Daveportivo's Cultural Evaluation Facility

A red hot stylized Beyonce video is normally a cover for a bad single or a retro-pop pastiche but pleasingly "Why Don't You Love Me?" proves to be nothing of the sort; as it captures Beyonce at true apex of her game. She's strong, sassy, dominating but also desperate and emotionally fragile. Quite simply "Why Don't You Love Me?" is the best non-ballad Beyonce has released in what seems like an eternity. The beat is propulsive, it grinds and grooves in compelling fashion. This fast, layered, groove seems almost at odds with Beyonce's vocal performance at first before the two eventually elide to complement one another in thrilling fashion. Vocally Beyonce is at her best; she's domineering, and her sweet but powerful coos at 4:12 and especially at 2:52 are a sheer joy to experience. Her raspy rangy assaults is irresistible, as she stampedes tumultuously over the beat. Her final shrieks of "There Is Nothing Not To Love About Me" are so direct and powerful you'll almost feel as if she's grabbing by your lapels and screaming down your throat. Truly terrifying, but utterly tremendous. A creative, forward thinking track that scrambles up pop's past placing new textures and new sounds, alongside raw blood curdling emotion.

Dansette Junior are setting their sights high with "Paranoid"; a track that is broad in scope with huge anthemic sweeps and crushing synths. Unfortunately while most of the major hallmarks are in place for a chilled dance anthem, the track simple fails to kick on into a higher gear. The pre-chorus is a huge unifying moment of reverberating synth noise but the chorus falls flat. You want that one thumping hook to come in, that hands to the sky and bounce moment to arrive but it never quite does. Certainly a worthy effort, but in an overcrowded marketplace "Paranoid" does little to truly distinguish itself.

Gold Hawks' "Keept The Fire" features one of the most annoyingly whiny vocal hooks I've ever heard. Honestly Brian Molko would shudder. This track is just bending over backwards in an attempt to feel momentous but instead it leaves you miserable. At its worst "Keep The Fire" feels confused. It undoubtedly has it moments, and I imagine an instrumental mix would be highly enjoyable, but as is, it simply tries far too hard. Less exciting than the premier 8-bit noise nicks, and much less inventive than art-house electronica's heavyweights; "Keep The Fire" is ultimately forgettable and scene. A case of trying far too hard. Stripping back the sound, and a move towards subtle minimalism could well salvage this track. I wouldn't be surprised to find a better, more sparse, mix lurking out there, somewhere.

Have groove Armada been listening to Crystal Castle's, Lindstrom and The Knife? It sure sounds like it. "History" feels like a natural blend of Groove Armada's renounced laid back approach with subtle blips of electro-noise and imposing quasi-industrial atmospherics. It's great to hear a Groove Armada single push closer to the avante guard while still retaining it's core pop accessibility. Will Young's vocal addition is a good one, especially when he cuts loose before fading into the mix in haunting fashion. This isn't A grade cutting edge material but it's certainly an intriguing listen, and a tell tale sign that Groove Armada are not content to rest on their laurels and their name value.

Who other than Kanye West would sample King Crimson? Who other than Kanye could actually make it work? No one I suspect. Kanye's flow isn't his tightest on "Power" but the beat pounds, smashes, and convulses it's listener into submission. This is the sound of brutal grinding rap mosh pits, the beat just won't quit, the groove is just so thick and so relentless. Everything about "Power" is overblown, it's huge, it's mammoth; giant walls of noise, hide layers and layers of hidden depth. Hear that subtle key line underneaththe percussion and garish choir? Not to mention the subtly guitar work, and the trippy emotive finale. "I Know Damn Well I'm Killing This Shit", damn right Kanye is killing it; if this is a sign of things to come, Kanye will have regained his art house credibility quicker than you can say "best video of all time!". An essential purchase.

The title track from Katy Perry's sophomore LP is suitably obnoxious. It appears she's on a mission to release all of Teenage Dreams least interesting works before she actually gets round to showing off the creativity that deep down we know she possesses. "Teenage Dream" is of absolutely no artist merit, it's positively grating (even more so than "California Gurls") and it can't match up to her first album's singles. Yet, I'd be surprised if this track does anything other than shoot straight to number one. Perry can do much better, she has already penned superior tracks, I'm just wondering if she'll ever actually get round to releasing any of them.

While there's no denying that "Hot-n-Fun" is the kind of track Pharrell and co. could write in their sleep, you can't help but fall for the tracks insanely sexy beat (as Pharrell is more than happy to point out). There is not much else to say, honestly; "Hot-n-Fun" puts a premium on brain dead sexy thrills, and that's exactly what it delivers with the typical N*E*R*D knowing swagger we've come to love.

The recipient of over a million YouTube views, I suspect "Please Don't Let Me Go" won't struggle to shift units. Musically it's neither here nor there; it's pleasant enough, but almost instantly forgettable. The cooling summer vibes, while bland, will be fun while they last, but I suspect the sun won't shine on Olly Murs for particularly long, if at all.

The X-Factor's mission to return pop to the sorry state of affairs that existed before the mid 2000s pop revolution continues to be reprehensible. For a while with Girls Aloud, and to a lesser extent Leona Lewis, it appeared they'd got the idea and had embraced creative experimentation, but alas sadly, with each passing year the more they revert to type. Thankfully La Roux, Annie, Robyn & Florence Welch continue to keep the good ship pop pointing in the right direction, while the X-Factor continues to offer up drivel like "Shine On Forever". Despite Same Difference's best efforts (and I sincerely hope this is not their best effort) they are swimming against the tide; pop has changed for the better in the country, and it appears there may be no going back now. Awful.

Despite the occasional surprisingly brilliant release it appears that Usher has set about reverting to type with another appallingly over produced, convoluted jam. "DJ Got Us Falling In Love Again" is so artistically, and emotionally vacant that I find myself being overwhelmed with apathy. Must try harder Mr. Usher, we know you can do better than this.

Kicking off the top 50 is The Cars self titled debut LP. It's hard to think of a more perfect new wave statement. Ric Ocasek perfectly captured the sound and the mood of an entire scene on one thirty five minute slice of new wave, but essentially, pop brilliance. There was no filler to be found. Across these nine tracks Ocasek forged his own mini greatest hits collection. Every tracks hook is somehow more memorable than the last and the guitar work is simple but irresistible. It's all short sharp infectious stuff. The album really kicks into overdrive when Ocasek unleashes the irresistible"Just What A I Needed" a track that captured both a moment in time and the sound of the decade to come. The Cars were ahead of the time, positioned somewhere between Blondie's pop rock dominance and Gary Numan's synth-pop eccentricity they found the perfect marriage of synths, power chords and immediate choruses; that would form the template for a thousand imitators. Far from just out right hit makers when the time came to take things down a notch The Cars proved they could write intriguing atmospheric numbers too with the divine closers "Moving In Stereo" and "All Mixed Up". The Cars was the official transition, this was the beginning of the end for the seventies and the slow dawn of the nineteen eighties.

The Talking Heads could have easily named their debut record "Tentative Decisions" and perfectly encapsulated their entire bands sound and ethos in one fell swoop. Sure the Talking Heads made great revolutionary pop music, but they never sounded settled and they certainly never felt comfortable. They sounded tentative, full of nervous energy; just as you think you've settled into a comfortable groove, the guitars with suddenly spike, the tempo suddenly changes and David Byrne's vocal suddenly spikes. "Happy Day" for example, could have been a charming ballad but it's constantly on edge thanks to Byrne pitchy vocal, and that's why that track, and this record as a whole, is so damn exciting. It combined sharp jagged new wave punk with high end intellectual pop music; Talking Heads; 77 was art rock before people were ever pedantic enough to come up with such labels. The guitar work, the bass grooves and the song structures still thrill, "Who Is It?" is an absolute riot, it still feels unpredictable and frenzied three decades on.

The Talking Heads laid the ground work for the avante guard pop and indie that was to dominate the charts in the noughties (and still does in many respects).This was the forebare of the indie disco record; Franz Ferdinand, The Rapture and LCD Soundsystem still worship at the alter ofTalking Heads: 77. By sounding uneasy, unsettled and uncomfortable the Talking Heads managed to make mainstream music that appealed to outsiders, scenesters and the art house all at once. Their unconventional songs about love ("No Compassion") and society ("Don't Worry About The Government") tip toed the line between irony and sincerity creating a delicious sense of intrigue providing the perfect counter balance to those inescapable unsettled grooves...Ai Yi Yi Yi Yah!

Some records are woven together with certain periods in history, they become documents of our time, and genuinely sound track societal movements. The Specials remains one of the most poignant and emotional reminders of Britain's past. Whatever your view on Margret Thatcher or the 1980s, The Specials captured a moment in time, a moment of great social tension. Unemployment was rampant and racial tensions were at an all time high; town's like Coventry weren't fun places to be, but out of these unsettled times came and band and album that transcended the tension and squalor that surrounded it. It's actually the humanity and feel good energy of The Specials that makes it so endearing all these years later. You just can't dislike The Specials, they seemed morally above their times, and seemed capable of documenting without patronizing their surroundings. "A Message To You Rudy" and "Do The Dog" feel like pleas and reasoned arguments to the rude boys and enraged fascists. The Specials turned aggression and depression into shimmering pop music. The message was simple and heartbreaking "Just Because You're Nobody, It Doesn't Make You No Good".

This was smart, emotional, intellectual and most of all irresistible pop music. By blending punk, pop, new-wave, West Indian Dance hall together the Specials crystallized a new sound in ska. This sound and more importantly their lyrical style is still changing the face of pop music today; if it wasn't for The Specials who knows where pop would have ended up? You can hear their sound and lyrical style in Lily Allen and their soul in Amy Winehouse the 21st Centuries great pop revolutionaries. It wasn't always complex or poetic but it was simple, direct and honest (sound familar?) and that made them more relatable and more loveable than a million imitators. Yet before we get too carried away with overly verbose vitriol; we have to remember that behind all the histrionics laid layers and layers of timeless hits: "Too Much To Young", "A Message To You Rudy", "Concrete Jungle", "Do The Dog", "Monkey", "Blank Expression" and "Doesn't Make It All Right".

If the late sixties saw Bowie treading the water of pop domination and creative experimentation, then Hunky Dory was the moment when he unleashed all his initial potential in one concentrated blast. Of course there was more to come but Hunky Dory was the warning shot across the bough. This was smart, well constructed pop of the highest order; the opening salvo made that very clear with the irresistibly vibrant "Changes" and "Oh! Pretty Things" grabbing the listeners attention. From then on in Bowie set about re-imagining the pop landscape. He gave widescreen country guitar work a sexy outer spacial flavour on "Eight Line Poem", while giving dance hall music a make over on "Kooks". In this way Hunky Dory feels like one of the great transitional records as the sounds of the sixties evolved into the glam rock and electro experimentation of the 70s. Hunky Dory highlighted Bowie's great talent for taking established sounds and expanding them, giving them a broader more cinematic and sexy scope. The best results can be seen of the awe inspiring "Life On Mars?" and the tragically under appreciate brilliance of "Quicksand". It's these mid album works that have aged the best; "Quicksand" sounds fresh, exciting and vibrant but most of all, thanks to some truly brilliant production, it still sounds thoroughly contemporary. On Hunky Dory Bowie's palate was broader, more well realized, and ultimately more interesting than his pop peers. After all no one else was making anything as cool as "Andy Warhol" or as snappy as "Queen Bitch". This was high IQ, highly varied pop music, and despite the odd misfire (see "Song For Pop Dylan"), ultimately Hunky Dory was the sound of pop to come.

Kraftwerk's second entry on the countdown comes in the form of their most underrated work; The Man-Machine. While no one actually considers this record to be anything less than excellent it's position among music's elite is often downplayed. Normally the argument goes along these lines; "The Man-Machine is too obvious" which is a fair case to make. Kraftwerk declaring them "The Robots" is hardly complex or subtle, but then neither was Computer Love and that album has never been so readily discarded. Conceptual simplicity to one side, you can't help but feel that people are missing the point of this record entirely. The Man-Machine was designed to be immediate, rather than focusing on capturing a certain idea in sound, Kraftwerk just made the music that came naturally to them, and they were all the better for it. It is the sound of the The Man-Machine that continues to influence contemporary heavy weights like Daft Punk and LCD Soundsystem. You can hear Daft Punk grooves and loops on almost every track, you can even notice the subtle synth evolution from "The Robots" to "You Wanted A Hit" as you listen to the stainless steel grooves. "Spacelab" by contrast seemingly inspired the Legend Of Zelda soundtrack and still looms heavy over today's 8-bit scene. In between the moments of inspiration Kraftwerk assembled their most direct and filler free LP; stacked to the brim with not just great creativity but legitimate hits. "The Model" stands proud as the records centrepiece, breaking from the album's core concept it remains a stand out moment of pop brilliance, while "The Man Machine" endures as Kraftwerk's fan's favourite hit. Kraftwerk were never supposed to sound this good, and this accessible, it just doesn't compute. The Man-Machine may not have been the initial revolution but it's the record that above all others continues to influence, inspire and drive 21st Century Electronica.

Sometimes a record's importance and influence out strips it's quality, and to an extent that is true of Black Sabbath. It is only marginal in Black Sabbath's case, as behind the great histrionics and the storytelling laid a brooding, richly, atmospheric, and occult album. Of course Black Sabbath is the originator, sure there were earlier influences, there were probably louder records, there were certainly creepier records but none of them brought it all together in the way Black Sabbath did. This was the birth of heavy metal as we know it today. Rich brooding instrumentals, big wide open knowingly blown landscapes, big solos and even bigger chords. This was brash music, it wasn't subtle, hell it wasn't intellectual, but it was daring and it was damn groovy too. Honestly just try to resist the monstrous chord and rhythm groove that concludes "Sleeping Village". Picking this album up in 1970s opened kid's minds, it gave them a new way to express themselves and most importantly it gave them new heroes. In Iomni they had the riffage, in Butler they had the grooves and in Ozzy they had the image and the voice. Perfection would come later (later that year in fact) but in the February of 1970 Black Sabbath were just happy with kick starting the revolution, and laying down some thick jams in the process.

It's ironic (and pure chance I should add) that Rocket To Russia and Black Sabbath landed next to one another in this countdown. After all, I just decided that the revolution was less important than artistic perfection in Sabbath's case, yet for the Ramones, the perfect culmination of their achievements (Rocket To Russia) finds itself behind their original revolution (The Ramones). At the end of the day it simply comes down to personal preference as really it matters little where Rocket To Russia places, because it is a classic five star album, and no listing can change that.

This was the sound of the Ramones at their absolute zenith. There are few LPs in music history more instantly loveable than Rocket To Russia. Unlike American Beauty this isn't necessarily easily listening, Rocket To Russia still sounds edgy and cool but it's so fundamentally accessible, it remains music for the masses. It's stacked full of brilliance and more importantly variety, slowies, quickies, brain dead romps and ironic rockers. Whatever the mode of delivery it's all irresistible. "Cretin Hop", "Rockaway Beach", "Sheena Is A Punk Rocker", "Here Today, Gone Tomorrow", "Do You Wanna Dance" and "Surfin' Bird" there's brilliance around each and every corner. Blink and you'll miss it, Rocket To Russia is lightening in a bottle. La-Bot-Om-Ee!

Rumours is a monster. In almost every sense of the world, it's gigantic, unwieldy, it's mean, totally inescapable and most importantly it's the stuff of legend. Oh and that isn't just pointless hyperbole, I like so many others, knew the story, knew the drama and knew the sales figures of Rumours before I'd even heard the record. So where to start? The internal tension? The jabs? The emotional brutality or music itself? You know what; I am going to talk about the music. (If you do want to hear about music's greatest melodrama search out BBC4's masterful documentary).

Of course the first feeling most of us get, and the feeling I still get when listening to this album is one of deflation. "Second Hand News" starts the record and you feel yourself taking a deep intake of breath and subconsciously you hear yourself saying "So this is it huh?". Yes Rumours is a mere pop album but what a pop album. "Second Hand News" grows with each passing verse slowly luring you in before you are taken softly by the staggering beauty of "Dreams". A truly timeless track that hits you simultaneously with it's irresistible chorus and it's open hearted honest verse; "Now Here You Go Again, You Say You Want Your Freedom, Well Who Am I To Put You Down". It may seem arbitrary to say it, but the underlying tensions really elevate the albums less interesting tracks, you find yourself almost subconsciously reading into every last line in even the most bland of efforts. Soon however the quality of the record shines through, as "Go Your Own Way" fades into "Songbird", right before "The Chain" really brings the record to life. Vibrant, immediate and soulful; Rumours is great pop music, there's no two ways about it.

The Plastic Ono Band remains one of histories most harrowing records. After under going Primal Therapy and forcibly confronting his most traumatic child hood memories John Lennon entered the studio and recorded his greatest solo album. Full of deep introspection and brutal honesty The Plastic Ono Band stands apart from other singer songwriter's efforts due to it's sheer ferocity. While Antony Hegarty may be brutally honest, he can't match those blood curdling screams that conclude "Mother". It's still remarkable that a scream so guttural, so mournful, and so hate filled could sound so damn tuneful. As an album The Plastic Ono Band is spare, basic chords, minimal instrumentation, simplistic vocal arrangements, there are no bells and whistles it's just one man alone screaming his lungs out. It's amazing to think that the now overly covered to the point of artistic bankruptcy, "Working Class Hero" was once too radical and daring to ever consider releasing. While the track's scorn is eventually turned on it's author (like so much of Plastic Ono Band) you can't help but relate and feel moved by it's most simplistic and iconic lines; "As Soon As You're Born They Make You Small, By Giving You No Time, Instead Of It All" and "There's Room At The Top They Are Telling You Still, But First You Must Learn To Smile As You Kill". It's simple, it's direct, it's scornful and most importantly it's a frank admission of grief, guilt, and self loathing. Pure simplicity, simply perfection.

While the arrangements may have become richer and more involving, at it's heart Songs Of Love & Hate is all about Leonard Cohen lyricsim and his choppy guitar work. Songs Of Love & Hate is split into two halves, not just by the natural format of vinyl but as a work as a whole. The first half is made of engaging songs where you get wrapped up in Leonard's deep bassy vocal, you find yourself hypnotically lulled into world. You feel the resentment on "Avalanche" and the sexuality on "Last Year's Man" and of course you'll smile a wry smile at Leonard's near country stomp along "Diamonds In The Mine". It's hard not to laugh as Leonard uncharacteristically tells the band to "take it away". If the first half was marked by it's engaging nature, then the latter half is characterized by it's sheer brilliance. "The Love That Calls You By Name" starts on shaky footing before growing into one of Leonard's greatest works, while "Famous Blue Raincoat" is a song writing marvel as Cohen leads us through a strange love triangle over one of the most stirring and affecting arrangements of his entire career. "Joan Of Arc" rounds off the trio of classics and features some of Cohen's most memorable one liners ("Then Fire, Make Your Body Cold, I'm Gonna Give You Mine To Hold") while "Sing Another One, Boys" almost feels like showing off. A masterful live performance at the legendary Isle Of Wight festival to cap off a remarkable album. As you'd expect from Cohen this album is emotionally brutal but it's also one of his most pleasurable, and surprisingly, accessible albums. Cohen's second finest hour.

Back in 1979 Bristol was hardly renowned as a creative hot spot, and the notion of the "Bristol Sound", let alone Trip-Hop, was completely unheard of. However things were slowly beginning to change as The Pop Group released the genuinely revolutionary Y. You can almost trace the entire artistic expansion back to this one cutting edge masterwork. Y is the sort of record that sounds just as daring and intriguing in 2010 as it did in 1979. The way in which styles flow into one another is just glorious; fuzzing uncomfortable electronica, moody Television like post punk stylings, West Indian infused drum beats, sudden inexplicable blasts of free form jazz and avante guard noise making. It's still sounds wonderfully eclectic, but unlike so many fusion artists The Pop Group held their experimentation together with tight and addictive bass grooves; this was a record that had a sense of unity and direction. Y is one of those strange albums that ages well, "She Is Beyond Good And Evil", "Thief Of Fire" and "We Are Time" undoubtedly sound better, cooler and ultimately more palatable today they they would have thirty one years ago.

For Your Pleasure is one of my favourite records, and if you are an unashamed fan of pop music you will love this record to. While no one doubts that it was daring and challenging at the time For Your Pleasure is first and foremost an engaging pop record. It's the standard that the mainstream should aspire to. A record that's instantly accessible but thought provoking at the same time. Even at it's most direct and catchy For Your Pleasure maintains a sense of the unexpected; "Do The Strand" and "Editions Of You" are wittier and cheekier than their contemporaries without being any less infectious. Yet it's those moments when Eno really cuts loose that steal the show; the warped synths of "In Every Dream Home A Heartache" creates a foreboding atmosphere while Brian Ferry delivers a gripping verse. It's one of his greatest performances as he delivers cruel dark lines in a delicious dead pan. The super serious façade is of course broken by the ludicrous line "Inflatable Doll, Love Ungrateful, I Blew Up Your Body, But You Blew My Mind". Despite the obvious tonal differences you can't help but feel a symbiotic link to Pulp's ironic epic "This Is Hardcore". Brian Eno is of course allowed his weird out moment in "The Bogus Man" giving the album it's true art house chops (if it hadn't earned them already) . Despite all the internal tensions, by the time "Grey Lagoon" and "For Your Pleasure" roll around you can't help but be convinced that For Your Pleasure is the sound of a band having the time of their lives, revelling in their own wit and their own creativity.

One of the great struggles for all artists is how to follow up a "great album". Luckily by 1977 David Bowie had garnered plenty of experience in this field. Aladdin Sane followed Ziggy Stardust and even though it's forgotten now following up the provocative Station To Station with Low was no mean feat. It was the aforementioned Low that presented Bowie with his greatest dilemma; how to follow another career best album (more on that later). Bowie was never one to baulk from a challenge bouncing right back with with Heroes. A gorgeous album that combined the talents of three of music's great pioneers; Bowie himself, Brian Eno and Robert Fripp. The result was a captivating album that saw Bowie's distinctive tones melding into these wonderfully lucid arrangements. Recorded in Berlin Heroes managed to capture the unsettled division of the times while also embracing the Krautrock/synthpop scene that was leading the world in pop innovation. The nods to Kraftwerk and Neu! are hardly subtle (nor were they meant to be), and while Heroes' instrumentals are still looming and melancholic Heroes feels positively uplifting after the bleak introspection of Low. Heroes was the mid point in Bowie's Berlin trio, and represented his new commercial height and his return to ground breaking form. An album's whose quality is only diminished by comparisons to masterpiece of a forebear. Proof that sometimes more of the same, is exactly what's needed.

The two track fifty two minute Tribute To Jack Johnson is a captivating stand out work. Almost forty years later it remains difficult to define; Jazz fusion? Who cares? Most see it as the leading light in the early formation of Jazz-rock. "Right Off" has a rough around the edges live feel, like it's just a bunch of guys sitting around jamming. The guitar starts the affair with a classic rock riff and soon Miles jumps in with a rip snorting solo and then the band hit full flow jamming and grinding their way through twenty minutes of visceral excellence (yes that's right visceral jazz). The guitar riffs are still uneasy; they bite and fizzle, bursting out of the record as if your old vinyl record is slowly cracking. "Yesternow" by contrast is a more considered classic affair. Low key and solemn it's a track that wafts with cool composed sense of desolation. It's gorgeous and the perfect counterpart to the loose rip roaring patchwork of an opening track. Two perfectly parts of one mind blowing package that ends with a wonderful whirling finale.

Following the commercial triumph of Harvest it seemed the world was waiting for Young to marry his brand of infectious endearing folk-rock and harsh affecting lyricism into one start to finish masterpiece. After all, no one doubted Harvest's quality, or more surprisingly it's accessibility, but it felt uneven and in a way unsatisfactory. On The Beach by comparison was the complete start to finish listen the world had been awaiting. It didn't feel as daring as After The Gold Rush but what it lacked in all encompassing variety it made up for in focus and cohesion. Tracks cascade into one another beautifully "See The Sky About To Rain" is perfectly married to the mesmerizing "Revolution Blues"; whose spite laden lyricism is the perfect transition to the country blues stomp of "For The Turnstiles". Things get really bleak and scathing as "Vampire Blues" rolls into the harrowing "On The Beach" with it's sparse and mournful arrangement centred around one simple sentiment "I Need A Crowd Of People, But I Can't Face Them Day To Day". Many consider On The Beach to be Young's greatest work and it's easy to see why; On The Beach is the perfect balance between deep emotion, scathing lyricism and accessible engaging musicianship.