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.
Never before or since has an image been so quickly destroyed and rebuilt into something just as powerful. On the heels of the Beatles’ break-up, John Lennon entered “primal scream” therapy, and channeled all of the resultant emotional turmoil and exposure into his first solo album. Plastic Ono Band, recorded with a bare-bones trio and majestically produced by Phil Spector, revealed feelings never expressed on a pop album. Lennon sang of his fears (“Isolation”), his personal losses (“Mother”), and his journey from disillusionment to independence (“God”). From the spare loveliness of “Look at Me” to the raging proto-punk of “Well Well Well,” Lennon’s writing was never sharper, and his still-underrated singing stands with rock’s finest.
After running off a rapid-fire string of hits and a shelf full of Grammy awards in the early Seventies, Stevie Wonder signed an unprecedented $13 million contract renewal with Motown Records — and then he made them wait. And wait and wait. Two-plus years passed after 1974′s Fulfillingness’ First Finale, an eternity in R&B. But when he delivered Songs in the Key of Life, a double-album with a bonus EP included, there was no doubt that the wait was worth it. It topped the charts for almost three months, and featured more true classics than even most great artists write in a lifetime. Celebrating childhood (“I Wish”), jazz (“Sir Duke”), and the beginnings of life itself (“Isn’t She Lovely”), Songs in the Key of Life was a powerhouse — a rare moment when a master was faced with a new level of pressure, and responded by taking his game to new heights.
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.