48. Jay-Z – Reasonable Doubt (1996)
Few rappers emerge on fire, but Jay did. Though relatively old (27) when he entered the scene, the rookie disciple of B.I.G. was already showing up his godfathers. No one, not evn for a second, assumed that HOV was fantasizing on his recordings. With its sly gangster jazz, Reasonable Doubt featured legends such as Notorious and Mary J., sampled Nas and Snoop and introduced Jigga’s eternal protégé, Bleek. With the lonely, wafting dream of “Dead Presidents,” the smoky freestyle vibe of “22 Twos,” it’s not only a perfect debut but a masterpiece of hip-hop. —Taylor Cowan
47. Brian Eno – Here Come the Warm Jets (1974)
Brian Eno, the secret weapon behind the success of so many great records, including David Bowie’s Low and Talking Heads’ Remain in Light, also had a phenomenal solo career. Here Come the Warm Jets was a forward-thinking pop album drawing from the glam rock of his former band Roxy Music. Eno manipulated sound in unpredictable and unrepeatable ways (even with all of today’s technology). Replete with excellent collaborations, absurd lyrics and quirky hooks, Here Come the Warm Jets is an astonishing debut and also the most fun listen in the Eno catalogue. —Chris Favata
46. Godspeed You! Black Emperor – F#A#(Infinity) (1998)
The ominous opening to the first track on Godspeed You! Black Emperor’s debut F#A#(Infinity) sets the tone for the album: “The car is on fire, and everything is covered in blood.” The songs are divided into movements with wide dynamics and although they are devoid of lyrics, the band uses a recording of a spoken word description of armageddon, a street preacher and a vox pop interview for emphasis. The album climaxes with driving percussion backed by horns and guitar arpeggio, crescendoing into a movement worthy of the Four Horsemen of the Apocalypse. —Elizabeth Beyer
45. The Avalanches – Since I Left You (2000)
Few albums present such vivid imagery as in Since I Left You. It has the power to make you nostalgic for things you’ve never experienced by speaking to you through seemingly infinite samples cropped together to form new and exciting music. A wholly new frontier, the future constructed from fragments of the past, an album so singular there could be no possible follow-up. It’s no wonder why, eleven years later, we still haven’t seen one. –Chris Favata
44. X – Los Angeles (1980)
After the Brits and New Yorkers had a hold on punk, this was the West Coast’s answer, triumphantly titled Los Angeles. Singer Exene Cervenka – howling like the devil’s bastard daughter – crashed the boys club, and the band realized that no matter what musical year-one politics were ascribed to punk rock, the music was essentially Chuck Berry and Carl Perkins on bennies (they even got Doors dinosaur Ray Manzarek to produce the thing). But if heathens like Jerry Lee Lewis were ahead of their time, so was X: Los Angeles’ nine songs barrel along, fast and slow, four years before Black Flag caught shit for taking it at half-speed. The band’s chemistry was right from the start, but with members going by John Doe and Billy Zoom, X’s greatest asset was its gonzo humor. A generation later, elaborate song titles not unlike “Your Phone’s off the Hook But You’re Not” would find their way into track lists of millennial pop-punks everywhere. –Alex Bahler
43. N.W.A – Straight Outta Compton (1988)
To paraphrase one of the song titles on this gangsta rap posse’s debut, parental discretion is advised on this one. “You’re about to gain the strength of street knowledge,” the record begins, and though it loses some of its impact and momentum towards the end of the track listing, the first 8 cuts or so are revolutionary in their “in your face” brutality, no-holds barred combative approach, and busy, crafty samples and pounding beats. “Do I look like a muthafuckin’ role model?” lead rapper and rhyme writer Ice Cube famously inquired, and the answer was an emphatic no, but he laid down his raps with such authority and passion (not to mention aggression), he was impossible to ignore. Although pilloried at the time (and rightly so) for their over the top misogyny and the lack of value placed on human life in general, they were the first to point out that this was the “reality” of life on the streets of Compton, and it was a reaction to the lack of hope in their environment and resentment at being held down by “the man.” Not an excuse, but still an awesome listen and an essential document of its time. –Craig Bechtel
42. Bloc Party – Silent Alarm (2005)
Bloc Party struck gold on their first try with uncluttered, speedy songs filled with quality licks, rhythms and vocals. Any additional production technique is used discreetly to enhance the hooky melodies and racing drums. The most amazing thing about the album is that every single note and beat is clear despite the arrangements’ complexities. It all comes together in a package that will stick in your head long after the record has stopped spinning. –Cody Prentiss
41. The Shins – Oh, Inverted World (2001)
The Shins’ 2001 debut Oh, Inverted World is a light and whimsical introduction to their present trio of eclectic albums. It begins with the words: “I think I’ll go home and mull this over,” which is an accurate lead into the rest of the songs: Simple yet unique melodies, filled with lyrics that follow us all day, whether we truly understand them or not. –Krystal Thompson
40. Daft Punk – Homework (1996)
Before they reinvented electro-pop with Discovery, Daft Punk forced something fresh into house music with their debut, Homework. And Homework has become iconic: almost everyone knows “Da Funk” and if they don’t, they will at least recognize the hypnotic drone that is “Around the World.” Homework was a breath of fresh air for house music and has since become an undisputed classic. –Charlie Woodman
39. Fleet Foxes – Fleet Foxes (2008)
It’s hard to believe that Fleet Foxes’ self-titled debut was indeed their first album. It begins with a pleasant nod to traditional folk music, and then blends into the band’s own modern and sophisticated interpretation of the style. The playful narrative takes listeners to far-off, magical lands, and lowers them gently back into reality with the help of crooning vocals and charming harmonies. Whether embarking on a journey or just beginning the day’s tasks, this album is the perfect pick-me-up for any occasion. –Krystal Thompson
38. Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not (2006)
The Arctic Monkeys came out swinging with Whatever People Say I Am, That’s What I’m Not. There are no loose threads or sloppy performances. Their debut is a tightly constructed dose of controlled chaos rock fans can’t help but enjoy. The album was met with a mountain of praise and went on to become the fastest-selling U.K. debut ever. Listening to it, one can see why. –Cody Prentiss
37. Justice – Cross (2007)
In an era when electro music was a travesty, endlessly replayed and unoriginal, two Parisians in leather jackets bore their cross to stages ’round the world, absolving our sins. Before anyone knew the better, they were shaking belts to “D.A.N.C.E.” And give Busy P credit—how many producers have launched a Daft Punk and a Justice in their lifetime? The inimitable thunderous drums, vicious slap bass, sampling of Italian Horror B-films, all the while savaging our ears with tales of “Genesis” and “Waters of Nazareth”—it was the dawn of a new hope. –Taylor Cowan
Intro | 60-49 | 48-37 | 36-25 | 24-13 | 12-1
