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20 Best Second Albums of All Time

If at first you don’t succeed – or even if you do – try, try again: Here are the best follow-ups in history

Top 20 Second Albums

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A knockout debut album is like love at first sight. But classic second records are like amazing second dates, the ones when you really get to know each other. Here are 20 artists that never knew the meaning of “sophomore slump.”

Carole King Tapestry

Courtesy of Ode Records


Carole King, ‘Tapestry’ (1971)

Already a songwriting pro for more than a decade, the woman responsible for the Shirelles' "Will You Love Me Tomorrow?" and Aretha's "(You Make Me Feel Like) A Natural Woman" realized that if she couldn't match the sweep of those definitive renditions she could do something better – translate them into an ordinary yet expressive voice that makes their sentiments all the more personal and relatable. New songs like "It's Too Late" and "So Far Away" took that aesthetic choice a step further, recognizing just how mundane and yet how insurmountable the obstacles to modern romance could be.

Van Morrison Astral Weeks

Courtesy of Warner Bros. Records


Van Morrison, ‘Astral Weeks’ (1968)

Whether you consider it Van Morrison's actual solo debut, as he does, or the 1968 follow-up to the artist-disavowed Blowin' Your Mind (whose title alone sends up a warning flare), Astral Weeks is music for the ages. Timeless and transcendent, it blends Celtic soul power, poetic blues, and bewitching jazz improvisation in an earthy gossamer alchemy never recaptured. Producer Lewis Merenstein put it in motion by hiring a trio of serious jazzmen to provide spontaneous accompaniment to Morrison's voice and guitar. Morrison recorded fine pop music both before ("Brown Eyed Girl") and after (Moondance), but the Yeats-ian title track, nostalgically sexy "Cypress Avenue," and mesmerizing "Ballerina" still move and groove like they're from another green world.

Nirvana Nevermind

Courtesy of DGC Records


Nirvana, ‘Nevermind’ (1991)

The sludgy muck of Nirvana's debut, Bleach, barely hinted at the band's pop potential. Producer Butch Vig shellacs Kurt Cobain's guitar in high-coat gloss without pruning any barbs or prickles, new drummer Dave Grohl pounds like he's working on a Dischord Records tribute to Zeppelin and Krist Novoselic's bass helpfully restates the melodies whenever chaos looms. Yet the focal point is always Cobain's voice – equal parts whine and taunt, rendering lyrics either epigrammatic or incomprehensible, momentarily purging your misery if not his as it reaches each triumph of a chorus.

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