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I am more than thrilled to be sharing my personal favorite albums with you all. Ever since I joined DTF in 2007, I have discovered new music and new ideas of my music listening experience. That being said, I am not a prog/metal head by any means. I love various different types of music. I hope with my list that it will generate comments, feedback, and more importantly discussion.
Just to give a brief background of my tastes, I was born in 1987 – the same year Guns N Roses gave us an Appetite For Destruction, U2 grew The Joshua Tree, and Michael Jackson became Bad. I never really had the chance to expand my own personal musical tastes. Mom was really strict on what I should be listening to. I do remember listening to a lot of Michael Jackson in which that love for that artist has never faltered.
My mom listened to a lot of adult contemporary music when I was growing up. In fact, I still remember drives in her car where she was playing and singing Celine Dion’s The Colour of My Love , which is a fantastic record, for the record, or Linda Ronstadt’s Cry Like A Rainstorm, Howl Like the Wind. Then the boy band craze happened in the middle of the 90’s, and so my sister was all over that like ants of sugar, and I was forced to listen to it because it was safe. I hated it. N’Sync, Hanson, 98 Degrees, O Town. However. That being said, I actually like and tolerate The Backstreet Boys.
That was probably the least metal/prog paragraph ever written in the history of DTF, and just lost the attention of more than half the prog heads here.
I turned to the radio stations before AOL came into existence and there was no Pandora yet. I enjoyed listening to the hits in mid 90’s from Usher to Third Eye Blind. I don’t think it wasn’t until 1999-2000 that I turned to genre radio.
Rock and Hip-Hop was really never an option for me until middle school when I was making more friends and incorporated myself in extracurricular activities like sports and after school clubs. The more I listened to new music, the more I realized I wanted to explore more, so I clicked into the rock stations and rap/r&b stations. Then I checked out the oldies stations. I then realized that I couldn’t just listen to rock, metal, or hip/hop. I had to check out the blues. I had to check out jazz music. Like Queen, I wanted it all, and I wanted it now.
My list is diverse. Some may scratch your head thinking “how the hell did you go from x to y?” I don’t believe my music listening experience should be one sided. I learned that music is creativity and to let it all fall in, and thus I appreciate the wonderful world of music in all of its forms. Some of the music I am listing is from during my 27 years of life. Some music is from way before my time. Some music are new stuff I discovered the past 5 years.
With that being said, through several rewrites, I realized my Top 50 will be ever changing. What has not been so ever changing are my top 10. I feel like these ten albums are my absolute favorites. They are always the first ten that come to my mind when I get asked about my favorite albums of all time. These ten albums directly reflect my tastes and the diversity of the music you will see in the top 50.
10/10/14
Here is my completed list of my 50 albums, accompanied by the page number where you can find my write-ups and sample songs of each album!
Page 1
50. Faith No More - Angel Dust
49. Kamelot - The Black Halo
48. The Heavy – The House That Dirt Built
47. A Perfect Circle - Thirteenth Step
46. Pearl Jam - Ten
45. Iron Maiden - The Number of the Beast
Page 2
44. The Who - Tommy
43. Mastodon - Laviathon
42. Outkast - Stankonia
41. Van Halen - 5150
40. Beastie Boys - Check Your Head
39. Coldplay - Parachutes, A Rush of Blood Through The Head
38. Daft Punk - Random Access Memories
37. Childish Gambino - Camp
36. Queen - Sheer Heart Attack
35. P.O.D. - Satellite
34. Rob Dougan - Furious Angels
Page 3
33. The Robert Glasper Experiment - Black Radio
32. The Jimi Hendrix Experience - Electric Ladyland
31. Porcupine Tree - Fear of a Blank Planet
30. Dream Theater - Octavarium
29. Creed - My Own Prison, Human Clay
28. The Smashing Pumpkins - Mellon Collie and the Infinite Sadness
27. Radiohead - OK Computer
26. Robert Plant and Alison Krauss - Raising Sand
25. Pink Floyd - The Wall
24. Kanye West - My Beautiful Dark Twisted Fantasy
23. Alter Bridge - One Day Remains
22. Dream Theater - Images and Words
21. Radiohead - In Rainbows
20. Oysterhead - The Grand Pecking Order
Page 4
19. Daft Punk - Discovery
18. Marvin Gaye - What's Going On
17. Daft Punk - Alive 2007
16. The Mayfield Four - Second Skin
15. Led Zeppelin - II
14. Alter Bridge - Fortress
13. Queen - A Night At The Opera
12. U2 - The Joshua Tree
11. Michael Jackson - Thriller
10. Jeff Buckley - Grace
9. Explosions In The Sky - All Of A Sudden I Miss Everyone
8. Peter Gabriel - So
7. Atmosphere - When Life Gives You Lemons, You Paint That Shit Gold
6. Dream Theater - Six Degrees of Inner Turbulence
Page 5
5. Queen - Innuendo
4. Michael Jackson - Dangerous
3. P.O.D - The Fundamental Elements of Southtown
2. Pink Floyd - The Dark Side of the Moon
1. Alter Bridge - Blackbird
So without further ado, I will like to present the trailers before the main feature. Here are a few of my honorable mentions for my Top 50 thread:
Countdown To Extinction
Megadeth
1992
(https://upload.wikimedia.org/wikipedia/en/b/b3/Countdown.jpg)
A lot of people say Countdown To Extinctionwas Megadeth's answer to Metallica's Black Album, but truthfully, I like this album a hell of a lot more. Despite it being more "commercial", it has a lot of well written songs and melodies, and the solos and aggressiveness attained their style. This is a pure Megadeth album with less speed but tons of heavy riffage. From "Skin O My Teeth" to "Ashes In Your Mouth," this is album is a fantastic listen from the beginning to end.
Favorite Tracks: Ashes In Your Mouth (https://www.youtube.com/watch?v=0Zt_cqKdxtA) Captive Honor (https://www.youtube.com/watch?v=3I_BOUuKCGY) Symphony of Destruction (https://www.youtube.com/watch?v=K5jvUXij7nU) Psychotron (https://www.youtube.com/watch?v=sjXI5JI_4nc)
As some of you know I work in the film/tv production industry, and I just worked a 16 hour day on an commercial shoot, so I'm dead tired at the moment and can hardly open my eyes typing this. I will continue my honorable mentions list tomorrow!
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Following! Countdown is great, though I do think there are some fillers there. Ashes in Your Mouth, however, might just be my favourite Megadeth song... certainly Top 5.
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Following! Symphony is a top song from Megadeath for me! :metal
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Hm... I wonder if there is gonna be any Alter Bridge/Mark Tremonti in this list ;D
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Great introduction! Gonna follow this for sure.
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That was probably the least metal/prog paragraph ever written in the history of DTF, and just lost the attention of more than half the prog heads here.
You obviously didn't read my OP in the Zeppelin discography discussion! :lol Color Of My Love was actually one of my wedding songs - chosen by mrs.jingle of course.
Never been into Megadeth, but I'm interested in following your list.
My list is diverse. Some may scratch your head thinking “how the hell did you go from x to y?”
As such, guaranteed I will have more than a few :wtf: moments
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Following :hat
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Time for some more Honorable albums
All I Was
Tremonti
2012
(https://assets1.blabbermouth.net/soulflypremiere/tremonticover.jpg)
All I Was is the debut solo record from Mark Tremonti, and it was an album he had been working on for several years. Some of his heavy, speed metal ideas didn't seem to gel with either Alter Bridge or Creed (although after Alter Bridge's Fortress, his idea could have been showcased in an Alter Bridge record), and so it was all in a matter of time that he took those ideas, wrote them into songs, and created this awesome, heavy riff driven album. I don't think anyone doubted his songwriting or guitar playing ability; he's a god in modern rock guitar playing. I think people questioned whether he could front his own band with vocals. Then suddenly he drops "You Waste Your Time", and jaws dropped. He pulls off lead vocals like it was second nature to him. The presence in his voice is just commanding! The album is chalk full of heavy and brutal riffage, but offers a nice touch of melody, combined with INCREDIBLE drumming by Garrett Whitlock. I was very impressed by this album, but I also felt Tremonti took a step back with guitar solos. It's one of his main strengths as a ridiculously talented lead guitarist, and he writes tailored solos for songs. Hopefully his next solo record which is being written currently will take it up a notch!
Favorite Tracks: Wish You Well (https://www.youtube.com/watch?v=t2NOSJ5TYCQ), All I Was (https://www.youtube.com/watch?v=4gNuNlG3lVM), Leave It Alone (https://www.youtube.com/watch?v=dEe7BXKhBsk), So You're Afraid (https://www.youtube.com/watch?v=NtjrxhaDVo8)
Goodbye Yellow Brick Road
Elton John
1973
(https://www.1000recordings.com/images/artist-j/john-elton-447-l.jpg)
This is a blockbuster of an album if there ever was. This album strikes the beginning of Elton John's career as a glommed, spangled entertainer. Prior to this album, John had some massive hits like "Crocodile Rock" and "Rocket Man", and he was an established pop-piano player/singer. However, Goodbye Yellow Brick Road transformed him to this:
(https://1.bp.blogspot.com/_ERcyYzWYWLw/TPBAGEXuOuI/AAAAAAAAHaY/qLiDwW6e5cM/s640/3.jpg)
Goodbye Yellow Brick Road touched on everything John did before, and suggested ways he'd move on to near-future that was delightful and entertaining; a testament to Elton's '70s power as a star and a musician.
Favorite Tracks: Saturday Night's Alright For Fighting (https://www.youtube.com/watch?v=26wEWSUUsUc), Funeral For A Friend/Love Lies Bleeding (https://www.youtube.com/watch?v=3p_xAToFzck), Your Sister Can't Twist (But She Can Rock N Roll) (https://www.youtube.com/watch?v=f31TCmbQRvo),I've Seen That Movie Too (https://www.youtube.com/watch?v=rlLwqSR1qnI)
AB III
Alter Bridge
2010
(https://upload.wikimedia.org/wikipedia/en/c/ca/AB_III.jpg)
With AB III, the follow up to the masterpiece album that is Blackbird, the band promised a darker album, and they delivered. AB III is dark, brooding, and consistently uses Drop A guitars and more pessimistic lyrics than anything the band has written before. It is the general consensus that AB III is their weakest album. I agree to an extent, but to me, some of Alter Bridge's best moments shine on that album. The bridge to "All Hope Is Gone" is beautiful eerie, and epic. That song, and "Slip To The Void", are easily a top 5 Alter Bridge song. I also love the darkness of "Show Me A Sign". It reminds me of Black Sabbath's "Black Sabbath." The darkness is in the music, not necessarily in the lyrics. Very demonic and evil in that sense. The songs after "Show Me A Sign" are the weakest of that album, but highlights like "Coeur d'Alene" and "Words Darker Than Their Wings" keep me interested. Given the consistently excellent songwriting and musicianship (and of course the great vocal work by Myles Kennedy) displayed here, AB III is a solid rock album.
Favorite Tracks: All Hope Is Gone (https://www.youtube.com/watch?v=baGjombTVkU), Slip To The Void (https://www.youtube.com/watch?v=PABO3RC2c7k), Show Me A Sign (https://www.youtube.com/watch?v=QroGnBeZBGg), Ghosts of Days Gone By (https://www.youtube.com/watch?v=oH8sWeTWvlA)
Seventh Son of a Seventh Son
Iron Maiden
1988
(https://upload.wikimedia.org/wikipedia/en/c/c0/Iron_Maiden_-_Seventh_Son_Of_A_Seventh_Son.jpg)
Ok, I'm going to say it: Seventh Son Of A Seventh Son is the most consistent Iron Maiden album, from the first track to the last. I love it more than Powerslave and Piece Of Mind. It's an album where the band confidently are firing up on all four cylinders, even though they don't have tracks like "The Trooper" or "Run To The Hills," and it's beautiful. It shows you don't need those big bracing tracks to create a masterful album. It also has the most commanding vocal performance by Bruce Dickinson in his career, in my opinion. While I like the lyrical concept of this album, to me, it is the musical elements that have the emotional weight. The way the album flows from song to song is incredible. "Moonchild" is one of my all time favorite Maiden songs, along with "The Evil That Men Do."
Favorite Tracks: Moonchild (https://www.youtube.com/watch?v=A0Yn72QM-lg), The Evil That Men Do (https://www.youtube.com/watch?v=E50QazmwP7M), Infinite Dreams (https://www.youtube.com/watch?v=Zc011OYuIwk), The Clairvoyant (https://www.youtube.com/watch?v=D-3ra8Jsmjk)
A few more honorable mentions to come soon before the top 50 countdown!
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I agree with your Maiden pick; it's my favorite from them.
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Still have yet to check out that Elton John album, but Seventh Son is just wonderful. :tup
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Will be following!
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That Tremonti album is so good, can't wait for the follow up.
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I own all the HM except Tremonti. I heard great thing and very heavy and heard a few songs but I never picked it up. I need to get it.
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I own all the HM except Tremonti. I heard great thing and very heavy and heard a few songs but I never picked it up. I need to get it.
Yeah man, it's really solid.
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I can't tell you why, I keep a list of albums to buy as well! :facepalm:
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Clearly, I highly recommend it! Some of the riffs Tremonti comes up with in that album are fucking :metal
Alrighty folks here are the last batch of Honorable Mentions, and then we'll crack into the top 50
Off The Wall
Michael Jackson
1979
(https://upload.wikimedia.org/wikipedia/en/e/e9/OffTheWallSpecialEdition.jpg)
I find it interesting that there is a lot of folks out there that think that Michael Jackson’s first solo album was Off The Wall. I can’t blame them. While Michael did have quite a few good solo albums prior, including Got To Be There and Ben, Off The Wall was his breakthrough album that established him as an artist with tremendous range. Off The Wall is a beautiful tapestry of ballads, r&b and soul, and soft rock. Ever since MJ emerged with The Jackson 5, he was always considered a talented vocalist, but there was something about his delivery in Off The Wall that opened eyes. There’s pure emotion along side the gripping delivery on those great dance tracks. In “She Out Of My Life,” you can actually hear MJ break down and cry in the studio. Whether you can dance or not, there’s something about “Don’t Stop Till You Get Enough” that makes you want to move.
Favorite Tracks: Don't Stop Till You Get Enough (https://www.youtube.com/watch?v=ZorRGrDiMsA), She's Out Of My Life (https://www.youtube.com/watch?v=lAooi660PVM), Working Day And Night (https://www.youtube.com/watch?v=a6P7aQtNpsA), Rock With You (https://www.youtube.com/watch?v=7jF7vmR535E)
Hybrid Theory
Linkin Park
2000
(https://upload.wikimedia.org/wikipedia/en/c/c9/Linkin_park_hybrid_theory.jpg)
This was one of the soundtracks to my middle school years, and it still holds up pretty well fourteen years later. I did give Linkin Park’s new sound a chance, but the songs started to sound so samey….erm…or Transformers-ry, that I kinda gave up on them. However, Hybrid Theory changed the perception of the nu-metal genre. At that time, their blend hip/hop, hard rock, and electronica were unique and original. Most nu-metal bands were relying on detuned guitars to create their sound. Linkin Park came out with “One Step Closer,” with a clean, heavy, and sharp sound. The music was well put together with technique. The chord progressions and tones at times were brilliant. Chester Bennington’s vocals were one of the bands stongest points. I rediscovered this album while creating my list, knowing how much I loved it back then. I still thoroughly enjoy it to this day.
Favorite Tracks: One Step Closer (https://www.youtube.com/watch?v=PSPYshruW8I), Crawling (https://www.youtube.com/watch?v=rYaM1AzjD7s), Papercut (https://www.youtube.com/watch?v=T2jN_iKi24c), With You (https://www.youtube.com/watch?v=Jo7lgWdaeoE)
Innervisions
Stevie Wonder
1973
(https://upload.wikimedia.org/wikipedia/en/3/3b/Steviewonder_innervisions.jpg)
Innervisions is probably one of the greatest works of the 70’s that I have ever listened to. And get this: Stevie Wonder was only 23 when he made this record. Obviously, it was impressive how a blind man could have achieved so much, and especially at that age. He was already a seasoned artist with several albums under his belt. This album certainly showed his maturity into adulthood as he tackled social issues of drug addiction, sex, political issues, urban life, and spirituality. However, this record is as jazzy and funky of a record as he’d written before. Not only did Stevie had the gift of writing excellent music, but his narration and lyrical content was on par. “Living for the City” is an incredible 8 minute masterpiece illustrating the dream of a young black male living in Mississippi in the 60’s. I do enjoy his attack on President Nixon on how he destroyed America’s faith in “He’s Misstra Know-It-All.” Wonder beautifully and masterfully used his talents to make this social commentary of an album one of the most effective and entertaining records I have ever listened to.
Favorite Tracks:Higher Ground (https://www.youtube.com/watch?v=4wZ3ZG_Wams), He's Misstra Know-It-All (https://www.youtube.com/watch?v=JL5wei4phz0), Living For The City (https://www.youtube.com/watch?v=rc0XEw4m-3w), Too High (https://www.youtube.com/watch?v=q8dK0iEzi1M)
Lightbulb Sun
Porcupine Tree
2000
(https://upload.wikimedia.org/wikipedia/en/d/d8/Porcupine_tree_lightbulb_sun.jpg)
I didn't discover Porcupine Tree until I heard that some band named their album Fear of a Blank Planet, which obviously was played towards and nodded to Public Enemy's Fear of a Black Planet, which I love. That album blew me away, and I wanted to dig into their stuff more. Now that I think about it, I believe I got some recommendations from you good folks here on DTF. One of those was Lightbulb Sun. This is a wonderful album. It's definitely the most accessible PT album. The band seemed to have taken a step towards a mainstream approach, but that doesn't dilute the album. If anything, it may be their most consistent album. There are lots of variety too, from a melodic rock title track to the ambient piano playing in "How Is Your Life Today." Lightbulb Sun represents exactly why Porcupine Tree are so loved, the unexpected turns, the constant change of tempo and the melodic but intelligent lyrics.
Favorite Tracks: Lightbulb Sun (https://www.youtube.com/watch?v=3RoA-CMCy00), Hatesong (https://www.youtube.com/watch?v=P1D-a-vVYcw), Four Chords That Made A Million (https://www.youtube.com/watch?v=U6VGR-7mW90), The Rest Will Flow (https://www.youtube.com/watch?v=48WadzV8Vlk)
S.C.I.E.N.C.E.
Incubus
1997
(https://upload.wikimedia.org/wikipedia/en/4/4f/Incubus_Science.jpg)
Incubus is another band whose sound drastically changed throughout their career, and it made me lose interest. Mainly because their music just started to sound samey and boring; something that S.C.I.E.N.C.E is not. This record is an explosion of hard rock, punk, jazz, and funk, and it pleasing to the ears. Sometimes you hear these different sounds in the record and you wonder if they were suppose to blend together, but I like the experimentation and the risks this band took in their early years. Brandon Boyd's vocals hit a various of ranges, from fast funky rant to quite whispers to animal like screams. This is also Incubus's first record with a DJ, and the turntable scratches and effects worked perfectly, especially on the song "Idiot Box." Dirk Lance, their original bassist and co-founder, really tears it up wit his bass playing in this record. This is the best Incubus album thus far. I'm not saying all of their other albums are bad. I did especially enjoy Morning View, but there is something uncontested on the rawness and purity of S.C.I.E.N.C.E. that the albums after it's release were missing, especially the last few they dropped.
Favorite Tracks: Redefine (https://www.youtube.com/watch?v=EIBD7L73I4Q), Idiot Box (https://www.youtube.com/watch?v=1FcCLcxctXo), Vitamin (https://www.youtube.com/watch?v=Fi_HnGx0t1Q), Glass (https://www.youtube.com/watch?v=mAT92O09vrY)
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That Incubus album is amazing.
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That Incubus album is amazing.
It really is! I bought it after Morning View was released, and upon my first listen I was like, "This is such a better record."
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That was probably the least metal/prog paragraph ever written in the history of DTF, and just lost the attention of more than half the prog heads here.
You obviously didn't read my OP in the Zeppelin discography discussion! :lol Color Of My Love was actually one of my wedding songs - chosen by mrs.jingle of course.
I just read it man :lol That's great
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(https://bearpursuit.files.wordpress.com/2014/04/and-here-we-go.gif)
I also have been posting the links to my favorite tracks on each album I post, so feel free to check them out!
#50
Angel Dust
Faith No More
1992
(https://upload.wikimedia.org/wikipedia/en/2/24/Faith_no_more_angel_dust.jpg)
I was once an ignorant fool, thinking that Faith No More was only a one-hit wonder because of their massive hit, “Epic”, and nothing more. This was during a time when I didn’t explore much because radio at that time was the only thing that was accessible to me. Some years later, a buddy of mine in college and I were talking about one-hit wonder bands and I said Faith No More. He then proceeded to flip his shit as if I said they were the worst fucking band on the face of the planet. After telling him to chill and that “Epic” was the only thing I ever heard from them, he then busted out his iPod and played a track called “Land of Sunshine”, the kick in the face opener of Angel Dust.
It was the best kick in the face I ever had.
Angel Dust is a roller coaster of an album. It’s nonsensical, no bullshit anarchy if I ever heard of it. There is just an amazing atmosphere and tone set to the entire album that I think is set first by the vocal performance of Mike Patton. A few can match the ADHD he has on the mic. He goes from soaring falsettos to grunting to rapping to growling. His vocals definitely will please the listener, but it’s also the funky bass lines, guitar riffage, groovy drumming, and idiosyncratic keyboard playing that aurally elevate the album.
If “Caffeine”, “Smaller and Smaller”, and “****lobber” are great examples of their aggressiveness, then “RV” show how fucking weird and interesting this band can be. It’s a humor track featuring southern blues feel and trailer trash vocals from Patton. “Kindergarten” is a their lightest song but it also has my favorite bass lines in any Faith No More record.
This is fantastic record. If their previous album, The Real Thing, was a commercial success, then this is an artistic success.
Favorite Tracks: A Small Victory (https://www.youtube.com/watch?v=79pJcpcXmYQ), Caffeine (https://www.youtube.com/watch?v=39m3wGdEMzo), Everything’s Ruined (https://www.youtube.com/watch?v=W1JNS3x24kU), Smaller And Smaller (https://www.youtube.com/watch?v=Scwzso1rs48), Land of Sunshine (https://www.youtube.com/watch?v=ezAoxiLQRd0)
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Mike freaking Patton.
That is all.
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One of my heroes, and Billy Gould on bass!
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Love FNM. I'd probably take King For A Day over Angel Dust, but amazing nevertheless.
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#49
The Black Halo
Kamelot
2005
(https://upload.wikimedia.org/wikipedia/en/c/cb/Kamelot_blackhalo.jpg)
Power Metal and I have a love/hate relationship. On one hand, I love the epic compositions and great melodies. On the other hand, the operatic vocals and synths can be so cheesy that I think mice would even turn it down. I do love me the works by Ronnie James Dio and Iron Maiden.
I discovered Kamelot through Epica, and it encompassed everything I wanted in Power Metal music. That being said, Epica is an honorable mention from me. It was beautifully composed music in a concept album. Then I found out they were releasing a second part to Epica in a few months, and I thought, well, if it’s half as good as Epica, I’ll be pleased.
This album, entitled The Black Halo, delivered beyond my expectations.
I’ll go as far and say it’s one of the best overall metal albums of the past ten years. It’s such a powerful album from start to finish. It’s a bit more streamlined than Kamelot’s previous work, but it has the right amount of complexity with accessibility to perfectly summarize the bands evolution from their previous work. This is an album with giant hooks, driven with foreboding dynamics. The album starts with “March of Mephisto” a dark song with pounding riffage, but it also shows off the layering of sounds effects present in the entire album. Then you have “The Haunting (Somewhere In Time)”, their likeable ballad on the album that has a catchy chorus and a nice duet with Simone Simmons, but “Abandoned” is where I get all the feels, especially from Roy Khans vocal performance. You can’t mention this album without mentioning its gem, “Memento Mori” which is a stunning song with riffs and melodies that are just stacked.
Roy Khan’s vocals are done with such charisma and grace. His delivery is absolutely captivating. He has one of the best voices in the business, and it’s a shame he’s not using it for Kamelot any longer. Thomas Youngblood’s guitar playing should also be noted, because he carries the album through melodic riffs. Kamelot’s The Black Halo is a crafted masterpiece
Favorite Tracks: Memento Mori (https://www.youtube.com/watch?v=Kymf6m4sVWM), March of Mephisto (https://www.youtube.com/watch?v=0Qdcl67H1Jw), When The Lights Are Down (https://www.youtube.com/watch?v=HLR5k8jedyc), Serenade (https://www.youtube.com/watch?v=e3bEqbKzRM8), Abandoned (https://www.youtube.com/watch?v=vow3rbWq8es)
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Classic album that one, love it.
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Kamelot's magnum opus for sure. Stellar album. Though the first time I heard anything from it (March) I was caught a little off-guard - expecting something different. Great tune.
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I'd actually take Epica over TBH, but it's close.
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I'd actually take Epica over TBH, but it's close.
I agree, always loved Epica more. Both are stellar though.
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Awesome album. Incidentally, I just listened to it today.
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#48
The House That Dirt Built
The Heavy
2009
(https://upload.wikimedia.org/wikipedia/en/8/89/The_House_That_Dirt_Built.jpg)
During a study abroad trip to New York City, studying media, my classmates and I decided to snatch tickets to the David Letterman show. I think Kristen Bell was the big guest. We didn’t know who the guest artist was, but I quickly wikipediaed them on my phone and saw they were a neo-soul indie group from the UK. Ok, they could be good.
So David introduced the band, and they hit us with this groovy brass and bass rhythm. The drums kicked in, and the singer started singing with a James Brown influence in his voice. Suddenly the build up to the main chorus, he quietly said “How you like me now…how you like me now? How me like now…how you like me now?” Then there was this monster of a hook into the chorus that got my head bobbing. Man, that song just got everyone in the audience was dancing in their seats. Audience Control had to tell a few to sit down (typically on these types of tapings, the audience has to sit down at all times during filming). Song is done, and we gave them the applause of their life. David Letterman was laughing and had this look like he couldn’t believe what just heard. He then asked for an encore of the song. The first and only time he has ever done that in his long history with that show. After we left the theater, all I had in my head was that song, "How You Like Me Now?" I immediately had to check out these guys, and ended up really loving the album that the song was on, The House That Dirt Built.
The House That Dirt Built is funk n roll. It is a groove consisting of punk, funk, old fashion R&B, and a dash of swag. The opening song is the shortest, but it sets up for the album. The following song is "How You Like Me Now?" I don’t know how you can listen to that song and not dance. Unfortunately, now it’s overused in a lot of movie and TV show ads. I wish this wasn’t the case, because the song is too good for someone to be like “Of that’s the song from Borderlands 2 and Suits!” Kevin Swaby, the vocalist, is James Brown reincarnated in that song, warbling the chorus over that thick bass line and horns with tremendous swagger. The band spreads their various talents throughout the rest of this album. “Sixteen” and “Love Like That” charms you with oldies song writing. “No Time” is a fun flash of gritty 70s rock in which in the finer moments reminisce Hendrix.
My personal favorite song on the album, “Short Change Hero” is an epic spaghetti western. Literally. It starts with an Ennio Morricone inspired theme into a soulful and melancholy tune.
The only complaint I have about this album it that it’s only a notch over 35 minutes long. I want more! The follow up album was good, but not comparable to this gem. The Heavy’s The House That Dirt Built is James Brown meets 60’s rock n roll.
Favorite Tracks: Short Change Hero (https://www.youtube.com/watch?v=l6eSksEp27U), How You Like Me Now (https://www.youtube.com/watch?v=E-KKT8bNVV8), What You Want Me To Do? (https://www.youtube.com/watch?v=3xIscd4okBE), No Time (https://www.youtube.com/watch?v=XWHiiaL1buU), Sixteen (https://www.youtube.com/watch?v=EIXHr5N7URA)
Here's that The Heavy performance that I was talking about on David Letterman https://www.youtube.com/watch?v=rQKsKbXN1A4
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#47
Thirteenth Step
A Perfect Circle
2003
(https://wpcontent.answcdn.com/wikipedia/en/thumb/b/bf/A_Perfect_Circle-Thirteenth_Step.jpg/220px-A_Perfect_Circle-Thirteenth_Step.jpg)
Probably the first few years that I had this album, I did not pay attention to the lyrics enough to make out the concept of this record. I originally thought that the title Thirteenth Step was just a cool sounding generic title for the album. It probably wasn’t until I started listening to Dream Theater’s 12 Step Suite that after revisiting Thirteenth Step I realized that it was full of addiction and recovery undertones. All of the songs really contribute to this meaning.
I think I like this album more than Mer De Noms. Thirteenth Step feels more of a cohesive effort, which Mer felt like it was written for a quick Tool side project. Thirteenth Step is just bombastically beautiful in every conception. You can just sit back, close your eyes, and be immersed. With the dark atmosphere are tracks that rock to kick your teeth in. The album start with “The Package”, the longest song on the album that nearly overstays it’s welcome until the guitar rips into a heavy riff and Maynard utters “Mine!” The song does start the whole the stages of recovery in a powerful way though. If “The Package” is about denial, the certainly the “Weak and Powerless” is about addiction. It was one of the singles off the record. It has a catchy chorus, but probably is the weakest overall song on the album.
The strength of the record comes from the third track, onward. “The Noose” is a gorgeous and impactful track that to me is the shining star in A Perfect Circle’s gallery of music. It’s ambient feel builds to a beautiful climatic cascade of powerful songwriting. The emotional string play matches well to the Maynards plea to overly righteous, “Your halo’s slipping down to choke you now.”
“The Outsider” is the angriest song and stays true to the alt. rock format, and has some really creative drum work. Besides this, and “Pet”, the album pretty mellow for the most part. “Blue” is a nice break from the bleak tone of the album with upbeat songwriting. “Vanishing” is another dark ambient track that took awhile to grow on me, but it ended up becoming one of my favorite tracks on the album. “A Stranger” is a slow paces acoustic song, and “The Nurse Who Loved Me” utilizes very little instruments.
It’s A Perfect Circle best work, but it also takes a few listens to truly appreciate what they accomplished here. Moody and mellow, some people may have to be in the right mood to listen to it, but the overall album is fantastic.
Favorite Tracks: The Noose (https://www.youtube.com/watch?v=BVXTmav24Wk), Vanishing (https://www.youtube.com/watch?v=wuwHlFikmTs), The Outsider (https://www.youtube.com/watch?v=nzyNWyZhUS0), Blue (https://www.youtube.com/watch?v=zlysZAUNyFg), Weak And Powerless (https://www.youtube.com/watch?v=XtvvzxET1GI)
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Ok, next few....hopefully will get some chatter going
#46
Ten
Pearl Jam
1991
(https://upload.wikimedia.org/wikipedia/en/2/2d/PearlJam-Ten2.jpg)
I am not a huge fan of Pearl Jam, and I never got why people swore by them. I mean, I don't think they are terrible, but they are completely unoriginal and epitomized. I never got all the praise Eddie Vedder has received as a vocalist because I cannot understand a damn word he says at all. He sounds like he is gargling marbles drunk. It took me a long time to realize that he was saying "Jeremy spoke in class today", not "Jeremy broke the glass mane." That being said, I don't hold them no ill-will. They work hard and love making music. I've given albums like Vs. and Vitalogy a shot, but the flat riffs and uninspired songwriting just didn't do it for me.
All that being said, I love Ten enough to have it on my top 50 list. It's a great album with intricately layered guitars and harmonies. Even though Vedder cannot enunciate to save his life, I do enjoy his vocal performances on this album, especially "Black." His lyrics were just as impressive, and one of the strongest points of the album. There are lots of heavy topics that are covered on this album, such as gun violence, broken heart, and abortion. However, with those topics comes anthemic quality that reminds me of 80's U2, in retrospect. "Jeremy" is one of the most pat Freudian psychodrama I have ever listened to, and it's a fantastic song. "Alive", one of their biggest hits, touches on some serious transgressive topics like, I don't know, incest and a dead father?
The music definitely makes the album for me, more than Vedders singing, because I have read the lyrics to understand what he's talking about. If Stone Gossard wasn't a member of Pearl Jam at the beginning of their career, they would have gotten no where. He was the main songwriter for this album, perfectly painting Vedder's lyrics into beautiful crafted melodies with fantastic two guitar play. Nothing against Mike McCready, but when Gossard left the band, they didn't have what it takes to even remotely channel the songwriting on Ten.
Favorite Tracks: Black (https://www.youtube.com/watch?v=cs-XZ_dN4Hc), Why Go (https://www.youtube.com/watch?v=WfrJCbol7ZU), Jeremy (https://www.youtube.com/watch?v=OznWh_C_JDQ), Once (https://www.youtube.com/watch?v=JqYIwJDsinM), Alive (https://www.youtube.com/watch?v=wGiTPgvKktM)
#45
The Number of the Beast
Iron Maiden
1982
(https://upload.wikimedia.org/wikipedia/en/1/1f/Iron_Maiden_-_The_Number_Of_The_Beast.jpg)
I truly do love this Iron Maiden record. If I claimed that Seventh Son of a Seventh Son, track for track, is their best record, then the anthem quality to all of the tracks just made The Number of the Beast a more appealing for me. There’s a sheer stylistic variety to all of the tracks. Each track stands alone much like all the tracks on Led Zeppelin’s IV stand to their own. Bruce Dickinson is undeniably a heavy metal legend, and I think it was his incomparable vocal performance on Number of the Beast that set his status to stone. His operatic flamboyance is awe inspiring, especially with “Children of the Damned” and my personal favorite Iron Maiden song, “Hallow Be Thy Named.” Just how he delivers the lines, like “The sands time for are running low;” Wow. I can listen to that for days and onward out.
Obviously, with Steve as the primary songwriter, I think he came into his prime with this record. I feel like he wrote for Bruce, especially with “Run To The Hills”, which complimented the theatrical vocal talent of Bruce and made a kick ass song that embraced the power and the menace of the band. Also, Adrian Smith’s contributions to the songwriting to me made an impact, especially with “The Prisoner.” There is such a great flair for melody and groove with his songwriting that it’s very hallmark.
Number of the Beast definitely set up the band for a long successful career. The album is the catalyst, and the pinnacle of the bands career.
Favorite Tracks: Hallowed Be Thy Named (https://www.youtube.com/watch?v=G90ngH2anxQ), Run To The Hills (https://www.youtube.com/watch?v=3ZlDZPYzfm4), Children of the Damned (https://www.youtube.com/watch?v=b91rSw4xuYY), The Number of the Beast (https://www.youtube.com/watch?v=7mHe6FMs46o), The Prisoner (https://www.youtube.com/watch?v=a7LH__BPqSY)
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Two stellar choices that I played the crap out of to this day.
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always nice to see Maiden in a list!
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Love both those albums.
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Never much a fan of PJ, but NotB finished #30 for my list. Probably my first "metal" album. Hallowed is also my favorite Maiden tune.
Great pick.
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Ah dude im sure in the early 80's that was a pretty metal record!
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It still is today. :2metal:
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#44
Tommy
The Who
1969
(https://upload.wikimedia.org/wikipedia/en/1/19/Tommyalbumcover.jpg)
I know a lot of folks prefer Quadrophenia, but there’s no denying what Tommy did for concept music making. It was the first story-based concept album, and it also brought mass appreciation to themed albums. The term rock opera was born. Pete Townshend is the main composer for this album. Before he started writing Tommy, he already explored and attempted the concept format with A Quick One. But with Tommy, he became an accomplished explorer of themes and moods.
Tommy is a masterpiece. Lyrically, the storytelling takes you on an amazing journey (pun was intended), and musically with incredible themes and melodies to help tell the story about a deaf, dumb, and blind boy. While Townshend was the main writer of this album, like all Who records, it’s the all four members that truly make it a musical experience. I can’t imagine listening to “Sparks” or “Underture” without Keith Moon on those drums. John Entwhistle’s bass lines bounced beautifully from Moon’s drumming, and this record is an example on why those two are one of the greatest rhythm sections in rock n roll history. Enwhistle contributions for this album wasn’t just from his playing, but he was responsible for “Cousin Kevin” and the very uncomfortable “Fiddle About”, which in the story Tommy is sexually abused by his uncle. Then there is Roger Daltrey, who did not write a single lyric for the concept album, but still took the album to the next level with his limitless vocals. Both him and Townshend carried on the vocal duties; his was the more dominating and emotional presence on the record. His cry of “See me, feel me” is legendary.
Tommy is an album full of wonders, from “Overture” to “We’re Not Going To Take It.” It's hard to pick my favorite tracks. There's just so much wonderful melodies and interesting things to listen to. It is an album that is relevant to this day, and a blue print for all rock operas/concept albums. I love The Who, and I enjoy the hell out of this record. It's my favorite out of their great catalogue of music.
Favorite Tracks: 1921 (https://www.youtube.com/watch?v=WoW_0NuaPj4). We're Not Gonna Take It (https://www.youtube.com/watch?v=ZqmC1T9rukk), Sparks (https://www.youtube.com/watch?v=ah66Jji74Tk), Christmas (https://www.youtube.com/watch?v=7BWiYJ3yykw), Pinball Wizard (https://www.youtube.com/watch?v=UFrDpx7zLtA)
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#43
Leviathan
Mastodon
2004
(https://upload.wikimedia.org/wikipedia/en/d/d8/Mastodonleviathan.jpg)
What can there be said about this album that hasn’t already been said before? Almost no other band offered such a unique take on metal with both commercial and critical success. Leviathan was a big change for the bands over all sound than their debut effort, Remission, and this is where they found their niche. Remission had such critical acclaim as well, so it wasn’t necessary to change their sound. But they did, and it was for the better in the long run. They learned how to keep up natural momentum in their albums. Every song just flows well from each other. Plus, it's a metal album based on Moby fuckin Dick :metal
The production quality on Leviathan is amazing. Every single note feels as if it was polished to its absolute best to reach the exact right effect. My only complaint, which is a complaint I have for most modern day mixing, is how un-audible the bass can be. When it is present, it’s an anchor to the music. Growling vocals are not my cup of tea, and it makes metal music from bands like Opeth less enjoyable for me. However, there’s a more tuneful approach that Brent Hinds performs in growling that appeals to me.
The most appealing aspect about this album is the unrelenting riffs. The album opener, “Blood and Thunder”, to me, is the quintessential Mastodon riff. It’s a riff full of fire and fury, and sets the tone for Leviathan. The riffs are artful but never sacrifice the dynamics for brutality. “Iron Tusk” and “Heart Alive” beautifully blends prog with metal that would define their later work like Blood Mountain and Crack The Skye. I never been to a Mastodon concert but I’m sure when they play “Naked Burn” and “Megalodon”, that mosh pit is ferocious.
Leviathan is the record where Mastodon became Mastodon. The album saw them developing and honing in on their distinct craft at a moment in American metal where it couldn’t have been any more culturally relevant. It captures a moment in time, one that influenced countless bands in only the past years since its release and will undoubtedly influence countless more in the years to come.
Favorite Tracks: Blood And Thunder (https://www.youtube.com/watch?v=v-Su1YXQYek), Iron Tusk (https://www.youtube.com/watch?v=tzVcC0TAN8k), Heart Alive (https://www.youtube.com/watch?v=qp1dRh2FVVs), I Am Ahab (https://www.youtube.com/watch?v=dy8NdJTOR9E), Megalodon (https://www.youtube.com/watch?v=q6D-ys43DMo)
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Leviathan made my top 20, it's simply incredible, great pick.
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Great last several updates. :metal
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You're off to an epic start! Angel Dust, Black Halo, Ten...all phenominal works!
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Thank you all kindly!
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Leviathan is great!
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#42
Stankonia
Outkast
2000
(https://upload.wikimedia.org/wikipedia/en/0/0b/OutKast_-_Stankonia.JPG)
Outkast is the most progressive hip hop acts of the late 90’s and early 2000’s. They craft their music with 70’s funkadelic psych with the pimp disco of Rick James and the harmonics of 70’s rock acts like Queen and David Bowie. Outkast are Andre Benjamin and Antwan Patton, two Atlanta based musicians that we know as Andre 3000 and Big Boi. Both have their own unique styles that are so different, but rather just compliment each other. Probably why I wasn’t a big fan one of their later efforts, Speakerboxxx/The Love Below, a 2 disc record which both members of the group went solo. Big Boi is bareknuckled and street savvy while Andre 3000 brings avant-garde theatrics. They became mainstream heroes with Aquemini, defying what hip hop music playing on radios was suppose to be. Instead, they didn’t listen what people told them they should do to sell records. They kept it real, and kept it right.
Aquemini was so good that they couldn’t possibly outdo themselves, right? Wrong. They made Stankonia, arguably one of the best hip/hop albums of the 2000-decade. In the intro track, they say “Welcome to Stankonia, the place where all funky things come from.” Far from an understatement, this album makes that believable. “So Fresh, So Clean” is drenched in funk. The snares and hi-hats serve as the perfect pulse for this song. However, funk is hardly the only thing on this album, though. The influences range from soul, hip/hop, jungle bass and drum rhythms, and rock. It is, as Big Boi says in the album, "Cooler than Freddie Jackson sipping on a milkshake in a snowstorm" The album is unpredictable as Outkast pull out a bag of tricks with this album.
With the wide variety of musical styles comes variety of topics, from politicking to humorous, cartoon dementia. Their word play is so much fun, like “stank” is sort of a measure of authenticity, so there are some kooky confections like “underground smellroad” and “I stank I can, I stank I can” ala The Little Engine That Could. There is also an ongoing theme of the status of women in hip/hop and it contrasts with the mistreatment of women that is common in rap music. Their famous “Ms. Jackson” song is an apology letter Andre 3000’s ex-girlfriends mother for the pain he had cause her. This song, Andre 3000 shines, with Big Boi supporting and with one of my favorite verses in their catalogue of music “She need to get a piece of the American pie and take her bite out. That’s my house. I’ll disconnect the cable and turn the lights out. And let her know her grandchild is a baby, and not a paycheck. Private school, daycare, shit medical bills I pay that.”
Stankonia is clever, hilarious, and rightfully weird. The lyrics can be satirical and deep, and that is one of the things that make this album so interesting. There was not a weirder record released the past 14 years hat would be as big a hit as Stankonia. It almost became a hit in spite of itself. That OutKast never had to sacrifice one ounce of weirdness or shed any of their quirks to become superstars is a marvel.
Favorite Tracks: Ms. Jackson (https://www.youtube.com/watch?v=Qc89T_KPNWc), So Fresh So Clean (https://www.youtube.com/watch?v=X5AfjAXcBXY), B.O.B. (Bombs Over Baghdad) (https://www.youtube.com/watch?v=kaFygeknae8), Red Velvet (https://www.youtube.com/watch?v=-ypg_B2gfvM), Snappin and Trappin (https://www.youtube.com/watch?v=1EU11SggoKo)
#41
5150
Van Halen
1984
(https://upload.wikimedia.org/wikipedia/en/archive/1/12/20140617154213!VanHalen_5150_fcover.jpg)
My favorite era of Van Halen is the Van Hagar era. I do love David Lee Roth a frontman. He had the charisma and style, but Sammy Hagar was just a superior vocalist, and his vocal performance resonated with me better. Also, I just felt that with Hagar being an experienced musician who played guitar and synths, Van Halen became a stronger band musically. That being said, I do love the Diamond Dave Van Halen years.
With that out of the way, we come to my personal favorite Van Halen record, 5150. I don't view this album as the debut of Sammy Hagar in the line-up, but rather much as I see it as being a further development upon the melodic heights in which the band reached. I love it because I love Van Halen ballads, and 5150 contains some of their very best ballads. “Dreams” is a personal favorite song of mine. It’s definitely in my top 10 of all time. The production is pumped up and pristine, with searing, creative guitar work by Eddie, spot-on drumming by his brother and heartfelt vocals by Hagar.
While the album is very balladly, make no mistake that there are some rockin’ tunes on this record. The opening track, “Good Enough”, proves that. “Get Up” is fast paced track with fun drumming and guitar work. Amongst my favorites is "Summer Nights" and "Best of Both Worlds", two fantastic rock tracks where I think the bonding of both Eddie and Sammy really shine as songwriters. The music captures a mood with a riff, which, when coupled with Hagar's lyrics, evokes a palpable vibe of summertime.
5150 shines in the bands catalogue of music. The ballads especially, with Sammy able to hit those higher notes, reign supreme. Still plenty of blazing guitar and double bass drumming, this album still sounds great today, and takes me back to a different time…a time before I was born. If I was a teenager in the 80’s, man I would have played the hell out of this record. GET UUPPP AND MAKE IT WORK! MAKE IT WORK!
Favorite Tracks: Dreams (https://www.youtube.com/watch?v=sZLKtjATZt0), Why Can’t This Be Love (https://www.youtube.com/watch?v=1VaEdKwXJhM), Best of Both Worlds (https://www.youtube.com/watch?v=OfQDn5BU0bQ), Love Walks In (https://www.youtube.com/watch?v=oYXqb6x50lA), Summer Nights (https://www.youtube.com/watch?v=xMqfIPjuT5M)
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The music definitely makes the album for me, more than Vedders singing, because I have read the lyrics to understand what he's talking about. If Stone Gossard wasn't a member of Pearl Jam at the beginning of their career, they would have gotten no where. He was the main songwriter for this album, perfectly painting Vedder's lyrics into beautiful crafted melodies with fantastic two guitar play. Nothing against Mike McCready, but when Gossard left the band, they didn't have what it takes to even remotely channel the songwriting on Ten.
Man, Stone Gossard never left Pearl Jam. He's still in the band to this day. He wrote 1/3 of the songs on all the albums after Ten. Mike McCready hasn't written many Pearl Jam songs, only one from time to time (most of them are really good).
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Who am I thinking of that left the band, or was fired? Or temporarily? :-X
EDIT:
Sonuva biatch, it was Dave Abbruzzese. My fault!
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I will get back to my list soon folks. I had an emergency flight home to Orlando because my godmother had a stroke. Any positive thoughts/prayers would be GREATLY appreciated!
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Oh man, I'm sorry to hear that. :( I wish your godmother the best.
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5150 is a great record. I give the slight nod to FUCK as my favorite Halen album (I'm a bigger fan of the Hagar era albums). But it's only a slight edge - 5150 is more consistent, but FUCK has some higher highs (along with lower lows).
Great pick - I think it made an honorable mention in my top 50.
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As I've just said in Brent's top 50, 5150 is 2/3 decent and 1/3 shite. I like the more commercial material but Get Up is a stinking turd and the instrumental was just filler on a short album (nothing new for VH). I preferred Dave's Eat 'em & Smile album and Vai kicked Eddie's arse in that particular battle for me. Eddie was being left behind at this point by all those who stole his "thing", not to mention the shredders who were emerging.
I hated OU812 but FUCK and Balance were good albums.
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Stankonia, one of their best (still, not nearly good as Aquemini or ATLiens imo) :metal
Also, while i love The Who, never was a big fan of Tommy.
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Thank you and to those who had PMd me with well wishes. She is doing well and back at home.
Time to get back on track with a classic
#40
Check Your Head
Beastie Boys
1992
(https://upload.wikimedia.org/wikipedia/en/d/d1/Beastieboys_checkyourhead.jpg)
With Check Your Head, the Beastie Boys reinvented themselves as a groove, alt rock band. They did not abandoned rap music, but it was no longer the foundation of this record, it was simply the most prominent in a thick pot where old school rap sat comfortably with soul-jazz and hardcore punk. The Boys turned toward primitive grooves that they played themselves and some studio musicians. The music was their message this time around, so they took a step back lyrically. It was not at the forefront as it was in Licensed To Ill or Paul’s Botique. This wasn’t a bad thing, because musicians focus on the music, not just the words. The lyrics supplements the music and the mood. The musical simplicity that underpinned everything on Licensed To Ill is still here, but the group had matured. The context and variety of styles gives Check Your Head its identity.
Check Your Head, track to track, is very good. The instrumentals, like "Groove Holmes" and "In 3s", are the most intriqueing aspect of the album, I think. "So Whatcha Want" is the jewel in the crown here. The most simple drum beat in hip-hop, distorted vocals, a choppy organ riff, and a 3-note guitar lick is all there is to it. It's hard to explain exactly why, but it makes you feel like you’re the baddest motherfucker around. Each song on Check Your Head eases into the next, coming out guns blazing with “Jimmy James” and drifting off to serenity with “Namaste”.
Favorite Tracks: So Whatcha Want (https://www.youtube.com/watch?v=KwEgFMhGkfU), Time For Livin (https://www.youtube.com/watch?v=f_I22GYBycM), Gratitude (https://www.youtube.com/watch?v=zd1cIHEWOGg), Pass The Mic (https://www.youtube.com/watch?v=8WC4b-Msq0Q), Groove Holmes (https://www.youtube.com/watch?v=P8O-xXvSF3M)
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#39
Parachutes, A Rush of Blood to the Head
Coldplay
2000, 2002
(https://upload.wikimedia.org/wikipedia/en/5/57/Coldplayparachutesalbumcover.jpg)(https://upload.wikimedia.org/wikipedia/en/4/45/A_Rush_of_Blood_to_the_Head.jpg)
The first tie in my list! Originally it was just Parachutes, then I remembered how much I loved A Rush of Blood to the Head, in which I replaced it and put Parachutes in my honorable mentions. But adjusting my list, I decided I couldn’t leave either off. These two albums are wonderful, adult contemporary music. Both of these albums are different. The thing I have come to appreciate about Coldplay, especially with their newer music, is that they try not to make their albums sound like the others (sans X&Y, which was their “let’s imitate our first commercially successful album” album).
First, Parachutes. It’s a more personal portrait of this band. Parachutes probably what tagged Coldplay as moody and atmospheric, but it is without the sap. In fact, there is a Jeff Buckley approach and influence to this record in which the songs were written in a variety of styles like alt. rock to jazz and blues styles, as well as Chris Martin’s falsetto vocals that he displays in some songs. It is a very intimate and earnest record, and it may contain Coldplay’s best work yet. I consider them “The forgotten ones” because it seems like the big hits that came ever since they released Rush ever gets played and not the ones that made them Coldplay. These songs include “Spies”, “Yellow”, “Don’t Panic”, and “Trouble.” They are the gems in the Coldplay’s catalogue of music.
A Rush of Blood to the Head is considered by many the quintessential Coldplay album. It is the album that put Coldplay in the limelight to stardom. They also used more electric instruments in this effort than in Parachutes, which the use of acoustics gave them a personal touch for that record. The electric guitar and piano gave them more punch and also suggested the band was more consciously shooting for the big leagues. Their singles “Clocks” , “In My Place”, and “The Scientist” are probably their most iconic, and would be the template for their less than stellar follow up album, X & Y. These singles, however, over time have become over-exposed and really are the roadblocks for a album listening experience. Not to say they are bad, because they are excellent pop songs. However, because of their success, they can be a distraction. That being said, A Rush of Blood to the Head is still a fantastic record, with beautiful songs like “Warning Sign” and “Daylight” among my favorites.
A Rush of Blood to the Head was more confident than Parachutes, but not as plotted as their future releases, giving it a casual grandiosity the band never quite recaptured. They were, in short, not yet carrying the baggage of "being Coldplay."
Favorite Tracks on Parachutes: Spies (https://www.youtube.com/watch?v=iku5Ki2z7p8), Yellow (https://www.youtube.com/watch?v=i-n75KVcGsw), Don't Panic (https://www.youtube.com/watch?v=8uxt-FnNy2I), Trouble (https://www.youtube.com/watch?v=v-g-5e6sHvg), Sparks (https://www.youtube.com/watch?v=jx-K3Il3s_o)
Favorite Tracks on A Rush of Blood to the Head: The Scientist (https://www.youtube.com/watch?v=Nj7TKL9fiT4), Warning Sign (https://www.youtube.com/watch?v=k2PxjcBl1ZI), Clocks (https://www.youtube.com/watch?v=XbI1FpLd4Vk), Daylight (https://www.youtube.com/watch?v=Z2qPxSUnOFg), God Put A Smile On Your Face (https://www.youtube.com/watch?v=deDXC9nSYU4)
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Yep. Solid choices. I remember when Coldplay first arrived and immediately having the same Buckley comparison. Yellow and Shiver are beautiful songs, its a shame they are 'forgotten' like you say.
I've been pretty big on Hip Hop over the last few years but haven't checked out any Beastie Boys, I will give that one a listen, though maybe I should check out Licenced to Ill first.
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I've been pretty big on Hip Hop over the last few years but haven't checked out any Beastie Boys, I will give that one a listen, though maybe I should check out Licenced to Ill first.
Licensed To Ill is solid. I would say listen to that first, then Ill Communication and Check Your Head
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my favorite is and always will be Paul's Boutique
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#38
Random Access Memories
Daft Punk
2013
(https://upload.wikimedia.org/wikipedia/en/a/a7/Random_Access_Memories.jpg)
While making my list, I originally was not going to have music from the past few years in my list because I felt that maybe it was a little too soon to have albums from 2012 or 2013 to be in my Top 50 favorite albums. After thinking about it, I changed my mind. Why the hell not? If I enjoyed the album enough to call it one of my favorites, then it deserves to be on the list.
Random Access Memories is no exception. I love throw back music, but as long as it is not a carbon copy of that time. I prefer the artist have their artistic stamp on that music, and Daft Punk not only geniusly added their signature house/electronic compression sound to the sounds of 70's & 80's disco and soul music, but they did it so effectively that it really shocked the music world.
Daft Punk has created something as emotionally honest as any singer/songwriter confessional. By collaborating with artists that have influenced them, they delved in their adolescent memories, making this record their most personal work to date. When I saw that Pharrell Williams, Nile Rodgers, Paul Williams, and Giorgio Moroder were all going to appear on this record, I was very intrigues. Pharrel and Nile Rodgers appeared together on two tracks: "Get Lucky", probably one of the most enduring hits of the decade so far, and "Lose Yourself To Dance", where Rodgers channeled his contribution to David Bowie's "Let's Dance" while Williams lays down a soulful falsetto worthy of Off The Wall era Michael Jackson. “Giorgio by Moroder” featured Moroder himself reciting a monologue on his life in music and Daft Punk tip their hats to him with sophisticated use of synths to create that classic Moroder sound that rode him to the top of the disco world with Donna Summers. "Touch" is a real treat. It's an emotional collaboration with Paul Williams that cycles through ambient techno, disco and melodramatic soft rock.
It’s a work of art that belongs in a museum. This isn’t an album built for the charts, it is sincere and obsessively produced quality. There wasn't album in 2013 surpassed the sheer technical wizardry and eye-popping grandeur of Random Access Memories. It strikes a perfect balance between the way the music sounds and the quality of the music itself. With this record and their brilliant TRON: Legacy soundtrack, these pair of robots are wanting to push themselves as artists, to keep us guessing, to keep us entertained, and to keep us dancing.
Eventually my top 50 albums will change. I suspect this album will be ranked much higher at that time.
Favorite Tracks: Lose Yourself To Dance (https://www.youtube.com/watch?v=Q3Bp1QVVieM), Touch (https://www.youtube.com/watch?v=XfH3erWacsQ), Giorgio By Moroder (https://www.youtube.com/watch?v=5m4ZkEqQrn0), Motherboard (https://www.youtube.com/watch?v=wz7YiQdNmZ8), Contact (https://www.youtube.com/watch?v=JI5noh4OyXc)
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I had to get this album when it was released, if only because of the hype. I really only enjoy the first song and the single(s? I can't remember). But those songs I like a lot. You can really hear the personality of those session cats blast through on 'Lose Yourself to Dance', that in itself makes it worth the listen.
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Good album but i probably would rank RAM as their 3rd best album.
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Good album but i probably would rank RAM as their 3rd best album.
This. But still,gotta love that Giorgio track.
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#37
Camp
Childish Gambino
2011
(https://upload.wikimedia.org/wikipedia/en/e/e2/Childish-gambino-camp.jpg)
Childish Gambino is Donald Glover, a young actor/comedian of "30 Rock" and "Community" fame. Since he started his hip/hop career, there have been backlash about his authenticity. Do the listeners believe what they are hearing, knowing the celebrity status of Mr. Glover? Is what he is saying being conveyed from an honest place? These are some of questions and accusations when it comes to his music. But here’s the thing: most rappers put on an alter-ego. Shocking, I know. 2 Pac, whose work I love and respect, did not come from the ghetto and was not introduced to the thug life until he created this alter ego. While Donald Glover is not a thug, he puts on this alter ego we know as Childish Gambino that will allows him to write the sort of brutally sharp lines about race, gender, society, and sexuality that would never make it into a mainstream TV show like "30 Rock" or even his contributions to "The Daily Show."
Here we have Camp, his first LP. His previous mixtapes and EPs sort of mocked the state of rap music at that time. There was a satirical approach to those releases. However with Camp, he wanted to take a more personal approach with heavy themes of cultural ostracism. His is a great punch-line rapper, littering his lines with pop culture references, puns, and fun word play. A few of my favorites: “The realest motherfucker in the game like Tron”, “Can I stay at your place? No hobo!”, “This shit im going this year? Insanity. Made the beat and murdered it, Casey Anthony.” Gambino’s references are on another level. But this is all something I had an idea of before going into it, especially knowing his work on Community.
What really shocked me is the album’s production. It really is something that shouldn’t be looked over. The music overall is fantastc. The opening track, "Outside", is a musical theatre song with a gospel choir hook. It’s one of the most interesting songs t o listen to, hitting the right topics to set up the rest of the album. "Bonfire" is a fine example of his true rapping ability. The way he drops in to the beat and the whole flow is excellent. He also shows off his singing ability in "All Of The Shine" and "Heartbeat". Camp is has everything I want in a hip/hop album: Big production, good storytelling, fantastic content, and amazing writing. Childish Gambino is one of the best hip/hop artists around.
Favorite Tracks: Outside (https://www.youtube.com/watch?v=mXahuQhadV4), Hold You Down (https://www.youtube.com/watch?v=8o_23sDUkpU), Fire Fly (https://www.youtube.com/watch?v=pHHWPTs1zxg), You See Me (https://www.youtube.com/watch?v=0d_cZChLBzk), Bonfire (https://www.youtube.com/watch?v=qL1B_r9nC9k)
#36
Sheer Heart Attack
Queen
1974
(https://upload.wikimedia.org/wikipedia/en/f/f4/Queen_Sheer_Heart_Attack.png)
Queen is a band dear to my heart, and i guarantee you'll be seeing more of their stuff on this list. I love their music, from the complex to the bizarre. They're one of the few phenomena who deliver on the hype, regardless of how you approach them. With Queen and Queen II, probably their most unrecognized pieces, they experimented how they recorded, particularly the elaborate vocals and guitar overdubs. Sheer Heart Attack not only improves on every aspect of their sound suggested by the first two records, but delivers some of the finest music of their career.
Sheer Heart Attack is probably the album where the band fully gel’d. There's a genuine excitement in hearing all the elements to Queen's sound fall into place here, as the music grows grander and catchier without sacrificing their brutal, hard attack. Queen executed the flair and style of their music from this album with melodic hooks on both their ballads and their really rockin songs like “Stone Cold Crazy.” Tracks like "Killer Queen", "In the Lap of the Gods", and "Bring Back That Leroy Brown" simply could not have appeared on previous records due to the complexity of the arrangements. The band did an amazing job by getting all of the dozens of overdubs and edits to sound like cohesive recordings.
One of the great strengths of the album is how all four members find their voices as songwriters, penning hooks that are big, bold, and insistent and crafting them in songs that work as cohesive entities instead of flourishes of ideas. Great examples of this are through their three song medley in Tenement Funsters, Flick of the Wrist, and Lily of the Valley (Us Dream Theater fans know about these songs :metal) We get to hear the vocal performance from not just only Freddie Mercury, but drummer Roger Taylor. Taylor provided a lot of the falsettos on this record, especially in “Lap of the Gods.” This sense of scale, combined with the heavy guitars, pop hooks, and theatrical style, marks the true unveiling of Queen, making Sheer Heart Attack as the moment where they truly came into their own.
Favorite Tracks: Brighton Rock (https://www.youtube.com/watch?v=TdUKi3_QntE), Stone Cold Crazy (https://www.youtube.com/watch?v=Mmt2mgmrSUw), Now I’m Here (https://www.youtube.com/watch?v=UDhTumGxB2w), In The Lap of the Gods (https://www.youtube.com/watch?v=ZYm0mkxdspU), Tenement Funster/Flick of the Wrist/Lily of the Valley (https://www.youtube.com/watch?v=9PSZByYBogI)
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SHA is a great album. Next only to Jazz for me.
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#35
Satellite
P.O.D.
2001
(https://upload.wikimedia.org/wikipedia/en/f/f3/POD-Satellite.jpg)
I was first introduced to P.O.D. at a Christian music festival at Universal Studios Orlando called Rock The Universe. My church’s youth group went to this, as well as Disney World’s Night of Joy, every year. In these festivals, I was introduced to artists who weren’t as popular as those you hear in the adult contemporary stations like Michael W. Smith and Third Day. Here I got to see Switchfoot, and Relient K play…way before they became well-known. However, that fall in Orlando in 2000, I saw this band hit the stage basting these hard riffs and drumming which blended hardcore punk and metal with hip/hop and reggae influences, and it they just absolutely blew my mind. They are called Payable On Death, but we know them as P.O.D.
A year after that they released their fourth album, Satellite, and I remember being so excited to go to the store after school to pick up the album on the day they released it. However, I waited a few days, because it was released on September 11, 2001. I was very shaken up from the events from that day. This album helped me heal in a way. The message of love and righting the wrongs in the world throughout this album was inspirational. With the single “Alive” already doing well before that day, they were in a unique position. The media had caught on about “Alive” and the new album that was released on September 11th , it was uplifting and it offered hope. I think a lot of people turned to that album because they suddenly surged and became the biggest Christian crossover success in the history of popular music.
Satellite does take a step back from P.O.D.’s previous records in terms of intensity. The album is excellent by all means, but delivers a softer change. Of course, why should it matter as long as the music is good? The softer melodies do work on tracks like on the title track and “Thinking About Forever.” The gem of this album is “Youth of the Nation”, which is a song about adolescent tragedy in American culture, from school shootings to suicide. It’s severe in subject matter and in songwriting, with brooding guitar notes, and a rhythm section that is nearly militant and contemplative. There is still much aggression in the CD from such tracks like “Without Jah” and the album closer “Portrait.”
Satellite is one of the most important albums of the 2000s, for its positive message during a tragic time in America, and its influence to rock artists today. Honestly, I haven't really enjoyed a P.O.D. album since 2005's Testify. It's not that they changed their sound, it's mores that their music isn't good anymore. I don't feel the passion of songwriting they had for The Fundamental Elements of Southtown, Brown, and Satellite. Luckily, I can always have their older stuff for me to go back to anytime I want to and enjoy.
Favorite Tracks: The Messenjah (https://www.youtube.com/watch?v=aqG5RrhxOCg), Youth of the Nation (https://www.youtube.com/watch?v=JHLY-27xNNA), Potrait (https://www.youtube.com/watch?v=DY52oTd9cUA), Ridiculous (https://www.youtube.com/watch?v=ajm1Qx9duSQ), Anything Right (https://www.youtube.com/watch?v=ZHGzJ8Okp4U)
#34
Furious Angels
Rob Dougan
2003
(https://upload.wikimedia.org/wikipedia/en/f/f6/FuriousAngelsCover.jpg)
If you ever watched first Matrix film, then most likely you heard “Clubbed To Death (Kurayamino Variation),” which happens to be one of my all time favorite songs. Kurayamino in Japanese means “of the darkness”, and the song is dark, it’s ill, and it’s just mean. It’s supposed to be a dance song, but it’s a song you can’t really dance to. Who could be mad enough to confuse yet move people like that other than Rob Dougan. He’s a composer whose brilliant genre blending music inspired trip hop and house artists like The Glitch Mob, Crystal Method, and M83. Dougan started off as a producer and remix artists who only released singles. An orchestra and a choir usually backed up his original music. A decade later after he made in the UK dance scene, he released his one and only record, Furious Angels.
This is a behemoth of a record, folks. And it’s near perfect. The flaws, such as the lack of variance in his voice, are minimal. Dougan’s genius blending of trip hop, house, classical movement, blues, and folk is absolutely reveling. It sort of plays out as a dark movie soundtrack led with orchestral-leaning electronic tracks. The inclusion of strings that give the album a dramatic ambiance yet contains a fresh feel to it. The rhythm and beats enhance Dougan’s dim journey he is taking us on.
There’s really nothing happy about this record. Dougan speaks of his demons and vulnerability that his lyrics really compliment the music. Gruff whispers and low-end rumble (similar to Leonard Cohen, actually) span the spectrum from suppressed rage, to boiling rage, to exploding volcanic rage. This is one pissed-off, damaged customer. His raspy voice growls crawls over the string arrangements, delivering poignantly earnest emotion that manages to be both ominous and bittersweet at the same time. Brilliant.
Just about every song on Furious Angels showcases Dougan's mastery at melding symphonic lushness into a throbbing atmosphere, the album as a whole feels more like a calling card, a mere introduction to Dougan and his aural pleasures that showcases his various interests in film scoring, piano bar rambling, and retrofitted club thumping. It’s a glimpse of what is and what should have been. Unfortunately, Dougan never released any original music after this release. Rob Dougan had also allegedly been working on two new albums since 2006, one original, and one classical. However, it seems like this mad genius of a composer has moved on to finer things since he became the new owner of the La Peira En Damaisela vineyard. Perhaps one day he will unleash new music. God knows Furious Angels is a roller coaster of an album. I want to go on more rides.
Favorite Tracks: Clubbed To Death (https://www.youtube.com/watch?v=C7-vezH4DPc), Furious Angels (https://www.youtube.com/watch?v=ROdo0k-9NDM), I’m Not Driving Anymore (https://www.youtube.com/watch?v=T0EMksOz5eI), Drinking Song (https://www.youtube.com/watch?v=tgNxC-TSBoY), Nothing At All (https://www.youtube.com/watch?v=q02vovRNwFQ)
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Good call on Satellite. Takes me back to simpler, 12 year old me times.
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Glad to see someone appreciate Furious Angels - it would definitely be in my top 20 albums ever, it's just so different to everything else. Here's to hoping Rob D will release another album (though I honestly doubt it).
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You lost me with P.O.D. :P
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Man, I've had that P.O.D. album since it first came out when I was a kid... Good stuff and good memories. Satellite and Fundamental Elements of Southtown are both pretty awesome albums.
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Man, I've had that P.O.D. album since it first came out when I was a kid... Good stuff and good memories. Satellite and Fundamental Elements of Southtown are both pretty awesome albums.
o/
Its pretty overlooked, but the self-titled POD album with Jason Truby of Living Sacrifice on guitar is actually really good. The track with Phil Keaggy, 'Eternal' is so goddamn beautiful. I think it was released just after Satellite.
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Sorry it seemed like i've been slacking with my list this week! I had a long commercial shoot all week that demanded 12-14 hour days with early call times. Production life, man.
Starting with a lovely jazz album
#33
Black Radio
Robert Glasper Experiment
2012
(https://upload.wikimedia.org/wikipedia/en/9/94/Black_Radio.jpg)
I've always had an admiration of artists who attempt to cross the boundaries of their genre and venture out of their comfort zone to indulge in something new and exciting, not only for them but for their audience as well. This admiration is punctuated by the fact that not everyone who does this is successful at it. With Robert Glasper Experiment, jazz composer Robert Glasper, along with Derrick Hodge, Mark Colenburg, and Casey Benjamin, explores fusions of jazz and hip/hop, r&b, and adult contemporary. With this record, there are a few original songs by jazz musician Robert Glasper, but this album is 100% dedicated to reimagining classic music of black Americans, appropriately called Black Radio. It harkens back to the progressive jazz days when guys like Lonnie Listen Smith, Roy Ayers, and George Duke were doing some amazing things. There's always been a dispute between jazz purists and jazz progressives. Miles Davis made a progressive album (Man With The Horn) and you would've thought the universe had turned upside down. Good music is good music, and this cd is some seriously good music.
I found that Glasper's ability to tastefully spread out the various talents like Musiq Soul Child, Mos Def, Lupe Fiasco, and Lelah Hathaway found on this project is worthy of praise. With twelve different guest artists on an album, it can easily start to feel crowded like there's too much going on at once. Instead, what we're given as the final product is a euphoric blend of Jazz, Neo-Soul and Hip Hop that I can cool out to in the car with my speakers up, or vibe to at a live performance.
I was particularly interested in how Lupe and Mos Def (who has changed his name to Yassin Bey) would be incorporated into the music, since both have stepped into the realms beyond their genre's as well. Thankfully, their presence was utilized well, making their performances sound genuinely organic. I found Mos's track "Black Radio" especially interesting, as he seemed very much at home from what I've heard from him in past works. Staying true to the idea of this being an "experiment," both Mos and the intstrumentation fly off in the the stratosphere playing off each other with varying tempos and vocal play from Mos himself that I find hard to describe in any other way but "interesting." By no means is it a bad thing, just worthy of note, and clearly he makes the track his own.
Black Radio is fluid in its composition yet bold enough to make you stay and listen. Robert Glasper, despite being labeled simply as a Jazz musician, has successfully achieved crossing genres and bringing different elements back to his own realm, giving us new and unique music to enjoy that will not disappoint. It’s probably my favorite jazz album ever. I can listen to it for days on and on.
Favorite Tracks: Afro Blue (https://www.youtube.com/watch?v=3-0JZlrk4xA), Black Radio (https://www.youtube.com/watch?v=tThq3EINsh8), Cherish The Day (https://www.youtube.com/watch?v=ZrL_SZjPclY), Ah Yeah (https://www.youtube.com/watch?v=uz90BOQHOHg), Gonna Be Alright (https://www.youtube.com/watch?v=nlWXsfjHeA8)
#32
Electric Ladyland
The Jimi Hendrix Experience
1968
(https://upload.wikimedia.org/wikipedia/en/f/f2/Jimi_Hendrix_-_Electric_Ladyland.jpg)
As influential as they are, it's hard to believe that The Jimi Hendrix Experience, which is the God of guitar Jimi Hendrix, Noel Redding, and Mitch Mitchell, have only released three albums. While each were brilliant in their own right, I think Electric Ladyland is their masterpiece. Originally released as a double album, it brimmed with inventive guitar work, suitably trippy lyrics and Mr. Hendrix's best vocal work. What they sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio. Jimi Hendrix was such a studio hound and perfectionist that the producer eventually left and all production duties were given to Jimi. He experimented with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they're used here.
Electric Ladyland includes two covers too but those are just fantastic. "Come On (Let the Good Times Roll)" and "All Along the Watchtower" are the cover songs and both of those versions are more than perfect. "All Along the Watchtower" is actually maybe the best cover song ever recorded. This album has so much great music like "Voodoo Chile" and "1983... (A Merman I Should Turn to Be)" which are very long and monumental. You can find many fantastic rockers like "Crosstown Traffic", "Long Hot Summer Night" and the hypnotic "Gypsy Eyes". "Voodoo Chile (Slight Return)" is one of the most well-known songs of The Jimi Hendrix Experience and it's nothing else than perfect. Actually every single second of this album is perfect from start to finish.
Unfortunately, as previously alluded to, this would be Jimi’s last record with his sympathetic compatriots in the Experience, as his restless imagination, fanatical desire to experiment, and perfectionist ways wore thin on those around him. However, short-lived though this made their alliance, it is these qualities that enabled the threesome to create arguably the greatest trilogy of albums in rock history, and Electric Ladyland is the most foreboding yet ultimately rewarding Experience album.
Favorite Tracks: Voodoo Chile (https://www.youtube.com/watch?v=3Lcl2l0XXV8), 1983...A Merman I Should Turn To Be (https://www.youtube.com/watch?v=9N8G8T-yAsU), All Along The Watchtower (https://www.youtube.com/watch?v=2o7D1e_uo1I), Little Miss Strange (https://www.youtube.com/watch?v=x4L_ZOXJeAQ), Voodoo Chile(Slight Return) (https://www.youtube.com/watch?v=tdIjubBeU3Q)
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Jimi :metal
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Stankonia, Check Your Head. Amazing. Camp is a little weak in my opinion, but I love the hell out of a lot of those tracks.
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#31
Fear of a Blank Planet
Porcupine Tree
2007
(https://upload.wikimedia.org/wikipedia/commons/b/b6/Fear_of_a_blank_planet.jpg)
As I mentioned in my honorable mentions for Lightbulb Sun, Fear of a Blank Planet was my introduction to Steve Wilson and this little band of his called Porcupine Tree. My interest sparked because of the title of the album, because I love Public Enemy’s Fear of a Black Planet, and Blank is a direct reference to that album title. While Porcupine Tree’s effort was not lyrically about race issues in the United States, it was about the issue of accepting new technology of the 21st century.
I did not know what to expect when listening to this record, since I had no prior knowledge of the band, neither have heard any of their music until Blank Planet (EDIT: I tell a lie, I did heard “Trains” at some point in my life before I listened to Fear of a Blank Planet). I was immediately hooked right from the first and title track of the album. It was a swirling, schizophrenic arrangement which lend itself to epic, far-reaching guitar riffs and bewildering sound effects, and it gave me the feels. From there, I was treated to a soundscape of somnambulistic melodies and expertly constructed chord progressions.
I think the stand out track here is “Anesthetize,” a 17 minute monster of a song that includes a solo by Alex Lifeson. Wilson seems to have shoehorned just about every facet of his remarkable music making skills inside. The four minute introduction is sinister, haunting and deceptively melodic. The four to around 11 minute mark displays an uncanny use of shifting dynamics and sustained tension. The Lifeson solo is exotic and refreshing, then we get into the heavy riffing, eerie verses, and a phenomenal chorus.
With only six songs, Fear of a Blank Planet welcomes listeners with brevity and consistency and is a stand out in Porcupine Tree’s career. It is a very complex, dense record. It certainly is near flawless, very tightly constructed album with a lot of depth.
Favorite Tracks: Anesthetize (https://www.youtube.com/watch?v=MSEQZ8reJA4), Fear of a Blank Planet (https://www.youtube.com/watch?v=Y77CN0Xrubo), Sentimental (https://www.youtube.com/watch?v=06ITNnBRveU), Way Out of Here (https://www.youtube.com/watch?v=-6psOf1B79w), My Ashes (https://www.youtube.com/watch?v=vi_j5E1JFd8)
#30
Octavarium
Dream Theater
2005
(https://upload.wikimedia.org/wikipedia/en/9/96/Dream_Theater_-_Octavarium.jpg)
It was around 2005 when I truly got into Dream Theater. Somebody on the Alter Bridge forum started a DT thread, and then recommended me the track “Under A Glass Moon,” and from there my journey into the world of Dream Theater began. I was fortunate enough that in my newfound exploration of this band, they dropped Octavarium that year.
I’m far from a prog-head, and I enjoy all sorts of music to put a label on myself. So when I heard the complaints that Dream Theater had faded away from their progressive elements in Octavarium sans the title track, I replied “sour grapes!” because the music on this album were just too good. I’m sure those progressive elements are important to people, and it has made Dream Theater giants in that specific genre, but what makes artists “artists” is the ability to explore different sounds and song structures and creating something valid. For me, when I listen to “These Walls,” and in turn being swept by the mood and melody (and Jordan Ruddess’s play), I don’t understand how people are complaining. Are the songs simple? Sure, but they did not sacrifice their style. This round, they made their music less complex in favor for music composition.
So let’s talk about the elephant in the room in The Answer Lies Within and I Walk Beside You. Indeed these are highly radio-friendly Dream Theater songs, but take them for what they're worth. Frankly, I don’t see what the big deal is. There has always been a softer song on every DT album so far. Even Train of Thought has “Vacant.” “Answers” and “Walk” are traditional ballads with uplifting lyrics and beautiful melodies. By all means, both these songs are not bad. There really are no bad tracks on this album, and even if I had give the award for Weakest Song on Octavarium, it may go to “Never Enough”, but it’s not even a bad song.
The title track is probably the best Dream Theater song ever written in my opinion. As much as I love this album and I’ll defend it to the grave, I’m even aware it wouldn’t be half as good without the 24 minute magnum opus. 8 passages filled with a full orchestra, chilling lyrics, and some of the best songwriting moments in Dream Theater’s history as a band. This song is one huge crescendo.
Their final effort with Atlantic records is a brilliant one. It encompassed everything the band was about in their 20 years as a band at that time. The Octavarium is complete. Afterwards, new label, new direction, and eventually a new drummer.
Favorite tracks: These Walls (https://www.youtube.com/watch?v=3rNCueZBSfo), Octavarium (https://www.youtube.com/watch?v=ZVMIk3xYaYo), Sacrificed Sons (https://www.youtube.com/watch?v=SsKi0Qcsgfg), The Answers Lie Within (https://www.youtube.com/watch?v=72xn8O1vJb0), The Root of All Evil (https://www.youtube.com/watch?v=RgAc7ekYmVA)
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Uproar in a prog forum in 3...2...1 :xbones ;D :eek
#29
My Own Prison, Human Clay
Creed
1997, 1999
(https://upload.wikimedia.org/wikipedia/en/9/9e/Creed_My_Own_Prison.jpg)(https://upload.wikimedia.org/wikipedia/en/e/eb/Human_Clay_Cover.jpg)
“Torn.” The first track on the first album that perfectly describes their place in rock n roll history. They are the ultimate love em’ hate em’ band, but never had there been a band that has relished so much UNDESERVING hatred. Their first two album that I’m talking about are solid gold. Maybe they arrived the wrong place at the wrong time, when the grunge scene was dying and the earnest, simple and anthemic music that was not so prevalent like it was 10 to 15 years prior to the release of My Own Prison, a genre for which Creed is, for better or worse, are among the most successful representatives. I just never understood the hatred for this band, and I will ignore those who cannot give an answer other than “because they suck” which to me translates “because it’s uncool to like them and therefore I will bandwagon the haters so I won’t get flogged for admitting I like them.”
Let’s visit the excellent debut album that is My Own Prison, originally released in the bands own label until it was remixed to accentuate the powerful post-grunge sound in order to find a crossover audience. It was successful, because as soon as “My Own Prison” was released as the first single, the album went platinum. Most people recognize Creed as the band that made songs like "Higher", "With Arms Wide Open" and other power ballad hits, but one listen to this album and your perspective on Creed will most likely change. At this point in their career, they did not have a distinctive sound. My Own Prison is a raw of an album as they come. They just have so much to put into a song, between Mark Tremonti's brilliant guitar, which has a sound he holds to himself, the very fitting bass and drum work, and Scott Stapp's lyrical mind-maze.
Scott Stapp, if he ever was a genuinely disturbed individual, is definitely working out his demons here, from the opening moody darkness of "Torn," to the soulful singing of "My Own Prison" and "What's This Life For?" The lyrics overwhelmingly deal with confrontations with deep inner problems with authority, both divine and paternal, and the struggle to figure out what the mature course to take is given this turmoil. Creed has always been labeled a “Christian band”, but Stapps lyrics suggests otherwise. Generally speaking, unlike on later efforts (ahem, Weathered), this comes across on a level that doesn't seem either overbearing or cliched enough to seem contrived. Stapp generally keeps up a high quality of lyrical play that he would lose almost completely by the end of Creed.
Of course, rock critics latched onto Stapp's vocal style and cried "Oh, they're ripping off Pearl Jam," which is probably understandable from the long, slurred phrases that abound on each song, but Creed's musical component, Mark Tremonti, Scott Phillips, and Brian Marshall, had the collective musical guts and skill to throw down. That was a BIG deal back then. Mark Tremonti grinded out his riffs with muscle with tracks like “Ode” and “Unforgiven”, with the rhythm section of Brian Marshall and Scott Phillips formed the basis of the whole structure, especially on songs like “Illusion” and “One.”
In 1999, they released the monster of an album that is Human Clay, which gave them their only Grammy for “With Arms Wide Open.” Maybe this is the album that gave Creed a lot of flak, with that song and “Higher” being severely overplayed on the radio as if there was no other rock band out there making music. The industry, critics, and record collectors alike were stunned, positively stunned, when it entered the charts at number one, then stayed in the upper reaches of the charts for months on end. They weren’t faceless, especially in the late '90s when grunge and post-grunge were dying and the most popular hard rock is either rap-rock or industrial-tinged.
However, Human Clay is probably their most essential album. They achieved that clean guitar to heavy riff sound that they are known for. They mixed it up a bit from My Own Prison here, adding more ballads and some up-tempo rockers, making Human Clay a slightly stronger record. This was also the record that I think Stapp was in his prime as a lyricists, creating beautiful metaphors and addressing personal issues. “Beautiful” is one of my favorites from his, as he tells tells that a beautiful appearance isn't always a guarantee for a beautiful inside: “She wears a coat of color, loved by some, feared by others. She’s immortalized by young mans eyes.” “Wash Away Those Years” is the probably the best track on this album. There is a gripping melody that compliments this song about child abuse and incest that is just uncanny, and one of the finest bridges that Mark Tremonti has ever written.
For me personally, these two albums were a big part of my life growing up. Love them or hate them, there is no denying the lightning in the bottle Creed was in the late 90’s. They wrote relatively solid riffs and hooks. It may not be the kind of thing that knocks out critics or grunge purists, but it does deliver for anyone looking for direct hard rock. There is a deeper depth to their music than what most people want to admit, and that’s a damn shame how caddy it is.
Favorite Tracks on My Own Prison: Ode (https://www.youtube.com/watch?v=ewSKnRv06B8), Pity For A Dime (https://www.youtube.com/watch?v=Zwvf1N0s2hM), Torn (https://www.youtube.com/watch?v=MpjcEicIjk8), Unforgiven (https://www.youtube.com/watch?v=iod6ryNxLX4), My Own Prison (https://www.youtube.com/watch?v=IP4G8_alAT4)
Favorite Tracks on Human Clay: Wash Away Those Years (https://www.youtube.com/watch?v=KpFN28K-3Tk), Faceless Man (https://www.youtube.com/watch?v=B5e3WKbesEw), Beautiful (https://www.youtube.com/watch?v=8Otwa3exj2k), What If (https://www.youtube.com/watch?v=aocRI1uQLno), Higher (https://www.youtube.com/watch?v=sHcYaS3m1c4)
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My Own Prison is an excellent album.
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I, too, never understand all the "Creed hate" and could very well be because of the fact that those big hits, "Higher", "With Arms Wide Open" are so overplayed (and those tracks were either love them or hate em) that people immediately wants to write them off as the worst band at that time which then I restate, "If Mark Tremonti, Scott Phillips, Brian Marshall are the musical components in the band, then it is not the worst band in the world."
That said, even though I'm actually not really a Creed fan, I can see how those albums, My Own Prison and Human Clay have made a positive impact to a very wide audience at that time, so yeah.
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finally getting caught up with entering these in the database . . .
Accelerando, question about your numbering. You have Sheer Heart Attack and Satellite both numbered 36. Were those supposed to be tied?
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Haha nope, they are not. I basically copied and pasted the format, and just probably just forgotten to change the number. Definitely threw everything off!
EDIT: It's all fix'd
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#28
Mellon Collie and the Infinite Sadness
The Smashing Pumpkins
1995
(https://upload.wikimedia.org/wikipedia/en/7/7e/Smashing_Pumpkins_-_Mellon_Collie_And_The_Infinite_Sadness.jpg)
The Smashing Pumpkins is the best rock band of the 90’s. The quantity of quality work from the Pumpkins trumps all other 90's bands. Yes, even Radiohead. And by The Smashing Pumpkins, I do mean the lineup of Billy Corgan, Jimmy Chamberlain, D’arcy Wretzky, and James Iha. But more importantly, I think their music speaks to that time and era of rock music more than Nirvana or Soundgarden. They were truly outsiders speaking in the angst-ridden lingua france of Generation X. For all of their previous accomplishments, such as Siamese Dream, nothing could have prepared the world for what was coming with their double album masterpiece, Mellon Collie and the Infinite Sadness.
The success of Mellon Collie and the Infinite Sadness lies from all the stylistic risks the band assumed, especially in comparison to music other rock bands were creating at the time. Because the sound of the album traveled in all different directions, the Smashing Pumpkins turned in probably one of the most ambitious and indulgent rock albums in music history. Billy Corgan’s songwriting has never more been limited by the conventional notions of what a rock band can do than it has with this album.
The first disc, entitled Dawn to Dusk, is probably the most accessible as it has some of the more well known tracks such as “Bullet With Butterfly Wings”, “Tonight, Tonight”, and a track where D’arcy Wretzky dominates her bass on heavier fare, “Zero.” While those are the highlighted songs, the gems on that disc are the heavy rocker, “Jellybelly”, and the soft and soothing epic of “Porcelina of the Vast Oceans.” Dawn is littered with numerous could’ve-been singles like the psychedelic bruiser “Love” and the rallying cry of “Muzzle” This disc has a very deliberate pacing. Each song is built on such sturdy sonic foundations that the transitions from track to track are natural, graceful even. By the time the band gets to “To Forgive”, the band has earned such a drastic come-down, and it works beautifully.
The second disc, Twilight to Starlight, is probably the more artsy and contemplative disc. It does include “1979”, which is one of the Smashing Pumpkins greatest achievements. “Bodies” man. That song gets me is a raging locomotive and the brakes are broken. Also another favorite heavy track is “Tales of the Scorched Earth”, which may be my favorite Chamberlain/Wretzky performance together. “Farewell and Goodnight” closes out the record, and shows the band unified, sharing vocal performances and coming off as extremely sweet and very heartfelt.
Mellon Collie and the Infinite Sadness avoided the pitfalls of many double albums, such as too many fillers, too few good songs, and wayward pacing. Not a moment on Mellon Collie is wasted. The Smashing Pumpkins weren’t afraid to embrace accessibility and reach new heights creatively, and to that end, made one of the most competent and compelling albums of the 90’s.
Favorite Tracks: Bodies (https://www.youtube.com/watch?v=_IXCq02LDIg), Muzzle (https://www.youtube.com/watch?v=GUdzVTB-JBA), 1979 (https://www.youtube.com/watch?v=V6fQ2pgWQV4), Thru The Eyes of the Ruby (https://www.youtube.com/watch?v=oU16EBurb1Q), Porcelina of the Vast Oceans (https://www.youtube.com/watch?v=JB6C_zj2g5I)
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#27
OK Computer
Radiohead
1997
(https://upload.wikimedia.org/wikipedia/en/a/a1/Radiohead.okcomputer.albumart.jpg)
If I consider the Smashing Pumpkins the best band of the 90’s, then Radiohead comes to a close second. Radiohead has a more tailored career, especially because after James Iha and D’arcy Wretzky, and then eventually Jimmy Chamberlain left Smashing Pumpkins, they were never the same and Billy Corgan was songwriting was limited. Radiohead, however, had been a band who had never really hinted at making an album like this. Even with the success of their hit single, “Creep”, Pablo Honey wasn’t very good, and their follow up, The Bends, was a solid rock album but it never evolved to the sound we associate with Radiohead. The game changer for their career, and perhaps, alternative rock forever, was their third release: a little album we know as OK Computer.
OK Computer dared to deal with themes of urban alienation and technology's effect on the human psyche. What you have here is a slower, moody, dark album that can be described only as probably the most accurate translation of what the current Western society might sound like on an album. The ironic sluggishness that comes with technological advances that are designed to make the world more productive, the fear, and the overall craze of things going out of control are all portrayed beautifully in just under an hour on OK Computer.
Musically, the band incorporated all sorts of textures and electronic elements without losing that feel that it is a rock album. However, the electronics are molded around the songs, and not the other way around. The songs are so well written they can withstand as many layers of electronic play and lack of conventional hooks. The music is propelled by contrast of the dueling guitar and synths, which works with what the band was trying to achieve. The album examined the duality of the material and non material worlds and the effects of technology. Songs like “Subterranean Homesick Alien” and “Paranoid Android”, references the modern corporate workplace to ugly ambition.
OK Computer is one of the most influential albums to have ever come out of the 90’s, and established Radiohead as one of the most inventive bands and rewarding bands of all time.
Favorite Tracks: Exit Music (For A Film) (https://www.youtube.com/watch?v=RByvzmmEFiQ), Paranoid Android (https://www.youtube.com/watch?v=rF8khJ7P4Wg), Subterranean Homesick Alien (https://www.youtube.com/watch?v=d1tQFX_9ct0), The Tourist (https://www.youtube.com/watch?v=aAXRKPGKXWs), Airbag (https://www.youtube.com/watch?v=NvTNWWL4CW4)
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#26
Raising Sand
Robert Plant and Alison Krauss
2007
(https://upload.wikimedia.org/wikipedia/en/b/bd/Robert_Plant_and_Alison_Krauss_-_Raising_Sand.png)
I was very surprised on how much I loved this album. First of all, I am a huge fan of Led Zeppelin, and Robert Plant is one of my all time favorite singers. I do especially like his solo material. I enjoy me some bluegrass now and then, and Alison Krauss was a familiar name with music I have heard hear and there. When I heard about these two collaborating, I initially thought it was going to be half assed cover songs that brought two unlikely artists together so someone can make a quick buck. Jesus, I was so wrong. This isn’t just a duo; it is a complete album that is engaging and has heart, making Raising Sand one of my favorite laid back albums.
The first track “Rich Woman” lays out very nicely what the rest of album has in store with an old-fashioned introduction of a wavering, almost haunting electric guitar rhythm and a crystal clear drum beat that really makes the song a fun toe-tapper. Before long, though, is what we have all come to hear: Plant and Krauss nail the mood of the song perfectly and strike a perfect balance between fragile harmony and the swagger of the melody. The next song, the country ballad “Killing the Blues,” however, more aptly characterizes the general speed of the album, which is very slow. That being said, it is hard to deny that the songs that drag down the pace are also exceedingly beautiful. “Through the Morning, Through the Night.” This track is the album’s best example of Krauss and Plant using their gentle harmony to make the song into an especially potent emotional force.
For all the credit given to Plant and Krauss on this project, the production of T-Bone Burnett, who brought the same style and influence the soundtrack for O Brother, Where Art Thou? in 2000, must not go unappreciated. In addition to his contribution as a guitarist, this collaboration would likely not have come into fruition or have been this astonishing without Burnett’s direction and production. His contributions to “Gone Gone Gone (Done Moved On)” help land a Grammy nomination.
I hope new material from Plant and Krauss is not out of the question, even though it has been 7 years since this album has been released. This album really raised the bar for collaborative albums.
Favorite Tracks: Please Read The Letter (https://www.youtube.com/watch?v=rjs0p5FWpzc), Through The Morning, Through The Night (https://www.youtube.com/watch?v=cPW5sFJuomw), Killing The Blues (https://www.youtube.com/watch?v=gwg2sdRdahM), Rich Woman (https://www.youtube.com/watch?v=52YxdYmLq24), Let Your Loss Be Your Lesson (https://www.youtube.com/watch?v=QChFjYMxBKc)
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I think I can guess why OK Computer is so loved, but seeing it at all-time #1 on sites like rateyourmusic just makes me cringe.
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Ahh, Mellon Collie and OK Computer. Two supposed "masterpieces" I can't really get into. I can definitely understand the love for them, but they're not albums I gravitate to and seeing OKC in particular, or any Radiohead album for that matter, praised as one of the best albums ever always makes me raise an eyebrow.
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Mellon Collie is amazing. Definitely my favourite Smashing Pumpkins album (though Siamese Dream is pretty epic as well). I have to listen to it again, it's been far too long.
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Well I definitely think OKC is one of the most influential albums of all time. If I were to create a list of the best albums of the 90's, it would be in my top 10; not necessarily in my top 5. It's influence is pretty prevalent to all alternative rock music following its release.
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Being around when OKC came out I remember thinking, "These guys just changed musically big time from their first 2 albums." Leaps and bounds for me.
I never checked out the Plant/Allison Krauss album. I know it was critically acclaimed and fans praised the hell out of it but I never listened to it. I shall give it a spin!
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Well I definitely think OKC is one of the most influential albums of all time. If I were to create a list of the best albums of the 90's, it would be in my top 10; not necessarily in my top 5. It's influence is pretty prevalent to all alternative rock music following its release.
I mean, I can totally see that. There's no doubt it's an incredibly influential record and one of the most important in rock music to this day. But stripping it of its notoriety and just looking at it as it is and at its music, it doesn't do much for me. It's good, but not great imo.
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#25
The Wall
Pink Floyd
1979
(https://upload.wikimedia.org/wikipedia/en/1/13/PinkFloydWallCoverOriginalNoText.jpg)
You can go ahead and tell me all the faults of The Wall. You can go ahead and tell me the short segments hinder the listening experience. You can tell me the lyrics don't compliment the music. You tell me the music in the second disc is too repetitive, and therefore, making it not as good as the first disc. I've heard it all, but that is still not going to change my mind on how much I enjoy listening to this record. With all of it's "flaws", it is still one of the most accomplished concept albums of all time.
The Wall is Roger Water’s project - his own magnum opus - and according to the other band members, he was like a dictator and told everyone what they each had to do because he had a fixed idea of the album in his mind. The fact that Roger Waters wanted to control everything was probably the main reason for the split of the classic Pink Floyd lineup and the fact that the thing that Roger Waters wanted the rights for the album The Wall shows how important this album was and still is for Roger Waters. After all, a little bit of the concept for the album is a bit autobiographical.
Musically the concept is transcribed well by the band. There are many changes of the mood that are equal to the mood of the main character, Pink. The contrast between the aggressive voice of Roger Waters and the soft voice of David Gilmour is as great as the change between the soft acoustic pieces such as "Mother" and "Hey You" and electric guitar pieces like "Run Like Hell" and "In The Flesh?" “Comfortably Numb" is probably the albums gem, which feature a legendary guitar solo by David Gilmour. The most famous song is of course the hit single “Another Brick in the Wall Part 2”, which was the best selling Pink Floyd song of all times along with “Money” on The Dark Side of the Moon .
The Wall is a very ambitious album where I think the strengths really overshadow the weaknesses. However, I approach this album as an experience. You have to listen to it from the beginning to the end. It's music is at turns beautiful, haunting, and unquestionably powerful, and it's story is an absolutely gripping one. The Wall is a timeless, undisputed Pink Floyd classic.
Favorite Tracks: Run Like Hell (https://www.youtube.com/watch?v=ySO-gryuO-c), Goodbye Blue Sky (https://www.youtube.com/watch?v=nYv1OpvrMP8), Comfortably Numb (https://www.youtube.com/watch?v=KC86ZCtV6tI), Hey You (https://www.youtube.com/watch?v=TFjmvfRvjTc), Nobody Home (https://www.youtube.com/watch?v=TIEma4NAc9w)
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#24
My Beautiful Dark Twisted Fantasy
Kanye West
2010
(https://upload.wikimedia.org/wikipedia/en/b/be/MBDTF_ALT.jpg)
Say what you will about Kanye West: Douchebag, asshole, egotistical, self-aware narcissist. There have been plenty of those types of famous musicians. However, most of them do not deliver the quality and production that Kanye West has with his music. He knows he is one of the best in the business, and he also knows the type of person he is. Nearly a year after his infamous MTV Video Music Awards, he started writing sinister, orchestral, and hugely grandiose music expiring his psyche. My Beautiful Dark Twisted Fantasy captures that essence in full. It’s an utterly dazzling portrait of a 21st-century schizoid man that is by turns sickeningly egocentric, contrite, wise, stupid and self-mocking. And it is Kanye West's masterpiece in every sense of the word. It is his most personal record to date. Kayne West breaks his heart open like a walnut and allows us into all the nooks and crannies of his soul.
Speaking of a 21st Century Schizoid Man, after the Auto-Tuned and piano heavy 808s and Heartbreaks, Kanye returns to form, from great production quality to his signature sampling various of music such as King Crimson to complete his vision. There's "All of the Lights," wrangling everyone from Elton John to Rihanna to help tell a story about a man whose selfishness drives his family away. There's "Lost in the World," which transforms Bon Iver's melancholic "Woods" into a perversely bright experimental dance track.
What Kanye is doing is addressing two aspects of his psyche, the id which comes out in the impulses that makes him a target and the ego that strives or something much higher. This is found from the very beginning of the album as Niki Minaj sits us down for a story that is like an old Grimm fairytale that segues into a chorus of the heavenly choir. These somber moments are what gives My Beautiful Dark Twisted Fantasy its emotional weight. Kanye is playing with a persona that even he himself hasn't cultivated. On "Monster", his eyes flash red as he is committing atrocities on everyone that comes into contact with him. This is not a reality, but part of that fantasy that has grown up around him. He uses that to make a point about the perception that the media prism refracts and he is just refracting back at them like a game of telephone.
The album's centerpiece, "Runaway", is what brings this collection into focus. He is confessing everything that is wrong with him and his ego in this song. The mix of styles, from hip-hop to R&B, to classical to pop, shows the ambition that West is going for. This isn't just some fly-by-night rapper just making music for a buck. Much like Radiohead he wants to push music forward, busting out whole walls with just a piano line. This track also focus on the vulnerability that most artists are afraid to express from a place of power. But this is what makes the song so accessible to anyone and everyone, without sacrificing the unique sound.
With three phenomenal albums, The College Dropout, Late Registration, and Graduation, already under his belt, Kanye West enters his second decade of musical production with his best solo release yet. His last solo effort, Yeezus, is pretty fantastic as well. However, it is My Beautiful Dark Twisted Fantasy that he has upped the standards of rap that he himself set.
Favorite Tracks: Runaway (https://www.youtube.com/watch?v=C6CJQ_hnm24), Hell Of A Life (https://www.youtube.com/watch?v=QvImAiU04Ag), Monster (https://www.youtube.com/watch?v=XA9rgrVQX2g), So Appalled (https://www.youtube.com/watch?v=JztZETJ4SaQ), Lost In The World (https://www.youtube.com/watch?v=dyQpQhrQ5Zs)
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Interesting, I've been meaning to check that Kane album and didn't know it was so varied! Will give it a check soon :tup .
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Album of the decade so far :heart
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#23
One Day Remains
Alter Bridge
2004
(https://upload.wikimedia.org/wikipedia/en/2/20/Alter_bridge_one_day_remains.jpg)
It is 2014, and Alter Bridge has finally succeeded to become known as Alter Bridge, and not “Creed with a new singer.” It was a tag Mark Tremonti, Scott Phillips, and Brian Marshall wanted to avoid after forming a new band with an unknown ex-vocalist of Citizen Swing and Mayfield Four, Myles Kennedy. It was inevitable that every nook and cranny of this band was going to be compared to the former band. At that time, Myles Kennedy was looking for a new band. After he declined to join Velvet Revolver, he was asked to join Alter Bridge. With a shared vision of rock n roll and blues roots, the newly formed Alter Bridge set out to make a rock album that didn’t come with the egos of stardom. The result was something special.
Mark Tremonti had already written most of the music and lyrics before Kennedy came along, and he set the tone of what this band was going to be; a hard rock driven band filled with guitar riffage that will cover a huge range of sounds and styles. There was a newfound sense of enthusiasm for Mark, as he is now able to do thing he wasn’t able to do with Creed; soaring guitar solos, fast fretwork, and incorporating different guitar techniques that he learned from his biggest influences. Scott Phillips gets to play a little bit more, incorporating double bass play in his drumming for the first time in his career. Brian Marshall’s bass provides a thick driving undertone to keep the force of the songs going. Myles Kennedy comes in as versatile as they come. Possessor of a 4 octave range and incredible breath control, his pure emotion that he can bring to any song can take a listener's breath away, and he is as good live as in the studio.
One Day Remains starts with a bang. Both “Find The Real” and the title track show off heavy driven guitars and drum duo with a dynamic vocal performance by Kennedy. Kennedy wails last 40 seconds of the opening track, showing off his chops that are reminiscent of Robert Plant and Chris Cornell. With “One Day Remains”, there is an incredible musicianship happening, and was probably the track that clicked that this was ALTER BRIDGE: a flawless rock song that is fast paced with incredible vocal work, an exciting guitar solo that you’ll want to air guitar to, and the melody between all players is just over the top. Other heavier works on this record include “Metalingus”, which is probably the most well-known song on the record due to it’s ties with the wrestler The Edge. This metal anthem starts with impressive drumming from Phillips followed by a Tremonti wail on the guitar and end with a brutal guitar riffing.
The more intimate moments do come from the ballads. “Burn It Down” is one of the best Alter Bridge songs ever written. Myles Kennedy really shines, telling us what may be the worst things that can happen will also be the things that strive us to become better. His soul-like approach compliments Tremonti’s bluesy guitar strumming. The reward comes in with the bridge, which just soars. “In Loving Memory” incorporates one of the most emotional choruses I have ever heard. This song was written in memory of Mark Tremonti’s mother who had passed away. It is a very sad song, but there are some uplifting moments.
Speaking of uplifting moments, the album is full of them, including the track that has one of Kennedy’s best vocals performances I have ever heard from him, “Down To My Last”; it’s a arena rock song about never backing down where Kennedy just goes off unchained. This song is an example of what solidifies him as today’s best rock vocalist. “Shed My Skin” is another uplifting song that is chalkfull of melodies and an infectious chorus.
Anybody who is a rock and roll fan will appreciate the struggle they went through to make a new name and niche in this music scene and not to be considered Creed with a new singer. With four albums out now, they’ve successfully done that. Tremonti and Kennedy are now considered gods in their respective talents. One Day Remains is a great record, and the beginning of something incredible
Favorite Tracks: One Day Remains (https://www.youtube.com/watch?v=gkMOXsY1nDo), Burn It Down (https://www.youtube.com/watch?v=DYC7rjnDH2Q), Find The Real (https://www.youtube.com/watch?v=SPNxDLSh7WI), Metalingus (https://www.youtube.com/watch?v=cI19ydvjJjs), The End Is Here (https://www.youtube.com/watch?v=2CGyk4_gHJY)
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Oh man, Alter Bridge are great. I still have to completely listen to this record, but still, one of the best bands these days.
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It's a funny thing. Some albums, you may hear at a time, may not age well 10 years later, but that's not going to be the case with One Day Remains.
10 years later (well, actually, 7 for me since I became a fan of them in 2007), and I can still pop in this album, listen to it in full and sing along with it and be immersed in it. Open Your Eyes was pretty much the 1st song I ever heard from them, as it is the case for many long-time AB fans, from a youtube highlight fan video of WWE's Royal Rumble 2004. It was pretty much the 1st time that I ever listened to a very long extended bridge and guitar solo of any kind, and I knew I was going to be hooked on it. All the other songs from it are great. Down to My Last, In Loving Memory, One Day Remains, Broken Wings, Find The Real are other favorites from me. Truly the start of something wondrous for this band and it all started with this album.
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I was sure Broken Wings would be a standout track for you! Masterpiece of a song, so beautiful and brutal.
+1 on the Kanye too, wish people were more open minded to give it a try - its a truly phenomenal album.
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Have ya'll seen the 35 minute short film attached to that Kanye album? Very beautiful cinematography, and interesting choice of coloring
https://www.youtube.com/watch?v=Jg5wkZ-dJXA
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I'd never thought I'd see Creed and Kanye on the same top 50. At least Yeezy's higher than Creed...
Also, I noticed that you said that he had already had 3 fantastic albums under his belt. WHAT ABOUT 808S AND HEARTBREAK?
nvm. I just kinda skimmed through, and totally missed the mention of it. 808s is sick, though.
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I was blown away the first time I heard One Day Remains.
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#22
Images and Words
Dream Theater
1992
(https://upload.wikimedia.org/wikipedia/en/8/8d/Dream_Theater_-_Images_and_Words.jpg)
As I briefly mentioned in my write up for Octavarium, a long time ago, I joined this website called alterbridgeband.net a little after Alter Bridge released their first album. I believe it was in a Rush thread people started talking about Dream Theater, and then there was probably a Dream Theater thread formed. Around this time I was exploring different genres of metal, and I like the named “Dream Theater.” So, in said Rush thread, a user asked what are some of my favorite songs by Rush so then they could try segway me into Dream Theater music. I must have said "Camera Eye" and "Red Barchetta", two of my most favorite Rush songs. The one song the Alter Bridge user told me to take a listen to “Under The Glass Moon.” Ever since I heard the atmospheric keys from Kevin Moore and guitar from John Petrucci, I was absolutely hooked on this band, and their sophomore effort, Images and Words.
What really grabbed me about this band, and this album in particular, was the musicianship and how skillful each player was. Learning the guitar at that time, I was absolutely amazed by Petrucci’s solos. In fact, I think the first time I truly paid attention to John’s solo on “Under A Glass Moon” I nearly gave up on guitar because I knew I could never reach that level. Even hearing John Myung’s speed and stamina, especially on “Metropolis, Pt. 1” almost made me give up on trying to play an instrument. Of all the interesting things to hear, Mike Portnoy really stood out to me. He was one of the most technical and proficient drummers I had ever heard. Kevin Moore’s compositions on the keys were very impressive, and really was the backbone of that sound they had for that album, I think. It took me awhile to get use to James Labries vocals, but there was no doubt that I immediately knew how incredible he was with that range. I started to appreciate the nuances that he uses to express his emotions after listening to Six Degrees of Inner Turbulence. On Images and Words, “Learning To Live” is his most impressive vocal performance.
I’ve seen so many reviews written for this album in this Top 50 Albums series on this site, it really shows how much this album is loved by not only Dream Theater fans, but fans of progressive music. This album is truly prog metal at its peak of originality and creativity.
Favorite Tracks: Under A Glass Moon (https://www.youtube.com/watch?v=JEKTNtmKZEw), Pull Me Under (https://www.youtube.com/watch?v=ZZvE69jBPgE), Metropolis, Pt. 1: The Miracle and the Sleeper (https://www.youtube.com/watch?v=FsDjr4iJBiA), Surrounded (https://www.youtube.com/watch?v=8ZrJvvD_29k), Learning To Live (https://www.youtube.com/watch?v=PpGhKbkETMM)
#21
In Rainbows
Radiohead
2007
(https://upload.wikimedia.org/wikipedia/en/2/2e/In_Rainbows_Official_Cover.jpg)
This album is listed as one of the albums that defined my college years. I have a lot of memories attached with this record. The semester this record came out I was reaching the peak of my creative efforts in school. I worked a lot with my best friend in college who was an amateur photographer, and we played this album as we worked in the dark room on campus. I was dating this beautiful Dutch international student at the time. I was in a production of A Midsummer Nights Dream. I really kicked started making film projects for class and for my personal portfolio. It was an incredible time for me in college.
The sheer beauty of In Rainbows shines through the band's successful creative efforts. The production on this album is so clean and graceful that the listener can hear each one of the elaborate musical layers coming together in unison for a finished product that sounds brilliant. However, these components mesh so gracefully that ultimately In Rainbows sounds simpler, more genuine, and significantly warmer. Like most of their records since OK Computer, Radiohead balances a variety of instruments with an array of electronics and therefore generating a range of gratifying sounds. However, more than any of their albums that I heard, this one really tugs on my emotions. I can’t explain why or what does it. Maybe it’s the composition, or it could be Thom Yorke’s potent vocals. Whatever it is, it is the bands most cathartic work.
Yorke’s falsetto work does take weight of this record, and it is definitely a highlight. “Reckoner” is a song where his vocals just command the song and culminate a wave of passion with tambourines and percussion work. His falsetto work is especially soothing in "Nude", a song that does changes the pace of the album early on, but it is fulfilling with an irresistible bassline and beautiful guitar work. However, some of the best moments on the record are when the songs progresses and benevolently grab the listener and elicit feelings. My all time favorite Radiohead song, “All I Need”, just happens to do that, and the last minute is one of the most moving achievements in this bands history.
In Rainbows is a very rewarding listen, mustering so many musical elements that fit together so well. This proves that the band possesses the capability to construct majestic music that explores roads rarely visited. It certainly my favorite Radiohead album.
Favorite Tracks: All I Need (https://www.youtube.com/watch?v=wUL8NklXDsw), Reckoner (https://www.youtube.com/watch?v=9wCJPm19XYQ), Weird Fishes/Arpeggi (https://www.youtube.com/watch?v=V_Ydoe4Q-Gg), House of Cards (https://www.youtube.com/watch?v=kTCe02uV3TA), Jigsaw Falling Into Place (https://www.youtube.com/watch?v=TR2HPSjcJ7I)
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Images & Words is an addiction. Always nice to see on a top 50
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Images & Words is an addiction. Always nice to see on a top 50
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Really curious to see how high Alter Bridge's Fortress goes. It gets the nod from me as the band's best record, but I'm sure you have Blackbird edging it out.
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These two classics appeared at my own top 50 this year and, ironically, together in the same update as well (because it was in alphabetical order).
Images is great but In Rainbows is another level shit, maybe my favorite album ever :heart
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#20
The Grand Pecking Order
Oysterhead
2001
(https://2.bp.blogspot.com/_LT-fH3sG_ic/TMnbZXyxXBI/AAAAAAAACKg/sZ8hFAEs-_s/s1600/oysterhead.jpg)
The problem with supergroups sometimes are that egos always get in the way of the creative juices. This is definitely not the case with Oysterhead. Here we have Les Claypool, Trey Anistasio, and Stewart Copeland who have combined their abilities to not only create formidable jam band music, but they may be musically of the best supergroups of all time. They have only made this album, The Grand Pecking Order, and it’s quite spectacular. It’s hard to believe that the drummer of The Police is making an album with Les Claypool and his infinite infatuation with weirdness. However, these three guys play off each other like it’s second nature, and it’s really a treat.
It’s not Phish. It’s not The Police. It’s not Primus. What you have here is musicianship at it’s finest creating technical absurdity. Humor and seriousness and technical expertise are combined into something that shouldn't work, but works beautifully. I think Claypool’s sensibilities may shine the brightest, just because of his strange vocal work and undeniably impressive bass work. While his weird characteristics may define the likes of Primus or Colonel Claypool’s Bucket of Bernie Brains (yes, that is a name of one of his projects), he isn’t a distraction from the music or the shared vocal work by Trey Anistasio. Don’t take that as something that was uninspired because this is a lively album filled with a lot of interplay between musicians. Trey’s bluesy style is well integrated with the bands music. The formation of Oysterhead also marks the return of Stewart Copland drumming for a band since the last Police record 13 years prior to the release of The Grand Pecking Order, and he did not lose his touch. His heavenly snare and high hat fits blends nicely with Anistasio and Claypool.
The songs range from pleasant instrumental to moderately hard rocking. Tunes like "Mr. Oysterhead," "Army's on Ecstasy" and "Shadow of a Man" have bass driven grooves that allow Copeland to play with precision. Copeland and Claypool seem especially inspired on “Psuedo Suicide”, with a driving rhythm that is more upbeat than anywhere else on the album. In “Oz is Ever Floating” Claypool lays down some funky blues-influenced licks that are supported with a driving staccato beat from Copeland. I can’t tell if Claypool is using a voice box or is just synching his vocals perfectly to Anastasio’s guitar, but the effect is quite original. Anastasio wanders about with some funky licks that sound as if they were improvised in the studio in “Rubberneck Lions”, and that sets up a jam sess for the rest of the track.
Ultimately, The Grand Pecking Order provides a great number of considerable interest to fans of Anastasio, Claypool, and Copeland. The Grand Pecking Order never becomes a joyless, ego-driven wank-fest. Quite the contrary, the musicians seem to be carefully listening and playing off of one another at all times and enjoying themselves doing so. This dedication injects electricity into the instrumental interplay and keeps the songs fresh and lively.
Favorite Tracks: Psuedo Suicide (https://www.youtube.com/watch?v=u1jROIayaO8), Oz Is Ever Floating (https://www.youtube.com/watch?v=x3IUTV5K8Uc), Little Faces (https://www.youtube.com/watch?v=PPWBKLRsdtY), Mr. Oysterhead (https://www.youtube.com/watch?v=3C-qKFZeXFg), Birthday Boys (https://www.youtube.com/watch?v=-dsksQO9lFo)
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I've never heard this album, and I think I vaguely remember hearing about this project. You make it sound so good though, I should really get my hands on it. I love Seas of Cheese and Pork Soda and I've always dug Copeland's drumming. Phish I am not familiar with at all.
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Oysterhead is a hard album to get into. I love Primus but this album makes Primus seem accessible.
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Oysterhead is a hard album to get into. I love Primus but this album makes Primus seem accessible.
Interesting! I've always viewed Oysterhead more accessible than Primus. But anything is debatable when Les Claypool is involved :laugh:
#19
Discovery
Daft Punk
2001
(https://upload.wikimedia.org/wikipedia/en/a/ae/Daft_Punk_-_Discovery.jpg)
If you had ever heard a Daft Punk song, more than likely it came off of this album. Especially the first four tracks: “One More Time”, “Aerodynamic”, “Digital Love”, and “Harder, Better, Faster, Stronger” – those are all instant classics. This album dropped nearly four years after their very successful debut album, Homework. It was a record that genuinely changed the house movement, with sounds and styles that artists after them have been heavily influenced by. With Discovery, they apply their love of 70’s and 80’s disco dance grooves and included it with house, smooth jazz, new wave, and rock.
This is sonically one of the best album I have ever listened to. The production value is insane, adding stuff very sympathetically and effectively like the vocoders, synths, huge kicks, and heavy compression. It was innovative at that time, really. It also comes studded with pomp rock, Rick Wakeman-esque keyboard runs and smooth mid-Atlantic funk ballads. There are also some pseudo-classical solos that aspiring metal guitarists spent years trying to perfect (specifically, Aerodynamic.)
Discovery is an unstoppable energy. The first four tracks I mentioned seemed to impossible for the rest of the album to follow up. Even the chilled-out groove of “Nightvision” and “Something About Us” is still dynamic energy and keeps the record going. “Voyager” and “Verdis Quo” are dimensions of the acid house music that Daft Punk brought in Homework, along with “Short Circuit”, one of the most underappreciated tracks on the album.
One of the greatest electronic album's of all time and will be remembered as such. Perfectly captures the emotion and tone of my first experience with electronic music and I feel unbelievably lucky to have lived through such an amazing piece of Art.
Favorite Tracks: Digital Love (https://www.youtube.com/watch?v=QOngRDVtEQI), Voyager (https://www.youtube.com/watch?v=Dkik97YkiE0), Aerodynamic (https://www.youtube.com/watch?v=mCnJ2_xN2jU), Veridis Quo (https://www.youtube.com/watch?v=OgcY6qlzdf8), Harder Better Faster Stronger (https://www.youtube.com/watch?v=GDpmVUEjagg)
#18
What's Going On
Marvin Gaye
1971
(https://upload.wikimedia.org/wikipedia/en/8/84/MarvinGayeWhat%27sGoingOnalbumcover.jpg)
Marvin Gaye is one of the best and most important voices in the history soul music. With What’s Going On, Marvin shares his thoughts on the American dream of the past and relating it to urban decay, police brutality, poverty, and unemployment. It became one of the most important and passionate pieces of work during the Motown era, and became what is considered Marvin Gaye’s masterpiece.
Obviously, there are some heavy subject matters in the album, which was something different than what both Gaye and Motown had created before. It’s not party music. The title track opens the album and he ponders the question of what is going on in the world today. It was not just about the brothers dying in and mothers crying about the Vietnam War, but about the wars of everyday life in Urban America. The next five songs flow in and out of one another forming a musical suite. In "What's Happening Brother" he questions why the inner city is decaying while "Flyin' High (In The Friendly Sky)" is about Mr. Gaye's drug use. "Save The Children" asks for us to get together and make the world a better places for our kids and he provides a possible solution by looking to higher powers in "God Is Love". "Mercy, Mercy Me (The Ecology)" is his take on the polluting of the world. "Right On" is a what one might call psychedelic funk and "Wholy Holy" is a sermon from the son of a preacher. The album closes back where it started with "Inner City Blues (Make Me Holler)" where Mr. Gaye rails against the problems of the ghettos.
An album like this only comes along once in a million years, and it's luster will never tarnish. Marvin Gaye was a beautiful human being, and he literally poured out every emotion onto this record. Certainly a stand out record from a stand out artist.
Favorite tracks: Inner City Blues (Make Me Wanna Holler) (https://www.youtube.com/watch?v=tI9SKuCIMpc), What’s Going On? (https://www.youtube.com/watch?v=H-kA3UtBj4M), Mercy Mercy Me (The Ecology) (https://www.youtube.com/watch?v=efiDnHS3fzk), What’s Happening Brother (https://www.youtube.com/watch?v=MAN4HkZhO3U), Right On (https://www.youtube.com/watch?v=XTCqgk7bfkc)
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#17
Alive 2007
Daft Punk
2007
(https://upload.wikimedia.org/wikipedia/en/4/49/Daft_Punk_Alive_2007.JPG)
Here is the only live album you will find on my list. I debated about having this album on my list for some time because I wanted focus mainly on LPs. However, according to my iTunes, it is the most played album on my list. I was surprised that an Alter Bridge or Michael Jackson record wasn't the most played, but having gone through two different laptops and iPods (including the iPhone), I figured it is recently in the past or so my most played. My guess is this is one of my go-to albums to workout to. With it's hard thumping beats and builds, it's a live album that keeps me energized and motivated, and at times, makes me wanna get up and dance. Great for cardio. Another reason why this is on my favorite albums list is because if you take out the live settings with the audience, this could be one great remix record of Daft Punk's first three albums: Homework, Discovery, and Human After All.
This is by no means just the casual spinning of the same old standard loops. This is a group reinventing and twisting classics for the audience before them. In more than 12 tracks, they incorporate elements of 25 of their songs in an energetic concert. All these songs pop tremendously and live harmoniously when mixed together. Even Snippets of songs from their weakest album, Human After All (which does not mean it was a bad album. It just never became the instant classics the first two Daft Punk albums were, and certainly is better than people are giving it credit for., breathe new life and become better. All three albums are represented evenly.
The robots' human element is more evident here than on the studio recordings. With a track like "Face to Face/Short Circuit", a well-tweaked sequence of blips slows and speeds up like it never would on record. You can feel the human hands at work. “Touch It/Technologic” is begun by a half-speed section of the computerized vocals being repeated over and over before it kicks into gear. When it picks up, they proceed to kick your ass and tear the house down. Blending two monumental standouts like “Around the World” and “Harder, Better, Faster, Stronger” together is an obvious yet well-thought out move, and it serves both tracks well.
One of the very great Live albums of our times, this album encapsulates the energy and versatility that Daft Punk so vehemently pioneered in the 90's and 00's.
Favorite Tracks: Touch It/Technologic (https://www.youtube.com/watch?v=19VOXLpYoOo), The Prime Time of Your Life/The Brainwasher/Rollin' & Scratchin'/Alive (https://www.youtube.com/watch?v=OsRnPPV5PT8), Around The World/Harder Better Faster Stronger (https://www.youtube.com/watch?v=x5__Ogi4Tek), Robot Rock/Oh Yeah (https://www.youtube.com/watch?v=be18w3U0Jq8), Television Rules The Nation/Crescendolls (https://www.youtube.com/watch?v=DnVPMxN6fec)
#16
Second Skin
The Mayfield Four
2001
(https://ecx.images-amazon.com/images/I/51QbnQp5P-L._SY300_.jpg)
The Mayfield Four is a Spokane based band that Myles Kennedy played in before joining Alter Bridge. If you thought Myles' vocals are tremendous with Alter Bridge, and now Slash and the Conspirators, then you really need to check out The Mayfield Four. I think his music and vocal performance are some of the most personal and sentimental work in his career. The rest of the band members are not bad, but his voice just really sets the band apart. Their debut album, Fallout, was a very bluesy and laid-back album, particularly Myles' heavily-influenced Jeff Buckley singing. Their second and last album as a band, Second Skin, transitioned to a straight up rock album that let Myles display his vocals more effectively.
The Mayfield Four became "The Mayfield Trio" when they made Second Skin because of the departure of lead guitarist Craig Johnson. Kennedy, already an accomplished guitarist, steps up providing both rhythm and lead guitar on the record. It should be noted that Nine Inch Nails' guitarist Alessandro Cortini filled in on the road and even appeared in the band's publicity photos to avoid confusion of the band's name, but he is not on this album. There aren’t any massive riffs or solos to be found here, but the musicianship manages to be fairly diverse for a rock album and mostly avoids falling into boring power chords. Most songs are driven by simple, catchy guitar riffs that provide a solid backbone to Kennedy’s stellar vocal performances
You'd be surprised you couldn't find one filler or out-of-place song anywhere. It's absolutely a gem from start to finish. It flows perfectly, barely changing gears or pace. Myles never ceases to amaze with the ability to encompass resonant bottom notes and powerful sky-high top notes like on "Believe"."White Flag" is one of the album's few ballads, and it has a good, catchy chorus and a beautiful melody about a surrender to love. The end track, "Summergirl", is one of the saddest songs I have ever heard as Myles sings with such conviction and the emotion he is feeling about life loss. Also, here he displays his 4 octave range with unbelievable control and power.
Second Skin is such a fantastic album. It's a shame that not many people have heard it. It really did fly under the radar. It is a consistently enjoyable piece of modern rock that hints at the greater accomplishments Myles would soon achieve with Alter Bridge.
Favorite Tracks: Believe (https://www.youtube.com/watch?v=LwJBsHg0i8I), White Flag (https://www.youtube.com/watch?v=nScdckmGC8M), Summergirl (https://www.youtube.com/watch?v=t8LbMo-C9Io), Sick & Wrong (https://www.youtube.com/watch?v=kYgqlawnkwM), Mars Hotel (https://www.youtube.com/watch?v=xDE_DRfZLDY)
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Discovery is one of my favorites too :tup
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Read "Summergirl went away" in the title. I know what album that is.
Edit: Read the post. YES!!!!! Love live that Second Skin album!!! Summergirl, White Flag, Eden(Turn the Page), Mars Hotel, and Carry On amongst others are so bloody great. It's kinda an interesting note (and kinda sad note) that this album is more well-known now with Myles' success with AB and Slash/Conspirators than it was when Mayfield Four was active. Tremendous vocals and some of the lyrics like White Flag and Eden holds dear to me, personally.
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Yep. "Carry On" helped me get through a tough break up a while ago. Such personal lyrics that we can identify with. That's one of the strengths of Myles' songwriting.
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#15
II
Led Zeppelin
1969
(https://upload.wikimedia.org/wikipedia/en/2/20/Led_Zeppelin_-_Led_Zeppelin_II.jpg)
This album is a prime example on why Robert Plant, Jimmy Page, John Bonham, and John Paul Jones are rock and roll legends. With tight guitar riffs, a considerate amount of blues, layers of songwriting and musicianship, and great vocals, Led Zeppelin II is everything a fan of rock music would want. It provided a blueprint for all heavy metal bands that followed it.
I think one of the most amazing things about this album is that it was recorded during Zeppelin’s first American tour. Their debut album was only released 9 months prior! Since the group could only enter the studio for brief amounts of time, most of the songs that compose II are reworked blues and rock & roll standards that the band was performing on-stage at the time. No matter the lack of original material; the sound of the album was heavy and loud, complimented by extended instrumental solos. The rhythm section makes the sound so cohesive. Bonham's drums drives the band ever forward while Jones is just ethereal on the keyboards and bass guitar. Even more than the debut album, Led Zeppelin II is a document of the bands technical ability.
Jimmy Page’s opening riff for “Whole Lotta Love” is one of the greatest in rock and roll history, and sets up a powerful foundation for the record. “Heartbreaker”, “Living Loving Maid”, and “The Lemon Song” are other signature riffs. II has great softer stretches in the album, like “What Is And What Should Never Be” and “Thank You.” The drum solo in “Moby Dick” is legendary, and certainly put Bonham on the pedestal of great rock drummers. “Ramble On” gives the album a subtle energy with acoustic and great backing rhythm section. I cannot say enough about that break in “Bring It On Home.” I loved it so much I made that section my ringtone.
Led Zeppelin II is more than a classic record. It’s is one of the most influential records going into the 70s
Favorite Tracks: Bring It On Home (https://www.youtube.com/watch?v=VuPvjstcyCM), Ramble On (https://www.youtube.com/watch?v=a3HemKGDavw), Whole Lotta Love (https://www.youtube.com/watch?v=Mln0RciE2o0), What Is and What Should Never Be (https://www.youtube.com/watch?v=uzK0pYJbfKg), Moby Dick (https://www.youtube.com/watch?v=go12mVC8M-s)
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Led Zeppelin II is more than a classic record. It’s is one of the most influential records going into the 70s
Well, the same can be said about most of their albums anyway :P
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Led Zeppelin II is more than a classic record. It’s is one of the most influential records going into the 70s
Well, the same can be said about most of their albums anyway :P
haha this is true :D
#14
Fortress
Alter Bridge
2013
(https://upload.wikimedia.org/wikipedia/en/8/87/Alter_Bridge_-_Fortress_album_cover.jpg)
Alter Bridge seems comfortable with releasing an album every three years. One Day Remains was released in 2004 followed by Blackbird in 2007, AB III in 2010, and their latest Fortress settling for 2013. Those time in between the band members are busy with side projects, most notably Myles Kennedy is fronting Slash’s solo records, and Mark Tremonti released his first solo record in 2012. Also, drummer Scott Phillips formed a supergroup with members of Sevendust and Submersed called Projected. Brian Marshall co-owns a resort in Costa Rica with his wife. But during all this time, Alter Bridge fans thirst for more of the quartets music like Vampires thirst for blood. AB III showed signs of experimentation, and darker musically, and half the album fell flat. Three long years later, the wait was worth it all, as Fortress is the bands best effort to date.
Alter Bridge have established themselves as melodic hard rock. You’re always guaranteed soaring melodies and anthems with their music, as well as metallic hard riffs, soloing, and excellent bridges. This time around, and picking up where they left off with AB III, they showed off their versatility as songwriters and musicians. They progress as a band by changing up songwriting arrangements and experimented with time signatures. It is their most progressive album to date, with signs that they were going that way with songs from their previous albums like “Coming Home” and “Show Me A Sign.” They have certainly tried to detach from the samey rock song structure and created something pure and interesting.
The album starts off with an epic if there ever was one. “Cry of Achilles” is a crowning achievement. It immediately dispels any fears of the band playing it safe with a captivating acoustic intro, diverse riffing, a spirited performance from Myles, and a pair of ripping guitar solos. “Addicted To Pain” and “Bleed It Dry” shows off the riff machine that is Mark Tremonti. He loves to make that guitar sound absolutely mean and brutal in these two songs. Tremonti also makes his debut as a lead vocalist in in the progressive “Waters Rising.” One of Myles Kennedy’s best vocal performances with Alter Bridge can be found in “Calm The Fire.” The intro shows off his beautiful falsetto that can be found in his former low-key bands like The Mayfield Four and Citizen Swing. Then the song explodes with bombastic anthem guitars. The album concludes with the title track, “Fortress,” one of their most experimental and epic tracks. The highlight is in the bridge, which is probably the greatest moment in Alter Bridge history. The bridge is a metal heads dream. The rhythm section of Brian Marshall and Scott Phillips brings the thunder to elevate the heavy riffage. Then Tremonti and Kennedy treat the ears with a duel of sorts; Tremonti shows of technical efficiency in guitar soloing, and Myles bluesy style compliments it.
Fortress is the perfect culmination of what happens when a band whose sound embodies some signature elements made popular by many melodic rock bands take a risk and executes it perfectly. The substance and technicality have immersed their music to a whole new level. Alter Bridge is the best hard rock band out there, and they are showing no signs of slowing down.
Favorite Tracks: Cry of Achilles (https://www.youtube.com/watch?v=smtiybX0aCw), Fortress (https://www.youtube.com/watch?v=usEcjZa60wo), Calm The Fire (https://www.youtube.com/watch?v=WEmqMD-DBk0), Waters Rising (https://www.youtube.com/watch?v=AyB1CNAsRjk), Bleed It Dry (https://www.youtube.com/watch?v=vFbTbF5pyOQ)
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There's Fortress! You have no idea how in love with that record I am. I feel like that set out to make an album just to suit all of my needs.
An abundance of half-time moments? Check
Solos from Myles? Check
Prog-metal influences? Check
Enormous Anthemic choruses? Check
Palm-muted infused meldoic riffs? Check
Luscious clean vocals that perfectly compliment heavy riffs and rhythm? CHECK
I don't think I'll enjoy an album more from this decade than Fortress.
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Yep. Four of that five favorite tracks are in my fave five of the album. I actually have All Ends Well instead of Calm the Fire as the 5th in the fave five. I admit it. I like cheery, uplifting, to the point of it being sappy, ballads. The difference between any other ballads made by other bands and All Ends Well is that it is made by AB which makes it above a "standard" modern rock ballad.
Everything else you said about that album, Accelerando, is all that needs to be said about this fantastic album.
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As I said before in my prologue, this list will be ever changing. My top will always be the same, but I suspect Fortress will eventually crack it. I love that album so much. I want to re-write my Top Alter Bridge songs that I did 4 something years ago before the release of AB III, so I can rank those songs and Fortress songs
I've been on a crazy overnight commercial shoot and we will wrap production tomorrow night. Just hang tight for #13-#11. I'm typing this on my iPhone so I don't access to my notes for my write-ups.
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I definitely should check Alter Bridge soon. Btw, you can use BigHugeLabs' Writer (https://writer.bighugelabs.com/), which is an online text processor and you can create multiple documents and access them trough your PC or your phone. There you can put the notes for your write-ups any time you need them.
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#13
A Night At The Opera
Queen
1975
(https://upload.wikimedia.org/wikipedia/en/4/4d/Queen_A_Night_At_The_Opera.png)
Ah. What could i say where could i begin? So much to say that's been said a thousand times before. The year was 1975. Queen had released 3 previous albums, ranging from good to amazing. They had tried everything and experimented which quite frankly worked beautifully. How could they push themselves more? Operatic vocals, acapella sections, fantastic and whimsical lyrics, flamboyant vocal melodies, top-notch musicianship and even a kazoo solo or two. In the hands of a lesser band, all these factors could combine to make a pretentious mess. But with Queen, these come together to make a masterpiece, A Night At The Opera.
This album left an indeliable mark on the rock music landscape. Variety, quality, uniqueness, unpredictability and the sheer power of these songs. And of course, Freddie Mercury. His vocal performance here is one of the best of all time. Technically spectacular, tasteful, at times heartfelt and simply amazing. Mercury was one of those vocalists who could make a song better and determine the mood just by singing on it. Plus, He's supported by top notch musician, songwriters, and vocalists in Brian May, John Deacon and Roger Taylor. . Brian May makes a large amount of contributions to this album as the guitarist. He does plenty of overdubs, a signature playing style for him, and it makes his guitar work exciting and innovative. John Deacon brings out his songwriting in the elegant ballad "You're my Best Friend", while Roger Taylor writes the song "I'm in Love with my Car", one of his best songs yet. The bass and drums are pretty good too and keep up perfectly. Last but not least, is the genius production on this album. Listen to Bohemian Rhapsody or Prophet's Song and you'll see what I mean.
The flagship track here, Bohemian Rhapsody, is one of the most known and revered tracks in music history. It has been covered from different musicians and entertainers from Fuzzbox to The Muppets. Of course, there is that famous scene in Wayne’s World. Even with it’s popularity, it does not overshadow how wonderful the other tracks are. From the biting venom in the band's ode to a greedy manager, “Death On Two Legs,” to the jaunty interlude of “Lazing On A Sunday Afternoon,” each song flows seamlessly into the next. Standouts include May conducting an entire orchestra of guitars on the plaintive ode to lost youth, “Good Company,” as well as the most beautiful harp-accompanied ballad, “Love Of My Life
Favorite Tracks: Bohemian Rhapsody (https://www.youtube.com/watch?v=SgPmMJDfZ4Q), The Prophet’s Song (https://www.youtube.com/watch?v=iZjjsrn9FY4), Death On Two Legs (https://www.youtube.com/watch?v=v4zmv1IFCOA), I'm In Love With My Car (https://www.youtube.com/watch?v=hgee3FNiZY4), You’re My Best Friend (https://www.youtube.com/watch?v=DOvTmtUFFmo)
#12
The Joshua Tree
U2
1987
(https://upload.wikimedia.org/wikipedia/en/6/6b/The_Joshua_Tree.png)
There is within music an ability to tap into the raw, revelatory power of beauty, and can give itself to the unknown whisper of the eternal in ways that other forms of art only hint at. The collage of sounds communicates something deep to the heart and, when combined with the presence of the voice, can be downright liberating. Few individuals, let alone bands, ever really reach a point where they are that open to the Unknown that it can give itself so freely through their music. U2 has done so time and again, but never with the level of directness and sincerity as they accomplished on the Joshua Tree. This is truly their masterpiece.
It is one of those rare albums that came at the perfect time in a band's career, when everything that made them an excellent band converged to make them rank among the best of all time. They had certainly had fine albums before: The excellent debut, Boy; the underappreciated October; the brilliant War; and the more experimental album, The Unforgettable Fire. But this is the one that launched them to the stratosphere. The opening suite is about as good as it gets in music: "Where the Streets Have No Name", "I Still Haven't Found What I'm Looking For", and "With or Without You". All of these are more than just great rock hits: they're part of the fabric of our time.
Not only are the opening tracks incredible, and well-known to all, but the album continues with series of songs both hard-hitting, stunningly beautiful, totally heart-felt, and wonderfully pure, sometimes all at once. "Bullet the Blue Sky" and "Mothers of the Disappeared" give full expression to U2's long-time political engagement. "One Tree Hill", a deeply personal song about the death of a friend, moves with passion, rugged grace, and with hope: "I'll see you again when the stars fall from the sky and the moon has turned red over one tree hill."
The bottom line for me is that this is one of the greatest albums ever made. It is a treasure of a record if there was ever one.
Favorite Tracks: Bullet The Blue Sky (https://www.youtube.com/watch?v=fdmNC8ylrXI), Where The Streets Have No Name (https://www.youtube.com/watch?v=3FsrPEUt2Dg), Exit (https://www.youtube.com/watch?v=MObk8oUSIdg), Running To Stand Still (https://www.youtube.com/watch?v=ElHvKTibprs), I Still Havent Found What Im Looking For (https://www.youtube.com/watch?v=5vye_tNZYL8&noredirect=1)
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#11
Thriller
Michael Jackson
1982
(https://upload.wikimedia.org/wikipedia/en/5/55/Michael_Jackson_-_Thriller.png)
Like the last two albums I mentioned, this is an album that doesn’t need any introduction. It is quite possibly the biggest album of all time. Nothing could have prepared the world for this beast that was unleashed by Michael Jackson, even though he was prevalent in the music industry ever since he was 6 years old. Part of the albums success could have to deal with Jacksons idea to only feature nine songs on the album and release seven of those nine as singles, thus if the singles become hits, the album will be too. With that Jackson could only wait to see if he did the right thing. He did, because those seven singles were major hits and the album has sold over 110 million copies.
From the rousing dance beat that kicks off "Wanna Be Startin' Somethin'" to the beautifully soulful synth work that permeates album closer "The Lady In My Life," nearly everything has aged wonderfully. The lyrics reflect this very well too, with diverse topics ranging from love, nightmarish imagery, longing to live life to the fullest and doing so in the process, to anti-violence, all rarely feeling too contrived; even when it is, though, it's pretty entertaining to say the least. The diversity extend to the music to, as it ranges from rock, soul, and disco. It's fantastic, because that means the songs never feel like they run together; they all have something distinct to offer that differentiates them from each other. At forty-two minutes, the material never really drags too much anywhere either, so everything is very comprehensive and easy to pick up and listen to at any time.
There are a group of songs on the middle of this album that I like to call “The Big 3”, which is “Thriller”, “Beat It”, and “Billie Jean.” They are arguably the most famous and best songs on the album. “Thriller” is one of the most famous songs ever, and partially that is due to the music video. “Beat It” is such a rockin tune, from the catchy riff to the Jackson’s infectious and aggressive vocals and the guitar solo that features Eddie Van Halen. “Billie Jean” defines 80’s dance music, and definitely a highlight in Michael’s career.
This is Michael Jackson at his top performance, an album that influenced a whole new generation of pop artists. The album was indescribably successful because of the blend of dark themes and pop ballads, stepping away from his R&B roots, although they are still there. Thriller is an album that can never be repeated, while some of the tracks have become cliché and cheesy today, to those that truly appreciate the art of this album Thriller is forever timeless.
Favorite Tracks: Beat It (https://www.youtube.com/watch?v=rnVvvXKmH34), Billie Jean (https://www.youtube.com/watch?v=2Ss38PCpwtA), Human Nature (https://www.youtube.com/watch?v=mxvLno1Mh9U), The Lady In My Life (https://www.youtube.com/watch?v=NueWkSHPSfE), Thriller (https://www.youtube.com/watch?v=zWkGLx88vRc)
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Thriller is damn good.
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Alright everyone, here we are at my top ten favorite albums of all time. As you can see my list encompasses a diverse range of musical tastes. I think my top ten reflects that as well. Before we get to it, I will realist the 40 albums I have listed thus far:
50. Faith No More - Angel Dust
49. Kamelot - The Black Halo
48. The Heavy – The House That Dirt Built
47. A Perfect Circle - Thirteenth Step
46. Pearl Jam - Ten
45. Iron Maiden - The Number of the Beast
44. The Who - Tommy
43. Mastodon - Laviathon
42. Outkast - Stankonia
41. Van Halen - 5150
40. Beastie Boys - Check Your Head
39. Coldplay - Parachutes, A Rush of Blood Through The Head
38. Daft Punk - Random Access Memories
37. Childish Gambino - Camp
36. Queen - Sheer Heart Attack
35. P.O.D. - Satellite
34. Rob Dougan - Furious Angels
33. The Robert Glasper Experiment - Black Radio
32. The Jimi Hendrix Experience - Electric Ladyland
31. Porcupine Tree - Fear of a Blank Planet
30. Dream Theater - Octavarium
29. Creed - My Own Prison, Human Clay
28. The Smashing Pumpkins - Mellon Collie and the Infinite Sadness
27. Radiohead - OK Computer
26. Robert Plant and Alison Krauss - Raising Sand
25. Pink Floyd - The Wall
24. Kanye West - My Beautiful Dark Twisted Fantasy
23. Alter Bridge - One Day Remains
22. Dream Theater - Images and Words
21. Radiohead - In Rainbows
20. Oysterhead - The Grand Pecking Order
19. Daft Punk - Discovery
18. Marvin Gaye - What's Going On
17. Daft Punk - Alive 2007
16. The Mayfield Four - Second Skin
15. Led Zeppelin - II
14. Alter Bridge - Fortress
13. Queen - A Night At The Opera
12. U2 - The Joshua Tree
11. Michael Jackson - Thriller
#10
Grace
Jeff Buckley
1994
(https://www.jeffbuckley.com/images/grace1.jpg)
There are certain songs you remember hearing for the first time, and the impression was so strong. For me, it was listening to my uncle's copy of Jeff Buckley's Grace and him singing along "Hallelujah." IFor most people my age, their very first time hearing "Hallelujah" was in the movie Shrek performed by John Cale. I distinctly remember trying to correct my fellow classmate in middle school when the movie first came out that it was a covered off of Jeff Buckley. My teacher than corrected me saying Jeff Buckley covered the song that was originally by another singer-songwriter by the name of Leonard Cohen. Cohen song was personal, lamenting his own private struggle with faith and love. Buckley's takes the concept and turns it universal. He draws out every little dramatic up and down to theatrical heights. He made the blueprint that every person with a guitar, a dream and a full string section could follow to leave people watching in tears.
I'm not here to talk about "Hallelujah", because the entire album is beautiful. With his ridiculous vocal range of three and a half octaves and his lush music production, Grace showed what made Buckley so special. He was extremely talented, impulsive, and personal. Another attribute was his place in time. In a time when music was getting dirty and explicit, and his music was clean and fresh. Grace has a very solemn, jazzy feel that is brought some brightness in the form of Buckley’s vocal melodies. Due to amount of range Jeff possesses he is able to single handedly change the mood, or evoke some otherwise unseen emotion, in the various points of his songs. Buckley’s lyrical intensity feels very sincere and honest in comparison to the anger and contempt most bands were releasing during the time of this albums release.
While most of the songs do seem to be centered on the loss of love, or problems with relationships, his flawless imagery and wording really add to the beauty of the album. Instead of falling into the pitfall of criticizing the spouse, like most modern pop-punk bands seem to do, Buckley is able to examine the entire situation of the relationship as well as his problems, and this is made most evident in the song "Lover, You Should’ve Come Over" specifically in the line “Well maybe I'm just too young/To keep good love from going wrong”.
The album starts off with three catchy and uplifting songs in the form of "Mojo Pin", "Grace", and "Last Goodbye." Then we get to the middle of the album where we can find his covers. He possesses the ability to turn cover songs into songs that are all his own, which helps these covers blend in perfectly with the rest of the album’s sound. Besides "Hallelujah", we have Jeff's take on James Shelton's "Lilac Wine" and Benjamin Britten's "Corpus Christi Carol", both which are beautiful takes. "Eternal Life" and "Dream Brother" switch from the depressing mood that has been established. I'm also going to mention the posthumous track that was on the Legacy Edition of Grace in 2004, "Forget Her", because it's one of the most beautiful, personal songs that he wrote in his short career.
All in all, rarely has a debut artist come onto the scene with the impact of a Jeff Buckley. Alas the tragedy is that his musical legacy was impromptly halted. Jeff Buckley accidentally drowned in May of '97, which makes this album and his subsequent, unfinished release Sketches For My Sweetheart The Drunk that much more precious. However, Grace was his one fully realized album during his all-too-brief stay with us on earth, and that album is one of the most passionate and spiritual albums I have ever heard.
Favorite Tracks: Hallelujah (https://www.youtube.com/watch?v=vIw0ewEsNHs), Lover, You Should've Come Over (https://www.youtube.com/watch?v=hXe1jpHPnUs), Forget Her (https://www.youtube.com/watch?v=u-qJDaS8Zlo), Last Goodbye (https://www.youtube.com/watch?v=BtS0rwQK_pI), Grace (https://www.youtube.com/watch?v=7rR3DDS3uN4)
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Yes! I knew what it was when I saw the thread title. Words cannot express how much this album means to me <3
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Thriller is one of those albums where I can instantly recognise how good and influential it is, but one that will never strike me personally. Nice choice though.
Grace, on the other hand, is absolutely fucking fantastic and one of my favourites as well. Very good choice :)
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Never really cared for Jeff Buckley to be honest.
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Never really cared for Jeff Buckley to be honest.
Have you given Grace much of a chance? It'd be my favourite album from the 90s probably, but it took a really long time to get into for me.
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Grace took me a few listens, but I eventually appreciated Jeff Buckley's style and just fell in love with the album.
#9
All Of A Sudden I Miss Everyone
Explosions In The Sky
2007
(https://991.com/newgallery/Explosions-In-The-Sky-All-Of-A-Sudden-I-389534.jpg)
This is another album from my college years that really touched me. The album was huge in scope and soundscape, and it captured me on an emotional journey. The atmospheric tone is precedent with a painted rich soundscape of intricately woven guitar work of Munaf Rayani, Mark Smith, and Michael James. The melody is rarely held by a single instrument, and rarely, if ever, reaches into the territory of a solo. Often, all three will play distinct parts, with varied rhythms, that somehow manage to coalesce into a cohesive whole. Reaching, dreamy riffs that bend and collapse into themselves, often dueling between the right and left channels, serve as a propellant into reflective, sparse arrangements that ache with the energy that served to reach that plateau. Much of the intense energy found in their music can be attributed to the phenomenal drum work of Chris Hrasky. He seems to have an innate gift for knowing how to fill the entire work with a sense of longing, and yet having.
The opener is fantastic. "The Birth and Death of the Day" erupts like a volcano, as if violence and noise are threatened from the beginning with distorted chords, feedback, and big crescendos. Space enters before lyricism here, though harmonically everything resonates as one. Then, the undulating rhythms and high, chiming melody fall to a twinkling calm. "It's Natural to Be Afraid" is an epic battle between fear and hope that ends in anxious optimism. It takes over 13 minutes to wind up, down, and around again, but it's an exercise that is rewarding for a patient listener. "What Do You Go Home To?" and "Catastrophe and the Cure" begin with impending doom that, by the end, has vanished in favor of harmoniousness and redemption. "So Long, Lonesome," at under four minutes, closes the album. Its piano lines take a front seat as guitars provide counterpoint and a sonic backdrop, and the tension force field never rises above a four.
All of a Sudden I Miss Everyone is a gorgeous post-rock effort, and an album at the peak of my creative efforts in college had some influence towards me. It plays like an epic film; this music sweeps us up with grand gestures and shows us hope amid destruction.
Favorite Tracks: The Birth and Death of the Day (https://www.youtube.com/watch?v=TnTCwg7-UKg), Catastrophe and the Cure (https://www.youtube.com/watch?v=ZeaXvVLuSJw), Welcome Ghosts (https://www.youtube.com/watch?v=Xr_BgpZfH1E), It's Natural To Be Afraid (https://www.youtube.com/watch?v=AwsJnQD3dcc), So Long, Lonesome (https://www.youtube.com/watch?v=SuDipDU0jCQ)
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Nice! I'm very familiar with Take Care and The Earth is Not a Cold Dead Place (I play them while I study) but not this one, I'll definitely try it next.
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Nice pick, though I prefer The Earth is Not a Cold Dead Place.
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Believe it or not, I still need to check out The Earth is Not a Cold Dead Place, and also need to add Take Care to that list. I am familiar with their movie compositions though, for Friday Night Lights and Lone Survivor.
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I've had Explosions in the Sky on my to-listen list for a while, so will give them a listen right now :tup .
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#8
So
Peter Gabriel
1986
(https://coolalbumreview.com/wp-content/uploads/2011/12/so.jpg)
It goes with no question that Peter Gabriel is one of the greatest musical minds of the last 50 years. His experimentation and artistic approach is quite uncanny. With So, he went from a cult art rock pioneer to a superstar overnight. Just because he turned to a more commercial approach rather than the dark and moody feel of his past solo albums doesn’t mean he sold out. On the contrary, So has all of the power & passion of Gabriel's previous efforts, but it also has a great warmth to it's songs. It still incorporates the world music and focuses on rhythm progression rather than chord sequences. The traditional form of songwriting found in So paid off.
“Red Rain” opens the album, building slowly over a chorus of drums, subtle synth, and delicate piano. The track sounds like a textbook product of its era, but like the rest of So, it bests most mid ’80s pop rock fodder. “Sledgehammer” at this point needs no introduction, but it’s worth noting the track remains as much a singular achievement of its time now as it did in 1986. “Don’t Give Up”, complimented nicely on the chorus by Kate Bush’s delicate vocal delivery, uses its loose structure and sense of space effectively, while “In Your Eyes” brings Gabriel’s world music leanings around full circle, amounting to one of the finest pop songs of its era. "Mercy Street" is the highlight of the album, a strongly atmospheric setting based on the live and works of the American poet Anne Sexton. The music of the track is dominated by the keyboards working in a more ambient manner than previously. Not a complex composition, this is nevertheless an advanced work of sonic texturing.
So is a rare record that manages to have it both ways, earning its richly deserved critical and commercial respect without giving so much as an artistic inch. It’s a record that outright challenges the conventional wisdom among suits and major label big wigs that pop music has to pander and take shortcuts to be successful, that audiences aren’t sophisticated or savvy enough to pick up on more nuanced musical styles. So might not need the reinforcement, as it still stands on its own two feet as one of the consensus best records of the ’80s
Favorite Tracks: Mercy Street (https://www.youtube.com/watch?v=aoVVxom8GpY), Sledgehammer (https://www.youtube.com/watch?v=KkiqTmwEQ-U), Red Rain (https://www.youtube.com/watch?v=u6BesY5Doec), Don't Give Up (https://www.youtube.com/watch?v=No1UKN-SKlg), In Your Eyes (https://www.youtube.com/watch?v=B3kFPBtc9BE)
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Nice. I had just bought this on record when my house went up in flames. Didn't even get to spin the shit :(
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Oh no! Did this happen recently?!?
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#7
When Life Gives You Lemons, You Paint That Shit Gold
Atmosphere
2008
(https://upload.wikimedia.org/wikipedia/en/7/75/Atmospherelemonsa.jpg)
The 2000’s were a bad time for hip/hop, especially when Soulja Boy, Flo Rida, and Dem Franchiz Boyz were storming the charts and clubs. It seemed like getting crunked was more important to the music industry than making music with substance. Save Kanye West and Lupe Fiasco, mainstream hip/hop was essentially garbage. Luckily, the independent, or underground, scene was kickin. One group put the Midwest movement on the map, and with their fifth release, Atmosphere perhaps made the best hip/hop album I ever heard in 2008, and we call it When Life Gives You Lemons, We Paint That Shit Gold.
Atmosphere has been around since the early 90’s, having released a slew of mixtapes in between their LPs. They’ve been the frontrunners of the underground movement for hip hop for almost 20 years. What I like about this group is that they are storytellers, and in When Life Give You Lemons, we are told stories of drug addiction, single mothers, and waking up hungover. The lyrics are vivid and vibrant, and really compliments the dark ambitious production of grime funk, rock, and electronica.
Atmosphere’s Slug is as fine of an MC as there are today. He has very unique flows that are above and beyond the monotone of many of his contemporaries. He incorporates a mix of singing and rapping on tracks like “Like The Rest of Us”, “Puppets”, and “Guarantees”, and it makes for very enticing listening throughout. Even when Slug simply raps, there is a lot of world-weariness, pain and, quite often, anger present in his voice that simply isn’t found in many MCs of today. Slug has never been one to gloss over the ugly details, and when his characters are broken, and they all are, to varying degrees. “Your Glasshouse” is a perfect example, in which it tells of a woman for whom it "ain't the first time throwin' up in a strange toilet," and who then returned to the unknown bed "and fell back asleep."
Producer/Songwriter/DJ Ant provides backdrops for the raw intensity of Slug’s vocal delivery that reflect the song’s mood and intents to perfection. Most of the songs use live instruments, have a lot of crescendos and breaks which gives the songs more complexity and less of a head nodding groove than a past albums. The full-band approach as a generous amount of funky mixes of keys and killer bass lines, as found on “You” and “Dreamer.” Other times a more experimental approach is taken, such as the synth-centered pieces “The Skinny” and “Can’t Break.”
I like handing this album to folks who are not familiar with hip/hop, especially those with a biased opinion that hip/hop is not music. Atmosphere sweeps all that negativity under the rug and shows how hip/hip flourishes musically and lyrically. There are no bad songs on this album. It's perfect from the first track to the last. When Life Gives You Lemons, You Paint That Shit Gold is one of the best crafted albums of the last 10 years, and is worth your time to listen to.
Favorite Tracks: Dreamer (https://www.youtube.com/watch?v=cY1mR7k0rzA), Your Glasshouse (https://www.youtube.com/watch?v=tBwdiRld7oQ), Shoulda Known (https://www.youtube.com/watch?v=L-djb6lRUyQ) , You (https://www.youtube.com/watch?v=U8wbkV30u1I), Can't Break (https://www.youtube.com/watch?v=-nA9VErORlI)
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The 2000’s were a bad time for hip/hop, especially when Soulja Boy, Flo Rida, and Dem Franchiz Boyz were storming the charts and clubs.
I don't care much for the mainstream (apart from Outkast, Kanye West and some exceptions) so, for me, 2000's was pretty good for hip hop in general (an obviously decline from the 90's though).
At least, for every Soulja Boy and Flo Rida, there was a Madvillainy or The Cold Vein ;)
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#6
Six Degrees of Inner Turbulence
Dream Theater
2002
(https://upload.wikimedia.org/wikipedia/en/3/3d/Dream_Theater_-_Six_Degrees_of_Inner_Turbulence.jpg)
This is the Dream Theater album that really got me into Dream Theater. It really was the album that made me a Dream Theater fan. I was shoveling single songs from previous albums trying to dig into this well loved band. “Glass Prison” won me over on first listen, with it’s metal fury of frightening velocity, and I just absolutely adored the ambition and musical prowess of the second disc that contained one song sliced into eight tracks, “Six Degrees of Inner Turbulence.” I hold Six Degrees of Inner Turbulence in such high regard because it is easily the most tonally, compositionally, and musically complex work Dream Theater ever made, more so than the virtuosic Scenes From A Memory.
Six Degrees of Inner Turbulence is still Dream Theaters longest album, spanning over 100 minutes. The static noise heard at the end of Scenes From A Memory eases us into “The Glass Prison”, which I previously mentioned is just rockin’. Petrucci and Myung really are the driving force behind this song. Jordan Rudess even provides some great crafty keyboard playing for these brutal riffs. The sweep-picked arpeggio from Petrucci is basically legendary. “Blind Faith” provides some fantastic composed passages and ambient layerings. They keep it simple in this song but still retain sophistication in the ambience of their harmonization. “Misunderstood” contains one of my favorite Dream Theater choruses; moreso at the break about 3:35 into the song. One of my favorite Mike Portnoy drum performances is in the intro to “The Great Debate”, which is one of the albums highlights. With it’s long length, this song still manages to keep you interested from the beginning to end. The first disc ends with “Dissapear”, which is probably the most hauntingly beautiful piece that Dream Theater has ever written. James Labrie’s writing has a lot to do with it, and his lyrics set the mood for the entire piece.
The second disc is a behemonth of a song. At nearly 45 minutes, “Six Degrees of Inner Turbulence” describes six individuals, each with a certain mental condition. The entire song countervails heavy moments like “The Test That Stumped Them All” and “War Inside My Head” with more solemn and melodic moments like “Solitary Shell and “Goodnight Kiss.” "Overture" is an exhilarating prelude, formed by a grandiose orchestral section, heated interplay, and stormy guitars; it is a shining moment in Jordan Rudess. He really shows he is one of the most inventive keyboardist in progressive metal. He goes through so many different patches rather than sticking to the same tired strings, organs, and pianos.
Six Degrees of Inner Turbulence is a crowning achievement is Dream Theater’s celebrated history. They push ahead of the pack in terms of creativity and resourcefulness, without ever losing touch with their ability to communicate their sophisticated music to their audience with emotion and sincerity.
Favorite Tracks: The Glass Prison (https://www.youtube.com/watch?v=gwDgX7Un3AQ), The Great Debate (https://www.youtube.com/watch?v=4z6vpiXQJNA), War Inside My Head/Test That Stumped Them All (https://www.youtube.com/watch?v=xeoMI-VCL4k), About To Crash (Reprise) (https://www.youtube.com/watch?v=1zZx2AEP724), Blind Faith (https://www.youtube.com/watch?v=qMFPqSxDdHs)
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Oh yeah. This is definitely DT's creative zenith and their most ambitious/experimental album. Words cannot describe how much I love the self-titled song :heart .
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One of DT's true gems. :tup
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The Glass Prison is one of my favorite DT songs for sure!!
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Oh no! Did this happen recently?!?
Few months back!
Yep, good call on SDOIT.
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#5
Innuendo
Queen
1991
(https://upload.wikimedia.org/wikipedia/en/f/f7/Queen_Innuendo.png)
This album means a lot to Queen fans, and possibly the rock n roll community. It is the last Queen album to be released with Freddie Mercury before his death nine months after it’s release, and the last to be composed of new Queen material. Having just recently released The Miracle in 1989, the band members knew that they needed to act fast, as it was becoming obvious that Freddie Mercury's time was limited. Rumors were still circulating about his diagnosis of AIDs, which at the time had yet to be confirmed to the public as true. The last album with the foursome is one of their finest works in their legendary career.
Innuendo let Freddie Mercury ponder the most profound issues of life and death, and mankind's inability to live harmoniously. The lyrics are blatantly autobiographical from Mercury's standpoint, such as the reflective "These Are the Days of Our Lives"; and he does so with a determined gleam in his eye. Queen’s sound was more mature and perfected. They utilized great guitar work, wrote excellent lyrics, tight playing, and created a perplexed atmosphere, such as “Bijou.” This is great rock music as it should be, with homogenize structures, great parts, and nothing too protracted or overplayed.
The album starts with the title track, and it is as epic and powerful as anything the band has ever done before. Mercury's vocals soar on waves of sonic blasts courtesy of Brian May's guitar symphonics and guest guitarist Steve Howe's Spanish-style picking. "I'm Going Slightly Mad" is somewhat chilling in light of reality, but Mercury infuses it with his usual tongue-in-cheek defiant humor, and "Headlong" is a pleasingly crunchy rocker highlighted by Queen's groovy rhythm section of Taylor and Deacon. Other highlights include the exhilarating "Ride the Wild Wind" and “Don’t Try So Hard.”
As brilliant as all of the above are, the coup de grace is "The Show Must Go On," where Mercury faces his fate "with a grin," and sings "on with the show" with such conviction, passion, and pathos that it both breaks your heart and causes the hair on your arm to rise. The lush instrumentation here is incredibly powerful, with only a voice like Mercury's could even transcend it.
Innuendo is a moving document of the passing of one of music's finest vocalists, the incomparable Freddie Mercury, and for that reason alone, makes this album indispensible. But beyond that, it is a stellar collection of songs, masterfully performed, by a powerful band at the top of their game.
Favorite Tracks: The Show Must Go On (https://www.youtube.com/watch?v=-cn-hbYZrFY), Innuendo (https://www.youtube.com/watch?v=qMAgetDMMLk), I'm Going Slightly Mad (https://www.youtube.com/watch?v=kSeAlbrC7Fo), Headlong (https://www.youtube.com/watch?v=DQ7K4FuOo88), These Are The Days of Our Lives (https://www.youtube.com/watch?v=jT9X3a4W2ww)
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#4
Dangerous
Michael Jackson
1991
(https://upload.wikimedia.org/wikipedia/en/1/11/Michaeljacksondangerous.jpg)
Michael Jackson’s Dangerous is the best album of his solo career. It is his most dynamic album, packed with hard hitting dance hits, SFX, heartfelt lyrics, touching melodies and beautiful harmonies. After the huge success of Thriller and Bad, Jackson had the damn near impossible task of trying to maintain the close to perfect quality. The rise of Nirvana, and the more serious and darker tone of the 90s musical scene, meant Jackson had to adapt with the times or risk getting seen as a nostalgia act. Jackson decided to incorporate a heavy rock and industrial sound to compliment his upbeat and rhythmic musical style he has been known for.
Sonically, Dangerous shared little in common with the work of fellow pop stars like Madonna and Whitney Houston. Its tone was much more ominous, gritty, urban, and industrial. It had as much or as little to do with pop as Nirvana’s Nevermind, which was released the same year as Dangerous. The stylistic differences are obvious enough. Nevermind was rooted in punk rock and grunge, while Dangerous was primarily grounded in R&B/New Jack Swing. Yet both expressed a strikingly similar sense of alienation, with many songs functioning as a kind of confessional poetry.
In place of the pristine, cinematic grooves of Bad is something more attuned to the real world, something more edgy and urgent. The shattering glass at the beginning of “Jam” fittingly symbolizes the breakthrough. Dangerous was Jackson’s first album without legendary producer Quincy Jones. “Why You Wanna Trip On Me” showcases hard rock licks he incorporated in his music. "In The Closet" has to be one of the absolute best songs on the entire album. Michael has never been this explicit before, but it works rather well with the female vocals of the song’s mystery girl. The video with Naomi Cambell was banned in some countries. "Remember The Time" and "Who Is It" are two brilliant songs that are perfectly executed with killer beats and funky basslines. “Give In To Me” and “Black and White” convinces me that Michael Jackson would have been an excellent frontman for a hard rock band, and Slash’s contributions are uncanny.
Michael has done a few numbers where he is promoting world peace. However, with “Heal The World”, it is Michael’s most convincing because the message is not one that involves a mass audience, but the song speaks to you as an individual. “Will You Be There” is an exceptional ballad that is often remembered for being the main song to the movie Free Willy. "Keep The Faith" is another excellent song about self-power and really does make an impact on the overall face-value of the album.
Dangerous is by far one of the most essential albums of the 1990's. The entire album is almost 80 minutes long, so you definitely get your money's worth, with each song usually running into the six/seven minute time bracket. It’s in my top 10 albums of all time because every song is great and there's nothing like Michael Jackson's music to get you moving and grooving on the dance floor.
Favorite Tracks: Give In To Me (https://www.youtube.com/watch?v=c1TkEt6ixGk), In The Closet (https://www.youtube.com/watch?v=aZAUuBAhqEc), Will You Be There (https://www.youtube.com/watch?v=zG2Z89KMQVQ), Why You Wanna Trip On Me (https://www.youtube.com/watch?v=x1TSBM_byqE), Who Is it (https://www.youtube.com/watch?v=ENC5MEzrRp8)
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I'll have to check that MJ album out properly for my 6yo son - he is obsessed with him and also Weird Al since I introduced him to Eat It ;D
I got into Michael Jackon on Thriller , mostly because Lukather and Van Halen played guitars on Beat It , but didn't really follow much after that. Give In To Me was pretty cool come to think of it - I remember the vid with Slash.
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Dangerous I'd say was always my fav MJ record.
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Two more to my to-lsten list.
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great pick with Innuendo! it almost made my list. great writeup too. I love that title track, and The Show Must Go On is a perfect way for Freddy to say goodbye, sadly.
I've tried to get into Dangerous, but it just sounds less musical to me than Thriller and Bad. Less melodies, more R&B beats, not really my thing. But good to see MJ getting some appreciation.
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Dangerous is by far one of the most essential albums of the 1990's.
I disagree immensely but, to each his own i guess.
I've tried to get into Dangerous, but it just sounds less musical to me than Thriller and Bad.
I think it's nowhere close OTW, Thriller or Bad, just decent.
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To each their own. Dangerous is a great album. It may not have those hits that Thriller and Bad had aside from "Black and White", but the music is just as good, or even better. I really love that gritty sound he brought on that record.
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#3
The Fundamental Elements of Southtown
P.O.D.
1999
(https://2.bp.blogspot.com/_u5MF_7B-ov0/S1DMSDUb6XI/AAAAAAAAAes/0niw-MfEYjw/s400/p.o.d.+-+the+fundamental+things+of+southtown_front.jpg)
As I mentioned with my Satellite write up, I discovered P.O.D. on happenstance, live at Universal Studios Orlando. Imagine going to a Christian music festival ie. Rock The Universe, and after watching very spiritual acts like Third Day, you walk by a heavy guitar playing with the vocalist screaming on tops of his lungs "PUSH YOURSELF LIKE MAN! BRACE YOURSELF LIKE A MAN! JUST PUSH YOURSELF LIKE A MAN! IM AN OUTCAST! DONT COUNT ME OUT!" I was blown away, and rocked out to this awesome group for the rest of that night. It was year after they dropped the incredible The Fundamental Elements of Southtown, and not only did it eventually become the album of my pre-teen years, but one of my favorite albums of all time. Every track on this record is golden hard rock fury with a beautiful blend of hip/hop and reggae influences. It is one head-banging record.
P.O.D. was one of the very first nu-metal bands that tore up the underground scene in the early 90s. Snuff The Punk and Brown were awesome hardcore punk and rap records to just bang your head to, but when they were crafting Southtown, something clicked in their minds of writing substantial songs, and thus creating a monster of a record. Lyrically, it’s a spiritual record, but it’s less of a God loving album like their previous two releases were, and more talking about their experiences and outlook on life. The band came from a rough upbringing in the ghetto areas of San Diego, CA, as described in their most famous track on this album, “Southtown.” This record deals with those hardships, and how they got through with faith.
This is record is just effin' :metal
The Fundamental Elements of Southtown has some brutal riffage, including “Southtown”, “Lie Down”, and “Outkast.” Each member offers their own intensity, and very present. If Carlos Santana were ever a heavy metal guitarist, I would certainly imagine he would sound a lot like Marcos Curiel. Just because P.O.D. are labeled a nu-metal band does not mean they detuned their guitars to death. Marcos has great respect for his instrument, and really is a technically gifted guitarist. His guitar playing really sets the atmosphere of the record, devising different sounds to create an ambiance. With his heavy riffs is complimented with his uncanny latin licks. The rhythm section of bassist Traa Daniels and drummer Wuv Bernardo brings such depth to the music. “Tribal” and “Freestyle” are greats examples of their musicianship, jiving on the soft passages to seamlessly up-ing the tempo a big monster hard rock sound. The music is very much complimented by Sonny Sandoval’s vocals. He effortlessly varies his vocal style from rapping, to singing, to screaming. He brings the thunder to that intensity, devouring every word with such passion and emotion. Listen to “Southtown”, when he screams “Life doesn’t gots to be like this!” The emotion from those lines are just powerful. You can really tell his experiences living in one of the most dangerous neighborhoods in America really affected him.
I really do have to mention their cover of U2’s “Bullet The Blue Sky.” I really respect artists who covers songs but make it their own ala Led Zeppelin, Jeff Buckley. P.O.D. took one of U2’s greatest songs and made a gorgeous and intense cover. Aside from the obvious heavy guitar playing, you get some interesting eerie sound effects, and an incredible vocal performance from Sonny. There’s this awesome section where after the chorus into the next verse you hear a bit of breathing that then explodes into a scream from Sonny. Little things like that make all the difference to me. It’s just one hell of a cover. Fun fact: this song contains back-up vocals from a 16 yr old Katy Perry, who would come back to sing backup vocals to “Goodbye For Now” on P.O.D.’s sixth album, Testify.
Today, P.O.D. just isn’t the same band. I haven't really enjoyed a P.O.D. album since 2005's Testify. Everything I accoladed about them on this record is now gone. I wish they went back to their hardcore punk roots, because that really made the difference between them and other bands that came out with that rap/rock sound back then. It was their unpredictable nature in their music like in The Fundamental Elements of Southtown that really drew me in to them. The Fundamental Elements of Southtown is a masterful exponent of blending hard rock and rap together, and creating something special and meaningful.
Favorite Tracks: Southtown (https://www.youtube.com/watch?v=Z_qHXd-zVXE), Bullet The Blue Sky (https://www.youtube.com/watch?v=Y5QOqz3pgHI), Lie Down (https://www.youtube.com/watch?v=p5Rmd1Iy46I), Freestyle (https://www.youtube.com/watch?v=gPEUL3bPBDw), Outkast (https://www.youtube.com/watch?v=yUrnCPk1JXk)
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To each their own. Dangerous is a great album. It may not have those hits that Thriller and Bad had aside from "Black and White", but the music is just as good, or even better. I really love that gritty sound he brought on that record.
You know, having hits or no doesn't have nothing to do with why i prefer these albums over Dangerous :yeahright
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To each their own. Dangerous is a great album. It may not have those hits that Thriller and Bad had aside from "Black and White", but the music is just as good, or even better. I really love that gritty sound he brought on that record.
You know, having hits or no doesn't have nothing to do with why i prefer these albums over Dangerous :yeahright
Sorry! I didn't mean to insist that you preferred the previous works over Dangerous because they had bigger hits. It was just a statement about Dangeorus, and probably a fact that those previous three records did indeed have more hits.
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#2
The Dark Side of the Moon
Pink Floyd
1973
(https://upload.wikimedia.org/wikipedia/en/3/3b/Dark_Side_of_the_Moon.png)
Ah, Pink Floyd. The entire world knows of them, even those who actually haven’t heard any of their music. However, As ridiculous as it sounds especially in a prog forum where people just swear by this band, I am willing to bet Pink Floyd are associated with an image. I’m talking about maybe a big handful of people. That image that comes to mind when the name Pink Floyd is brought up is no other than a triangle in a background of black and a ray of white light running across that triangle only to transcend into a colorful rainbow. You all know what I’m talking about, and whatever I will say about this album probably has already been said millions of times.
If we look at the history of Pink Floyd, this album took the world by surprise. Everyone knows the story. After the release of their groundbreaking 1967 debut, The Piper At The Gates Dawn, the band went through a lot of personal turmoil and all of it the hand of its leader, Syd Barrett, who began to grow mentally unstable at the start of Pink Floyd’s career. After his departure, the band slowly stepped away from the Psychedelic sound that Syd created record after record with more avant garde experimentations such as Ummagumma and Atom Heart Mother. The Dark Side of the Moon was more accessible yet unexpected.
I suppose this is the reason why The Dark Side Of The Moon became so popular, the music is not as complex as in their previous efforts but it accomplishes so much more. The instrumentation in Dark Side Of The Moon are otherworldly. Whether it's the fiery rock sound in the guitar solo of "Money", or the more restrained, soothing atmosphere found in "Us And Them". The music that embodies this album are arrangements of sounds that go far beyond something to simply listen to, it's music that takes you on a journey throughout the imagination realms of your mind.
Each song is like a look into the human psychology- the greed caused by personal gain, to the fear of what is uncertain like the future, and of course, our inevitable death. There is a strong philosophical presence within the lyrical content of this album, and it's most evident in the album's finale, "Eclipse", which in all of it's existential nature, reminds us how insignificant we truly are. Perhaps the greatest vocal delivery of the album is one that doesn't have a message or lyrics at all, just simply the sound of a human voice. Clare Torry's vocals in "The Great Gig In The Sky", is both haunting and outstanding at the same time. Instead of singing, she turns her voice into an instrument, while performing a solo with enough passion and soul to rival any guitar arrangements ever performed by David Gilmour. That song just so happens to be my all time favorite song.
The Dark Side of the Moon is a classic and it will remain as such, forever to be enjoyed by generations to come. It's Pink Floyd's gift to the world. Now as to whether this is Pink Floyd's greatest work, well, that's all a matter of opinion. It is without a doubt among their finest.
Favorite Tracks: The Great Gig In The Sky (https://www.youtube.com/watch?v=ZAydj4OJnwQ), Us and Them (https://www.youtube.com/watch?v=nDbeqj-1XOo), Brain Damage/Eclipse (https://www.youtube.com/watch?v=DVQ3-Xe_suY), Time (https://www.youtube.com/watch?v=JwYX52BP2Sk), Money (https://www.youtube.com/watch?v=cpbbuaIA3Ds)
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Sorry! I didn't mean to insist that you preferred the previous works over Dangerous because they had bigger hits. It was just a statement about Dangeorus, and probably a fact that those previous three records did indeed have more hits.
"No problemo" ;)
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I think DSOTM is the only "classic" album totally deserves all the hype and praise it receives. There's nothing that sound like it.
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I think DSOTM is the only "classic" album totally deserves all the hype and praise it receives. There's nothing that sound like it.
This really depends on what you put under the "classic" category, and anyway I think "the only" is too far fetched.
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Some comments on the whole list:
I don’t listen to Faith No More much anymore, but they were one of the first rock bands I really embraced. Angel Dust was pretty out there. The pair of Smaller and Smaller and Everything’s Ruined in the middle of the album is its strongest moment.
Pearl Jam’s Black is one of the best rock songs ever written. I’m kind of ambivalent to the rest of the album these days, but that song is immensely dear to me.
Always nice to see love for A Rush of Blood to the Head. Probably still a Top 50 album for me, and probably one of the most important albums of my life in terms of shaping my taste overall.
Have you heard the instrumental version of Furious Angels? I wasn’t too big on his voice, so I went with that. I dunno if it would be an essential listen if you’re into his vocals, but I found it a brilliant album in and of itself. One and the Same is one of my favourite songs ever.
I bought Electric Ladyland just last weekend, and gave it a first listen, along with Axis (which I’ve listened to a few times). I thought they seemed quite varied in quality. The best songs are obviously stunning, but there’s a fair bit of lesser stuff on them. My first impression was that when he stretched out his songwriting style after Experienced, he manages to pull off a lot of different tones and styles, but the quality of the songs tends to suffer. Maybe I’ll feel differently after a few more listens though.
I loved My Own Prison when it came out. I don’t think I’d listen past the first four tracks now, but those are all great songs. Faceless Man is amazing too.
This was my Facebook status about a month ago, on the topic of Grace: “I put on this album tonight, and realised it became twenty years old two weeks ago. Jeff Buckley is possibly my most enduring artist these days - as in, of all the music I was into before uni, I'd say he's the one I still play the most often - and this despite him only having one (studio) album.
So here's to that.”
Dangerous might be my favourite MJ album these days. There are some incredible songs on there. The production is kind of bizarre. It sounds pretty dated these days, but there is a weird charm to it and the way it manages to be dark and quite accessible-sounding at the same time.
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Have you heard the instrumental version of Furious Angels? I wasn’t too big on his voice, so I went with that. I dunno if it would be an essential listen if you’re into his vocals, but I found it a brilliant album in and of itself. One and the Same is one of my favourite songs ever.
Yep! The version of Furious Angels that I own has two discs, in which the second disc features 10 instrumental versions of the vocal songs from the first disc.
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You can never go wrong with picking Dark Side of the Moon
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Here we are folks! Finally at my number 1 album, which I think some of you already guessed ;)
Drum roll please!
(https://stream1.gifsoup.com/view/994208/animal-drums-o.gif) (https://gifsoup.com/view/994208/animal-drums.html) GIFSoup (https://gifsoup.com)
#1
Blackbird
Alter Bridge
2007
(https://upload.wikimedia.org/wikipedia/en/1/13/Alterbridge_blackbird.jpg)
Never was there an album that had affected me personally and personified my tastes in music more than Alter Bridge’s sophomore effort, Blackbird. It is everything I want in rock music – electrifying, with soaring vocals and tailored solos, backed by a talented and thunderous rhythm section. There are many groups with those same characteristics, so why Alter Bridge, and specifically, Blackbird? I think it’s the point in time of my life in which this album came out, where I was in college and there were a lot of personal things that were going on in my life, and things I needed to overcome. Also, I think about listening to music with my family, and breaking into my uncles’ record collection to listen to Led Zeppelin, Queen, and The Who, and having that moment with him. I feel like Alter Bridge, and Blackbird, are essentials for me to share with my kids, and my grandkids. I truly feel that this band and this album will go down as one of the early greats of this century.
Alter Bridge left Wind-Up records after One Day Remainsto start fresh. Wind Up at that time was trying make a quick buck by releasing doomy outlook, minor key bands like Evanescence and Seether, while trying to make Alter Bridge duplicate the Creed sound instead of coming into their own. While I didn’t think One Day Remains beared any resemblance to the Creed sound musically, the production quality did. With Blackbird, under the Universal Republic label and produced under the hands of Michael “Elvis” Baskette, Alter Bridge’s sound became more raw rock and roll.
Now, here we have Alter Bridge operating as a two-guitar tour de force. Myles Kennedy is now fully integrated into the songwriting process, which in One Day Remains was mostly written by Mark Tremonti. For the first time in his career Tremonti has someone to play off of other than himself, and this fact as really caused a big degree of explosion of high-caliber songwriting. Tremonti, who is probably the only guitarist in mainstream rock who has an instantly recognizable songwriting and playing style, gets all the support he needs from Kennedy. He's free to kick around vibrato-laden, squealing guitar riffs and fills, while Kennedy compliments by playing stuff that is quite opposite of Tremonti’s metallic sound; he likes to play the blues. With his buesy sound, and often drenches the songs in effects and atmospherics, both him and Mark Tremonti had established themselves as one of the best duo guitarists in rock music. Both styles, so different, yet completely works.
That album launches a grenade at you with the first few tracks, commanding your attention. “Ties That Bind” and “Come To Life” are ter-RIFF-ic songs with a metal edge, prerequisite melodic choruses, and an abundant amount of guitar layering. “Ties That Band” has a Spanish edge to it, like “Cry of Achilles” on Fortress, or their instrumental b-side exclusive to Total Guitar Magazine, “Ahavo Rabo Taco Salad.” I really like the vocal intergration with Myles and Mark in the chorus to “Come To Life.” With these two heavy numbers come a softer song in “Brand New Start.” It uses acoustic guitars for it’s main arpeggio hooks, while using lots of effects-laden background effects that for a moment reminded me of latter-day Alex Lifeson. This song contains Mark Tremonti’s best solo. It’s very blues inspired and chalk full of emotion.
Another highlight is “Coming Home”, one of Alter Bridge’s most progressive songs to date. The groove quickly gives way to very heavy snaking 6/8 metallic riffs. No solo, but there is a breakdown in the bridge that's very heavy and intricate. The song with the biggest metal balls goes to “White Knuckles”, with a complex yet beautiful chorus and a great shift in dynamics with the song writing. It is definitely the most aggressive song on Blackbird. In the middle of this record you’ll find the more commercially written tracks, like “Rise Today”, a fan favorite, and “Before Tomorrow Comes.” The softest song on the album is also one of the best. “Watch Over You” glistens in beautiful acoustic guitar work and even better vocal performance from the great Myles Kennedy and im going to put the best live version of this song riiiiight here (https://www.youtube.com/watch?v=LK3NuxO3Ke0), because you really have to feel this beautiful and powerful ballad.
Then, there is “Blackbird,” the great 8-minute epic title track. Folks, this is truly one of the best rock songs of the past 15 years. It’s tough to describe how amazing this song is; a song dedicated to a friend of the band who passed away, and they do it justice with Myles’ most impassioned vocal performance on the album, using the metaphor of a bird taking flight to represent death, with effective lyrical imagery: “Let the wind carry you home, blackbird fly away, may you never be broken again.” The song begins with a clean melody that builds to a emotional break into the chorus that Pink Floyd would be proud of. The bridge just builds into quite possibly, in my opinion, one of the great duel solos of all time. Myles’ pours all the sadness in his solo, as if he is crying, but using his gift as a guitar player to cry out those emotions. Mark provides the perfect climax, as if his guitar is telling Myles’ that it’s not the end of the world; that their friend is in a better place. In this powerful song, when combined with the lyrics, the solo truly sounds like a bird taking flight. After the intensity of the last chorus, with a hell of a wail from Myles, it fades out, and the song comes full circle by dropping back to the clean opening riff before fading out for the last time.
SO. DAMN. GOOD.
I have said in my Fortress write up that I think that record is Alter Bridge’s best to date. I still say that is true. Fortress doesn’t have the few fillers that Blackbird does like “Break Me Down.” That’s my minor quibble with Blackbird, especially when there are b-sides written from Blackbird that are just so much better than some of the songs on the album, like “New Way To Live” and “Damage Done.” However, Blackbird is still a great album, and one of the best of the modern era. With this album, Alter Bridge became Alter Bridge. It’s my favorite, without question.
Favorite tracks: Blackbird (https://www.youtube.com/watch?v=yz_j7nVCJJ0), Ties That Bind (https://www.youtube.com/watch?v=XNWMVeLtgRw), Coming Home (https://www.youtube.com/watch?v=NuqUCMSXm4k), Come To Life (https://www.youtube.com/watch?v=fhsf2TmbIBw), White Knuckles (https://www.youtube.com/watch?v=S3BaEYh8FPg)
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1973? My goodness, people have been missing out on this glorious album for 41 years as oppose to 7? Good gravy.
I agree on the b-sides. New Way to Live and Damage Done could have easily made their way to the main CD. I don't know why it didn't.
My fave five differs a bit though. Blackbird, Come to Life, Watch Over You, Brand New Start, and Wayward One (probably one of the best bridge sections that they have created and they have created a lot of damn good bridge sections) are my favorites. Now I'm thinking maybe Buried Alive could be in it as well.
When I heard Blackbird (song), I stated earlier that "Open Your Eyes" was the first time I have heard an instrumental/solo section, this song was when I knew I really heard something really really "epic" in a solo and I thought that it was insane that these guys can pull something like that off (this was a time before I heard guys like Lifeson, JP, etc.).
Agree with the whole "this is the album I want to share with kids, grandkids, with." Heck, this is the album I want to share with whatever future spouse I may be with, even if she is not a fan of hard rock/metal (I trust AB and Blackbird that much that I think she may have a good lasting impression on it like I have (I'm a huge nerd like that)). A glorious album, indeed.
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I love Blackbird. Myles' solo is awesome on Blackbird, but his guitar has some weird tremolo effect on it that was so distracting last time I heard it, should revisit it. The song, the solos, remind me a lot of To Live is To Die from AJFA. James' plays the most emotional, mournful solo followed by Kirk's shreds. Same kinda dynamic here.
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Didn't see that number one coming. :tup
Seriously, terrific album though.
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Great write-up and what a great album. Certainly would be in my top 5 albums for sure. Just a masterpiece. :metal
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1973? My goodness, people have been missing out on this glorious album for 41 years as oppose to 7? Good gravy.
I agree on the b-sides. New Way to Live and Damage Done could have easily made their way to the main CD. I don't know why it didn't.
:lol That's what I get for cutting and pasting. It's fix'd
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Hey folks, thank you for following my list! I hope you enjoyed it.
I've listed all my top albums on the first page and also added where each album can be found. Remember I added links to the songs of each album if you ever want to give them a listen!
This was a fun list to do. In the future, because I am a movie buff, I think I want to tackle my top movie scores and soundtracks! :metal
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Can't go wrong with Dark Side at all. And maybe I should finally check out Alter Bridge soon. :lol
Nice list! :tup Even if I hadn't listened to the album, your write-ups were enjoyable to read.