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 (40-31)

40. Simon and Garfunkel – Parsley, Sage, Rosemary & Thyme (1966)

Although Bookends and Bridge Over Troubled Water receive far more attention, Parsley, Sage, Rosemary & Thyme is certainly the most varied and possibly the most affecting Simon & Garfunkel album. The raucous “Simple Desultory Philippic” and the deeply sorrowful “7 O’Clock News/ Silent Night” are like little else in popular music, and are certainly exotic yet brilliant excursions within the Simon & Garfunkel catalog. Other tracks such as the wistful “Homeward Bound,” the bouncy “59th Street Bridge Song” and the reflective “Dangling Conversation” may follow familiar models, but do so with a graceful delicacy that makes them memorable, not generic.

39. Prince – 1999 (1982)

Following Dirty Mind, Prince knew he had a unique sound, but was unsure of how to develop it. He tried to elongate songs and be over-the-top in his political declarations on Controversy, but a year later he learned how to control the raw power naked funk unleashed on 1999. Prince’s breakthrough, the album contained three top twenty singles, two of which remain classics (“1999,” “Little Red Corvette”). Prince learned more artistically mature ways to politicize his music with “Lady Cab Driver” and “Free” and still managed to keep up his sultry leer on “Let’s Pretend We’re Married” and “International Lover.”

38. Rolling Stones – Exile On Main St. (1972)

Putting on Exile makes you feel like you’re stepping down into a speakeasy, replete with boogie-woogie piano licks, horns and gospel singers. Once inside, exiled from the mainstream, the album envelops you in cathartic celebration filtered through a whiskey-soaked drawl. “Shake Your Hips” is a leering blues. “Shine the Light” is an elegy. “Sweet Virginia” could be a backwoods ode to the state itself. Taken altogether, this is the apotheosis of what Gram Parsons (a close friend of Richards who worked on the album) termed “cosmic American music,” this roots-infused album of juke joint jive feels simultaneously grimy and rejuvenating.

37. The Doors – Morrison Hotel (1970)

Even though Jim Morrison moans that this is the strangest life he’s ever known on “Waiting For the Sun,” Morrison Hotel may be the most normal album The Doors ever released, but that’s not necessarily a bad thing. No twelve minute songs about incest, no wigged out poetry readings – just the essence of rock. Robbie Kreiger’s guitar carries all the barroom swagger he can muster on “Roadhouse Blues.” Ray Manzarek’s hands flutter across his organ on the nuevo-funk masterpiece “Peace Frog.” The compositions are tight, leaving none of Soft Parade’s filler. The older I get, the better this record sounds.

36. The Who – Live At Leeds (1970)

Pete Townsend used the studio to great advantage to create pristine recordings unparalleled for their majesty and breadth. Then, in concert, his bandmates destroyed them with virtuosic power as a completely maniacal trio with a really pretty guy who mostly just stood there but occasionally sang. A blend of perfectly nailed covers (“Shakin’ All Over,” “Young Man Blues”), extended jams of songs that go leagues beyond their original incarnations (“Magic Bus,” “My Generation”), and a concise smattering of mostly straight-forward hits (“Substitute”), Leeds provides the perfect introduction to what the Who do best, and that is rock like wild wildebeests.

35. Bruce Springsteen – Born To Run (1975)

Born To Run is a street fantasy, an “opera out on the turnpike,” and a glimpse into the kind of world that plagued Travis Bickle in Taxi Driver. The urban underbelly Springsteen creates is populated with a vivid cast of characters, including Bad Scooter, the Magic Rat, and the Duke Street Kings. Behind the gritty tales, though, lies a lush and tender soundscape. Roy Bittan’s nuanced piano invites the listener in while Clarence Clemons tight, bright horn leads shoot right through them with pained solos. More than anything else, this is the sound of E-Street, distilled to its finest essence.

34. The Band – Music From Big Pink (1968)

Coming down the wire from a big pink barn, this idyllic album slowly unravels its strengths. A muted organ begins spreading creaky chords among earthy voices in the gospel strains of ”Tears of Rage,” but by “We Can Talk” Garth Hudson is rocking it like a swamp, building to a peak in “Chest Fever.” Following this up is Richard Manuel’s most aching vocal on this album, “Lonesome Suzie.” The musicianship developed while a Toronto bar band and the sound honed with Bob Dylan in the basement of Hi-Lo-Ha reach their logical conclusion in this blissful blend of smooth country sounds.

33. Beatles – Revolver (1966)

Tonight, on Unsolved Mysteries of Rock, we will consider many of the conundrums and confusions surrounding the Beatles’ Revolver, such as what exactly did Dr. Roberts prescribe? Was “Tomorrow Never Knows” inspired by just LSD, or was a time machine also involved? Why do the head lice crawling around on the cover look conspicuously like the Beatles themselves? And, perhaps most importantly, why did the Beatles choose to name this album Revolver? Was it simply to prevent Ted Nugent from one day using the title himself, or was it just that the music on this album completely blows your mind?

32. DJ Jazzy Jeff – The Magnificent (2002)

Baby Black, Pauly Yamz and Chef Word are stars, at least in Philly, the geographical context that this album is a musical metaphor for. The Magnificent creates community, and the lesser known rappers stand shoulder-to-shoulder with giants like J-Live, Raheem, Jill Scott, Shawn Stockman, and DJ Jazzy Jeff. This is undoubtedly the most underappreciated album on my list, which is shameful because the socially conscious rhymes the rappers construct in their lyrical landscapes build up the people, despite occasionally falling into the misogynistic trap that plagues so much otherwise delightful rap. And, of course, Jeff proves fresher than the Prince.

31. Johnny Cash – At Folsom Prison (1968)

If you were a prisoner who got to go to a concert, what would you like to hear songs about? (Please check all that apply.)

o Sleeping with your best friend’s wife
o Being so busted broke you have to steal
o Shooting cocaine
o Shooting your woman down
o Shooting cocaine AND shooting your woman down
o Shooting a man just to watch him die
o Getting pictures of mom in the mail
o Hangings and electric chairs
o Failed attempts at pardons
o Flushing down old love affairs
o A fellow inmate’s musings on religion
o Dirty thievin’ dogs
o Prison break attempts
o Prison break attempts that are really suicide attempts

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.

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.