100 Albums, 100 Words (60-51)

60. Northern State – Dying In Stereo (2003)

This album works because Hesta Prynn, Guinea Love (Spero), and DJ Sprout are master signifiers, verbally cutting down men with verbal acumen. Case in point: “like Derek Jeter, I’m-a make you stop short.” Here Hesta Prynn is signifying on other MCs who think they’re dope; most MCs are male, thus she is spittin’ it at men. Derek Jeter, short stop of the New York Yankees, is a symbol of masculinity. Here she flips the position he plays into “stop short,” simultaneously disrupting Jeter’s masculine power and harvesting it for her own use in signifiying on other (mostly male) MCs. Boo-yah!

59. Saturday Night Fever (1977)

This album could be titled Bee Gees Greatest Hits, Plus. As great as the Bee Gees songs are, both the infinitely popular “Stayin’ Alive” and the actually good “You Should Be Dancing,” the real gems are in that plus half of the equation. Both classically-inspired instrumentals are good, but “Fifth of Beethoven” stands as one of the best instrumentals ever. “Open Sesame” is perhaps the best track Kool & the Gang ever recorded; who can resist the “genie of sound”? Sure, maybe they didn’t need to include two versions of “More Than A Woman,” but this “Disco Inferno” still burns.

58. Black Sabbath – Paranoid (1970)

Ozzy’s crowning achievement, Paranoid is both wicked and good. Case in point: “War Pigs/Luke’s Wall.” “Luke’s Wall” is the definition of instrumental wickedness as Tony Iommi’s guitar swirls around and around. “War Pigs,” the other half of the song, is a righteous denunciation of war for profit. Denouncing the capitalist pigs of the Military Industrial Complex, it is heavy metal’s “Masters of War.” In addition to “War Pigs,” “Iron Man” and “Paranoid” feature the catchiest riffs. “Faeries Wear Boots” is one of the quirkiest titles for one of the coolest songs. Paranoid deserves its spot as a heavy metal landmark.

57. Nirvana – Nevermind (1991)

In middle school, everyone wore flannel. Granted, at my school that was as much indebted to the rise of West Coast gangstas as to grunge, but, really, are they that different? Both attempt to authenticate the voice of a disgruntled youth culture. Regardless, I wanted blue-and-black plaid to rock with my canvas K-Swiss. What my mom bought me was a lavender-and-green plaid Ralph Lauren. You can’t get street cred in that, and it’s a bit too bourgeois for Cobain. Now, more working class than thug, I still want the black and blue, if only to fulfill my manufactured proletarian fantasy.

56. Led Zeppelin – Led Zeppelin II (1969)

The “Stairway to Heaven” is like the stairway up the tower of Babel – it leads to inflated pride for seventies’ rock enthusiasts, but the guitar playing is so intricate and beautiful on “Ramble On” that it makes one forgive the references to Lord of the Rings. “Ramble,” along with “Thank You” and “What Is and What Never Should Be,” make this one of the most lushly gorgeous albums ever. “Whole Lotta Love” and “Heartbreaker” hang on some great riffs and are as experimentally melodic as metal can get. Meanwhile, “Living Loving Maid” cleans house in the straight out rocking category.

55. Guns’N’Roses – Appetite For Destruction (1987)

James Brown writes a song about traveling from city to city on tour; Ernest & Julio Gallo name a bum wine after it, on which Axl Rose gets shitfaced and writes the hardest-rocking tribute to alcoholism ever. The Gallo brothers had the gall to demand payment from G’n’R, but I can almost guarantee they never paid James Brown. Along with the obvious hits, “Mr. Brownstone,” “Out Ta Get Me,” “Think About You,” (featuring Izzy Stradlin’s underrated songwriting) and “Rocket Queen” help to ensure this album’s lasting appeal. You can almost hear the grit of hard living on the Sunset Strip.

54. Bob Dylan – John Wesley Harding (1967)

This album must have sounded like a wet noodle lashing against the monstrous wall of psychedelia when it was released, but its quiet, understated strength made it determined to stand, and it killed psychedelia in one decisive blow. From its rustic matte cover to its simple acoustic strums, John Wesley Harding exudes rootsiness, and is the granddaddy of alternative country. But there’s more going on here, too. The album’s cryptic vignettes, littered as they are with outlaws, retell Biblical tales within the context of the Old West. Dylan records his first piano-based masterpiece here too with the majestic “Dear Landlord.”

53. Outkast – Stankonia (2000)

Stankonia, on the strength of “Ms. Jackson,” is almost the great sensitive male hip-hop album that it probably would have been had Andre 3000 gone it alone, but, even with the inclusion of “Gangsta Shit,” this album comes close to the mark. Big Boi’s contributions are certainly no detriment either, especially on the delightful “We Luv Deez Hoez.” “Gasoline Dreams” remains a bluntly scathing commentary on the glut of white (read: corporate) america (sorry, Marshall, but your song can’t compare). The album does leave one mystery unsolved though: just what are they saying at the end of “Bombs Over Baghdad?”

52. Elvis Costello – Imperial Bedroom (1982)

Following Nellie McKay’s Get Away From Me, this is the second Geoff Emerick production on this list, and perhaps the more Sgt. Pepperesque of the two. Sonically, it resembles the Beatles’ golden period with tinges of Tin Pan Alley. Thematically, the album deals with just what the title suggests, imperialism in the bedroom. This takes shape in a number of forms from incest to molestation to good old-fashioned domestic abuse. Costello masterfully explores the social implications and consequences of these grim practices with an emotional sensitivity that is bared out by a keen focus on the details of paralyzed hearts.

51. Nellie McKay – Pretty Little Head (2006)

It is hard to follow up perfection with brilliance, but that is exactly what Nellie McKay did with Pretty Little Head. Mostly, the album is very good, particularly on tracks like “Columbia Is Bleeding” and “The Big One.” “Pounce” is a personal favorite, especially with its guilty pleasure “meow” chorus. The album buoys itself with many short songs; had it cut off the screamed outro and, possibly, the intro of “Mama and Me” then it would be much more accessible. Likewise, the slurred vocal of “Pink Chandelier” kept it from reaching its full potential. Of course, perfection rarely strikes twice.

100 Albums, 100 Words (70-61)

70. Van Morrison – Common One (1980)

Van Morrison chants this album like a mantra, imbuing it with its own holy flavor. This is fitting as a short of loose spirituality is present thematically. Musically, this is a cousin of Astral Weeks, but lyrically it seems to vaguely deal with some ancient, mysterious power. Morrison seems to be speaking most explicitly about the power of the arts, as implied by his own musical prowess and also through a litany of literary giants he names, including Catcher In the Rye and the poetry of Blake, Eliot, Coleridge and Wordsworth. But really, it’s the music here that matters most.


69. Aerosmith – Rocks (1976)

Rocks is the grimier of Aerosmith’s two great albums, and its “Rats In the Cellar,” one of the hardest songs ever, provides a nice contrast to “Toys In the Attic.” The band has gone from fun to ugly, from high to low; it serves them well. This album also features some of Aerosmith’s wilder experimentation, featuring Whitford and Hamilton on lead guitar and Perry on bass and vocals at various points. Most will remember the hit singles, “Back In the Saddle” and “Last Child;” they are the only foundation upon which this heavy of an album could have been built.


68. Blues Brothers – Briefcase Full of Blues (1978)

I understand the argument that this is perhaps the fakest blues album ever, and I may even accept it, but fake as it is, it’s a damn good jump-blues imitation. As the brothers prophesize in an onstage speech, this album brought to life for several people a dying genre and introduced this music to audiences who otherwise might not have heard it. Its hard to believe that John Belushi didn’t truly believe in this music, and his homage shows as he calls out Floyd Dixon and Willie Mabon. Hiring members of the Stax house band wasn’t a bad move either.


67. Led Zeppelin – Untitled (1971)

The hardest of rock albums. Although “Stairway To Heaven” is among the most overrated songs ever recorded (there’s a reason it was never released as a single), that doesn’t mean it’s bad (nor that I need to read fantasy novels until I know who the “May Queen” is and how to “spring clean” her) and the rest of this album is terrific. John Bonham’s drumming on the opening of “Rock and Roll.” Robert Plant’s soaring vocals on “Battle of Evermore.” Jimmy Page’s exquisite picking on “Going to California.” John Paul Jones thundering bass on “Misty Mounain Hop.” This just rocks.


66. Van Halen – Van Halen (1978)

The incendiary eight-finger tap erupts from the vinyl grooves as Eddie Van Halen’s fingers spin faster than the turntable. This album announced the arrival of 80s hair metal two years before the decade began and even longer before the genre established itself. Van Halen is the template, offering up all the staples of the genre. Party tunes built around scorching riffs (“Runnin’ With the Devil”), a front man who walked right out of a comic book (Roth), and at least one great power ballad (“Janie’s Cryin’”?… well, this is pre-Hagar). Unfortunately, these atomic punks would only stay together through 1984.


65. No Doubt – Rock Steady (2001)

Rock Steady encapsulates good times. It is a rhythm record, one that exudes danceability and builds its shifts around the texture of the tempo. Despite the occasional semi-clunkers (“Running”), the album is very listenable throughout, featuring three terrific singles and a slew of other gems, like the stalker fantasy “Detective” and the Prince-induced fever of “Waiting Room.” The latter especially stands out. Prince produced this and his fluttering falsetto provides backing vocals on the chorus; it’s his best performance since the 1980s. Most of all, this album is the best piece of evidence that Gwen never should have gone solo.


64. Miles Davis – Kind of Blue (1959)

I place a high premium on lyrics, but some records stretch sounds out in such new ways that words would only detract, and Miles Davis experiments in improvisational scales fit the bill. The jazz album to have is one which moved jazz beyond be-bop and into a new age, breathing new life into it and influencing just about everything to come. In addition to Davis’ visionary fervor, the sidemen aren’t bad either: Coletrane, “Cannonball” Adderly, Bill Evans, Paul Chambers, and Jimmy Cobb, not to mention Wynton Kelly. From the opening notes of “So What” you know this is something special.


63. Harry Smith’s Anthology of American Folk Music (1952)

ORIGINAL HIPSTER MAKES ULTIMATE MIX TAPE, INSPIRES GENERATION
HARRY SMITH COLLECTED THESE 84 SONGS. RECORDED FROM 1926 TO 1932. INVENTION OF ELECTRONIC RECORDING TO GREAT DEPRESSION. RECORDED IN APPALACHIA AND LOUISIANA. PULLED FROM PERSONAL FOLK AND COUNTRY COLLECTION. ALSO INSTRUMENTAL STOMPS AND GOSPEL HYMNS. WROTE UP LINER NOTES. MUCH LIKE THIS. PUT SIX DISCS IN THREE SECTIONS. BALLADS. SOCIAL MUSIC. SONGS. SPAWNED FOLK REVIVAL. MANY MUSICIANS REDISCOVERED. CLARENCE ASHLEY. BLIND LEMON JEFFERSON. MISSISSIPPI JOHN HURT. CARTER FAMILY. DOCK BOGGS. ESTABLISHED STANDARDS OF GENRE. COO COO BIRD. KASSIE JONES. OMIE WISE. STACKA LEE. STILL POPULAR AMONG UPPITY FOLK MUSIC AFFICIONADO TYPES.


62. Arrested Development – 3 Years, 5 Months & 2 Days In the Life of… (1992)

When Speech gets to preaching on here he is able to infuse a bleak political landscape with healing spirituality, is able to both criticize the downfalls of organized religion, particularly Baptist churches, while expressing how a life lived for God should be a progressive lifestyle. “Mr. Wendal” taught me what good hip-hop could be like, and “Fishin’ 4 Religion” and “Give A Man A Fish” continued to mine that same vein, politically educated, intellectual lyrics that tickle the mind rhymed over a delectable bass beat laid down by Headliner. Oh yeah, that and “Tennessee” and “People Everyday” are endlessly danceable.


61. Jefferson Airplane – Surrealistic Pillow (1967)

Time for a myth-debunking pop quiz!




1. Which of the following statements is NOT true. Grace Slick:


a. was hot until she discovered 80s fashion.
b. is credited with writing the groups second biggest single, included here.
c. is the core of the group.
d. stole “Somebody To Love” from her previous group.


2. Marty Balin is:


a. the nucleus Surrealistic Pillow is built around, having helped compose five tracks, and three
by himself (including the sublime “Comin’ Back To Me”).
b. an excellent guitarist.
c. a founding member of the Airplane.
d. All of the above.


Answers: 1.c., 2.d.