energy that matched the challenge in front of them. Born to Run manages to feel exhilarating, heartbreaking, thoughtful, and tragic—the truly defining moment for Springsteen as a performer and as a songwriter."
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"short": "Electronic music as comforting and familiar as classic rock.",
"full": "100 Best Albums There’s a video that Daft Punk made to promote 2001’s Discovery in which the French duo, wearing their famous robot helmets, dance on the Tokyo subway. Some riders smile and stare, while others look politely away. At the time, Daft Punk was big enough business to dismiss goofing off—their first album, 1997’s Homework, had already sold two million copies. And yet, when asked about Discovery’s turn toward ’70s and ’80s pop, Thomas Bangalter said the goal wasn’t to evoke a specific sound or era, but the raw wonder they’d felt encountering that music as children. Dancing on the subway in a city where they didn’t speak the language, liberated from judgment and self-criticism: It’s all there in the title.\n\nThe album’s biggest singles—“One More Time,” “Harder Better Faster Stronger,” “Digital Love”—were as useful to wedding DJs as they were to pop philosophers. And the rest—the faux-metal guitars of “Aerodynamic,” the sci-fi daydream of “Veridis Quo,” the UK garage showcase of Todd Edwards on “Face to Face”—glimpsed down dozens of stylistic alleyways without disrupting the album’s course. “Electronic music”—a term that always suggested the future, however vague—was demonstrated to be as familiar and comforting as classic rock, and no less real in its depth of feeling.\n\nYou can easily trace Discovery forward to EDM and the continuing entwinement of techno and rock. But you can also trace it back to The Beatles circa Sgt. Pepper’s Lonely Hearts Club Band or The Beach Boys circa Pet Sounds and Smile: music that took pop seriously as art, but also recontextualized older, seemingly uncool styles in ways that felt progressive and fresh. Most of all, though, Daft Punk wanted to be universal. And as implausible as it may have seemed for two French men in robot helmets, Discovery got them there. “We hope all the kids will love the video,” a disembodied voice says near the end of the promo clip. “As well as their parents.”"
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"short": "Glam rock as mythmaking, subversive performance art.",
"full": "100 Best Albums When David Bowie stood onstage at the Hammersmith Odeon in full Ziggy Stardust getup and announced his retirement in July 1973, nobody really knew what he meant. Was this Bowie’s retirement, or just Ziggy’s? And what was the difference, anyway? The persona had been laid on so thick, it seemed impossible to peel it away from the artist who invented it. Not to mention, of course, how liberating the persona had been to Bowie’s audience: the drama, the glitter, the possibility of becoming your most fantastic inner self, societal boxes and pre-existing roles be damned. If the crowd screamed in protest, you couldn’t blame them: Ziggy had promised that they weren’t alone—and now he was leaving them.\n\nThe concept is catchy, but the subversion is in the music: nasty but glamorous (“Moonage Daydream,” “Suffragette City”), theatrical but intimate (“Five Years”), punk before punk (“Hang on to Yourself”), and cabaret for an audience who would’ve never deigned (“Rock ’n’ Roll Suicide”). He’s so exceptional he talks about himself in the third person but so arrogant his fans kill him for it (“Ziggy Stardust”), so deluded he thinks rock ’n’ roll can save the world but so brave he’s willing to die trying (“Star”). “And it was cold, and it rained, so I felt like an actor,” he sings on “Five Years”—an image that captures the moments in life that feel so real they seem fake. The artifice brings him down, but it also sets him free.\n\nThe album helped loosen binaries around gender, sexuality, performance, and identity. But it also helped broaden the vocabulary of mainstream rock more generally, drawing on concepts from the underground (Bowie barely escaped an interview without talking about Iggy Pop), the art world, kabuki, mime, and film (“Space Oddity” had been written under the influence of 2001, Ziggy Stardust under A Clockwork Orange). Calling him flighty or inauthentic missed the point: Like Andy Warhol, Bowie treated his art in part as a synthesis of his interests. For all the ways it was radical at the time, Ziggy also pointed to a referential, hyperlinked future we’re all familiar with—curation as creation."
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