The album may be dead, but it's certainly not forgotten. TIME's critics have chosen the 100 greatest and most influential musical compilations since 1954.
Al Green was hands-down the dominant soul singer of the Seventies, and his run of albums, especially in the first half of the decade, was so consistently strong that it’s hard to pick a favorite. I’m Still In Love With You has the back-to-back perfection of “Love and Happiness” and “I’m Glad You’re Mine.” Let’s Stay Together has, well, “Let’s Stay Together.” But top to bottom, Call Me is the one to beat, with the effortlessly sexy title song and the devastating “Here I Am (Come and Take Me).” Covers of songs by Hank Williams and Willie Nelson seal Green’s linking of Memphis and Nashville traditions. And the closing song, “Jesus is Waiting,” turned out to be the bridge to Green’s future in the pulpit.
In the aftermath of the Altamont disaster, which would have broken or shaken most bands, the Rolling Stones came back nastier and more assured than ever — Sticky Fingers is loaded with sex, drugs, and rock & roll, and became their biggest seller to date. Massive riffs power “Bitch,” “Brown Sugar” (proof that a slave trader’s sexual fantasies can make for a Number One hit), and “Can’t You Hear Me Knockin’,” a showcase for new guitarist Mick Taylor. “Dead Flowers” is a definitive comedy of decadence, “Wild Horses” is as tender as the Stones can get, and “Sway” is pure terror. It doesn’t have the sprawl and mood of their next release, Exile on Main Street, but Sticky Fingers truly captures the Stones at the peak of their game.
Sue me, but I like Betty Draper/Francis as a character. The problem is that Mad Men doesn’t. Betty’s not the worst character on the show, but she’s probably the worst-served.