1. Beastie Boys - Hello Nasty
Four year after their previous album, the Beastie Boys returned with an even more eclectic sound. Although “Intergalactic” and “Body Movin’” might be the most memorable tracks, the reason this album ends up on the list is because of the band’s artistic progression, including even more instrumental and acoustic songs. -JM

2. Lauryn Hill - The Miseducation of Lauryn Hill
1998 introduced Lauryn Hill to the world. With her debut album, Hill showed her ability to seamlessly weave hip-hop, soul, and R&B in way that both critics and fans couldn’t walk away from. -JM

3. System of a Down – System of a Down
SOAD's classic debut. This shit was outta control. And how much did you know about the Armenian Genocide before they came along? -KT

4. DMX – It's Dark and Hell Is Hot
Come on! He was barking like a dog! This was the first time anybody got bit by DMX, and damn it was harsh.

5. Neutral Milk Hotel - In the Aeroplane over the Sea
Although it didn’t win over all of the critics or public, Neutral Milk Hotel’s second (and last) album deserves a spot because the band paved the way for many indie-rockers that would soon follow. Folding an emphasis on lo-fi, talented guitar playing, and folksy vocals into one album, In the Aeroplane should be revisited as a significant contribution to music leading up to the new millennium. -JM

6. Marilyn Manson – Mechanical Animals
Between its controversial imagery (Manson as a dual-gendered alien figure with prosthetic breasts), music videos (homosexual policemen, mock JFK murder, and a crucifix of TVs), and supposed connection to the Columbine shootings, this highly conceptual follow-up to Antichrist Superstar caused quite a stir. And rightfully so! Manson summoned his most revered idol, David Bowie, to take him from creepy to campy a la ’80s glam rock fused with elements of soul and funk. -AD

7. Refused – The Shape of Punk To Come
Hardcore expands into time and space. 'Nuff said. Refused are fucking dead! -KT

8. Belle & Sebastian - The Boy with the Arab Strap
Belle & Sebastian has never achieved a lot of commercial success, but The Boy was praised by critics for its wide-ranging instruments, smart pop sounds, and soft but engaging vocals. Belle & Sebastian are still going strong today, somewhat surprising considering that the band is both Scottish and indie—never a recipe for long-term success. -JM

9. Massive Attack – Mezzanine
Dark and mysterious, this album gave electronica its sexy edge. “Angel” and “Teardrop” might be the most widely recognized tracks, but songs like “Inertia Creeps” and “Mezzanine” ooze with a particularly dangerous sensuality, spiraling out to create a sort of ambient meets electronic atmosphere that feels desirably surreptitious. -AD

10. Dropkick Murphys – Do Or Die
This record was best thing since the Boston Tea Party! Dropkick Murphys definitely ruled the underground for a while. -KT

OUR TOP TEN MOVIES OF 2007:

1. There Will be Blood -- There Will Be Blood could warrant a spot in the year’s top ten solely on its monumental lead performance and accompanying score, not to mention its extraordinary set design and cinematography. But PT Anderson’s explosive script and direction are on par with the film's craft, invading the viewer’s consciousness with a narrative that builds on the legacies of John Huston and Orson Welles. Chilling, unpredictable and absurd, There Will Be Blood is the year's most successfully epic movie. - Ben Apatoff

2. Juno -- The quirky hit, Juno, set perfectly to the melody of indie-star Kimya Dawson, is quick-witted and spunky, with characters that are both relatable and lovable. The significance of individual choice and lifestyles shines through excellent performances by the film’s actors. Juno is undoubtedly uplifting and, while perhaps unrealistic in terms of actual teenage pregnancy, certainly sweet and enjoyable. - Amy Dupcak (to read more, click here)

Sporting a bizarre cover, The Motels contained 10 subtly edgy songs that drew from pop, rock and reggae. Highlights ranged from the slow-burning ballad “Total Control” (later a hit for Tina Turner) to the rocking “Kix,” an ode to downtown L.A. But the best song on the debut may have been “Celia,” an understated, bass-driven tune about a girl who had pissed off her volatile boyfriend. That track contained the infamous lines, “I heard him talking/I heard him say/He wasn’t gonna kill you/He was only gonna fuck up your pretty face.” Bear in mind, this was years before gangsta-rap; the F-word was not routinely used in songs back then, and rarely used by a woman in such a surprising context.

The Motels’ sophomore album, Careful, arrived a year later. The robotic title track was a keeper but on the whole, the disc failed to provide the band with the breakthrough they were looking for. However, their third effort, 1982’s All Four One, was an across-the-board smash. That album catapulted The Motels into the Top 10, courtesy of the lovely, change-of-pace ballad “Only the Lonely.” But that was only the tip of the iceberg. All Four One was a diverse effort that also included the opening rocker “Mission of Mercy,” the second single “Take the L,” a cover of the ‘60s girl-group classic “He Hit Me (and it Felt Like a Kiss)” and yet another ode to the City of Angels, “So L.A.” All in all, the album made The Motels pop stars of the MTV era.

Counting Crows’ first album, August and Everything After, was one of the most significant debuts of the previous decade. It arrived in 1993, more or less during the pinnacle of grunge, but didn’t have much in common musically with bands like Nirvana and Soundgarden. August instead saw the San Francisco-based band reworking classic rock elements into something truly fresh. The sentiments expressed on the disc were very personal and often sad, yet it became a big seller. Naturally, the Crows’ affiliation with Geffen Records, and their having fans in high places --Robbie Robertson to name one -- didn’t hurt. But that aside, they were clearly a talented band, and frontman Adam Duritz was a writer to be reckoned with. “Mr. Jones” was the first single, a big hit and one of the more upbeat songs on the album (at least melodically). But other tracks like “Round Here,” “Sullivan Street” and “Anna Begins” dug even deeper, with liquid grooves and poetic lyrics that often addressed failed relationships.