The RS 500 was assembled by the editors of Rolling Stone, based on the results of two extensive polls. In 2003, Rolling Stone asked a panel of 271 artists, producers, industry executives and journalists to pick the greatest albums of all time. In 2009, we asked a similar group of 100 experts to pick the best albums of the 2000s. From those results, Rolling Stone created this new list of the greatest albums of all time.
The 500 has been done hundreds of times by other people but I don't care. I'm discovering new music and writing down what I think.
3/26/2020
Outkast: Aquemini (1998)
Aquemini, a combination of Andre 3000 and Big Boi's signs (Aquarius and Gemini), is a confident, bold, and reflective album with two central themes of demanding respect to Southern Rap, and encouraging other rappers to use their platforms as a way to prevent the youth falling to crime and detrimental behavior, while acknowledging the difficulty in escaping the surrounding circumstances. All these themes appear to culminate on the very smooth "Liberation." Aquemini is like a movie which you would recommend, but one that you probably wouldn't watch more than once.
3/26/2020
B.B. King: Live in Cook County Jail (1971)
I love hearing drawn-out instrumentals, seen so often in the likes of progressive rock. BB King plays this well on "The Thrill Is Gone." "Worry, Worry, Worry" is as serious as it is funny when BB King yells out relationship advice to the inmates (audience) on a backdrop of groovy basslines.
3/28/2020
The Stone Roses: The Stone Roses (1989)
Despite the importance in "launching 90s Brit Pop," I don't have any memorable takeaways coming out of this album apart from the spacey guitars and head-bobbing rhythms. "Waterfall" is a pretty cute patriotic song, and I like how they really show their disdain for Queen Elizabeth and the British throne. I'd say my favorite track is "I Am The Resurrection." Especially the 4 minute outro.
3/28/2020
The White Stripes: White Blood Cells (2001)
Damn... "We're Going To Be Friends" is really smooth. Also, "The Union Forever" reminds me a lot of the bassline from "Remember Tomorrow" by Iron Maiden. It's a shame that anything else by the White Stripes seems to be overshadowed by their hit "Seven Nation Army," because this album isn't all that bad.
3/29/2020
Boz Scaggs: Boz Scaggs (1969)
I did not expect to hear blue-eyed soul, country, and blues by a single artist. It's refreshing to artists pull off multiple genres on their projects. I heard a strong similarity to the Funkadelic sound on tracks like "Loan Me A Dime" and on the opening "I'm Easy." Boz Scaggs cooks up an enjoyable and fun listen.
3/29/2020
Bonnie Raitt: Give It Up (1972)
This is another artist exhibiting their potential to play blues, country, and rock, as we just saw above at #496 with Boz Scaggs. There are some groovers on this album, and although very similar to Scaggs' self-titled album, Bonnie Raitt has a little more "kick" to her sound here, though. This album has some definite mood lifters. Favorite track: "You Told Me Baby" (the guitar is phenomenal).
3/30/2020
MGMT: Oracular Spectacular (2007)
This is the first record on the list so far that I already had a connection with, and it's always a joy to revisit it. Oracular Spectacular and MGMT captured my attention when I first heard "Kids" on the FIFA 09 game soundtrack. In addition to nostalgia, I feel a sense of gratitude for this album in introducing me to any real sort of alternative music, which makes up the "umbrella" containing the majority of genres I love.
4/2/2020
Wilco: Yankee Hotel Foxtrot (2002)
Wilco put out an interesting experimental and ambient record in Yankee Hotel Foxtrot. Despite off-key piano and creepy spacey sounds in many songs, they also include rhythms reminiscent of iconic early Coldplay, Radiohead, or even a more pop-y Velvet Underground. The major theme in Yankee is despondency, yet it's nostalgic and somewhat hopeful. I guess the only reason Wilco's ambience doesn't stick with me as much as a Pink Floyd one would is simply due to it being less progressive, but more abstract. Apart from that, I listened to this album about 3 times before I had something substantive to say. Also, who couldn't jam to "Heavy Metal Drummer?"
4/2/2020
Eurythmics: Touch (1983)
Short answer: Trash.
Long answer: Well, just as I thought I would like at least one aspect of every album in this list, Touch had to come and ruin it. This album has absolutely no redeeming qualities whatsoever. The lyrics are trite (even for 80s synth pop), Annie Lennox sings like a robot in more than half of the songs, and the record couldn't even rely on the production to win me over, as the sound is incredibly repetitive and hard to get through. I almost liked "Here Comes the Rain Again," yet it never really captures my attention. I don't want to listen to 40+ minutes of beeps and fake dance music. At times, this sounds like the soundtrack to Super Mario Sunshine if it were not good. So many albums are more deserving of this spot.
4/4/2020
Albert King: Born Under a Bad Sign (1967)
Classic blues! After reading up a little on the record after listening, I discovered that it influenced the likes of Eric Clapton and Jimi Hendrix, which makes sense with King's expressive guitar playing style. Born Under a Bad Sign is a nice listen, and I could see myself having it on the background, but I'm not going to be raving about it continuously.
4/4/2020
ZZ Top: Tres Hombres (1973)
ZZ Top's hit "La Grange" is my top pick for this album with a mood that fits the album art very well. I also enjoyed what seems like a two-part in "Waiting for the Bus" flowing into "Jesus Just Left Chicago." I think ZZ Top's blues and driving rock oriented tracks are their strong points and are way better than their soulful singing, which gets a bit tiresome and quite forced.
4/6/2020
Kiss: Destroyer (1976)
Kiss put out a largely vapid party rock record, and that's pretty much what a lot of their discography is known for. There's nothing wrong with this type of music, as not everything needs to be deep social commentaries. Yet, I don't believe that sentiment goes very far in the classic rock arena. The symphonic "Beth" does stick out as a beautiful song toward the final part of this album, though; both musically and lyrically. Destroyer is an OK listen, but it doesn't really do any more than that.
4/6/2020
Hüsker Dü: New Day Rising (1985)
Perhaps I'll need to look more into the genre, but currently, this is one of most hardcore punk acts I've ever heard and I loved every minute of it. I think their ability to keep every subsequent track sounding fresh and non-repetitive makes the listening experience way better. With the violent and psychotic lyrics and aggressive instrumentation, there's still soft-ish melodies here and there. The record culminates perfectly on the brutal last track, "Plans I Make."
4/6/2020
Cyndi Lauper: She’s So Unusual (1983)
A marked difference in sound from the previous punk rockers in album #488, Lauper happens to show the same amount of confidence as them in this pop record containing two of her biggest hits in "Girls Just Want to Have Fun" and "Time After Time." Comparing 80s pop records, this is a much better produced and better executed project than what we previously saw in Eurythmics' Touch at #492. I find her way more versatile and filled with character, and it proves to fit her well.
4/6/2020
Earth, Wind & Fire: That’s the Way of the World (1975)
I'd be remiss if I didn't mention this to be the smoothest sounding record so far on the list. EWF are funk icons and they prove it. This album is a shining example of how one can mix a brass section, drums, piano, and bass into something you can't resist dancing to, and the positive soulful lyrics present throughout are the cherry on top. Favorite song: All of them, really!
4/24/2020
Pearl Jam: Vitalogy (1994)
This being the first time I actively listen to a Pearl Jam record, I really enjoyed the variation in themes and the amount of compelling messages. As a hard rock/grunge album, some tracks even sound sweet and others still creepy ("Bugs" and "Stupidmop"). Vitalogy is very much a good listen with various personal expressions by Eddie Vedder as a person and an artist.
5/5/2020
Mott the Hoople: All the Young Dudes (1972)
Whether it's the album art or their style, this album makes me feel a certain nostalgia for a band I hadn't heard of until All the Young Dudes. You certainly can't go wrong with the help of David Bowie, and Mott the Hoople definitely did not in the making of this record. "Sea Diver" is a soulful piano based song which I think shines above the title track.
5/12/2020
Gang of Four: Entertainment! (1979)
Thank goodness I discovered this album. Gang of Four and Hüsker Dü made me a fan of classic punk. Entertainment! most definitely fits my criteria of an album with amazing progression in sound and, while recycling themes (as is often the case in punk), remaining fresh all at the same time. In a reference to The Strokes debut album, which is a higher rank on the RS500, Gang of Four's album has the ability to make most songs extremely similar, yet having each song that follows fill a musical gap that makes the whole record a cathartic variation of one song.
5/19/2020
Steve Earle: Guitar Town (1986)
Admittedly an easy listen, the two tracks that really pop out are "Someday" and "My Old Friend the Blues." I'm not a huge country fan, but Steve Earle does have a style here that at least made me dance in my seat and bob my head to a few songs.
5/26/2020
D’Angelo: Voodoo (2000)
It seems like every "lofi hip hop chill beats to study to" video on YouTube ripped off the instrumentals to Voodoo. I can listen to lofi hip hop for much longer than D'Angelo's album, though. That's simply because I find the lofi/chillhop genres more musically dynamic in each track. D'Angelo and that new genre only have their general sound in common. He obviously has lyrics and an actual message in his music, but even with the soulful nature in his vocal delivery, I didn't find it interesting enough to override the repetitiveness in the instrumentals throughout this album. A must-listen, however, is "Untitled (How Does It Feel)."
6/1/2020
Raekwon: Only Built 4 Cuban Linx (1995)
Perhaps I just don't get it, but I found it boring. There are way too many skits in this album, and like #481 above, it's just too repetitive: the instrumentals seem to end where they begin, and the rapping seems to add very little to the experience. Favorite song: "Knuckleheadz."
6/8/2020
Funkadelic: Maggot Brain (1971)
Funkadelic's sound is exactly as their name implies: funk + psychedelic. It's something I didn't know I wanted until I listened to Maggot Brain for the first time. This is really an incredible listen all the way through with so much energy, and it makes psychedelic rock something you can dance to. Boy, if you thought "Don't Fear The Reaper" by Blue Oyster Cult had a lot of cowbell, just listen to the nearly 10-minute "Wars of Armageddon" off this record.
6/14/2020
Loretta Lynn: All Time Greatest Hits (2002)
Some artists compile their greatest hits into what's technically - but not really - an album. I may later decide to exclude them as I feel like they have no place in any "best albums" list.
I treat old school honky tonk country with a kind of ironic and almost patronizing enjoyment. With a compilation album like this one, I can passively listen when I need some kitschy background music to indulge in, but it's not the genre I'll be passionately recommending to friends. There are some funny songs like "Fist City" and "Don't Come Home A-Drinkin (With Lovin' On Your Mind)" that I liked.
6/21/2020
Merle Haggard: Down Every Road 1962-1994 (1996)
Coincidentally, here is another compilation album from a country artist's career. It's hard to make a bad album when it spans almost 30 years of one's greatest hits. Just like Loretta Lynn, Merle Haggard's sound is enjoyable and good soundtrack for a chill day. Outlaw country is an interesting and fun subgenre. I respect their music and see the appeal, but it's simply not ending up as my go-to genre on any particular playlist.
8/1/2020
The Notorious B.I.G.: Life After Death (1997)
This is a pretty long album, and it's Biggie's last album before he died. I came away pleasantly surprised given the other 90s rap/hip hop records I just listened to previously on this list. The high points on Life After Death are fantastic, and the more "boring" sections are not anything I would skip. The best part is the versatility in style that B.I.G. puts into every track, encompassing pop-rap hits like "Hypnotize" and "Mo Money Mo Problems," chill tracks in "Sky's the Limit," and even indulging himself in some vocalizations with "Playa Hater." There's something for everyone in Life After Death, and it has a great flow, which I believe is more difficult for hip hop albums than rock albums, for example.
8/16/2020
Elvis Costello and the Attractions: Armed Forces (1979)
I have a petty issue with Elvis Costello and the Attractions: I really can't stand the singer's voice. It's simply hard to overlook this part and still respect the rest of the music. However, it definitely makes the album obnoxious and bland at best. I don't really hear anything special or less than conventional. "Senior Service" makes me want to rip my hair out. Any one song in this album sounds like the typical rock song a corny coming-of-age family movie would include in the soundtrack. Needless to say, Armed Forces isn't my type of music. I won't actively avoid the band if I ever come across any of their work later, though, but I will take it with a grain of salt.
8/20/2020
Manu Chao: Próxima Estación: Esperanza (2001)
Manu Chao captivated me. Próxima Estación: Esperanza, which translates to "Next Station: Hope," is set up like a radio station, where each song flows from the last, with albums like that of Mac DeMarco's Rock and Roll Night Club having a similar structure (albeit, a different genre). Chao sings in English, Spanish, French, Portuguese, and at least one more language. He does so with such confidence, and can even make you sincerely feel his emotions throughout it all. The conversation between mother and son, and the "yo siempre estaré a tu lado" in the final track ends this album on an interesting note. He asks the mother where babies come from, and while I'm not sure what the point of this theme was, it falls in line with the style of this album including a milieu of themes: sex, drugs, enjoying life, loving and valuing relationships. I most definitely recommend Próxima Estación: Esperanza.
8/27/2020
The Smiths: The Smiths (1984)
With 27 albums knocked down, I have to admit that this is my favorite so far. The Smiths' eponymous debut album felt more than a fun or catchy listen. There's a richness in the passion with which Morrissey sings, and the recurring themes of unrequited love, loss of innocence, and sex make this album one that listeners can dance and cry to at the same time, if you let The Smiths take you there. "Suffer Little Children" has a completely unrelated theme with respect to the rest of the track list, but it allows for a great finish to the feeling of this album.
8/28/2020
George Michael: Faith (1987)
Sex album. That's what this is. Jokes aside, I think this is a solid record, consisting of 90% Eighties dance-pop and a 10% pop ballad part in "Kissing A Fool," which I enjoyed. Everyone knows the title track, and you can't help but like it. I would say, however, the only weak point of the album isn't necessarily that there's only one theme, but that its portrayal doesn't seem to vary all that much. George Michael either wrote a breakup song, or one showing his feelings of inadequacy. This is a minor criticism, and it does not overshadow any positives I took from Faith.
8/29/2020
Richard and Linda Thompson: I Want to See the Bright Lights Tonight (1974)
A short and sweet 36 minute folk album with traces of soul and gospel, IWTSTBLT has couple Richard and Linda Thompson successfully complementing each other's voices. There are some cathartic moments, primarily when the reverb-heavy guitar kicks in on "The Calvary Cross," pairing perfectly with Richard's vocal performance. "The Great Valerio" makes for a creepy yet interesting exit for this record!
8/30/2020
LL Cool J: Radio (1985)
LL Cool J was only 17 when his debut album (also Def Jam's first full-length album) came out. I understand its historic moment for hip hop, with minimalist production and transitioning the genre into "new school." Yet, I found the lyrics redundant and mostly boring with LL incessantly mentioning how awesome him and his DJ Cut Creator is. I have no issue with braggadocio rap, but it doesn't seem to fit with the stripped-down beats off Radio. Perhaps one is too spoiled with modern-day rap/hip hop's production technology, but Radio could've made up for this aspect with better raps, and unfortunately I don't believe he pulls it off.
8/31/2020
The Fugees: The Score (1996)
The Score wildly exceeded my expectations. The Fugees really put in everything you could ever ask for in rap or hip hop. This album sounds so powerful and grandiose that any track could stand alone as a single. Mixing conscious rap lyrics, hilarious skits, and the perfectly executing the variations of tempo throughout this album, the Fugees don't leave any stone unturned. I assume this is incredibly hard to do, but it just seemed to come effortlessly to them.
Bravo!
9/1/2020
The Paul Butterfield Blues Band: The Paul Butterfield Blues Band (1965)
Of the few blues albums and songs so far in the RS 500 list, The Paul Butterfield Blues Band (TPBBB) carry the most energy. There's a lot of dancing material from front to back. Butterfield and his crew hone into more detail with their instrumentation, going into long groove sessions in between and after their verses, even dedicating 2 entire songs on this album to instrumentals. Many tracks off TPBBB have the musical attitude of Chuck Berry's Berry Is On Top, and also facilitate blues' contribution to the rock world.
9/3/2020
Bruce Springsteen: Tunnel of Love (1987)
Despite living up to all the classic rock cliches ("old man, driving down at night, a baby is born" and all the rest), Bruce Springsteen manages to edge out his place above the rest with his ability to tell a story. Throughout the majority of this album, I was feeling let down, as it all began to drone on and sound lazy. But on "Two Faces" and everything up to the end of this album, Tunnel of Love really starts to get interesting, getting more bold and dynamic, something which was lacking in the first ~70% of the record. I enjoy when artists take liberties in between verses to let the instrumental speak for itself, as it were. The fact that Bruce Springsteen did some of this makes Tunnel of Love slightly above average.
9/3/2020
Coldplay: A Rush of Blood to the Head (2002)
In trying to detach my opinion beyond the two colossal hits that are "Clocks" and "The Scientist," I come to realize that they still play a large part in the central themes laid out in A Rush of Blood to the Head. Coldplay touches on the ideas of longing for peace, calmness, attempting to point out the issues we humans deal with as a collective, and finally reaching a sense of personal redemption on the closing track. It's a well designed pop-rock album, with Coldplay arguably at their best, and one that definitely shouldn't be looked over despite the way that their career has diluted in quality over the years.
9/4/2020
The Magnetic Fields: 69 Love Songs (1999)
Stephin Merritt undertook an unique turn in writing this concept album. Rolling Stone Magazine aptly called this album "irony on steroids," and it's everything from sarcastic and satirical, irreverent, dark, and yet capable of inducing the powerful emotions that any great love song generally would. The Magnetic Fields make fun of your favorite cheesy love songs, while making some of their own. This indie band tries their hand at bunch of genres to express the emotion of love in every way possible. 69 Love Songs is incredibly sardonic, but this nearly 3-hour behemoth is never anything less than genuine. I highly recommend listening to any track off this album.
9/5/2020
Def Leppard: Hysteria (1987)
I regret to inform you that I do not believe in the glam metal gods. Def Leppard and bands like them have gotten more obnoxious and cringeworthy as the years go by. On Hysteria, the band does a horrible disservice to any particular song with either cheeky, sexual, or rebellious themes. When Def Leppard gets semi-political on "Gods of War," it falls flat on its face with lame and shallow lyrics, and the other 90% of this album is just the kind of music to be blasting in your local amusement park as you're waiting in line for their new 80s themed roller coaster.
9/5/2020
Echo and the Bunnymen: Heaven Up Here (1981)
If I needed a reference point to describe Heaven Up Here, I would say it's a more melodic and ever so slightly less dark version of Joy Division's Unknown Pleasures. This record has all the musical hallmarks of the 1980s new wave alternative rock genre, and it lent itself to be quite an enjoyable listen, as the atmospheric style is right up my alley. I'll have to revisit this album later on, but as of now, I had a great first impression of Echo and the Bunnymen.
9/6/2020
R.E.M.: Document (R.E.M. No. 5) (1987)
Filled with anti-government sentiment, particularly at the US' handling of the Cold War. Document is at times blatantly direct and at others sort of obscure. Yet, R.E.M. knows how to deliver their message, and the smash hit "It's The End Of The World As We Know It (And I Feel Fine)" becomes even greater under a closer listen, but I think the only weakness in Document was the tendency for some of its songs' sound to blur together after an initial exposure.
9/7/2020
Public Image Ltd.: Metal Box (Second Edition in the U.S.) (1979)
Learning that PiL was a Sex Pistols offshoot, and that it had a member from The Clash, I expected a traditional punk rock album. Metal Box is not that. It's creepy, aggressive, and melodic post-punk/experimental rock. PiL don't pull any punches with Keith Levene confidently producing the twists and turns for Metal Box. "Poptones" is perfectly done and despite the brash lyrics, the mixing makes PiL look like they're throwing stones from a distance at the establishment and general human complacency. This is art punk at its best.
9/8/2020
Hole: Live Through This (1994)
Courtney Love made great use of the outline she created for this album, perfecting the grunge rock aesthetic and delivering emotional and personal lyrics that make Live Through This all that much more enjoyable. Then married to Kurt Cobain, Courtney Love has since said she was "really competing with Kurt" at the time, and the outcome wasn't anything less than satisfying. Love's willingness to fuse rock star posturing as well as her vulnerable emotions on this record only add to her artistic appeal.
9/9/2020
The Drifters: Golden Hits (1968)
Another hits compilation album, this time from the doo-wop/soul group The Drifters. A generally wholesome and easy listen if you're feeling nostalgic. This is quite the pleasing and mood-lifting album. Nothing more, nothing less.
9/10/2020
Elton John: Tumbleweed Connection (1970)
There are perfectly well executed psychedelic-influenced instrumentals in "Where to Now, St. Peter" and the bonus "Madman Across the Water." The Americana-themed lyrics in this album that Elton John applies to various melodies make for the beautiful song here and there (ex: "Love Song" and "Amoreena"), but the fact that the only thematically solid portion of Tumbleweed Collection is in the second half goes to show just how difficult it is to arrange all the necessary pieces into a great concept album.
9/11/2020
My Morning Jacket: Z (2005)
Jim James, the lead singer of My Morning Jacket has a very distinctive voice, at times almost identical to that of Wayne Coyne of The Flaming Lips. On Z, the band packs a huge punch with a minimalist production; echoing vocals matching up with beautifully arranged tracks that are as dynamic as they can get. The fluidity with which My Morning Jacket orchestrates a soft piece into large scale guitar solos and vice-versa is quite the impressive trademark of this record.
9/12/2020
Marvin Gaye: Here, My Dear (1978)
You've heard of breakup albums. This is a divorce album. Under his divorce agreement, Marvin Gaye was required to make an album for his ex-wife Anna Gordy, for which she also was to receive royalties. Gaye gets his shots in toward Anna, with bitter and sarcastic verses to allow himself the last laugh. However, he doesn't for a second compromise his musical abilities, and expands the scope of his 1960s R&B sound, with a substantial amount of therapeutic verses when he chooses to dwell on the best of his dead relationship.
9/13/2020
Los Lobos: How Will the Wolf Survive? (1984)
As they blur the lines between Mexican folk, blues, and Latin rock, Los Lobos show they can occupy different rock traditions. How Will the Wolf Survive? bounces between classic rock tropes and indulging in Mexican corridos and norteñas, a fun playlist that many Mexican-Americans can be proud of.
9/14/2020
Alice Cooper: Love It to Death (1971)
Alice Cooper tries balancing a shock factor with a visionary sound, but there are too many lame vocal performances that prevent it from becoming a consistent studio album. Love It to Death, mesmerizing on the few experimental numbers that are genuinely the stuff of a scary drug trip, is rather top-heavy. Bob Ezrin's production is its crown jewel, yet I felt underwhelmed with the second leg of this album.
9/15/2020
EPMD: Strictly Business (1988)
Erick and Parrish Making Dollars aka EPMD start off hot on their debut album with dance-heavy, boastful hip hop. Strictly Business is littered with impressive flows from the New York duo, showcasing a uniquely monotone yet energetic rapping style which could well have been the necessary platform to influence the likes of future artists like MF DOOM.
9/15/2020
John Prine: John Prine (1971)
My goodness. An emotionally gripping experience, John Prine's songwriting is undoubtedly on par with that of Bob Dylan. Statements on war, nostalgia, broken marriages, and torn families are all-too-common themes in folk/rock, but if you're in search of the best and most poetic expressions of these themes, look no further than John Prine.
9/17/2020
Amy Winehouse: Back to Black (2006)
With great production and and the most down-to-earth verses on Amy Winehouse final album, I can't help but realize that this sound isn't particularly my style. I respect and like soul music, but there is a kind of commercial-esque, generic angle to it on Back to Black. "Love Is A Losing Game" and "He Can Only Hold Her" might be the most well-rounded tracks on this album.
9/20/2020
Jackson Browne: For Everyman (1973)
Browne came to prominence as an productive songwriter, having written "These Days" at age 16, and then a few years later finishing "Take It Easy" with the help of Glenn Frey of the Eagles (who popularized the single). For Everyman has a slower paced and soulful angle to the often more popular recordings of his songs, which allows the listener a deeper look into the emotions behind the lyrics the story behind Jackson Browne's worldview.
9/20/2020
Big Star: Third/Sister Lovers (1978)
Baroque pop, power pop, new wave are the main musical sources on Big Star's final album, which make it sound all over the place, yet the genres come together quite lovely. "Holocaust" might be one of the darkest songs I've ever heard, and most tracks are incredibly obscure but still sparked my curiosity nonetheless as I witnessed Alex Chilton's idiosyncratic twist on heartbreak lyrics.
9/20/2020
The Police: Synchronicity (1983)
On Synchronicity, Sting plays with the idea of the same name developed by psychologist Carl Jung: "A meaningful coincidence of two or more events where something other than the probability of chance is involved." "Synchronicity II" exhibits Sting's masterful lyricism, evoking strong imagery between the tale of a monster and a family man, where the two are seemingly unrelated but in fact meaningfully connected, in line with the album's thesis. Synchronicity, even with bombastic singles is as a whole greater than the sum of its parts. The Police paint a powerfully disturbing, bleak, and fiery view of human relations.
9/21/2020
Stan Getz and João Gilberto: Getz/Gilberto (1964)
American saxman Stan Getz, Brazilian guitarist João Gilberto, and pianist Antônio Carlos Jobim modernize bossa nova's sound on this record, creating a rich mixture of American and Brazilian music cultures. A relaxing and beautifully performed album throughout.
9/22/2020
MC5: Back in the USA (1970)
As the Rolling Stone page indicates, MC5 definitely channel Chuck Berry-like guitar riffs on this album, and they come rushing in with all the energy of 50s rock and roll. MC5's lead singer has a grittier voice that one wouldn't normally associate with this type of rock, which gives Back in the USA an interesting and refreshing quality.
9/22/2020
Steve Miller Band: Fly Like an Eagle (1976)
With the 3 stellar hits of "Fly Like An Eagle," "Take The Money And Run," and "Rock'n Me," one would expect the rest of the album to continue delivering to this degree. Fly Like An Eagle has 3 opening songs and 2 others toward the end which flow into each other, a rock theme which the Steve Miller Band shows they can do. Yet, apart from the two singles in the middle half, this record is rather too inconsistent with bland tracks like "Dance, Dance, Dance" or "You Send Me" to be respected as a top-tier album.
9/25/2020
War: The World Is A Ghetto (1972)
A heartfelt concept and the rich sound to support it. War's The World Is A Ghetto dabbles in funk, soul, psychedelia, and jazz with all the instrumental breaks to keep you reeled in. This albums is full of mysterious tones to help you better read into their messages, and it's all the better for it.
9/25/2020
Cheap Trick: In Color (1977)
In Color sounds exactly like what's on the album cover. Run-of-the-mill road trip or cantina, basic, radio-friendly classic rock. "Southern Girls" is pretty catchy, though.
9/26/2020
Devo: Q: Are We Not Men? A: We Are Devo! (1978)
As a classic punk act, Devo lay down punchy hooks with sarcastic, cynical lyrics. Here on their debut, the satirical tone starts off overshadowing the music, but eventually picks up speed on "Space Junk" and everything after. The "Gut Feeling" instrumental intro is really a work of art in itself. Regarding contemporaries, I'd prefer a group like Gang of Four, but Devo's style is unique enough to respect.
9/28/2020
Suicide: Suicide (1977)
I was grossly unprepared for this record. The electronic, constantly pounding bassline on most tracks creates a sense of anxiety. I can usually tolerate dark content, but "Frankie Teardrop" is absolutely bloodcurdling. I nearly caught myself wanting to look over my shoulder as I listened in my room. Objectively, the experimental sound is ambitious and well-produced, but Suicide's debut album is simply too strong for my generosity.
9/29/2020
The Pogues: Rum Sodomy and The Lash (1985)
Perhaps my disdain for Elvis Costello was too shortsighted. I was annoyed by his voice but his work as a producer on Rum Sodomy is of great quality. The Pogues and lead singer Shane MacGowan have a lot of energy on this Celtic funk album, but it sometimes runs too fast to understand, leading me to just enjoy it with a smile and dance. My limited knowledge of traditional European music wants to say this is something you'd hear in a mead hall, and it sounds like fun.
9/29/2020
Sam Cooke: Live At The Harlem Square Club, 1963 (1985)
Arguably a step above compilations/greatest hits, I think the live album can serve to display an artist's ability outside the studio setting. I will cover live and compilation albums.
Sam Cooke performs a few pieces at a 1960s New York club, with such confidence and grittiness it makes you feel as though you were in the audience that night. This soul show was a joy to hear, and there's a nice touch of nostalgia when he grieves over an operator getting in between him reaching "his baby" on the phone.
9/30/2020
The Cure: Boys Don't Cry (1980)
The early, less-refined era of The Cure almost sounds like The Smiths met a 70s punk band. The title track starts them off on the right path, trailblazing a combination of choppy guitars and drums with the more fluid sound of new wave; the lyrics sometimes pop-friendly, sometimes niche gives Boys Don't Cry its own nice personality.
10/1/2020
Lil Wayne: Tha Carter III (2008)
78 whole minutes of bombastic, boastful rap, challenging Kanye West in more than just hubris. Carter III explores so much stylistically, Lil Wayne always on the ball with his witty, ridiculous, irreverent lyrics. Wayne, never shrouding his delivery in any obscurity, articulately relays his politics on the album's spoken word outro, and then has the audacity of including the "Rodney King, baby, yeah I beat it like a cop" line referring to him (Wayne) having sex with a female police officer.
10/3/2020
Beck: Sea Change (2002)
Who hurt this man?! A wistful and dynamic album reflecting on a devastating breakup, Beck delivers poetic lines about his post-breakup journey, with heavy use of strings and always changing basslines. While there's always a central sound on every track, there's often a sprinkle in the background, or a progressive noise which add to the overall feeling. Though not exactly my style, Sea Change is still a well-made record.
10/3/2020
Nirvana: In Utero (1993)
In Utero is littered with morbid references to body parts which serve to explain Cobain's emotions and tendencies, beginning with the album cover. Nirvana's third and final studio album is very gritty, noisy, yet still full of nice melodies. But far too often, the vocals are annoyingly abrasive and mask the development of the instruments. For some, that imbalance common in grunge is appealing, but it gets to be too distracting for me. I think the only track where Nirvana actually did this well is on "Tourette's."
10/3/2020
Big Star: #1 Record (1972)
My skepticism toward sincerely placed corny lyrics kept me confused as to whether Big Star was being serious or subtly ironic; regardless, the songs are beautifully composed with sweet melodies and vocals. It felt as though I've always known some of the tracks on #1 Record, but wondered if Big Star simply built well on 60s pop rock ideas and succeeded in evoking similar feelings. A lot of this record sounds like the band is in a large room, and it seems to add to the unique/odd presentation. For this reason, it's hard to connect Big Star to any part of the development of 20th Century popular rock.
10/5/2020
George Harrison: All Things Must Pass (1970)
My first contact on this list with a project from a Beatle, the first full-length LP from Harrison after the breakup of the Beatles, and my first impression of George's songwriting abilities, was an album that left nothing to be desired. All Things Must Pass - huge in the scope of its sound, containing a phenomenal cast (Bob Dylan, Billy Preston, Eric Clapton, Ginger Baker each with at least 1 contribution), and filled with lyrics influenced by Harrison's Hindu devotions, all work in tandem to define the dreamy, groovy (especially on the Apple Jam instrumentals), and catchy tunes of this near perfectly-structured record.
10/6/2020
Brian Eno: Here Come The Warm Jets (1974)
Brian Eno's debut album is experimental glam rock, a combination not too often encountered. "Cindy Tells Me" is a slight aberration in being so direct compared to the rest of Warm Jets. Instrument modulations, odd but sometimes beautifully-sounding vocals, a sound that progressively sets up a tone for the listener, yet which is just as willing to change within the track: mystery marks this album. If you've heard of the Don't Hug Me I'm Scared YouTube series, "Dead Finks Don't Talk" is eerily similar in taste and presentation. While hard to put a finger on, I was captivated by Here Come The Warm Jets.
10/7/2020
PJ Harvey: Stories From the City, Stories From the Sea (2000)
Thom Yorke's contribution on "This Mess We're In" might be the most fulfilling track on Stories From the City, Stories From the Sea. While not a poor record (seemingly personal lyrics throughout and a Neil Young-esque guitar style on "You Said Something"), there's a lack of consistency. The drums and vocals on Stories are either vapid, or they add a lot of sound yet without first making one emotionally invested, yielding to generally unbalanced music.
10/7/2020
Vampire Weekend: Vampire Weekend (2008)
A debut album from a band with an Ivy League background, strong imagery of New England's scenery and youth social life, Vampire Weekend sounds like the indie pop rendition of The Strokes' Is This It (I say this as a compliment). The political views are just as educated and sarcastically injected into catchy hooks and beats for 34 bright minutes. The themes are also all glued together very well.
10/8/2020
Brian Eno: Another Green World (1975)
Fun Fact: After hearing Eno's debut album, I learned he literally coined the term "ambient music." More refined in production, and less rock-oriented, Another Green World is still as inventive and experimental as Here Come The Warm Jets. The buzzing/muffled guitar effect is central to Brian Eno's sound (with good reason, it sounds great), and on this record, he continues directing a trance-like atmosphere, while still calling for an active listen. My imagination sees this as something you should listen to while meditating in a rainy, cold forest. It's mesmerizing front to back.
10/8/2020
The Police: Outlandos D'Amour (1978)
The Police added another dimension to the rock canon by fusing punk and reggae, starting with and especially on their 1978 debut album. The punchy and quick tempos of punk litter Outlandos, as well as a highly energetic tone on the majority of this record. The sound is the most cutting-edge aspect, however, as Sting would go on to write more elaborate and socially conscious lyrics, giving us a taste of his talents on Outlandos D'Amour.
10/11/2020
Peter Wolf: Sleepless (2002)
Overall, Sleepless has a polished production, with guest appearances from Mick Jagger and Keith Richards from the Rolling Stones as well. An unforgivable aspect, however, was how inconsistently Peter Wolf's vocals were mixed throughout the record: it either ends up hogging the forefront with his breathy inflections, or lazily droning in the background to be supported by generic soft rock instrumentals. Ultimately, his performance failed to convince me he had any passion toward his work.
10/11/2020
Cheap Trick: At Budokan (1978)
Their breakout album, Cheap Trick bring back 60s power pop, elements of late 60s-early 70s hard rock, and establish their own style with Robin Zander's suave voice. On "Need Your Love," the band goes on a nearly 9-minute progressive rock journey. Guitar solos, lively percussion segments, and a great build-up to their hit "Surrender" all make At Budokan the great live show necessary to jumpstart Cheap Trick's career.
10/11/2020
Gram Parsons: Grievous Angel (1974)
Grievous Angel can be summarized as a beautiful combination of country and rock. On some of the more rock-influenced songs, Gram Parsons creates noise akin to a traditional Elton John song. The harmonized duets on this record are also nice additions.
10/12/2020
Bruce Springsteen: The Rising (2002)
Reflection and hope for a post-9/11 America, The Rising is Springsteen's way of expressing those feelings. The lyrics are fine, but like Tunnel Of Love, which I reviewed last month, Bruce Springsteen often fails to map the songwriting to expected emotional tones. It is easy for the record to blend together when the style and delivery do not fluctuate nor appear to progress with the story.
10/12/2020
Diana Ross and The Supremes: Anthology (1974)
I won't be reviewing greatest hits/anthologies/best of albums.
10/12/2020
The Ronettes: Presenting the Fabulous Ronettes (1964)
Doo-wop can pretty easily become repetitive, but The Ronettes took special care in preventing that outcome. The rhythms are simple (common in this genre), but the percussion adds a layer of spice on many tracks. The Ronettes place one or two blues songs, but most importantly kept this 1964 record short and sweet, which paid off well for them.
10/12/2020
Various Artists: The Best of Girl Groups Volumes 1 and 2 (1990)
I won't be reviewing greatest hits/anthologies/best of albums.
10/12/2020
Buddy Holly and the Crickets: The "Chirping" Crickets (1957)
Led by Buddy Holly, The "Chirping" Crickets is the embodiment of the oldies. The main focus is on love seen through the young person's eyes, and it serves as a nice time capsule, sort of the "common ancestor" of rock's evolution and many of its subgenres.
Holly's bright voice also sounds a lot like early-Beatles era John Lennon on "Maybe Baby."
10/13/2020
Portishead: Dummy (1994)
Dummy popularized trip hop in the 90s, Beth Gibbons pouring out an angelic voice over chilling instrumentals. Dummy often uses traditional record spin effects yet not resting on heavy hip hop rhythms, but supported by mellow beats, defining trip hop as an independent genre. This record also fits one of my favorite album layouts: never straying far from an intended format, but adding enough variations on each subsequent song to keep it fresh.
10/13/2020
Paul McCartney and Wings: Band On The Run (1973)
Paul McCartney definitely knows how to make a catchy, beautiful song. He's one of the best songwriters in rock history for a reason. Here, McCartney brings out some of the energy and magic from his Beatles days on Band On The Run, where the group never lose a grip on the bold statement that is the opening and also title track. The twist and turns on the deep cuts are just as meaningful as the 3 main hit singles.
10/14/2020
U2: Boy (1980)
In many ways instrumentally rooted in post-punk, U2 tweaked the formula to develop their signature sound: a heavy emphasis on spacey guitars and drawn out vocals. On the band's debut, we're treated to an album based upon Bono's less than perfect childhood; Boy is a coming-of-age record whose stories end up holding it together quite well.
10/14/2020
Tom Waits: Mule Variations (1999)
On the surface you'll hear a very raspy Tom Waits. Polished production brings out every inflection in his breathy voice. An experimental take on rock/folk, usually stripped-down, Mule Variations even goes as far as spoken word on the off-putting, yet captivating "What's He Building?" Though difficult to put a finger on, Mule Variations was a nice turn from the conventional.
10/15/2020
Van Halen: Van Halen (1978)
Not quite reaching Def Leppard lead singer levels of annoyance, Van Halen is on its way. Despite this major flaw, this debut LP doesn't lay flat or obnoxious on the ear. One thing I might commend Van Halen for is pioneering the 80s arena rock, hair metal sound back in 1978, a few years ahead of its time. That said, I recommend you look no further than their sound's aesthetic, though, as the lyrics might make your eyes roll.
10/15/2020
The Go- Go's: Beauty and The Beat (1981)
The first ever number one album written and performed by an all female group is an energetic new wave record. The nostalgia and dancing followed naturally when listening to "We Got The Beat," since it was one of the several preset tracks that came with the keyboard I used for piano lessons in elementary school. The rest of the album isn't as catchy as this hit single, but The Go-Go's continually have great beats (pun intended) and decent writing.
10/18/2020
Minutemen: Double Nickels on the Dime (1984)
These motherfuckers are radical! Good for them! My love for punk goes beyond its optics of loud and unapologetic aggressiveness, as I've found myself sympathizing more and more with the political themes of the genre (but that's a different topic). This record is a collection of over 40 reflective and politically charged songs. Whether it's fast and choppy punk, or melodic new wave, Minutemen's agility is enough to get you thinking, and perhaps emotionally invested in their message.
10/23/2020
Wire: Pink Flag (1977)
Rolling Stone seems to have a tendency to include similar albums in clusters, perhaps out of some laziness up here in the 400 range. Pink Flag is 21 songs, most under 2 minutes. Regardless, like Minutemen's record right above at #413, this is a record that flows quickly, and expectedly espouses anti-establishment lines, whether direct or more obscurely like in "Mannequin." The best part of Wire's debut is its incredible album sequencing. Emotions flow logically, and it's always a great touch in any record, and especially surprising in a classic punk one.
10/25/2020
Eric Clapton: 461 Ocean Boulevard (1974)
Eric Clapton's guitar is a highlight on any album, and this recording allows it the rich and full sound it deserves. 461 Ocean Boulevard is largely built around Clapton's blues riffs, and to this extent, it's enjoyable. The writing, however, can get a little generic on some cuts, making many sections seem like filler. It doesn't help, and stiffens up some jams.
10/25/2020
Bob Dylan: Time Out of Mind (1997)
This is the first Bob Dylan album I've fully listened to. The first piece to stick out was his worn-down (?) voice, which will undoubtedly differ from its dynamic power during his come-up in the 60s. It's not a nuisance. It demands more focus to his songwriting, even, which was on the forefront more with this heavily acoustic recording. The final track "Highlands" is a fantastic closer. Clocking in at 16 minutes, it tells the story of a damaged, but hopeful man traveling alone in a small and vibrant mountain community.
10/25/2020
The Doors: Strange Days (1967)
I can already tell I'm going to enjoy this one again. With Ray Manzarek's signature psychedelic blues keys and Jim Morrison's eeriness and bravado, The Doors more than deliver on their sophomore album, Strange Days. It tugs along nicely and finishes with an epic "When The Music's Over." The buildup and Morrison's scream ("Now!") toward the end of this track goes so fucking hard.
10/26/2020
Sinéad O'Connor: I Do Not Want What I Haven't Got (1990)
Beautifully composed and symphonic with many string sections. An unpopular opinion, I'd say the only downside was "Nothing Compares 2 U," bland relative to the songs O'Connor actually wrote on this album. This chart-topper didn't add much sonically, but at least took nothing away from I Do Not Want What I Haven't Got as a whole. The rest of the record is more full and abstract in its writing, and even more expressive in where it wants to go - whether soft/weak or cynical/critical, Sinead O'Connor comes really close to a perfect project.
10/28/2020
The Clash: Sandinista! (1980)
Punk and anti-establishment songs are often synonymous. The Clash were one of the bands to drive the initial wave of punk, but Sandinista! sees them occupy a larger scope, playing all over the rock genre spectrum. Theatrical and diverse in style, this album deepens my understanding of The Clash and their place in the group of artists that expanded beyond their roots - whether through experimental or fully transitioning genres - while maintaining relevance, but most importantly, their passion.
10/28/2020
PJ Harvey: Rid of Me (1993)
Calling this "really heavy garage rock" doesn't give you the full picture. PJ Harvey's Rid of Me is vulgar and morbid, and the dynamism of going soft to rough and over-the-top is incredible. A prime example is "Snake," a quick and powerful interpretation of the Fall of Adam and Eve from Genesis. It's disturbing, quiet, then ends heavy. Every part of this album is empowering and energizing.
10/28/2020
Big Star: Radio City (1974)
Of the three Big Star albums Rolling Stone Magazine decided to place in the top 500, I agree with this labelled their best. #1 Record and Radio City definitely belong on this list, and it's quite impressive that their first three LPs made it here, considering how short the band's initial tenure was. Radio City is sweet, pretty, and serves as a quiet precursor to the rise of modern pop and alternative music.
10/28/2020
Dr. John: Dr. John's Gumbo (1972)
Is it influential in some way? Does it hold historical significance for 20th Century music? Dr. John's Gumbo went over my head. Not the concept or any musical style (which were as direct as anything), but its placement on a top 500 list. It struck me largely as a generic collection of New Orleans classics, carried to this level only by Dr. John's reputation as an artist.
10/29/2020
Lynyrd Skynyrd: (Pronounced Leh-Nerd Skin-Nerd) (1973)
Another nostalgic listen. A piece of this album was one of my first encounters with American music, where I remember on Guitar Hero II playing, and on my first iPod, listening to a copy of "Free Bird." It seemed an anomaly at 9-minutes long, but yet it's still one of the most epic rock songs of all time. The lyrical theme is a reflection on a person's growth and independence, as is the rest of the album. However, the remainder of Lynyrd Skynyrd's debut doesn't convincingly get past being unoriginal, generic rock songs.
10/29/2020
Nas: Illmatic (1994)
This album is a magnificent insight into the experience of Nas, and into the poor areas of those who live(d) in New York's public housing. It communicates what Nas and his community value, what they fear, and how they decide to live. With no break in incredible verses, everything lays down perfectly on smooth, jazzy beats that make for a story everyone should hear.
10/29/2020
Red Hot Chili Peppers: Californication (1999)
Formally a concept album about the sinister parts of Los Angeles and Hollywood culture, it flips between that and the band's intimate experience with it. The main culprits are drug addiction's perceptions vs. its reality, and the corrosiveness of celebrity worship. The Red Hot Chili Peppers get a bad reputation as being one of radio's cringy bands, and are still grossly overplayed, but Californication is as serious of a musical project as any, and it deserves its place on this list. The only low point is its occasional repetitiveness.
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