Musical perfection: 10 albums that don’t have any bad songs
Perfection. What a strange concept when you realise that the world’s music thrives on being the exact opposite. And yet, it’s something we actively look for, argue about, and agonise over, especially when it comes to the true meaning behind the word itself. The real issue is that perfection in music albums is so incredibly subjective, and an album one person deems near-flawless might be another person’s tripe.
Despite all of this, there exists a special, undisputed realm of greats—the canons in music history, the utterly magical pieces of work that were either created by an utterly magical mind or a product of magical circumstance. Or, they are simply pure works of genius. Either way, these are the ones that continue to come up, time and time again, whether in the subtle grooves of other works or head-first in conversations about the greatest musicians who ever lived.
These are the ones that, except for a very small handful of cynical critics, cannot be disentangled from the annals of time—the ones that truly warrant the title “magnum opus”, with expertly crafted songs that each exhibit the very lightning-bolt of energy with which they were created. It takes an act of true artistry to create something with absolutely zero skips, and yet these are the ones who seemed to pull it off effortlessly.
The power of creating such a perfect album, from start to finish, has become less valued in today’s fragmented world of streaming, but the appeal is unparalleled. So, whether sticking on the record or loading up your speaker to enjoy these masterpieces from start to finish, sit back and enjoy the rarity of untampered genius.
10 albums with no bad songs:
Electric Warrior – T. Rex
During any discussion about glam rock greats, there’s a reason why T. Rex will be mentioned. Electric Warrior might have marked a significant shift in the band’s overall direction, but it signposted an even more important trajectory in rock history, adopting a rich and textured sound that no other artist has been able to emulate since.
As a result, every track exudes a gorgeous concoction of shine, shimmer, edginess, and delectable layering, mostly thanks to Tony Visconti’s production but also because of Marc Bolan’s ability to sing with a unique and enticing timbre, delivering a whimsical, almost childlike quality. When describing this album, it’s almost impossible to pinpoint standouts, mostly because the entire album holds itself up to the kind of standard others would only dream of achieving.
Disintegration – The Cure
There has been a lot of discourse about what exactly makes The Cure so great. Most people understandably point to Robert Smith’s ability to blend nightmarish lyricism with upbeat, rock-infused melodies, but this is merely the tip of the iceberg. Disintegration, for instance, is a well-rounded and complete demonstration of everything The Cure continues to be celebrated for, with its songs almost blending together like a concept album as you willingly and continually enter the deeper realms of Smith’s psyche.
Other albums could be potential contenders for such labels of perfectionism, like Pornography, but Disintegration earns the crown purely for its head-spinning narratives, ones that often combine conflicting emotions of loves lost and loves gained, resulting in a strangely relatable experience where the human condition is anything but dichotomous.
Rumours – Fleetwood Mac
Stevie Nicks, Lindsey Buckingham, Christine McVie, and John McVie might have simultaneously loved and hated each other, knowingly creating a strained dynamic during the recording sessions of Rumours, but the resulting Fleetwood Mac tour de force held enough dynamism to be talked about with the same amount of fervour almost four decades later.
Between its grooves and folkish charm, Rumours tells stories of break-ups, adultery, friendship frictions, promiscuity, and everything in between. Each song conveys these stories with such visceral passion that it almost feels like you were actually there, watching from the sidelines. Moreover, everything about this album speaks of happenstance–Nicks wasn’t initially welcomed into the group, and the visions of all members different substantially, but all of it came together in what can only be described as lightning in a bottle.
Blue – Joni Mitchell
Another masterpiece depicting an artist in crisis, Blue was Joni Mitchell’s saving grace and a true example of pain being the food of art. At the time, Mitchell demonstrated what it truly meant to adopt a transparent demeanour when it came to songwriting, resulting in a piece performed by a master at the pinnacle of her powers. If you’re after perfection in writing ability, Blue is the place to go.
Released at the peak of the singer-songwriter movement, Blue seemed autobiographical in nature but forward-thinking in the realm of lyricism. However, what Mitchell lost in heartache, she gained in critical and commercial success, as Blue continues to ring out with timeless beauty, each song a poem and the ghostly whisper of someone who yearned for wholeness.
Grace – Jeff Buckley
By every measure, Jeff Buckley was one of a kind. There are very few musicians who arrive so readily capable of delivering greatness, but Buckley knew what it meant from the start and gifted the world one perfect album that will forever withstand the test of time. Sales of Grace might have been slow at first, but it has since been hailed as simply one of the greatest albums of all time, with good reason.
Throughout each track, Buckley delivers complex yet accessible guitar parts, complimented by a beautifully delicate crooning that speaks of a person who has felt it all. Lyrically, the album is unrivalled, as Buckley navigates the fruitlessness of love and adoration, touching on various additional themes of love, loss, and desire, perfectly captured in one angelic and dignified record.
Journey in Satchidananda – Alice Coltrane
The world of jazz certainly has no shortage of flawless, groundbreaking and genre-defying albums, but none of them enjoy quite the same impact as Alice Coltrane’s defining work, Journey in Satchidananda. First released in 1971, Coltrane had already established herself as a gifted pianist and harpist, but it was this album that allowed her to break free from the reputation of her saxophonist husband to become an indisputable jazz legend in her own right.
This was the album that, more or less, single-handedly established spiritual jazz. There is no one track on Journey in Satchidananda which can drum up the faintest thought of a ‘skip’ button, especially given that the tracks encased on the record tend to flow into one all-encompassing narrative. With each song, Coltrane continues to affirm her genius, so much so that the album still invalidates any potential criticisms over five decades after its release.
Is This Desire? – PJ Harvey
Truthfully, there are multiple albums by the singer, songwriter and multi-instrumentalist PJ Harvey that could certainly have made this top ten list. However, the 1998 album Is This Desire? is certainly up there with her strongest efforts. Whereas her earlier work had established Harvey as a defiant figure, embracing rock and punk influences, Is This Desire? saw her move towards more atmospheric, personal and emotional songwriting.
Beginning with ‘Angelene’ and concluding with the heartbreaking title track ‘Is This Desire?’ each and every song on the 1998 album reveals new layers to the persona and songwriting talents of Harvey, giving audiences a peek into the life behind the records. Harvey is a master of taking listeners on a journey through her records, playing with their emotions and changing the mood at the drop of a hat, and Is This Desire? is a prime example of that.
Histoire De Melody Nelson – Serge Gainsbourg
Any discussion surrounding the greatest songwriters of the 20th century, which does not include Serge Gainsbourg, is simply inaccurate. The Parisian wordsmith penned some of the greatest individual tracks of the era, capturing the spirit of mid-century Paris, and the passionate romances which defined his existence. However, records like Histoire De Melody Nelson proved that Gainsbourg’s talents were not limited entirely to 45rpm.
Based around the concept of an illicit love affair between a teenage Melody Nelson and the middle-age narrator played by Gainsbourg, the album is unexpectedly experimental in its construction, seeing the songwriter tackle taboo themes armed only with a spoken-word delivery and the distinct influence of funk guitar music. This is one of those rare albums that can adapt itself to virtually any situation, from a romantic candlelit dinner to a dark period of self-reflection. Either way, Gainsbourg’s songwriting was at its best on this record.
Post – Björk
Björk, more so than most, is an artist who will never settle for mediocrity. Throughout her long and illustrious career, the Icelandic songwriter has always strived for musical excellence. Perhaps as a result of this drive and clear literary talent, Björk achieved such excellence on only her second album, 1995’s Post. Building upon the sound of her debut, Post saw the singer incorporate a much wider range of influences into her distinctive sound, helped along by members of Massive Attack and 808 State on production duties.
Featuring some of her most commercially successful singles, like ‘It’s Oh So Quiet’ and ‘Army of Me’, Post proved Björk’s unique ability to toe the line between commercial art pop, deep surrealism and the avant-garde. Throughout the tracklisting, the songwriter deals with complex themes and compositions with apparent ease, taking every opportunity to showcase her indisputable talents.
Fun House – The Stooges
Once in a blue moon, an album comes along, rendering everything before it worthless and influencing virtually everything that comes after it. A prime example of this phenomenon is Funhouse, the sophomore record by proto-punk icons The Stooges. Leaning into the more abrasive, radical side of garage rock on tracks like ‘1970’ and ‘Loose’, the record paved the way for the punk explosion that would arrive some years later. However, while it is often remembered for its stunning proto-punk, the album also features some of the greatest blues rock efforts of the 1970s.
The seven-minute epic ‘Dirt’, for instance, does not feature the crazed punk frontman Iggy Pop that we all know and love, but someone a little more vulnerable, a little more soulful. This variety and unwavering quality in the album’s content helps to make Fun House not only a flawless record but one of the greatest albums of all time.
