100 Albums, 100 Words (30-21)

30. Prince – Purple Rain (1984)

Dearly beloved, we are gathered here today to praise an album that contains life; electric word, life; it means dancealicious grooves and a few scintillating ballads, and maybe some explicit lyrics. Prince exploded with this album, fusing his admiration for Carlos Santana guitar licks to his love of old-school funk beats. He took musical chances, from the bassless “When Doves Cry” to the hyper-technofied “Computer Blue,” and they just about all work. Despite being infamous for spawning parental advisory labels, “Darling Nikki” is gorgeous, almost as much so as “The Beautiful Ones,” one of the greatest singles that never was.

29. James Brown – Live At the Apollo (1963)

It is all here – everything that made James Brown the greatest. Even from this relatively early point, the groundwork has been laid for Brown’s mind-melting funk in this sweaty r & b workout. Start and stop rhythms punctuate James’ blistering exultations of joy and sorrow in the guttural space beyond words. Perhaps the strongest instrument on here is the crowd, and James knows how to play it like a master, calling and responding until he has to scream. If only we could watch him dance, then this album might be able to save the lives of everyone whose lost someone.

28. Afroman – The Good Times (2001)

Bob Marley he isn’t, but Afroman uses more reggae than just about any other rapper out there, and with skill. Afroman’s underrated raps also incorporate rock and gospel. Lyrically he’s an imaginative MC who is not afraid to push a few buttons. In “Crazy Rap,” Afroman raps about getting head from Colonel Sander’s wife. In “The American Dream” Afroman includes homosexuals and teenage mothers in his vision of a unified America broken free from the bounds of corporate slavery. “Because I Got High” cracks on Hitler. Varied as his subjects seem, they all refer to unity in a diverse world.

27. The Clash – London Calling (1979)

All those annoying little ska boys are a small price to pay for this landmark of jazz-punk fusion. Finally garnering The Clash the attention they deserved in America, London Calling blended horns and guitars more naturally than anything by the E-Street Band by making horns rhythm rather than lead instruments. The record showed the band’s deep roots, shown by “Wrong ‘Em Boyo”’s transformation of “Stagger Lee,” something most other punk lacked, allowing it to carve out new musical terrains. From “London Calling” to “Lost In the Supermarket” to “Train In Vain,” it made the world want to rock the revolution.

26. Jill Sobule – Underdog Victorious (2004)

A breakup in three acts with an epilogue. Act One: Jill is tired of being the poor person in her relationship and its really dragging things down. It’s not looking good for the couple. Act Two: Jill retreats from the relationship by engaging in activism, singing a series of political songs dealing with issues ranging from drug abuse to schoolyard teasing to child prostitution in Israel to the intolerance of fundamentalist religious brainwashing. Act Three: The Post-Breakup Blues. The album ends with a hint of future bliss as she falls in love with the female cop who pulls her over.

25. Prince – Dirty Mind (1980)

“Naked funk” is what Prince labeled the bare-bones, demoesque style he unleashed on Dirty Mind, and naked certainly seems to be his modus operandi here. “Sister” is a song about you-know-what with you-know-who. “Head” is about something that goes on below the shoulders, or below the belt. Many of the lurid encounters leave the narrator confused and alone, however, and the album ends on a serious note with the intoxicating dance groove of “Partyup,” a song that suggests late-night dancing as a way of escaping the paranoia created by Reagan’s Cold War policies. This is the first great Prince album.

24. Stevie Wonder – Innervisions (1973)

Falling in the center of a fabulous quintilogy, Innervisions is a massively powerful album, seamlessly blending political and spiritual concerns into a harmonic tapestry of funk, soul, gospel and jazz. “Living In the City” is one of the most powerful singles ever, and the thematic template for Grandmaster Flash’s “The Message.” “Don’t You Worry About A Thing” and “He’s A Misstra Know It All” are similarly powerful attacks on being self-centered. Between the white-hot funk of “Higher Ground” and “Jesus Children of America,” Stevie slips in some beautiful ballads, like “Visions” and “Golden Lady,” making this a very balanced album.

23. The Doors – The Doors (1967)

In April of 1993, this album changed my life. In the short-term, it inspired me to start collecting records, learn to play piano, write crappy psuedo-poetry, and listen to The Doors endlessly. In the long-term, it not only made me see pop cultu re as something serious, but as something worthy of serious study. It led me to discovering music beyond the Doors and real poetry that bore little resemblance to Jim Morrison's drug-addled ramblings. I'd never heard organ before, and the sound was a revelation. It played over and over at my thirteenth birthday pa rty. Adolescence still chills me.

22. Nuggets – Original Artyfacts From the Original Psychedelic Era (1972, 1998)

Few box sets can brag of being hitless, but this one can, and does. Originally twenty-seven tracks of exquisite acid rock madness, Rhino expanded the original two-record set to four cds, featuring three times the tracks that appeared on the original. The result is no less glorious for the distillation. Many songs sounds like dead on imitations of different artists – Bob Dylan, The Rolling Stones, Jefferson Airplane – but the reverse seems just as likely after a few spins. From Count Five’s “Psychotic Reaction” to The Standell’s “Good Guys Don’t Wear White,” this set is a treasure trove of underappreciated gems.

21. Elvis Costello – This Year’s Model (1978)

A promotional poster for this album claimed it was “made in 1953 for 1983.” This album is thirty years ahead of its time, which means we’ve almost caught up with it. Rockabilly-fueled punk, this album paves the way for 80s New Wave. The Attractions are in top form here, playing every instrument like it is the lead. The bass in particular stands out, especially on tracks such as “The Beat” and “Living In Paradise.” The stop-start feel of many songs pushes the adrenaline. For being considered a forerunner of the punk movement, this sounds big enough to be arena rock.

100 Albums, 100 Words (50-41)

50. Ween – Chocolate and Cheese (1994)

As Ween shifts effortlessly from genre to genre, Chocolate and Cheese makes the unstated case that the best substitute for both Prince and George Harrison is a bunch of nerdy white guys. “Freedom of ‘76” sounds like what Parade could have sounded like had Al Green stopped by Paisley Park to help Prince out. “What Deaner Was Talking About” could replace “Here Comes the Sun” on Abbey Road and no one would notice. In addition to the obvious homages are a slew of oddities about poisoned chickens and ponies with punctured lungs. It’s Weird Al on drugs, but musically complex.



49. Missy Elliot – Under Construction (2002)

Missy Elliot may be a work in progress, but her art became complete with Under Construction. With moon-walking tape loops, sampled out funk grooves and even some exotic animals thrown in for good Measure, Missy creates an album where her body is the only thing that’s thinned out. The guest stars, including Ludacris, Beyonce, 50 Cent and Jay-Z, fill this album out, but the truest germs are when Reverend Elliot gets to preaching. Instead of using the traditional rap skits between tracks, Missy lays down where her mind is at with off-the-cuff rants on everything from condoms to Donald Trump.



48. Beastie Boys – Paul’s Boutique (1989)







The Beasties layer samples thick like a Dagwood sandwich
And their lyrics are meaty like you’re eating a Manwich
The Dust Brothers mixin’ it up on production
Pulls your ears in just like aural suction
Sounds more scientific than Mr. Wizard
Crossin’, mixin’ styles up like Eddie Izzard.
Playin’ Beatles and Boogie Down in the nucleus
Blendin’ genres till they are smooth like an Orange Julius
Slippin’ bluegrass in on a “5-Piece Chicken Dinner”
And Cash in “Hello Brooklyn” – you know that’s a winner.
Spittin’ lyrics wiser than an Aesop fable
This is definitely worth spinnin’ on your turn table.



47. Stevie Wonder – Songs In the Key of Life (1976)

Two LPs and an EP – this album was an expansive feast for any fan of funk and soul music. From the extended politicization of the experimental “Black Man” to the gorgeous celebration of his daughter’s birth, “Isn’t She Lovely,” Stevie Wonder was able to balance the avant garde innovation he’d become known for with the mass appeal hits he produced in equal number. The double-punch of the number one singles “I Wish” and “Sir Duke” is a sweet spoonful of pop genius. Having influenced everyone from Michael Bolton to Coolio, this album’s scope remains unparalleled and still sounds fresh today.



46. George Harrison – Brainwashed (2002)

Since the breakup of The Beatles, George Harrison has undoubtedly been the coolest as a solo artist. On many of his early albums though, Harrison either got overproduced in a way which made him sound dated (All Things Must Pass) or he’d release an excellent single (“Crackerbox Palace”) that overshadowed the rest of the album; on Brainwashed the production is clean and every composition is strong. Coming fifteen years after his previous album (twelve if you count the Traveling Wilburys), Harrison had plenty of time to hone these tunes and imprint them with the Hawaiian flavor of his final years.



45. Prince – Parade: Music from the Motion Picture Under the Cherry Moon (1986)

This is Prince’s piano album. In Under the Cherry Moon Prince plays a failed gigolo who makes his money playing piano, forcing the songs here to conform to the feel of cabaret ballads. Songs like “Do U Lie?” are gorgeous examples of this. Prince still finds time to rock out on tracks like “Kiss” and “Anotherlovenholenyohead.” The real gems though are the funk workout “Girls and Boys” and the heart-rending elegy of “Sometimes It Snows In April.” It might be vain for Prince to dedicate a song to Christopher Tracy, the character he played, but his sorrow sounds so real.



44. Stone Temple Pilots – Purple (1994)

Bolstered by its big hits – “Interstate Love Song,” “Vasoline’ and “Big Empty” – Purple is the best album by the best band of the grunge era, Stone Temple Pilots. Though never favorites of the critics, the fans understood Scott Weiland’s visionary music, even if it was pseudo-visionary at best. “Pretty Penny,” “Unglued” and “Meatplow” were all excellent songs with distinct sounds. On “Kitchenware & Candybars,” (a song about slavery no less!) Weiland’s ragged vocals exude the proper pathos and Dean DeLeo’s soulful chords make the music live. This was my music in middle and early high school; it remains so today.



43. Rage Against the Machine – Rage Against the Machine (1992)

Chuck D has referred to Rage as some of the funkiest white boys alive. Listening to some of the wicked bass lines and guitar riffs on their debut album makes it clear why. In addition to killer musicianship, the band’s political commitment, as expressed in their lyrical content, is a strength as well. These sentiments are especially clear on tracks like “Bombtrack,” “Wake Up,” and “Freedom.” “Take the Power Back”’s deconstruction of the Department of Education is particularly effective. Even if the songs weren’t destined to become anthems of the revolution, they were still thought provoking and rocked the ideology.



42. Beatles – The Beatles (1968)










Seven Favorite Songs:

• Savoy Truffle
• Everybody’s Got Something To Hide Except For Me And My Monkey
• Happiness Is A Warm Gun
• Dear Prudence
• Sexy Sadie
• While My Guitar Gently Weeps
• Continued Story of Bungalow Bill

Four Least Favorite Songs:

• Revolution No. 9
• Wild Honey Pie
• Why Don’t We Do It In the Road?
• Glass Onion

As you can see from the above chart, the White Album is full of glorious weirdness that either complete succeeds or is, at the very least, interesting. The (relatively) normal pop of “Don’t Pass Me By,” “Birthday,” and “Back In the U.S.S.R.” ain’t bad either.

41. Eminem – The Marshall Mathers LP (2000)

Eminem sounds very scared, scared of every social institution in existence. Is The Marshall Mathers LP homophobic? Probably, but its just as religious-right-a-phobic. Marshall skewers both homosexuals and televangelists in the first verse of “Criminal.” And while he obviously hates the authority that institutions represent, he doesn’t hate individuals; notice how he doesn’t see any reason why “a man and another man can’t elope”? And while naming pop names, he slams all of boy-band pop. The closest we’ll get to how Eminem really thinks is the pathos-laden finale of “Stan” where he bares his soul replying to a troubled fan.