Accelerando's Top 50 Albums v. COMPLETED

[Accelerando]

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

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, Black Radio, Cherish The Day, Ah Yeah, Gonna Be Alright

#32
Electric Ladyland
The Jimi Hendrix Experience
1968

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, 1983...A Merman I Should Turn To Be, All Along The Watchtower, Little Miss Strange, Voodoo Chile(Slight Return)

[Bolsters]

Jimi

[PuffyPat]

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.

[Accelerando]

#31
Fear of a Blank Planet
Porcupine Tree
2007

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, Fear of a Blank Planet, Sentimental, Way Out of Here, My Ashes

#30
Octavarium
Dream Theater
2005

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, Octavarium, Sacrificed Sons, The Answers Lie Within, The Root of All Evil

[Accelerando]

Uproar in a prog forum in 3...2...1     

#29
My Own Prison, Human Clay
Creed
1997, 1999

“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, Pity For A Dime, Torn, Unforgiven, My Own Prison
Favorite Tracks on Human Clay: Wash Away Those Years, Faceless Man, Beautiful, What If, Higher

[wolfking]

My Own Prison is an excellent album.

[Anguyen92]

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.

[Big Hath]

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?

[Accelerando]

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

[Accelerando]

#28
Mellon Collie and the Infinite Sadness
The Smashing Pumpkins
1995

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, Muzzle, 1979, Thru The Eyes of the Ruby, Porcelina of the Vast Oceans

[Accelerando]

#27
OK Computer
Radiohead
1997

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), Paranoid Android, Subterranean Homesick Alien, The Tourist, Airbag

[Accelerando]

#26
Raising Sand
Robert Plant and Alison Krauss
2007

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, Through The Morning, Through The Night, Killing The Blues, Rich Woman, Let Your Loss Be Your Lesson

[Sacul]

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.

[ThatOneGuy2112]

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.

[Scorpion]

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.

[Accelerando]

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.

[King Postwhore]

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!

[ThatOneGuy2112]

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.

[Accelerando]

#25
The Wall
Pink Floyd
1979

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, Goodbye Blue Sky, Comfortably Numb, Hey You, Nobody Home

[Accelerando]

#24
My Beautiful Dark Twisted Fantasy
Kanye West
2010

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, Hell Of A Life,  Monster, So Appalled, Lost In The World

[Sacul]

Interesting, I've been meaning to check that Kane album and didn't know it was so varied! Will give it a check soon .

[Outcrier]

Album of the decade so far 

[Accelerando]

#23
One Day Remains
Alter Bridge
2004

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, Burn It Down, Find The Real, Metalingus, The End Is Here

[mikemangioy]

Oh man, Alter Bridge are great. I still have to completely listen to this record, but still, one of the best bands these days.

[Anguyen92]

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.

[sneakyblueberry]

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.

[Accelerando]

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

[PuffyPat]

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.

[wolfking]

I was blown away the first time I heard One Day Remains.

[Accelerando]

#22
Images and Words
Dream Theater
1992

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, Pull Me Under, Metropolis, Pt. 1: The Miracle and the Sleeper, Surrounded, Learning To Live

#21
In Rainbows
Radiohead
2007

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, Reckoner, Weird Fishes/Arpeggi, House of Cards, Jigsaw Falling Into Place
 

[jjrock88]

Images & Words is an addiction.  Always nice to see on a top 50

[TAC]

Images & Words is an addiction.  Always nice to see on a top 50

[Basekick]

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.

[Outcrier]

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 

[Accelerando]

#20
The Grand Pecking Order
Oysterhead
2001

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, Oz Is Ever Floating, Little Faces, Mr. Oysterhead, Birthday Boys