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"text": "#184 on YOUR countdown of the greatest albums of all time!\n\nThe full ‘License To Ill’ album cover, front to back, features an American Airlines Boeing 727 with a Beastie Boys logo on its tail, which has crashed head-on into the side of a mountain, the former taking the shape of an extinguished joint. The tail of the plane also features the Def Jam logo and the registration number '3MTA3' which spells 'EATME' when viewed in a mirror. The idea for the album's cover came from the album's producer, Rick Rubin, after reading the Led Zeppelin biography Hammer of the Gods. The artwork was created by Stephen Byram and World B. Omes.\n\nhttps://diffuser.fm/cover-stories-beastie-boys-licensed-to-ill/"
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"text": "#191 on YOUR countdown of the greatest albums of all time!\n\n‘DAMN’ received widespread acclaim from critics, with many naming the album one of the best albums of 2017 and the decade. The album topped the US Billboard 200 with 603,000 album-equivalent units earned in its first week and topped the chart of Canada while reaching number two in Australia, Belgium, Denmark, Ireland, the Netherlands, Norway, Sweden, and the United Kingdom. It has since been certified triple platinum by the Recording Industry Association of America (RIAA) in May 2018 and was the Billboard Year-End number one album of 2017. The album earned Lamar the 2018 Pulitzer Prize for Music, the first time an artist outside of the classical and jazz genres received the honor. "
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"text": "#192 on YOUR countdown of the greatest albums of all time!\n\nThe album’s vibe was built around the song “Fu‑Gee‑La.” Producer Salaam Remi has said that the song was recorded before the Fugees even got a proper budget for their second album. They didn’t yet have full resources, but Remi had created a beat and during that session, Wyclef ended up writing his verse on the spot after hearing it. That moment clarified what ‘The Score’ could be.\n\nHere’s a deep dive into the recording and all of the influences that went into recording ‘The Score’:\nhttps://ambrosiaforheads.com/2016/02/the-fugees-fu-gee-la-set-the-score-for-the-group-salaam-remi-explains/"
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"text": "#193 on YOUR countdown of the greatest albums of all time!\n\nThe recording sessions for 'Electric Ladyland' were notoriously chaotic — to the point that Hendrix often lost control of them entirely. Hendrix would frequently invite large numbers of friends, groupies, and hangers-on into the studio, turning recording sessions into all-night parties. This frustrated producer Chas Chandler (who had discovered Hendrix), and it ultimately led to Chandler quitting the project. \n\n“After he left, the gate was open and Jimi could experiment,” says producer Eddie Kramer. “The whole album was an experimental thing. Whether it turned out to be a blues jam like ‘Voodoo Chile’, which was magnificent, or an experimental thing like ‘1983…’ it didn’t really matter, because it all fitted together.\n\nhttps://www.uncut.co.uk/news/jimi-hendrix-producer-eddie-kramer-recalls-electric-ladyland-sessions-58180/?utm_source=chatgpt.com"
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"text": "#194 on YOUR countdown of the greatest albums of all time!\n\n'Crooked Rain, Crooked Rain' was released on February 14, 1994.\n\nStephen Thomas Erlewine of AllMusic wrote, \"Crooked Rain strips away the hiss and fog of [Slanted], removing some of Pavement's mystery yet retaining their fractured sound and spirit. It's filled with loose ends and ragged transitions, but compared to the fuzzy, dense Slanted, Crooked Rain is direct and immediately engaging.\""
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"name": "Hannibal"
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"text": "#195 on YOUR countdown of the greatest albums of all time!\n\nThe Guardian spoke with John Wood, the sound engineer and producer of ‘Pink Moon’:\n\n“It was a much more intimate recording than his first two albums,” says Wood. Gone were the mournful strings and the jaunty brass and in their place was simplicity: just Drake and his guitar. “I think he wanted to make a very direct and personal record. I thought, after the first couple of songs, that we would probably augment it a bit. Not a lot, but I was expecting him to get (double bass player) Danny Thompson in maybe. After the second number, I said something and he just replied, ‘No, that’s it. That’s all we’re doing.’ And that was it.”\n\nhttps://www.theguardian.com/music/2022/jul/05/nick-drake-pink-moon-50-years-producer-misunderstood-classic-john-wood"
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"name": "DFA Records"
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"text": "#196 on YOUR countdown of the greatest albums of all time!\n\nThe debut album from LCD Soundsystem was essentially a solo project by James Murphy as he wrote, performed, and produced nearly the entire album himself.\n\nIf you're looking for more from LCD, here's a 2017 guide to their essential discography: https://tidal.com/magazine/article/lcd-soundsystem-a-beginners-guide/1-42028"
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"text": "#197 on YOUR countdown of the greatest albums of all time!\n\n'The Soft Bulletin' was almost entirely created after a near-tragic event: drummer Steven Drozd developed a serious heroin addiction during the recording process, and at one point even lost part of his thumb due to an infection. As a result, many of the drums on the album were actually programmed or sampled by Drozd himself, rather than played live.\n\nThis shift contributed to the album’s lush, symphonic, and experimental sound—a major departure from the band’s earlier guitar-driven psychedelic rock."
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