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Post by mightyjack on Jul 7, 2007 11:39:30 GMT -5
and speaking of the 60s #61 - Yoshimi Battles the Pink Robotsand #62 - XO, Elliott SmithIf I were to remake this list in proper order, both the Lips and Smith would drop into the top 30, and likely crack the top 15. After blithely listing favorites in a frenzy, a light went on over my head... "Hey, I need to get back to these two" - In short, both are outstanding albums. "Yeah, like totally D-uh!" #63 - The Tubes, The TubesAvant guard, comic, crazed stage act--- Um, weird. Yeah, that's what they are....weird. #64 - The Black Parade, My Chemical RomanceBest damn record I've heard in years! It's bleak, but what a great production and performance. Draws inspiration from Sgt. Peppers and Queen in terms of making a polished epic concept album. #65 - I Should Coco, SupergrassHey here's one from the 90s! And they said the Ramones were ugly, ugly people. But Supergrass is probably the ugliest group in recorded history. The music isn't ugly. Their first, and still best - if Oasis draws from the Beatles, then Grass' 60s equivalent would be the playful, punk antics of the Kinks. #66 - News of the World, QueenAnother superb album, this one gave us "We Are The Champions" as well as "Sheer Heart Attack" and "Its Late". Grandiose, with a distinct driving guitar to anchor it all down. And of course, Freddie Mercury. Producers who worked with him said his was the most disciplined voice they'd ever heard. When he double tracked (didn't use ADT) it was pitch perfect every time. #67 - More Adventurous, Rilo KileyThis is the indy popsters most polished effort to date. Jenny Lewis has since gone on a recorded a country/folk flavored LP with 2 other women so I'm not certain of the fate of Kiley. If this is their swan song, they went out with a bang. #68 - Please, Please Me, The BeatlesThe debut has some rough patches (The boys all had colds and it's noticeable) but for pure fab fun, it's still a winner. If they'd only update the Beatles catalog and add bonus material. This really needs to have "From Me To You" included. #69 - Modest Mouse, Good News For People Who Like Bad NewsSo why did I chose this Mouse CD? Uhhh, because it's the only one I own ;D Of course I've been aware of MM for a long, long time (they were a local act), but as with "Death Cab For Cutie". I heard a lot, liked a lot.... never bought a lot. Hey, cut me some slack, even if you handed me $200 and set me free in a music store, I'd still only be able to make a small dent in my wish list. Oh BTW, I don't know if there are better albums by the band, but this one is incredible. #70 - Under My Skin, Avril LavigneYeah you know what, "Bite Me!" (sorry, just a little preemptive strike there) Yeah I know this is commercial rock. Yes, I know there are probably more deserving albums. But I don't care, I dig it. And is it really that Earth shattering to learn that I enjoy this album. Is the pop rock, hook heavy, guitar driven sound really all that different than Weezer or the Beatles first albums? It's a style I like. I think she wandered too far off the trail on her current record. It's fun, sometimes real good. But it's a step backward. "Under My Skin" showed some real growth and maturity. It made me look forward to seeing what she'd do next. As it is, Avril stands at a crossroads. She can ride the top 40 gravy train and continue with songs like "Girlfriend" (which is okay. I like fun too. Fun is fun), or she'll tap into what she did here and build a lasting body of work. Avril, the choice is yours. Will you take the blue pill or that fuzzy pink one?
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Post by mightyjack on Jul 8, 2007 13:27:15 GMT -5
#71 - American Recordings, Johnny CashCash was doing a lot fighting with his producers, who wanted to add barber shop quartets etc, to his albums. Johnny wanted to pull back, get back to the heart of his music and hooking up with Rick Ruben closed his career with brilliance. This is the first of the American Recordings, and if anyone could combine songs of the sacred and profane and get away with it, it was Cash. Covering songs written by the likes of Danzig, and doing it without coming off like a joke (see, Pat Boone) shows how timeless and all inclusive great music, performed by a great artist, can be. #72 - Schools Out, Alice CooperA grandiose rocking concept album of the Nth degree. The melodies are varied, with Leonard Bernstein riffed on wonderfully. The words are a wonder as well -- "We got no class / And we got no principles / And we got no innocence / We can't even think of a lyric that rhymes". This also makes me lament the loss of the LP. The cover here was a desk that folded out. The sleeve which held the record was a pair of pink panties; Ha, Ha! Ah man, remember when shock rock also managed to be a hell of a lot of fun. #73 - Dawn of the DickiesHilarious punk rock. The Dickies played everything at 78 speed. Even on a cover of "Night In White Satin". Joel referenced their best song in riff, "Stuck in a Pagoda, With Trisha Toyota". #74 - Godspeed the ShazamTennessee band who is bigger in the UK (due to the support of bands like Oasis). Great arrangements on this rocker which channels acts like the Beatles, The Beach Boys and Cheap Trick. #75 - In Utero, NirvanaIt didn't knock my socks off as Nevermind did, but it was pretty damn solid never the less. #76 - Replicas, Gary Numan and the Tubeway ArmyI liked early Gary Numan, and this is his best. He still using guitars at this point and that gives some punch to his sound. Down in The Park is an eerie classic that was later covered by Marilyn Manson. #77 - Freewheelin', Bob DylanStraightforward folk features the usual superb lyrics. #78 - Devil's Playground, Billy IdolBilly was back! After so many okay to bad records, after an extended disappearance, Billy was back with an album that didn't try to show off any new skills, it was just straight forward, blistering Billy Idol at his rockin' best. #79 - Trompe Le Monde, The PixiesKim Deal was effectively MIA, and the melodies were a little smoother and direct. The end results were the same. Another outstanding album. #80 - Bad music for bad people, The CrampsWhat do you get when you combine B-Movie horror, rock-a-billy and punk? You get the Cramps ;D and a sound they call Psychobilly! Garbage Man is way too cool for words.
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Post by mightyjack on Jul 8, 2007 13:32:58 GMT -5
A quick aside concerning notable bands you might have noticed haven't made the cut...
Acts where I like songs, but haven't heard enough album-wise to include them yet. Oasis, Elvis Costello, Death Cab For Cutie, Foo Fighters - I had the Foo's first and didn't like it. I've been told that I need to give 'em another shot. - Cutie: I had an early album back when they first began, didn't like it, but I've like a lot of what I've heard since. - Elvis: I own Spike and that'll probably show up sometime. But I need to explore his other albums some day - Oasis, liked song, haven't delved into an album
Acts where I absolutely love certain songs, but there is also an equal number I don't care for. Thus I've never been able to enjoy an entire album through and through White Stripes, Blur, Radiohead
Acts that are great, but for some reason they simply don't click with me. U2, Led Zeppelin, Bruce Springsteen, The Doors
Acts I don't like period Chicago, Doobie Brothers, Beach Boys, Foreigner, Boston -sigh- beans, onion, hair... and whole lot more of those 70s top 40 bands.
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Post by Mr. Atari on Jul 8, 2007 16:24:53 GMT -5
Acts I don't like periodChicago, Doobie Brothers, Beach Boys, Foreigner, Boston -sigh- beans, onion, hair... and whole lot more of those 70s top 40 bands. Okay, that made me laugh out loud. You and I should start a band called Johnny Longbone. And for what it's worth, this is now my favorite thread. I've been working on my list for a copycat thread to come in a day or two.
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Post by mightyjack on Jul 8, 2007 16:57:36 GMT -5
Cool, look forward to it.
And I'd love to sample Longbone's speach in a song, that "sigh" is the classic punchline.
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Post by Arizona Warwilf on Jul 8, 2007 21:30:49 GMT -5
Modest Mouse's The Moon and Antarctica is another good one. Other albums of theirs aren't as consistently good (though I haven't heard "We Were Dead . . . "). But M and A is super.
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Post by Broadsword on Jul 9, 2007 19:10:32 GMT -5
I must say MJ you have a talent for reviews, great read and a great job. Beyond the Beatles I have a different musical taste but still fun to read about your musical taste..
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Post by mightyjack on Jul 10, 2007 15:14:49 GMT -5
More of my madness. We are creeping ever closer to the top 100#81 - Transmissions From A Satellite Heart , Flaming Lips"She Don't Use Jelly", received a lot of airplay on MTV and catapulted the band into the spotlight. They haven't had many (any?) hits since, but their albums have been critically well received. Wayne Coyne sings with a squeaky drawl that fits perfectly with the lyrical Dadaist bent. The dreamy, slightly skewed, acoustic atmosphere; hearkens back to 60s psychedelic flower power. #82 – Why Do Birds Sing, The Violent FemmesEveryone likes the Femmes first album; which featured the tune, “Blister in the Sun”. Some critics think they’ve never been better. I don’t agree at all. Primarily because the songs on the first album all have a similar sound to them. Na, for me this is the Femmes at their best. Polished (but not getting over produced as would happen later), the songs displayed some variety. Gordan Gano is an odd man, who often writes odd, funny lines. Great folk rock album is anchored by the superb, “American Music”. #83 – Only A Lad, Oingo BoingoBefore they made albums I saw them live, they did a cover of “California Girls” (Reworked as Martian Girls) and a demented new wave masterpiece titled, “Little Girls”. It was love at first listen. I think many saw Danny Elfman and Steve Bartock (who was one of the original members/songwriters of the “Strawberry Alarm Clock” when he was a kid) as a novelty. But lyrically they aspired to a degree of socio/political standing, especially early on. I mean, it was no MC5, or Dylan, but the thread was there. They were tagged as part of the New Wave, but rather than soak their melodies in synths, the Boingo sound featured a killer horn section. #84 – First Rays of a New Rising Sun, Jimi HendrixWe’ll never know what Jimi intended for this release. Hell, he might never have finished it. He seemed to have lost his inner musical guide. “All Along The Watchtower” is an example of Jimi taking over a song and making it better (The original master produced by Chandler was actually kind of flat) – Thereafter though, he was unable to be satisfied with anything, spending countless hours in the studio, working and reworking. That’s sad too, because from what we have here, he was on the road to creating another classic. He just couldn’t hear it, it seems. #85 – Isolation Drills, Guided By VoicesOld school GbV fans champion the “Bee Thousand” CD with unfettered passion. It’s nice, but I can only take that kind of lo-fi in small doses. “Bee” sounds like it was recorded in someone’s garage on a cassette tape that was accidentally dropped onto an oil slick a few times. I prefer the later albums that sound as if they had some money thrown at ‘em. With Brit-pop hooks, the songs on “Drills” are slick but still maintain that eccentric inventive flavor one expects from Robert Pollard #86 – The Cars, The CarsMore music from the new wave movement - only these guys received some major radio play. With a sound that dug it's hooks into you, aided by those distinct deadpan vocals straight from the Lou Reed School. The Cars weren't art school, or punks with a swagger; they were just simply producing cool, synthesizer and guitar driven rock at its best. Their debut features all the familiar favorites and it stands as the Cars most consistent effort. #87 – Girlfriend, Matthew SweetAre you a geek who gets impossible crushes on women you don’t even know (actresses, cartoon characters?) or women who are too young, too out of your league, too perfect? If you answered yes to any of those questions; and you dig straightforward, kick ass, power pop; then this is the record for you my friend! (Oh, but Matt doesn’t do the Emo mope thing. Na; he’s an enthusiastic geek with his impossible crushes) The song “Girlfriend” is one of the all time great rockers in known history! The catchy melody and that screaming, winding lead guitar riff are awesome, totally awesome. Sometimes a very good artist is allowed one perfect, great song, Like Edwin Collins with “A Girl Like You” - Unlike Collins, Sweet was able to surround his perfect moment with a number of outstanding tunes. They don’t match "Girlfriend"; nothing he’s ever written has. Neither has he ever been able to record an album this, uh, sweet! Siamese Dream, The Smashing PumpkinsBoy did my wife love this album; I had to listen to it till I was sick to death of it. But it was with some sadness that she ran off with it after the divorce. Now that it’s gone I kind of miss the damned overplayed thing. Billy Corrigan, boy genius, had a voice like a bandsaw. It grated but didn’t distract (though it did for many people) because the arrangements and melodies are so tight. Billy was always amazed and impressed with how the Beatles would make every bit of a song ear catching. There was no straight, dullish setup for a hook, because it was all hooks. Corrigan used that template and mixed in a punk/grunge edge, which put the group at the top of the alternative music mountain for a time. The song “Disarm” is simply a stunning work of haunted beauty. (and it's about his abusive parents, NOT abortion -where the hell did that idea start anyway?) #89 – Under the Pink, Tori AmosThis is the only Amos album I own. But I picked a doozy. The melodies are elegant, the lyrics are abstract and poetic. Amos isn’t quite the eccentric Bjork is, but she does dance to sound of her own drum and is a woman who creates mature intelligent music. Cornflake Girl was the one that hooked me in to buying the (Cassette tape actually), the rest was pure gold. I probably need to buy another from this artist. #90 – Surrealistic Pillow, Jefferson AirplaneClassic Airplane, features two of my all timer favorites, “Somebody to Love” and the even better, pulsing, surreal, “White Rabbit”. J.A. Personifies and acts as the perfect soundtrack to the Haight-Ashbury counter culture, folk, psychedelia movement of the 60s.
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Post by mightyjack on Jul 11, 2007 15:32:36 GMT -5
91 to 95#91 – Commonwealth, PlankeyeThere was an episode of the Simpson’s where Bart (concerning Christian music) mentions how Satan has all the best bands. Funny, but so not true, as there are more than a few Christian acts who’d give the Devil a run for his money. The late Rich Mullens was a superb songwriter; Phil Keaggy is a great, great guitarist and Steve Taylor’s simply a rock and roll genius, (artists and later producer). As for Plankeye, they crafted alternative rock that was second to none. Produced by Gene Eugene, Commonwealth was Plankeye’s masterpiece; tough but with soul, the lyrics mostly drew from personal experiences and struggle over traditional praise and worship (Though these elements are present). Singer/songwriter Scott Silleta left the band after recording a decent follow-up. He went onto to form Fanmail, which never came close to being as good. The bassist and Guitar player continued on with Plankeye and their stuff was a horror (why it received good reviews is beyond me. Were people being kind? I don't know but it was a bush league production and a pale wisp of what Plankeye used to be) #92 – Plastic Letters, BlondieParallel Lines made them famous, but it’s this, their second album, which best displays the punky band that used to share the stage with the Ramones at the legendary CBGBs. Its quirky, bratty lyrics and those snappy melodies are pure American punk (UK punk was angry and serious, US punk was twisted but a gas) #93 – Chaos and Creation in the Backyard, Paul McCartneyPaul finally, finally made an album that was solid from beginning to end. Mature, often somber. Happy Paul lurks around the corners, but he never allows the sappy side to sabotage this project. If there’s a negative it’s that the songs all move at the same pace. There’s not a barnburner in the bunch. While it’s a mellow album, it’s a delight to hear McCartney up his game again. “Jenny Wren”, which taps into that “Blackbird” vibe, is one of his best compositions in years. “Vanity Fair” is a yearning and mournful tune. I love the structure, how he pulls out a chorus late in the song, long after we mistakenly think we’ve heard what we thought was a chorus. Kudos to the producer for pushing Paul and making certain that he settled for nothing but his best. #94 – Live Through This, HoleWho wrote what and who inspired who is an old debate and the truth is, they likely both did. Kurt and Courtney could have been rock royalty, inspiring one other to create one great album after another. Still, while I lament the excesses that destroyed them (Kurt lost his life, Courtney squandered her talent), it’s this self-destructive side that fueled the fury heard in their songs and was an element that made great music. Deeper than you’d suppose, “Live Through This” explores a life full of expectations. How a girl and later, woman is suppose to act and look. And how trying to meet those expectations crushes ones sense of self. Courtney’s rage against these confinements and the resentment it breeds; bleeds through every screamed line. It’s a powerful album, sadly over shadowed by her pathetic, drug fueled antics over the years. Is that irony? That, which made this a great album, is also what made her a sad human being? #95 – Electric Ladyland, Jimi HendrixThough considered his best by many, I find it a flawed gem. Often self indulgent and over done in places. Side 3 is almost entirely skippable and the live jam for "Voodoo Child" drags on and on until it nearly sends me to snoozeville (it runs nearly 15 minutes!). But there is so much that is good: For one, the album ends brilliantly with "House Burning Down", Jimi's stunning cover of Dylan's "All Along the Watchtower" and "Voodoo Child (Slight Return)", which features some of his best lead guitar work ever. The album cost him much; he lost producer Chas Chandler and bassist Noel Redding. It also exposed cracks in the armor (He was starting to lose focus and the ability to know when a song was good and done -he took 43 takes on one track). Never the less, despite all the struggles, Electric Ladyland manages to provide enough of the great to earn it a spot in the top 100. Of Note: The CD got the times wrong on a couple tracks. 1983 (The one tune I liked on side 3) should only run about 4 minutes, "Moon..." is the noodling overlong mess which runs over 13 minutes long - at least on the LP. On the CD they add most of Moon to 1983, leaving Moon only about a minute long!)
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Post by Shep on Jul 11, 2007 22:29:01 GMT -5
#4 - Bringing it all Back Home, Bob DylanWith so many great Dylan albums to pick from which one do I chose? I've always gravitated toward this one when I'm in the mood for some Bob. There's not a track I dislike and with favorites such as, Subterranean Homesick Blues, It's Alright Baby Blue and Tambourine Man, it like playing a greatest hits album anyway. #10 - Pinkerton, WeezerNumber 10 is so tough, man who do I select from so many great choices. I went with Pinkerton. I like the power pop, coupled with personal lyrics which twist and turn, embracing humor without become self parody. It's a fine line River's has of yet been able to pull off again. Musically it's a strange mix of chaos and order. I loved this from the start and was surprised to learn that at first, it was critically panned. It has quickly emerged from this cloud to become one of the bands most respected productions. I'm not familiar with this Dylan album, but will definitely check it out. "Pinkerton" is my fave Weezer record and one of my favorite albums of all time. Hysterically funny and yet often quite touching as well.
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Post by mightyjack on Jul 12, 2007 14:03:15 GMT -5
The final 5 to 100#96 – B-52’s, The B-52’sIf not for Punk rock, Disco might have killed music for me. Punk was hard to find at first, it didn’t receive radio play. Then came 1978 and new kind of punk offshoot, a stranger Dadaist madcap sound which came to be known as New Wave. While Punk was angry and subversive, New Wave was lead by avant guard art school students. And with the advent of the music video on Nightlfight and later MTV; this new sound found an audience hungry for something fresh, exciting and new. Talking Heads (yeah, I’ll get to them just as soon as I track ‘em down and refresh my memory. They’re around here somewhere) and Devo (who started off as social/political performance art, before Mark Mothersbaugh joined the band). And in 1979, arrived the B-52’s . The lyrics were colorful, strange images, stitched together to make a whole. I was never sure what they were trying to say, anymore than I knew what Dada was trying to say. It's probably very simple: Its all about creating funky camp rock, and inviting everyone to join the party. Ride the crazed wavelength! The B-52’s first album opened with this Peter Gunn guitar riff, before Fred Schneider’s spoken twang burst through the speakers. Crazy man. Then Kate and Cindy chimed in on “52 Girls” and on track 4, the pure joyful madness of “Rock Lobster”. Nearly 7 minutes long and backed by the gals strange chirps and squeals (When Lennon heard it he was delighted. Yoko’s sound was finally in vogue. LMAO). With titles like “There’s a Moon In The Sky (Called the Moon)”; and lines such as, “I’m not no Limburger / just a limburger”, I knew I was in for blast of a time before the needle ever hit the groove. New Wave was experimental music as unabashed, unapologetic energy and spirit. #97 – Get the Knack, The KnackAnd in between the disco and punk/new wave movements, came a band that went retro. The Knack took me back to 1963 with power pop chords that strummed out rhythms not heard since the days of the British Invasion. Doug Fieger wore that smug look and the band had a GIGANTOR sized hit with “My Sharona”. None of this endeared them to the critics who seemed hell bent on bashing the band with impunity. Moron bullies were so intent on being nasty they never stopped to listen to the fact that this was a damned good album. Their loss. #98 – Freedom of Choice, DevoI remember the first time I heard this album. I bought it the morning of its release, thought I hadn’t heard a song. The record opened with, “Girl U Want” and I thought, “That’s their hit, if that doesn’t get ‘em on the radio nothing will”. I was close, Devo finally got a hit, but it was the naughty, unlikely “Whip It” that did the trick. Though not as original as their first, it was better than the uneven second lp. More commercial than previous efforts, the album was pure Heaven from start to finish. I soon journeyed to Seattle with my Aztec Energy Dome on my head (yeah, that red flower pot and saw the band in one of the best concerts I’ve ever been too. I even caught the towel Mark Motherbaugh used to wipe his brow with, and then tossed to the audience. It was one of my best days ever. Hooray for Spud Boys! #99 – Outlandos d’Amour, The PoliceIf my top 10 is stocked with the music, which served as the soundtrack of my youth, the final 5 before hitting 100 is often an essay on music’s rebirth. The late 70s and early 80s restored what was lost. And the Police were (a small) part of that. But, what album should I pick? No, it wont be the likely one because unlike the vast majority, I abhor “Zenyatta Mondatta” with a passion. And it won’t be the hit and miss “Ghost in The Machine”. “Regatta De Blanc” is very good but not good enough, so it’s down to two. “Syncronicity” is multi layered in sound and word. But in the end, nothing surpasses the first. Sure, “Oulandos d’Amour” craps out badly with its final two tracks, but before that happens the albums a wonder. A hint of punk is woven into the prevalent reggae vibe. The odd tempo’s; Stewart Copeland’s drumming was like nothing we’d heard at the time. Stellar performances from Summers and Sting made this something special. You can argue if this is as slick, mature or deep as following releases. All I know is it was part of a great time in music for me and nothing they did after, quite captured the same spirit. #100 – Chester and Lester, Chet Atkins and Les PaulI debated long and hard over this one. #100 should be something special and I think I found the perfect album. No it’s not rock and roll; it’s not my traditional style at all. It’s a fusion of country with jazz, but style and genre’s mean little when it comes down to watching a great guitarist at work. Whether it’s Speedy West or Roy Clark or Leo Kottke – I just like watching a guy who can play… play. Atkin’s pulled Paul out of a long retirement to do this album. And the sessions were more a rehearsal with only a few overdubs added later. There’s studio banter to aid in the free and easy feel of the project. The two guitar men have as distinct and differing a style as you can get, but they mesh to make a magical sound. I think it’s appropriate to have Les Paul featured at #100. He was so important to all of us musicians. His innovations and inventions are legend. He’s the reason we have multi tracking and heck, even feedback! Though Fender released the first solid body electric guitar, Paul had been trying to get Gibson to release one he’d created for years. For some reason they weren’t impressed with those pickups stuck on a 4 x 4 (They called it “The log”) but pressure from the great sales seen by the competition finally forced their hand. And rock and roll, for one, would forever feel its impact. And that’s that. The first 100 – I’ll likely add to the list because I know I’ve missed many. But that’s not too bad a start.
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Post by mightyjack on Jul 13, 2007 11:32:41 GMT -5
And to begin the other side of 100 – lets go with 7 (Heaven) to start with #101 – This is Spinal Tap, Spinal TapThis is what, the 4th soundtrack on my list? I felt it appropriate to start the list anew with a laugh. The thing is, a lot of this stuff is just plain fun to listen to. Hell, I’d have bought this album for “Give Me Some Money” alone. But with titles like, “Big Bottom” and “Sex Farm” you know you’re getting every last bang for your buck. Solid gold baby, this one goes all the way to 11! #102 – From a Basement on the Hill, Elliott SmithThe 3rd and final Smith CD in my collection (I will get more) was released after his death. There was a lot of stuff his family left off (too brutal, too painful for them to hear?) but what we have here is more beauty and tragedy. The juxtaposition of harsh electric squalls and pretty/sad ballads (Track 9 makes my heart ache) makes for an uneven but irresistible release. #103 – Plans, Death Cab For CutiePerusing through the used bin I came across this album. I noticed that it featured one of my all time favorite songs; the haunting folk ballad, “I Will Follow You Into the Dark”, and that was all I needed to see. This was mine. Cutie hasn’t changed much since the last album I purchased from them. Oh so many years past. They are still mellow, low-key, indy rockers. Gibbard’s vocals are still ghostly and delicate. If there is a difference it’s that the drums offer a little more punch and there are a few more distinct hooks that reach right out and slap you awake (drowsiness was a danger on that earlier CD). “Soul Meets Body” is Beatles-catchy and “Different Names For the Same Things” begins with a mournful piano and echoed vocals that recall “Imagine” era Lennon. Lyrically these are poetry in its purest, most beautiful form. The way Benjamin Gibbard weaves words leaves me in awe. And NO HE ISN’T FLIPPING WHINING! Sorry, but that nonsense pisses me off. Self-pitying whining is what Rob Thomas does; this is a man expressing himself with grace and honesty. Don’t lump what Gibbard writes with the overwrought syrup constructed by lesser talents. Read the words to “Brothers on a Hotel Bed” and if you can’t see the poignancy and sad truth in them, then; A: You have one of those perfect dream marriages. B: You’re too young and inexperienced to understand. Or… C: Your legally dead. (Okay, I'm teasing) I’m not saying one has to like this kind of music, but one should respect the talent behind it. Saying that; a little bit of Cutie goes a long way. I wont be rushing out to buy their entire catalog, but will carefully explore and judge them album-by-album. And I judge this album a major and important work. #104 – Debut, BjorkWhen watching the Sugarcubes on MTV, one couldn’t help but notice Bjork, she just stood out heads and tails above the others. This, her first solo album is also her most accessible. And maybe I’m weak, because while I love Bjork, sometimes she’s more than even I can handle. This one though, goes down smooth and easy. It still carries her distinct style, but it’s wrapped in more straightforward compositions. The drum and bass heavy “Human Behavior” is a stunning song (and video). #105 – Van Lear Rose, Loretta LynnDetroit meets Nashville: Jack White might very well be one of rocks brightest talents these days. But I never can seem to get through an entire “White Stripes” album. I pretty much have my fill of the sound about half way through a CD – BUT White does make my list as a producer. Much like Rick Reuben did with Johnny Cash, this combination of young, rock talent meets old country pro, works like a dream. Lynn composed all the songs (a first for her) and each retains her impressive style, her talents as a storyteller have never diminished. White simply adds a kind of southern blues-guitar edge to the production #106 – Fallen, EvanescenceMan did I love this album, loved the Daredevil film for featuring it. And even though all the tracks had a similar sound, which should have been the kiss of death. I adored “Fallen” with all my heart. The churning guitars and Amy Lee’s urgent, sonic vocals knocked me on my ass (Amy’s my favorite female vocalist). “My Immortal”, was way over played, but no matter how often I’d hear it, I never grew tired of it. To this day I get a chill down my spine and find myself a little choked up when I hear that haunting, graceful melody echo from my stereo. During “Tourniquet” (a song about suicide and salvation) when she quickly screams, “I want to die!” the quality of her voice, the pain in it. It was like having someone reach into my mind and pull out every anguished cry. The album left me emotionally drained. #107 – Volume 2, The Beau BrummelsThere are some people who will try and convince you that the folksy “Triangle” is the groups best work, don’t believe ‘em (Unless of course you thought Christopher Guests exaggerated vibrato warble in, “A Mighty Wind”, was really, seriously, good) – The Beau’s were great when they weren’t being pretentious, or under the heavy thumb of the studio (the unfortunate, “Beau Brummels 66”). Volume 2 displays the band at its best, with a sound that combines pop rock with a hint of folk (If you’re a fan of Mike Nesmith’s work with the Monkees, you’ll probably enjoy the Brummels). There’s more to them lyrically that you’d imagine, a kiss of fatalism behind the chirpy hooks (You Tell Me Why). And for you “Village of the Giants” fans there’s “Woman” (On the remastered version) and “When it Comes to Your Love” If you want more of an overview, buy Rhino’s “Best Of” compilation. Included on that CD is the almost lost classic, “Gentle Wandering Ways” – If you’ve ever wondered, “What if Johnny Cash played on Rubber Soul?” this song provides the answer. It’s way too cool, give it a listen.
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Post by Shep on Jul 13, 2007 18:05:35 GMT -5
#101 – This is Spinal Tap, Spinal TapThis is what, the 4th soundtrack on my list? I felt it appropriate to start the list anew with a laugh. The thing is, a lot of this stuff is just plain fun to listen to. Hell, I’d have bought this album for “Give Me Some Money” alone. But with titles like, “Big Bottom” and “Sex Farm” you know you’re getting every last bang for your buck. Solid gold baby, this one goes all the way to 11! Rewatched this film just the other night. Never get tired of it. Christopher Guest = Comic Genius
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Post by mightyjack on Jul 15, 2007 18:56:02 GMT -5
Okay I started writing this book you see, so things have slowed down on the album side of my life. I’ve had this one locked and loaded in my laptop for a few days. Time to get it out there. And I’m still planning to go to 200. Beyond this 7, the future for this list holds some Seattle Jam, a recluse from Idaho, a couple of gals who “got the beat” and some loud guys who make this, Irish Punk, feel proud. #108 – A Night at the Opera, QueenWhile I personally like the songs on “Queen II” and “News of the World” a little more, I’d not argue with anyone ranking this as their best. If God is in the details, this is the Queen album God would love best.. Because Opera’s detailed production is quintessential Queen. It’s knowingly exaggerated, bigger than life and If today’s audiences don’t enjoy this band, it’s because they’ve gotten so serious and emoey, that they’ve forgotten the pure joy in celebrating the bombastic nature of absurdity and spectacle. Hey kids, unfurl that brow, relax and bask in the mad, wondrous pomposity presented within this album. The songs explore a variety of styles and it’s exquisite arrangements, both vocally and musically, makes this one of the topper most (of the popper most?) albums recorded in the 70s (and I should have it ranked much higher) . #109 – Skylarking, XTCProduced by Todd Rudgren, this is very slick and starts off as one of their best, before stumbling down the stretch. Life and death and all the big things in between are explored this time out. The disc opens with one great tune after another. “Summers Cauldron”, “Grass”, the cute “That’s Really Super, Supergirl” and the anguished “1000 Umbrella’s” were among the highlights on side one. Side two opens with another smashing pop anthem about the financial hardships that come with marriage, “Earn Enough For Us” and later there’s the jaw-dropping tirade, “Dear God”. The other songs on side two though are merely good, not great and that’s why Skylarking sits behind “Oranges and Lemons”, “English Settlement” and “Nonsuch” – as for early XTC, it didn’t work for me as much so this might very well be the last we see of this band on my list. #110 – Help, The Beatles Not as good a movie, nor as good a soundtrack as “A Hard Days Night”, there still is a hell of a lot to enjoy: This album gives an indication of the future (Rubber Soul) with its acoustic heavy tunes. From Paul we receive the amazing, Yesterday and I Just Saw A Face. John offers up the wonderful Help and You’ve Got To Hide Yourself Away. Add in the blistering Ticket To Ride (I’m not sure who took the lead on this one, perhaps it’s a true Lennon and McCartney?) and there is enough to help erase the pain of Ringo’s Buck Owens cover, “Act Naturally”. #111 – Country Life, Roxy MusicSo am I going to get in trouble for this cover? There are so many sides to Roxy Music. They were edgy subversives during the Brian Eno years, which eventually morphed into the Brian Ferry dominated romanticism of “Flesh and Blood” etc. I really don’t know if one album is substantially better than the next, or if it all comes down to what era you prefer. I know “Siren” is my personal favorite LP, but beyond that? I chose “Country Life” here because of its consistency. It is pure “art” rock at its finest. Anchored by sax solos, smooth vocals, and Manzanera’s rich guitar work. Add in an outstanding keyboard (yes, even with Eno lost, the band added a stellar player to replace him) and the steady, booming drum. Excellent and unconventional. #112 – Melon Collie and the Infinite Sadness, Smashing Pumpkins I was never fond of “Gish”, never cared much for the albums after this one. But they did give me two great releases and for that I’ll always think on them kindly . Again, the ex has this one. I remember it being an overblown ambitious endeavor. Chock full O’ great songs. I loved “1984”, “Tonight, Tonight” and the angry, pessimistic power of “Bullet With Butterfly Wings”. The album roared with stories of desperation and the aching desire to break free from the trap. Yes it was self indulgent, but well meaning. Lyrically this was brutally honest and sincere. Corrigan summed up and illustrated my own feelings of helplessness. “Despite all my rage I am still just a rat in a cage” – No one has shown a light on my own despair as poignantly.. #113 – Good For Your Soul, Oingo Boingo The big brash horns and Danny Elfman’s impish, sarcastic vocals, accompany lyrics that address social and political responsibility. Quotes from “Island of Dr. Moreau” and a song which might be about murder (“Pictures of You”, is it a sort of “Tell Tale Heart”? I don’t know, someone tell me). Boingo was a band that always seemed to be winking at its audience, as if there was some inside joke we weren’t aware of. Were they pulling our legs or did Elfman’s wide grin hide a darker, and often heavier message. It was this strange mix of merry pranksters vs. social commentators, which seemed to confound the critics. Rolling Stone, who named them one of the worst bands ever, obviously didn’t get it and I’m not sure I always did either. What I did get was that they made an incredible noise and wrote provocative words that made me think. #114 – Superunknown, SoundgardenI wonder if music for Cornell is a kind of cathartic primal scream therapy? He can howl with the best of them, singing out tales of depression and woe. Though I don’t find his work as insightful as Billy Corrigan’s. Billy digs and explores the dark places in a desperate attempt to understand and hopefully conquer them, but the reclusive Chris simply wallows in it and beats the hell out of the misery with his riveting, razor sharp vocals. Kim Thayil’s the other big piece of the Soundgarden puzzle. While his ax can match the vocalist’s intensity, his guitar work also acts as a counterpart, a smooth soothing balm that deftly surrounds a song like water. Spoonman shows the band in a lighter mood, Black Hole Sun is surreal, Superunknown is my favorite track on an album that runs well over an hour long. #115 – Universal Truths and Cycles, Guided By Voices “Everywhere With Helicopter” is a power pop-rock lovers wet dream. And this “Psych-Punk” album, loaded with 19 songs, perhaps suffers from “White Album” disease (Might have been better with a few tracks cut out?). But you tell me what to cut out; it’ll likely be someones favorite. GbV will go down in history as the most under appreciated experimental power-pop band in history. You like the Beatles, your late era XTC? Give these Voices a listen. #116 – The Real Thing, Faith No MoreI remember the music video for the song “Epic”, and thinking, “What an appropriate title”. The damn thing was epic. And the first half of this album was as good as anything I’ve ever heard. Naughty, twisted with a big production. One song after another blew my socks off. Then the second side began and it was, oh…. Good enough I suppose. But after that brilliant start, good enough felt like a major let down. Had it delivered the goods with the same frenzied intensity, this album would have easily cracked the top 100. As it stands, the first half is epic enough to earn it a spot at #116. So that's that till next time. Right now I'm just trying to figure out where I want to put Tom Jones Reloaded
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Post by mightyjack on Jul 16, 2007 11:49:53 GMT -5
#117 – Welcome to my Nightmare, Alice Cooper I’ve noticed something, just when an act is at the top of the world. Nothing but blue skies above, it goes quickly to hell. Queen follows up “The Game” with “Hot Space” and… well there are more; I just can’t think of them because I’m tired. Oh wait, Alice. Yeah Alice went solo, left his old mates behind and with producer Bob Ezrin (Kiss) recorded his biggest commercial hit album. “Only Women Bleed” was so good but so mainstream, people at the time didn’t believe it was Cooper (My dad was like, “Bullshirt, that’s Alice Cooper? – My grandma thought she had a very manly voice) The Coop could still shock, “Cold Ethyl”? Sick, sick, sick! This was big, macabre but fun as the dickens. Vincent Price added a cool monologue and the scary “Steven” was an instant classic. And back to the Queen thing, a few albums later AC recorded "Lace and Whiskey", the worst album of his, or anybodies career. #118 – Keep it Like a Secret, Built To SpillReclusive Idaho spud boy, Dave Martsch toiled album after imperfect album before finally finding his true and perfect voice. Good before, BtS were surprisingly great on this album. I think it owns a lot top the fact that the album flows with a focused artistic vision. The work is complete and cohesive and shows a newfound maturity and discipline in the songwriting. Lyrically Rolling Stone described it best… Built to Spill songs are typically about the physics of colliding emotions, about dissension at home and in the head. Nobody lives happily ever after on Keep It Like a Secret (nobody stops trying, either).#119 – Leave Home, Ramones I’ve written an extensive review about this one in the Ramones thread. After the garage band vibe heard on their first album the fearsome foursome returned with a slick, hook-laden rocker. #120 – Crowded House, Crowded HouseIt was love at first sight. When I heard “Don’t Dream It’s Over”, my heart was lost. What a great song and what an excellent album. Neil Finn of “Split Enz” fame, keeps doing what he does best, write catchy pop numbers the whole family can enjoy! (Sorry, I don’t know what’s with me tonight; I’m in a silly mood) The bummer with the Finns (Neil and older bro Tim) is that they’ll follow up a great album with a not so great album. But when Crowded House followed up this record with an even greater song, “Fall to my Knees”, I was convinced the curse was over. That song was just too incredible, uh, Noel (Wuhrwilf?))… but alas “Woodface” was painful. As I listened I waited and I waited and I waited for it to get good… then “Fall” came on, and good it suddenly got. And then the record ended. –sigh- at least I can always fall back on this LP. #121 – Equally Cursed and Blessed, CatatoniaDad used to make this stuff he called Goulash, just a mix of whatever he could find in the cupboard. It was good too, whatever it was. Catatonia is the musical equivalent of that dish, not very original but a tasty mix of just about everything I like in music. Sometimes punky, sometimes grungy, sometimes new wavy. The CD opens with “Dead From The Waste Down” and it’s so -60s groove with strings- it put me in the mood to watch “To Sir With Love” just to hear that Lulu song. “Bulimic Beats” is straight out of Bjork and on “Post Script”, when vocalist Cerys Matthews repeats urgently, “If you live a lie, you'll die a liar!”, I thought a less screamy Courtney Love had entered the studio. The arrangements are nice but it’s Cery’s voice which is the draw here, parts Marianne Faithful with that scratchy, raw throated purr. Parts Bjork, with the –baby/woman innocent cooing- thing. Catatonia isn’t original enough to be great, but this Welsh based band are such great mimics that I can’t help but love ‘em. And how can you not love an album that features a song titled “Mulder and Scully”? #122 –Beauty and the Beat, The Go Gos It’s simply a fun, fun 60s style rocker. Heavy backbeat and chirpy guitars are accompanied by Belinda Carlisle and sometimes Jane Weidlin’s sweet (not screamy) vocals. #123 – Young and Rich, The TubesCrazed experimental San Fran band’s second record isn’t as great as the first (You could never match “White Punks on Dope”), but it’s still great. With “Madam, That’s Adam” (Love those lyrics) “Aint no other woman that’s had ‘em! He’s stronger than a tree, that apple tree over there” – and the classic “Don’t Touch Me There”. #124 – Ringo, Ringo StarrRingo brings back the Beatles, kind of. Though they weren’t all in the studio playing together, Ringo got his old bandmates to contribute songs and some studio work and put together one of the most engaging, enjoyable post-Beatle projects out there. Loads of fun, lightweight material. John contributes the hilarious, “I’m the Greatest” (and what a kick it is to hear the insecure Starr shout out that ending tirade). The album package was great, nice artwork on the lyrics insert and a very Sgt Peppersesque cover.
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