Jay over on the Contrarian posted up this great best of list written by Peacedogman of, you guessed it peacedogman.com – really makes you think about the state of modern music when so many absolutely essential albums came out within such a short time.  Eh. Anyway here’s a little taste:

21. DAVID BOWIE – “Hunky Dory”, 1971: Aligning yourself with other popular artists by name-checking them can seem a bold move and could be seen as using the fame and works of others to further your own career. Due to the theatrical approach of both in the lyrics and the vocals of “Hunky Dory”, Bowie’s references to Andy Warhol, Bob Dylan and Lou Reed come off without sounding pompous. “Song for Dylan” starts with a convincing imitation of Dylan before BOWIE finds his own vocal to tribute the man “with a voice like sandpaper and glue”. “Queen Bitch” is possibly the best LOU REED imitation ever performed; Not only is the voice similar, but the guitar strumming and transvestite
nightlife lyrical approach is eerily close to the mark. “Andy Warhol” is a playful, tongue-in-cheek acoustic guitar piece that succeeds mostly to Bowie’s voice and lyrics with frankly much more to offer than Warhol’s art. Radio programmers all around the word have ch-ch-ch-charmed us with the album opener “Changes”. There’s definitely no denying its catchiness. “Oh! You Pretty Things” is fantastic piano driven pop with drums storming in mid-song, then disappearing like a thief in the night after speeding up the piano’s heartbeat. The ambient feel of “Life on Mars” is classic BOWIE with a vibe that rivals “Space Oddity”. The upbeat catchy “Kooks” ensures a cheerful change of pace and the piano and touches of trumpet provide further convincing that the cross dressing songwriter really is a kook. Despite the melancholic piano, “Quicksand” doesn’t sink at all; the clever lyrics painting pictures of Crowley and well-known World War Two heroes and enemies. Finally, the piano and falsetto of “Fill Your Heart” are custom-fit for stage shows and the man’s versatility is further demonstrated. Bowie’s showmanship is integral to this album and gives it a timeless quality; “Hunky Dory” is an album that still sounds fresh and vital almost 40 years after the fact.

12. T. REX: “Electric Warrior”, 1971: Here is one induction that is painfully overdue. Anyone who’s really been paying attention should start seeing a pattern with this list: bands that have simple and easily identifiable blues roots, regardless of where they choose to grow their sound from there. The godfathers of sleaze rock, Marc Bolan and T.REX, are certainly no exception. So what makes this album so special? The answer is simple: It just sounds so damn good! From Bolan’s smooth-as-butter vocals to the reverberated plinks of his guitar to the soft slap of snare drum and hand clap, what we have here could very well be a flawless production. Of course, having great songs doesn’t
hurt either. This album has more hooks than a bass fishing tournament. Beyond the much-beloved “Bang a Gong (Get it On),” classics like “Mambo Sun,” “The Motivator” and “Rip-Off” are instant party starters. At the same time, we have reminders of the old school with the rockabilly feel of “Jeepster” and the aptly titled “Lean Woman Blues,” and the more somber tracks like “Cosmic Dancer” and “Girl” have all the sincerity of anything Bowie ever did. But probably the best thing about this album is that, much like the STONES at their best, it’s a rock ‘n roll record that doesn’t try to be anything else, and the fact that everything is in single-ready, bite-size portions instead of one whole side of the record was a tremendous breath of fresh air for the time. One reminder of how good “Electric Warrior” is can (almost) make us forgive all those “70s retro” bands out there who’ve been shamelessly ripping this album off since.