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.
Because Smith was a poet before she was a singer… and John Cale of the Velvet Underground produced… and her lover Robert Mapplethorpe took the cover photo, Horses is often praised for fusing classical verse, feminism, punk and the avant-garde—which makes this epic debut sound like it belongs on a syllabus for a class few people would willingly take. In fact, it’s a rock record of overwhelming power. For all her poetic skill, the album’s most memorable words are its first: “Jesus died for somebody’s sins, but not mine.” From there, Smith’s voice—like a match dragging across the side of a matchbox just before it ignites—and unrelenting band (guitarist Lenny Kaye, pianist Richard Sohl, drummer Jay Dee Daugherty and bassist Ivan Kral) swagger through a complete reinvention of Van Morrison’s Gloria and several nine minute volcanoes that feel far more romantic and revolutionary than any mere poetry.
Titles? We don’t need no stinkin’ titles! Guitarist Jimmy Page, no doubt in a moment of complete sobriety, wanted to see if Led Zeppelin’s music could sell itself, so the band’s name, as well as all other words, were struck from the album cover. Instead, each member picked an occult symbol representing their mystical identity to appear on the LP’s spine. Why? Because it was 1971. Enough fragrant air has been exhaled about “Stairway to Heaven” (which was never released as a single and thus never appeared on the Billboard charts) for several lifetimes, but “Going to California” is the best thing they ever played at a pace below ‘manic,’ “Rock and Roll” is the best thing they ever played above ‘manic’ and “When the Levee Breaks” is their most convincing blues. Just call it Zeppelin’s greatest record.
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.