80. Metallica – Ride the Lightning (1984)At the opening of “Fight Fire With Fire” one may think that Metallica has gone soft; after a few seconds the song breaks into a rock-hard riff that maintains the melodicism achieved in the introduction. “For Whom The Bell Tolls” makes Cliff Burton’s case as the great lost bassist. “Fade To Black” is a great ballad. “Creeping Death” is speed metal. Metallica has songs which are better than just about anything here (“Master of Puppets,” “Unforgiven,” “One”), but on no other album have they been able to sustain such a high level of searing guitar work and excellent songwriting throughout.
79. Loretta Lynn – Van Lear Rose (2004)Loretta looks like the queen she is gazing out from the front yard on the cover of Van Lear Rose. Jack White was able to revitalize her career, inspiring her to write the whole album and providing some fiery licks. As a result, the album includes some of her best material, including “Portland, Oregon,” (I need to try sloe gin fizz.) “Family Tree” and “Van Lear Rose.” “Mrs. Leroy Brown” is one of the funniest novelty songs ever, and one of the smartest – a post-modern response to the misogyny of men characterized by Jim Croce’s folk-hero “Bad, Bad Leroy Brown.”
78. Hank Williams III – Straight To Hell (2006)While I may not be quite the crazed drug addict Hank III paints himself to be, I’ll sure as hell drink to it, toasting Kentucky Deluxe to “Pills I Took.” We share so many things… a hate of mainstream country, a seething hate for Kid Rock, and a love of our “Country Heroes.” Also, anyone who makes a forty-two minute song, even if it is a medley, is cool in my book. Estranged from Wal-Mart, Hank Jr., and even his own record company, Hank III has space to be a “Crazed Country Rebel,” and makes this, the essential cowpunk record.
77. Aerosmith – Toys In the Attic (1975)Permanent Vacation (before they added the wings logo to the cover) was my first tape, but Toys In the Attic was my second, and my first real introduction to what rock’n’roll could be. It established Aerosmith as my first favorite group, which they remained from 1987 through 1992. The song titles alone intrigued me; “Uncle Salty”? Best of all, this is the songwriter’s favorite Aerosmith album; not quite as rocking as Rocks, but better crafted and more melodic. “You Hear Me Crying” is the band’s best ballad and “Round and Round”’s circular riff makes it live up to its name.
76. Elvis Costello and the Imposters – The Delivery Man (2004)Alternating between rockabilly rave-ups and tear-jerkers, Elvis Costello created one of the finest country albums ever, and perhaps too sincere in its aims to even label it alt. country or country rock. Of the rave-ups, “Bedlam” is the most mind-blowing, featuring a barnstorming bass line and jagged guitar riffs. Cameos from Emmylou Harris bring to life the best ballads, especially “Heart-Shaped Bruise.” Musically it could be King of America 2, but thematically it deals with heartache among the working class and the hot-button topic of religion and politics, most specifically the evolution-vs.-creationism thread that runs through "From Monkey To Man."
75. Bob Dylan – Oh Mercy (1989)Although Time Out of Mind received more attention, this was the true beginning of Dylan’s comeback. Here Dylan first teamed with Daniel Lanois, who provided the swamp-like feel Dylan needed to examine the world’s moral compass, as he does on “Ring Them Bells” and “Man In the Long Black Coat.” “Most of the Time” features a killer bass line and heartbreaking tension in the lyric. “Where Teardrops Fall” is gorgeous. There are weaknesses: “Political World” gets preachy, though it rocks; “Disease of Conceit” is ick; “Born In Time” was left off. Still, this album holds its own among Dylan’s best.
74. U2 – Achtung Baby (1991)Sometimes, sequencing is everything. On Joshua Tree, the hits are all front loaded, whereas here “One,” “Mysterious Ways” and “Even Better Than the Real Thing,” are spread out enough that the magnificent songs between them – “So Cruel,” but also the transcendent “Who’s Gonna Ride Your Wild Horses?” and the intricate blaze of “The Fly” – receive the attention they deserve. Released as singles, these songs didn’t perform as well as some of the other songs on the charts, but their placement on the album makes them stand out in contrast to their surroundings; this is why Achtung Baby works so well.
73. Bob Dylan – Modern Times (2006)Modern but not contemporary, this album conjures the ghost(s) of T. S. Eliot (and Henry Timrod) to help make sense of this mortal plane. In Chronicles, Dylan claims that he prays that he can be a kinder person, something that each of us wants. That idea is present throughout this album, an album haunted by the apocalypse as much as any other in Dylan’s career. Dylan’s wry observations, set to rockabilly boogies, mid-tempo shuffles and rich piano ballads, thrust the world’s flaws in our face and ask us to accept the world anyway; a brave solution in a troubled time.
72. June Carter Cash – Wildwood Flower (2003)One experiences a slight twinge when hearing June Carter declare “all the injuns in them hills have gone berserk” in “Road to Kaintuck.” Eek! This pang comes not only from the slur she has just spouted, but also from the virile force of anger her voice ushers forth. It’s scary. Even at 73 June was the toughest lady on either side of the Mississippi. The duet with Johnny on “Temptation” makes “Jackson” pale in comparison. June’s homespun commentary, particularly her stories about Lee Marvin, tie the album together, giving the ancient songs a continuity and a place in American tradition.
71. Byrds – Sweetheart of the Rodeo (1968)Sweetheart of the Rodeo served as country rock’s coming out party, hosted by Gram Parsons. Perhaps the best track here is “Hickory Wind,” featuring an aching melody both sung and written by Parsons. McGuinn sings on the majority of the album, much to Parsons chagrin, though the results are as delightful as anyone could hope for. The song selection is another joy, mixing the traditional (“I Am A Pilgrim,” Guthrie’s “Pretty Boy Floyd”) with covers of contemporary material (Dylan’s “Nothing Was Delivered” and “You Ain’t Goin’ Nowhere”). It is this album we have to thank for Wilco and The Jayhawks.
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