The Top 100 albums released between January 2000 and December 2009, as voted for by NME staff (past and present) plus a selection of musicians and industry figures that included Arctic Monkeys, Carl Barat, The Killers, Jarvis Cocker, Pete Doherty, Elbow, Johnny Marr, MGMT, Ian Brown, The Big Pink, Snoop Dogg, Alan McGee, Yeah Yeah Yeahs, Michael Eavis and many, many more (see the full jury in NME magazine).

This list is taken from the ‘End Of The Decade’ issue of NME magazine (on sale November 18th) where each album included is reviewed again from a 2009 perspective, alongside brand new interviews and a look back at the defining musical moments of the past 10 years.


Sonically staggering album that questioned the price of music

Read the original NME review from 2007:

Let’s face it, Radiohead could have released the sound of Thom Yorke picking fluff out of his belly button (which they did actually sample and loop throughout the whole of ‘Amnesiac’, probably) and the world wouldn’t have noticed for several weeks, so intense was the media chatter surrounding their “new business model”.



The Specials meets The Bill - straight outta Birmingham

Read the original NME review from 2002:

Their features may remain the same, but over the years the streets - the unfriendly thoroughfares which are the touchstone for 'authentic urban music' in Britain - have had many different voices.

In the 1980s, Paul Weller sang about their burned out phone booths and ripped up...


Masterful atmospheric sadness and guitar sunspots that flare through

Read the original NME review from 2002:

When it comes to comebacks, only Elvis can match The Dark. If 2001 saw American bands tapping local heritage from Detroit to NYC, this year a grey-skinned British past is being dragged back the light. Dark angel Anglophiles Black Rebel Motorcycle Club have already made the journey and now come the...


Believe the hype, because if 'Funeral' doesn't touch you then strike up the Bette Midler. Because frankly, your ass is already dead

Read the original NME review from 2004:

Pop quiz: what's the most popular song to play at a funeral? Jimmy Cliff's tearjerking 'Many Rivers To Cross'? Jeff Buckley's gut-wrenching 'Hallelujah'? Nina Simone's blubby 'Lilac Wine'? You'd think that your last act on this earth would be to choose a song that's a guaranteed pass into heaven. Sadly, though, none of these tunes even make the...


Enough to make you fall in love with elemental rock all over again

Read the original NME review from 2000:

Yeah, there are tight leather-wrapped symbolist poets sat on the roof by the water tank all night, watching junkies and rent boys and the boys are always called Johnny and fucked-up flotsam and jetsam go by. It's a place of 24-hour noise, of re-invented realities, where punk rock intellectuals sleep in the gutters and dream of horses galloping...


A dazzling New York spin on love, sex and ecstatic rock 'n' roll

Read the original NME review from 2003:

Things move fast in the world of the Yeah Yeah Yeahs. When they first arrived in Britain a year ago, it seemed likely they'd make a debut album fixated on the simple art of fucking. Instead, 'Fever To Tell' is more complicated: seeking to explain love, sex and the remarkable, brittle, sometimes disturbing...


Perfect pop, knock-out rock punches and lyrical genius, made in Sheffield.

Read the original NME review from 2006:

It’s hardly surprising that the first words to tumble out of Alex Turner’s mouth on this record are “Anticipation has a habit to set you up/For disappointment”. I mean, can you imagine how it feels to be in Arctic Monkeys right now? Great, obviously, seeing as they’ve filled the gutter-rock gap left behind by the imploding Libertines,...


Deranged majesty and a war you can dance to.

Read the original NME review from 2000:

Meet the new year, same as the old year. Radicalism doesn't pay, complacency's at an all-time high, so keep your head down, smile for the cameras, mind your language and stick to the Third Way. The music scene's not so hot, either. That we could do with a fully plugged-in, turned-on, fucked-off Primal Scream at this point is hardly front-page...


If The Libertines can keep writing songs as insolently catchy as the title track and the Smiths-style 'Time For Heroes', their finest hour will be upon us soon

Read the original NME review from 2002:
It hasn't passed without comment that the front-running bands at the moment hail from almost everywhere except Britain. No new homegrown band can yet hold a candle to The Strokes or The Vines - and when Sweden and bloody New Zealand begin...


A document of a group seizing a moment and making it entirely their own

Read the original NME review from 2001:

It's the best kind of New York story. One which mixes impossible glamour with brief excursions to the wild side. Which starts in a basement, and ends in huge acclaim. Which features good-looking participants in a potentially dirty business. A story too good to be true to be the real thing, surely? Like the title seems to ask - is this really it?...

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